Blender 4 Geometry Nodes Workshop: Jungle Vines

1. Blender 4 Geometry Nodes Workshop Jungle Vines: Are you ready to elevate your blender creations to unparalleled heights? Hello, I'm Luke. A seasoned artist specializing in crafting miniature environments with blender and on real engine. At Fred Tutor, our mission has been to develop advanced geometry nodes that liberate artists, Granting you the ultimate creative freedom to bring your most ambitious visions to live. I'm excited to present our latest online masterpiece, Blender for Geometry Nodes. Workshop Jungle. Yes, this course is meticulously crafted to unlock the vast potential of blenders. Chomiuodes, it's more than just a course. It's a gateway to transforming your digital landscapes. You will explore the depths of creativity and technical skills. Learning to craft breathtaking life like jungle vines that elevate your, any scene from the mundane to a magnificent piece. Join us and let's turn your digital dreams into reality. You start off firstly, we'll dive into the basics of remeshing free D models using volume nodes, providing ourselves with a solid foundation for our bind generation. You'll learn how to create the perfect starting points for your binds, using edge path nodes to generate curve paths across your mesh. But we won't stop just there. We'll take your skills further by teaching you how to randomize these paths using noise textures and delete selections randomly to achieve a truly organic looks that make your scenes path control is the key in digital art. That's why we'll explore how to use the trim curve node, or the length of four vines. Setting up parameters that lets you tweak your designs to your heart's content. You'll also master the art of creating offset values with normal maps of mesh spaces and sharing your vine set perfectly within your scenes. But what about variation? Well, we've got you covered. Instead of relying on an empty object for n start location, you'll also learn how to set up random spawn points directly on your mesh, using them as origin points for your minds. Of course this level of detail and customization is what sets professional looking projects apart from the rest. Cleanup and organization are just as important as creation. You'll discover how to streamline your geometry nodes with reroutes and how to compact nodes by hiding unnecessary information. Making your workflow as efficient as possible. That is just the beginning. We'll delve into generating mesh from curved data, spawning the leaves with meticulously set scale parameters which also are going to be scaled down at the tips of the vines, applying shaded materials from PBR textures. We'll also learn how to give your vines that lifelike quality by getting UV data and making use out of it within our texture nodes. On top of all of that, you'll learn the secrets of animating your vines and leaves. Turning simple parameters into breathtaking animations that bring your scene to life. This geometry note class isn't just for vines. It's a versatile tool for enhancing any environment in your project. If you're looking to expand your environment creation skills, I also highly recommend you checking out our course, Blenderfore, Ultimate Environment Artists Guide. It's tailored for artists eager to craft detail for the environments featuring a Victorian senatorial that will take your breath away. And for those of you who have developed a curiosity about the power of geometry notes or blender four geometry notes for beginners course is the perfect. Next step. Here you learn to construct a fully customizable staircase using nothing but geometry, notes and curves. These courses are designed to complement each other, enriching your skill set and unlocking new possibilities in your free journey. Whether you are a season blender user or new to the world of free D modeling Blender for Gomer nodes Workshop. Jungle Vine is designed to equip you with the skills and knowledge to create complex dynamic vegetation in your projects. So why wait, join now and bring your digital environments to life with beautiful animated jungle vines. 2. Blender Viewport Interface Basics: Hello and welcome everyone to Blender Geometry Node Workshop for Jungle Vines. And we're going to start off by introducing ourselves with the interface with Blender Viewport itself. Although most of the time we're going to spend learning how to make use out of the geometry node graph. We're going to make use out of the viewport itself a little bit as well. Just to make sure that everyone is up to speed, I'm going to go ahead and play an introductory video for that. I'll be seeing you in the next lesson. Welcome everyone to the basics of blender navigation. Now before we begin, it's important to understand how the axises work within blender. We can see at the moment, we've got a green line going this way and a red line going this way. This is called the Y axis, and this one is called the X axis. We also have one that is the Z axis, which we can't see right now. It doesn't actually come in with Blender Viewport as default, but if you want to actually set it on, you just come up to the top right hand side where these two interlocking balls are and just click the z axis. And now we can actually see that. So how do we actually move around the blended viewport? There's a number of ways of doing this. One of them is over on the right hand side here. You can see if over over here, it's the zoom in and zoom out. I can actually left click and move these up and down. Then to zoom in and zoom out, or I can use the actual mouse to actually zoom in and zoom out using the actual scroll wheel. There's also another thing you can do with zoom, which is holding control shift and pressing the middle mouse. And you'll see you have a lot more control over zooming in and zooming out. Now the next thing I want to discuss is actually rotating around an object. So how to do that? First of all, we'll bring in a cube. We'll shift a bring in a cube. Now if I press the middle mouse button and move my mouse left or right, you can see we can actually rotate around. Unfortunately though, we're not actually rotating around this cube. So to actually fix that, we need to center our view onto the actual cube. We basically want to focus our view onto this actual cube. So to do that, we're just going to press the little dot button on the actual number pad, and then you'll see that we actually zoom in to the cube. Now if I scroll my mouse wheel out, you will see now if I hold the middle mouse button and turn left and right, we're actually rotating then around the cube. And this is important because if we're actually bring in another cube to duplicate this cube with shift D, move it over. So bring in my move gizmo. And now you'll see if I rotate around this cube. I'm not rotating around this one. So let's fix that. I just press the boton again. Zoom out, and now it can actually rotate around this cube as well. Now let's look at something called panning, which means that we're actually going to move left and right. And we do this by holding the shift button, holding the middle mouse. And then we can actually scroll left and right around our actual viewport. So now we've actually discovered how to zoom in and the different ways we can actually do that, how to rotate around an object and how to actually pan. We can also come up to the top right hand side here and use these buttons here. Again, we remember we're looking at the Y axis, the x axis, and the z axis. If we come to our Y axis and click that on, you will see now that you've got a front view of the Y axis. If you click the X axis, then we can change it to that red x axis, and finally the z axis as well. Now there are other ways as well that we can actually look around the viewport and these involve using the actual number pad. So if I press one on the number pad, it's going to tap me into that y axis or front view. If I press two, it's going to actually rotate that slightly. And if I press two again, it's going to rotate it slightly more. Now if I press the eight, it will rotate it the other way as well. Now to go into the side view or the x axis, we can also press three on the number pad, and that will give us that effect. We can also press seven to go over the top as well. Now what about if we actually want to go to the opposite? So instead of going from the bird side view, we want to come to the underside of our model. Well, that's actually quite easy as well. All you need to do is press control seven, and that then will take you to the bottom view of our actual model. We can also do the same inside view and on the X axis and Y axis. So for instance, if I press one, I'm going to be going into the Y axis. If I press control one, I'm going to be going into the opposite side on the actual Y axis. Now you can also find these options just in case you forget at the top left hand side of it under view. So if I go down to View and go across to Viewport, you can see here that this actually tells me exactly what I need to press to get the viewpoint that I've just actually explained. Now we also have the button on the number pad, which is number five. And number five button in Blender toggles between perspective and orthographic views. Perspective view offers a more natural and realistic viewpoint with objects appearing smaller as they get further away. Mimicking human vision, orthographic view removes perspective distortion, making all objects appear at their true size, regardless of distance, useful for precision modeling and technical work. The other thing that number five does, for instance, if I come to my cube, at the moment I am able to actually zoom into the cube. However, if I press number five, I will not be able to actually zoom into this cube. No matter how far I zoom in, I'll still be able to move around it by pressing the little dot button like so. But if I actually want to actually work on the inside of an object, I can quickly press number five. And then I can actually go in and work around the inside as well. Now if you're working on a laptop or something like that, or a tablet, and it doesn't actually have a number pad, you can also use, if I press five, the actual squiggle key, which is under the escape board on the left hand side of your keyboard. And that then will give you pretty much the same options as we had before. So we can click the right view, we can actually click the back view, and we can click the left, for instance. The opposite to what we had before. So instead of pressing 1.3 we just press the little squiggle line and then we can actually view whichever side we need to. Now we're nearly at the end of this short introduction. There are a couple more things that you can actually do. If you come over to the right hand side and you see here where we've actually got the name of the actual parts within our scene. We can also grab them from here. And then press the little dot Born to zoom in, so I can grab this one. Press the little dot, dot born and that then we'll zoom is in. The other great thing about this is we can also come in shift, select them both, press the little dot button, and then we're able to actually rotate around both of these cubes. All right everyone. So I hope you enjoyed the short introduction to the navigation within Blender. And I hope from now on it won't be a struggle navigating around the viewport. Thanks a lot, everyone. Cheers. 3. Blender Resource Pack Overview: Hello and welcome back everyone to blend the geometry node workshop for jungle vines. In the last lesson, we introduce ourselves with the viewport. And now we can go ahead and freely move around within the scene itself. But for us to actually start off the geometry nodes, we're going to make use out of a resource pack. Within a resource pack, you'll have yourself a blender file. You can just go ahead and double click on it to open it up once you have it zipped. And then afterwards you're going to find yourselves a couple of variations of leaves. There's nothing special in regards to that, there's no alternative geometry nodes. As an example, you'll be able to make use out of multiple variations out of leaves. To be honest, the set up is quite simple. If we go ahead and click on one of the leaves, we can go on to UV editing and see the texture itself. You can see that all of the materials are set up onto one texture file, but we do have some variation in color. We simply set it up through the material itself. You don't really need to know that, but I would recommend you taking it in. Regardless if you want to create your own unique leaves and whatnot, it is quite simple and easy to do. If you do want to make custom leaves, you're free to do so things first. What you need to know is that you need to make sure that this little dot over here where you see on the geometry plane itself, you can see that it's set up at the very end of the stem. It is important that we do that because otherwise the leaves are going to be placed randomly. And they're not going to be attached onto the vine, onto the stem itself, onto the main root, that is. But that's something important to know, it's quite easy to do to set that up. If you go onto edit mode, I will actually go onto modeling mode on the modeling tab itself. If you go onto the edit mode, so we can go onto upper left hand corner, click Object mode, and select Edit mode, which alternatively we can make use out of tab to switch them up. Then once you have the plane selected, I'm going to click A to make sure that everything is selected. I can click and slightly offset this point. So you can see over here, I'm just going to reposition it like so. So that's one thing. The other thing is that we have multiple variations in scale as you can see, although that's not really important, we are going to be setting up a random scale variation within our jump to node itself. I do recommend you having a slight bit of a change in regards to scale itself as it makes it more natural look towards the overall set up. Now as for the color itself, we can go ahead and check that out. We can go on to shading. Each one of the leaves have a different material. If you go into material tab over here, we can see that this one has wind leaf material. This one wind leaf material 001 and so forth. And it just has a slight color ramp to offset the color a little bit on each and every single one of them. Just like. So that's pretty much it. In regards to the set up, we have some variation because of that. As for the shape itself, we also slightly tweak them up a little bit as well. If we go into the edit mode, we can see that each one of them has a slightly tweaked up vertices just to offset those UV maps as you can see over here. It's not really overly complicated, but basically each one of those variations that we have over here has its own collection. We'll be able to make use out of them. In regards to our set up, I'm just going to go ahead and minimize the collections, and there we go. Each one of the collections has their own variations for the leaves. Just like that, this is important because the collections will be used for the variation for the variables of the leaves. We can have more variation of the leaves, but honestly having 2-4 is more than enough, especially for organic foliage. That's going to be like in the scene and whatnot. You're going to be scattered around the F in an object. They're not really needed to be all that different. Yeah, that's pretty much it. In regards to the geometry node itself. We're now going to go ahead and hide them out of the way. The way we're going to do it is we're just going to simply click on these ticks over here and we're just going to hide all of these leaves like so. This way we're prepared to start our journey from scratch. And we can pop them in whenever we want after we're done with setting up with all the necessary parameters. One of the final thing that I would like to mention is that I'm using Blender 4.0 at this moment. And you can see the version at the bottom right hand corner over here on my end. And if you don't see the version on your blender, I recommend you going to edit over here on the top left hand corner. Go to Preferences like so. And then within the tab or interface, this tab over here, we can go ahead and open up the Status Bar, and you can click on Blender version to see it on the bottom right hand corner. Recommend you taking all of these on as they're quite useful for knowing how much memory is being used and whatnot. How it is like with the performance for Blender, we'll just recommend you turning everything on over here. And I will mention this later videos. But you do need to know that you also need to turn on an add on. So go ahead and click on Add Ons. Within the top section, over here, you can search for something called Node Angular. It is quite important to make use of Node Angular, otherwise, the whole building for geometry, the whole setup is going to be so much slower and you'll need a lot more effort to organize everything. The node Angular just simply helps simplify the process. You'll see me using the shortcuts and whatnot out the videos. Just make sure to have note wrangle turned on as it is a great help to get all of the notes to just be more streamlined when you're doing your own workflow. Yeah, that's pretty much it for this lesson. Thanks so much for watching and I will be seeing in a bit. 4. Remeshing 3D Objects for Constant Density in Blender: Hello and welcome back. Ever run to blend the geometry nodes? Workshop for jungle vines? In the last lesson, we covered the introduction for the resource pack. And we have all the leaf variations over here, and we simply hidden them away. We are now going to make use out of geometry. To start off the geometry node path, we're going to go ahead and click with an object mode. Make sure you are with an object mode, you have nothing selected. You're going to click Shift in A and you're going to hover over Mesh. We're simply going to start off with monkey. This is Suzanne. We're going to make use out of Suzanne to make the wines grow basically from. We're going to actually reposition this a little bit just to make sure that it's nicely sitting on the top of the floor. We're going to hit Tab. We're going to go on to Edit mode. We're going to hit a Select Everything. We're going to click and then move it upwards in case you're wondering about the bubble. I just had the proportional editing in this particular case. It doesn't matter, it's fine if you have it or not. But yeah, let's go ahead and simply rotate it as well. We're going to click Rx and just rotate this a little bit, just like that. Now it's nicely sitting on our end, and just to make sure it looks nicer, I'm going to go back onto object mode and I'm going to actually add some subdivision levels for this just to have more topology to work with. Although the topology as you'll see doesn't really matter, which we're going to talk about in a little bit. We're going to make use out of modifiers. We're going to click on the modifier tab over here. We're going to add modifier. And we're going to search for subdivision Subdivision Surface. Let's go ahead and add it in. We simply need let's have a look. I think one is enough so let's go ahead and go back to one on both of them. We're now going to go ahead and apply this. So let's go ahead and click control. And a whilst hovering over that modifier, this will give us more topology like so. And that's just going to make the Nka look a little bit nicer. We're going to now click right click, and we're going to click Shade Smooth. Just to shade smooth this entire set up. So now let's go ahead and talk about in regards to the whole set up itself or as to make an organic growing type of a vine coming out of the mesh, growing on top of the mesh. We're going to basically make use out of edge find node. This will allow you to grow the vines around the edge itself. If I were to go on the paint real quick just to iterate my point, we're going to have a topology. Each fred mesh has topology and we're going to make use out of that. The downside of edge find is that it actually goes and makes the edges basically, for example, for Suzanne over here, it's going to start off from the empty over here on the top, as you can see over here. And it's going to start growing points that will follow alongside the topology over here. We'll need to make sure that it's actually being able to be used in every single topology, not just highly dense ones. For example, cube over here. If we were to simply use on a cube, we're only going to get a couple of path options along the edges over here. And this is not something that we want. We want to make sure that it's able to be used in any way possible. So we'd have some paths coming along over here and whatnot. Such paths, we'll need to be able to follow a different type of topology. For us to do that, we'll need to firstly convert this topology to be a neutral type of topology, to be able to be applied onto any type of a mesh. Well, we will firstly create ourselves a geomet node for us to do. We're going to go on to modify a tab over here, We're going to click at a modifier and we're going to select Geomet Node. This will give us a new geometry node, which we can now click this part over here to create ourselves a brand new geomet node. For the name itself, we can just select this part over here and we can just call it Joe node, or we can call it vines. So we can leave it as is now. We can go ahead and go on to Jomechode tab, which is located at the top section over here. You should be seeing it with the resource pack provided. If you're not seeing it within your default set up, what you need to do is if you're planning to work on a brand new project, you just simply click on a plus symbol over here. And within here you'll find yourself a general jome over here. This tab is basically this over here. It's slightly tweaked out a little bit. For example, we can move these tabs like so up and down by clicking in the area in between, we can also squish it a little bit. So I think that's going to be all right. I just want to have the three D window to be a bit larger for us. Now that we have ourselves the brand new set up with the Juma nodes, we can go ahead and start by creating the neutral type of density out of the mesh. So we'd be able to make use out of the edge papi. To do that, we're going to make use out of the graph node section over here at the bottom. This is where the magic will happen. Basically, for the geometry nodes, we'll have group input over here on the left hand side, and we'll have group output. The group input will allow us to input all the parameters necessary. We'll be able to create our own parameters afterwards, but by default it's set up by having the default geometry that it has over here, and it outputs the geometry basically that we have. That's why it's showing up as a default geometry with the original mesh that we have. By the way, we can also move using middle mouse button panting like so. We can also zoom out and zoom in into Jome. Simply having the controls like that, we can move around pretty much anywhere within the Jomeode in case you're going off from a distance and you're a bit lost within geometry node and you're not seeing where the selection is. You can click the lete button on the numpad, so small dot, and it'll refocus on a selection that you had. Just like that. We're able to go back in and out of the geometry node To start off again, we'll go ahead and redefine the mesh that we have. We're going to do that by making use out of the volume to mesh for us to do that, we're going to click Shift in A and we're going to go on to search. We're going to find ourselves mesh to volume. First, this will convert this entire section from the mesh as a volume. We're going to make sure we place it right in between this line over here. As you can see, the line itself gets highlighted. Sorry about that. Moving it up and down makes it pan the view itself. By placing this in the line itself, we're going to get this volume, basically, that creates a volume from mesh. We can also have some parameters over here at the bottom. We have density, we have vauxel size, we have interior bandwidth. The main one that we need to use, basically, is going to be a vauxel amount by changing this to a smaller size. So we can control how dense the overall set up is actually. By combining this with the density itself, you're able to determine the resolution of this mesh. If I set this to something like 1,000 we can have a much clearer set up. And if we now increase the vauxal amount, we can see that we're getting more and more of a shape out of this in regards to the original mesh. That's pretty much it. In regards to that, we're now going to make use out of this and convert this to a mesh. The reason we need to do that is basically we need to get back those edges. We need to make sure that the pathfinder is properly set up with any type of a mesh. Again, for us that we're going to go ahead and click shift and we're going to search for volume to mesh. Volume to mesh, so this one over here. Then we're going to paste it into this line over here. Again, I'm dragging over this line, pasting it in, it naturally moves the entire group a little bit to the side. And this is what we're getting. Basically, if we change the resolution from grid, we actually need to change both of them. Sorry about that. We need to change the resolution from the amount we need to change this to size. The reason being is that it's going to be based on the scale of a mesh, which is exactly what we want. Then we need to make sure that the resolution for this one is also set to size. They're basically using the same parameters over here and we can change them in any way that we want. Going back to this, we're going to go ahead and change to a much smaller value over here. If it changes to a value of 0.3 we'll get this a shape. I think I did actually use the density a little bit too much. I'm going to go ahead and change this back to one to get the original one. Now for the oxel size, you can go ahead and simply make this a little bit smaller, like 0.05 We can just simply click on the value over here to change it to 0.05 So I'll give you the better result. Although this result is still a little bit, we're not getting the shape that we want. We're actually going to be setting this up with a value that will allow us to simply put in input of the same amount to both vox size over here and a voxal size over here. For us to do that, we're going to go ahead, we're going to make use out of a value node. We're going to hit Shift in A again. We're going to go on to Search. And search for value, click Enter and we're going to put it over here. The reason we're doing this is basically to have the exact same value and we wouldn't be just going in and out in between those two values, the same voxel size like. So we can put this value as, now we're pretty much set up. We just need to change this value to 0.05 So this is the result that we're getting because they're both the same size, it's so much head to control them. If we look at the topology itself, we can see the topology and we can hit Tab, we go into edit mode. We can see that it actually doesn't change anything. The reason being is that we're visualizing the original topology. So I'm going to go back onto object mode and instead we're going to go onto the wire frame. Shading this pattern over here will allow you to preview the wire frame itself by zooming in, we can see the density over here. By changing this to 0.01 for example, we can see that we're getting much, much denser of a result. I'm going to go ahead and change this back to 0.05 But if we want to, for example, like an r over here, if we want to make sure that it captures the ear itself, we can increase this value and it'll give us less and less of a gap. But although let's go ahead and keep this as 0.5 Actually one thing that we can also do is in order to fix this ear, if we change the interior bandwidth, which controls basically how close to the mesh it is, if we change this value, well, as close as possible, 0.001 we're going to get these ears back even though we're not changing the density. This is still going to be capturing, which is pretty important especially for the vines when we want to grow around smaller objects in smaller areas. Now in the next lesson we're going to be setting ourselves up. I'm actually going to go back on to normal wire frame. So in the next lesson, we're going to be setting ourselves up with a point which will allow us to start growing our wines front. Yeah, thank you so much for watching and I will be seeing in a bit. 5. Creating Vines Starting Point with Blender Geometry Nodes: I'll welcome back everyone to blend the geometer notes workshop for jungle vines. In the last lesson, we create ourselves a neutral type of density for any mesh. So now we'll be able to make use out of a path finder. But before doing that, we actually need to make use out of a simple started point so we can determine where the vines would grow from, for example. For us to do that, we're going to go on to make sure that we are within object mode. We're going to go ahead and click Shift and A within our viewpoint. Make sure you're hovering over the viewpoint by the way. Otherwise, it's exactly reliant on the position of a mouse. If we were to hover over the geometry nodes and click shift and A, it's going to create A, the geometry node over here. But if I were to hover over in the viewport, click shift and A is going to create an asset within the viewport itself, but that's important. And we're going to hover over empty. We're going to click on either one of those. Personally, I'm just going to select a sphere, since it's nicely visible. So we're going to get ourselves an empty object, which is basically not going to be visible whilst rendering. But it helps us to visualize, for example, the location of this object over here. I'm going to make it smaller as well. I'm going to go ahead and click S, just to scale it down, so I think that's good enough. And we have ourselves empty. Now you can see that the geometry note itself disappeared because the geometry note that we had was actually on this object over here. By simply clicking back on this object, we're going to go back onto the vines and we're going to see the vines again. Actually, one thing that I need to say is if you want to move around the object and assets, the nodes itself, you can select on one of them, you can click and you can just simply move it like so. If you want to, for example, turn the line and re route it, you can hold control and you can just simply drag it outside like so. By releasing it, you're going to be releasing the value itself. You're going to remove the line and by simply clicking and holding from this value over here, you can reroute it like so. In case you make mistake by having a different section, a different float value attached. Just make sure to reroute it like so. All right, so now that we have ourselves an empty object, we're actually going to make use out of the parameters. We're going to open ourselves this area over here. We can click on this arrow over here. Or alternatively as a shortcut we can click a letter. So this will allow you to basically open up and close these values for the lessons. If you are getting mixed up with the shortcuts, just have a look at the left hand side of the video and you can see all of the shortcuts being used up over here. The only thing that I will say is that I often use F eight. So if you see F eight, it's just simply me pausing the video. So ignore that shortcut, but every other shortcut is going to be basically used for me to just simply move around and whatnot within the Blender project, again, by clicking. And I'm going to open ourselves up with this interface and make sure you have group selected tab over here. If you're not seeing the group tab, just make sure you scroll up so to see it again whilst having the mouse in this area. So having the group selected, you're going to get yourself an interface by clicking Add New Item. We're going to get ourselves a new input selection. Let's go ahead and select Input. So we now have the object disappeared entirely. The reason being is that it's not sure what to do with the socket. We're going to make sure that we change the type of status from float, we're going to change it to a geometry. Actually, I just realized that we also need to move this downwards. Let's go ahead and do that. The reason being is that it needs to actually start all of the interface inputs. It needs to go after the geometry value over here. Let's go ahead and drag this downwards. So it's going to give us back the mesh. Now we're going to go ahead and select the socket. We need to make sure that we're using the object, the MT that we have. We're going to firstly change the type from float, as you can see that it has also a color color feedback. Basically, color coding gray will be set for float. But if we change this float from float to an object like so, this will turn orange. And then we have ourselves an object that we can set it up with. We're going to make use out of the empty over here. We can simply click on this pipette and we can select object empty. So and then we're going to get it over here like so. What's nice about it is also that if we do select the MT and we decide to change the name, we can go ahead and do that. So for example, we can call this something like start empty. So now we can go back onto the object and you'll see that it actually has the renamed default over here. That's quite a nice thing to have. Will also change the socket name itself. We wouldn't just have the name set as socket, we will have a bit of a different name, especially over here. If you look at the geometry node itself, we can see that it has a selection and yeah, it doesn't say anything other than socket. For us to change that, we can just double click on the name over here on the interface. We can call this Start empty. And this will change it over here as well. Now for some reason when we change the default, we don't get a change in the geometry node over here unless we restart the geometry node itself, which we don't really need to do that. We're just going to go ahead and also select an object from here as well, just to make sure that the main set up is being used. But basically whenever we create a geometry node, and we select the geometry node because we selected this as default, it'll automatically try to find this object. But if there is no object like that, then it's just going to be simply set as empty. And you'll need to manually select it. Now to actually make use out of this point. Over here, we're going to finally get ourselves the set up from group input. But we're often going to be using a lot of different parameters and just using it from one point is going to be extremely difficult. What I recommend you doing is I recommend you to creating new group inputs, especially when we go further our ways. For example, we want to work a little bit further over here. For us to do that, we're going to grab the parameter, a new parameter from group inputs. We can click Shift in A. We can search for group input. Group input. So this one over a year, it's going to be a first option. We can create a new one, basically. Then we're going to grab object info we need to find this location of this empty. We're going to drag it out outside. So we're going to get ourselves relative information to what we can select from this input. We're going to select object info, this will give us this node. Then we're going to get ourselves to location and we're going to select an index, a type of choice, from this location. I'm also going to select Group Output. And put it all the way in the back leg, just like that. Again, selecting it. Clicking Jeb can move it outside. Then the location, we're going to select it using an index selection. We're going to sample the nearest option over here. We're going to hit shift in a search for sample nearest, we can put it over here, we can sample the position. We're going to get ourselves the closest position to this object over here. And we're going to make use out of the volume that we have set ourselves up from the volume to mesh. The reason being is, again, we need to have a neutral density mesh. We're going to go ahead and make us out of that instead of the original mesh that we had. So now that we have ourselves this a set up, we can actually visualize how this looks like by getting ourselves an index. Index is basically a type of selection and if we search for index, we can find ourselves this type of a node which allows you to basically select parts, vertices within the mesh. Basically for us to make use out of index we need to search for. If we click shift in A, we need to search for equal. Actually, by dragging this from index itself. If we search for index equal like we can grab ourselves this node. Now if we attach this to A and B, basically sample nearest to B and getting ourselves equal. So we're going to get ourselves the exact point where they intersect, basically the exact index point of the vertex closest to our MT object. You visualize this, we can select the equal. We click and hold control and shift and just use our left mouse button. So we're going to get ourselves, this reason being is we're not going to see the set up itself. The reason being is that we need to grab ourselves, the viewer, from the volume mesh. It's a bit more advanced, so we're going to click and hold control and shift, tap on the volume mesh to get this. And this will give us the value from the equal area. Basically what we did is we selected the volume to mesh. Clicking control and shift, wrapping ourselves to the viewer, which is going to be exactly as the group output at the moment. Then we can go ahead and click and hold control and shift again and tapping on equal and this will give us the value. So we're getting geometry from the volume to mesh and we're getting the value from equal. And then we'll be able to see this small white dot over here by moving this empty object over here, we can go back onto it. We can select this and we're going to be able to see that it's actually over here now. Yeah, that's pretty much it in regards to that. Again, if you're not able to make use out of the geometry, if you're not able to make use out of the viewer or any of the shortcuts, just make sure you go to edit mode preferences and you have the add on selected or the Node wrangler. This is very important to make use out of, especially since most of the shortcuts within geometry node will not work for the things like cleanup and whatnot, you will not be able to make use out of them. So just make sure you have this enabled. You'll be able to make use out of the shortcuts that I'm using over here. So yeah, that's going to be it for this video. Thank you so much for watching and I'll be seeing it a bit. 6. Setting Curves with Edge Path Node in Blender: Hello and welcome back everyone to Blender Geometry Nodes Workshop for Jungle Lines. In the last lesson, we left ourselves off with this single dot being placed the closest to the empty object. Now we're going to make use out of it and actually start setting ourselves up with the shortest edge paths. The way we're going to do it is by grabbing ourselves a new node. I'm just going to go ahead and move this group output all the way to the right side. We're going to grab ourselves a new node called Edge Paths, curves. Let's go ahead and click Shift in a search for edge paths to curves. This one over here, let's add it into our geometry. Now I'm going to go ahead and delete the viewer. Like so, we're going to be left with nothing. The reason being is that we do not have start vertices and the next vertex index. Let's go ahead and sort that out. The value of the next vertex index for us to make use of. We're going to make out of the short edge paths, we're basically going to grab our cells, the destination, and we're going to make use out of that to grow the vines. Let's go ahead and search for edge paths. Shortest edge paths. This one over here. Let's add this onto the, we're going to add next vertex index to next vertex index. Also keep in mind that notice how the color coding is set up. If I want to, I can just also remove this real quick before we had this green color coded. And this is also green, meaning that they can be attached to one another. If I try to attach this to over here, it naturally converts it to this vertices. But it doesn't always work. It doesn't mean that it will give you the right information that you want, so just keep that in mind. Again, I'm going to hold control and push to the next vertex index. Now we can go ahead and quickly add the starting point which is end vertex is going to be the equal to the closest path area. Basically, let's go ahead and attach this to the section like right away. We're going to get ourselves this a result. If we were to try to move this around, we're going to see all of these paths moving around. It's actually already looking pretty nice. All things considered for the winds, but we don't have a lot of control. We don't have a lot of density regulations and whatnot because every single path is being placed up. And of course, we need to go ahead and fix that. The easiest way to fix the amount of face, amount of edges that are being placed up is, well, firstly, we could make use out of the noise texture. Let's go ahead and do that. Actually, we're going to change that up for the edge cost. Let's go ahead and click Shift and a search for noise like so, and we're going to find ourselves a noise texture. Let's go ahead and apply this onto the value, onto the edge cost. Keep in mind I'm also using it as three D. So we get across the dimension, we get a whole set up. And just right away we can see that we're getting a much different result in comparison to how the edges are flowing basically. Because before it was more rigid, before it was more strict. Now we're just like randomizing it a little bit which paths it's trying to take which is giving us this, a result. Then as for the paths itself, we actually need to, again, make sure it's not as dense. We need to randomize it in regards to the paths itself. For us to do that, we're going to find ourselves dark vertices. This is where basically which vertices is taking and whatnot. We're going to use a random probability in order to randomize where the curves are being spawned. Basically, let's go ahead and click shift in A. We're going to search for random value. The random value, this one over here, let's put it above. As for the random value itself, instead of just setting it up with minimum, maximum, we're going to change this to a bullion. So it's basically saying it's either one or zero. And we're going to attach this to start vertices. If we were to have this probability set as one, it's not going to do anything. It's always going to be bullion one. So it's going to give us the exact same result. But as we start dragging it downwards like so, the probability of its spawning is going to be less and less. So it's already shaping quite nice in regards to the set up as you can see over here. For now, let's go ahead and leave this values 0.1 and we're going to come back to it later in regards to setting ourselves up with more density for the winds. The other thing that you might notice is, in fact, because we're using topology, the edges of the basically remeshed asset, we're going to get those bizarre corners, those weird angles. And we want to make sure that they're more natural looking. We're going to basically blur out the values and make sure that they're more averaged out in regards to how sharp these angles are. For us to do that, we're going to move all the way to the side like so. I'm going to click again to move the group output onto the side. Then we're going to click Shift in a search for set position. We're going to find ourselves to position and we're going to attach it to the very end. As for the position itself, we're just going to blur out the values. As we said. There is a very nice note for that. We're going to click shift and a and threshold blur attribute like so we're going to attach this value to the position just like that. And of course it's not going to give us the right result because we actually need to grab the original position values. So we're not set that up with value because right now it doesn't know what it's doing. Basically, it doesn't have the original value for curves. For us to do that, we're going to click shift A. We're going to search for position, and we're going to grab ourselves the position of the geometry. We're going to add this into the value just like that. And we will, let me have a look. Giving us the right value? Yes, the reason being is the blur attribute is not set up with the right value, we need to change the flow value to be a vector value. There you go. Since we're working in a freed space, we need to blur that out. There we go. We going to get ourselves this result. Let me just plug this in back to the position value. Now if we add this to the value position, so we're going to smoothing them out. And go see over here, if we add more iterations, for example, it's going to smooth them out even further. Now I'd say we can leave this at a value of two. I think two will be just right. It's making sure that we're not getting too overly crazy with removing the amount of angles, but at the same time, two will also just remove those sharper corners. Next thing is, we talked a little bit in regards to the density already. In regards to removing the density through this section over here, through the probability of spawning it. But the thing is, it's actually just just removing the spawning sections, but we want to make sure we also randomize which path is taken and whatnot. We need to make sure we delete some of them on top of it in order to make it look a little bit more natural with which path it's taking for us to do that, we're going to go ahead and move the group output even further. We're going to grab ourselves a node called Delete Geometry. Delete geometry, if we were to just simply apply it, is just going to delete the geometry of our choice. And of course we don't want this. We need to make sure we make use out of the selection. But a selection, we're going to, again, make use of the Boolean random value. We can simply grab this random bullion value over here and we can just click shift D, G and then move it to the side like so. Now we're going to go ahead and attach this value to the selection, just like that. Just by simply making use out of that, we're going to work on like it's not giving me the right choice. Yeah, the reason being is because it's deleting points, it's taking each of the individual points. And the more I delete, the more straight up lines we're getting. We don't want to delete the points, we actually want to delete those curves, the splines. We're going to go ahead and switch that up. We're going to go on this, delete geometry and change from point to spline. Now it's actually just deleting the splines themselves, as you can see over here. In this way, we can control which ones we want to keep, which ones we want to delete. The more we take them away, the less of identity it's going to have for us. Naturally, we want the user to be able to control the density. We're actually going to make use out of this value to be able to control that. For us to do that, we're going to make ourselves a new value within the interface. We're going to click on this plus symbol over here. We're going to grab ourselves input, make sure it's at the very bottom. And we're going to change the name to this, to density. As you can see, since the probability set from zero, which is not going to do anything to one which is going to remove everything. We're going to go ahead and scroll down. We can see the values set to infinite, basically allowing you to write any value. But in this particular case, we want to make sure that it's set 0-1 What we can do is just we can write 0.1 over here. And that'll give us the right set up. Now we're going to go ahead and grab ourselves a group input, like group input over here. We're going to attach the density to the probability just like that. And the default value, we can keep it at zero. The downside of this though is now that we start changing the density over here, you can see that it's actually doing quite opposite naturally. When you want to have a value of density set to one, you'd assume that the density is going to be more. You'd assume that there's going to be more winds in the section, and as you're getting closer to zero, you should get less. So we're going to actually invert this. And it's actually quite simple to do. All we've got to do is just simply subtract this value from one. So let's go ahead and do that. I'm going to go ahead and click Shift and a search for a map node that is. And I'm going to go ahead and add it over here. And I'm going to change this from add to subtract. But the thing is that we need to subtract this value from one. So we can simply hold control and change the value over here. Or alternatively, if you click Alt and you'll notice that it's actually switching up the values Alt and switches them up. It's a very nice short to make use out of whenever you want to quickly switch up the values like so. Again, we're going to make sure we subtract this from a value of one which inverts basically the set up. As we get closer to one, we're going to get more and more. As we get closer to zero, we're going to get less and less. That is exactly what we want to make use out of inregousto density. The radi shaping pretty well overall. I'm quite happy with the result. Now we're going to go ahead and move on with the set up and we're going to continue on with this in the next lesson. Thank you so much for watching and I will be seeing you in a bit. 7. Creating Length Controls for Curve Setup in Blender: Hello, welcome back everyone to Blend the Geometry Node Workshop for Jungle Vines. In the last lesson, we set ourselves up with a nice path tracing finding section that finds edges basically, and gives us a, a ne, look already. We need to make more controls though. We need to make more options for that. We need to make sure that for stars we get ourselves a control for the length of these curves. For we're going to go all the way to the back leg, we're going to grab a simple node called trim curve, which will allow you, if we search for trim curve, this will allow you to basically control how the length is in regards to the set up. We can play around with values over year and see what it does. We'll firstly need to change and set up the factor which is more like percentage wise. We'll need to change this to a length which is going to give us the exact parameters for the length basically. And by changing this start, we can see that basically we can hold shift, actually we can make the value a little bit more sensitive to how we control whilst clicking our mouse button and holding it. That's going to give us direct feedback again whilst holding left mouse button. If we were to click and hold and then drag it around, we're going to be able to control this value. But it's going to be really hard to get more precise values whilst holding shift. However, it's going to slow this value down and we're going to be able to actually visualize how this looks like. So we can already see that the starting point is basically showing where it's going to be trimmed out. And by controlling this value, we'll be able to control how it's going to be trimmed. And we can check what it does for the end values itself. But that's actually going to be going the opposite way, which we don't want this to happen. So let's go ahead and set this value back up to one for the starting point. The endpoint we need to actually grab ourselves, the spline length. We'll grab the curvature length basically, and we'll tell where the endpoint of the trim curve is. Let's go ahead and do that. We're going to click Shift and a search for spline curve which is going to be splurple length. There we go, we're going to attach this to the length which is going to be at the end over here. Just by simply attaching this to the end, we can hold shift. And we can see that actually starts behaving more appropriately as it actually keeps the ones that are getting out of the edges to be growing. The edges that split out basically are going to be kept the same. They're not leaving behind gaps and some floating s, basically without this, if we have a look, we are not going to have the same result as it'll start to remove some of the parts over here. As you can see, that's why we need to determine that end is going to be like. So again, I'm going to go ahead and attach this for the start point. We're going to go ahead and make ourselves to control actually some controls for the length itself. To set this up at zero. Yeah, let's go ahead and start setting it up for the length itself. We're going to go ahead and create ourselves a new input. We're going to call this length like. So we're going to grab this length and attach it to the side. Let's go ahead and do that. Group input over here. Actually, just by attaching this to the start. I do. Yeah, I think we actually need to change this up a little bit. I want to make sure that when it's set to a value of zero in length, it's actually going to be zero over here. Once we start growing, it's actually going to start giving us the length that we want. Applying it onto the math, we actually need to reverse the value this time. Instead of subtracting it by one, we're going to subtract it from the spline length. Let's go ahead and do that. We shift in a, we're going to get ourselves a new maps node. We're going to attach this, change this to subtract, I'm going to attach this to the value just like we did previously. We're going to select a subtract click altenSunvert value, and that's how we're going to get ourselves inverted value of zero or nothing. Then as we start growing, we're going to get ourselves the full value. Just like that now. Yeah, we already have a nice set up for the length, but I do want some more organic look. I want to make sure that it is set up for us so that we have a more random length. In regards to the set up right now, everything is going to be more or less the same length. We don't want this to happen. Also, I think I will limit this length to zero. The reason being is just because once it touches zero, that's going to be it in regards to the length. First thing spurs, we're going to change the length minimum set to zero. We can keep the maximum as infinity depending on the type of object we might need a different type of length. That's going to be quite all right. We can just set this up to one for now. Again, now going back to the randomness of the length, let's go ahead and start setting ourselves up with that. We're going to grab our selves, a value called random length. We're going to grab our selves, this node over here. Then we're going to set this up with our own custom parameters. Again, we're going to create ourselves yet another parameter. We're going to click on a plus, we're going to grab ourselves the input, and we're going to call, going to call this length randomness. Randomness. There we go. All right, now we're going to basically multiply this with the random value. Random value itself though, is going right now at the moment only going 0-1 If we multiply this value with the length randomness, which let's say is two. If we multiply this with a maximum of one, so it's going to give us a value of length for two. But the thing is what if we want to make sure it also goes a little bit backwards? What I mean by that is right now if we have the length set as again two, we want some of the length to be not going only forwards but also going a little bit backwards. As you can see over here, we want to fluctuate between going back in and out like so. When we only have a length of two. The way we're going to do it is we're going to change this minimum value to minus one. And this will basically give us the control over the strength of the length of randomness in both directions. Adding the length to this value as well as removing it, basically. Yeah, we're going to go ahead and add the value over here. Yeah, let's go ahead and move this section over to the side. We're going to firstly multiply this value with length randomness. I think I'm going to go ahead just move this around a little bit. Let's go ahead and grab or sell us a new map node. We can just make use out of this. Actually, we're going to hit shift D and we're just going to put it off to the side. We're going to change this to multiply, so we're going to attach two values, length randomness and random value. We're multiplying them one by another. Then we simply need to attach this value that we are getting from the length randomness to the value over here. The way we're going to do it is we're going to simply use another math node. This time we're going to use an additive instead of multiplier. Because if we use a multiplier, the length randomness, the larger the value over here is, the more of an extreme values you're going to get. We want to make sure it's more constant in regards to the randomness, in regards to the range that we're having basically. So let's go ahead and make use Arab additive. We're going to just move it a little bit off to the side like so. And I think at some point we'll need to start looking into, in regards to cleaning up this bit of geometry nodes as well. But for now, let's go ahead and finish this up. Yeah, we need to simply go ahead and select both of them. Move them off to the side. Attach this if we have a look, attach the multiplier to additive like so. Now the length randomness, we're going to be able to control the randomness. Basically you can see the more I increase it, the more of r length it's going to get, which is exactly what we want basically. I think that's quite all right. Actually, one thing that we should do is probably check how it looks like on the original mesh. Now that we are just basically getting ourselves the edge paths, we're turning this geometry into edge paths, we want to see it on the original mesh. For us to do that, we're just going to move this a little bit off to the side and we're going to get ourselves something called Joint geometry. Let's go ahead and click Shift a Search for Geometry. There we go. We're going to attach it over here. As you can see this time, instead of the circular type of a pattern, we're getting this elligated shape like a tick tak form. This means that we basically can attach multiple objects, multiple geometry onto this. Although in this particular case we only want to attach one extra into this socket over here. We're going to go ahead and cram ourselves a group input. Yet again, we're going to attach the original geometry basically to this section, like this is what we're going to get. It's already looking nice in regards to the pattern, but as you can see, we will still need to work on it. We'll need to offset the values a little bit as well, just to make sure it doesn't go within the geometry on itself. We're going to again, work on all of that in the next video. Thank you so much for watching and will be seeing in the Bd. 8. Setting up Mesh Normal Offset in Blender: Welcome back everyone to blend the geometry notes workshop or jungle vines. In the last lesson, we set ourselves up with some nice lamp controls for the vine itself. But as you can see over here, now that we joined it back to the original geometry, it's not going to give us the right result. It's going to blur ourselves in regards to the curve. It's just not looking quite right in regards to how it's being attached. We need to go ahead and fix that. The main reason it's doing this, by the way, is because we firstly make use out of the volume which averages out and remashes the topology. We also, on top of that, make use out of the blur attributes which again, blurs out the overall values and giving us these shapes where it's not quite touching the topology itself. We need to go ahead and fix that. Basically, for us to do that, we're going to, well, first of all, move this all east to the side. Actually, I'm going to just move this over here to the side. I'm going to grab yeah, I'm going to go ahead and grab the sample to nearest. We're going to sample the original curve. We're going to grab the same geometry. From this point, we're going to sample nearest, the sample nearest over here. Then the next thing that we need to do is actually this line is getting in the way. A quick tip in order to reorganize your lines now that this line is getting across this node over here. In order to fix this, we can actually change the way it's being routed up. We can't control where the line is going. The easiest way to do that is if we hold shift and drag our mouths across like so. We're going to get this dotted line once we release it, whilst it's going across the line, we're going to get this re route dot over here. By selecting this, we can now click and move this to the side to actually move it away a little bit from this area like. So. It's quite useful to know, especially when we have some lines over here, for example, that end up crossing certain nodes. Again, we're going to go ahead and fix that in a bit. But for now though, let's go ahead and finish this up to make sure that it's actually placed nicely on our surface. So for us to do that again, we have the sample nearest, which samples, the closest point we need to make sure we change this to a pace so it's actually set to the closest space instead to the normal values of it. And now we're going to actually make use as value to sample the index. Basically allow us to sample the selection itself. Let's go ahead and grab our selves sample index. We're going to attach this to the index value over here, sampling the nearest index of each point of the curve. Then we're going to go ahead and grab this geometry over here. And we're going to attach this, the geometry value like so as for the value, we're going to make use out of the normal value. Let's go ahead and search for normal, which will give us the normal geometry. We're going to input this into the value just like that, but them going to change this from point to face because we're getting ourselves the normals of each individual pass. Let's go ahead and change that then. The float value, we need to change this to be allowing you to control the normal value itself. That's going to be a vector value pred value like. So just like that, we'll be able to have nice control. Now to offset the value of the actual curve, we're going to move this actually a little bit to other side. So we're going to get from the term curve, we're going to set position, We're going to set position, crap, set position attached to geometry. And we're going to offset this from the sample index. If we were to attach this to the offset, we can offset the entire set up like so. It's actually not give me the right results. I'm just wondering why, realize that I didn't connect the normal. Let me just go ahead and do that. And there we go. That's what we're getting is basically expanding it from outside the normal phases of the mesh. Each one of those phases is going to have a, a normal value. We can actually visualize them if you'd like. We can select one of the pass, for example. We can change it from global to normal, and this will give us the value. If we click on the move, we can see that the value is going to show where it's expanding it from. That's basically how it's being used. The normal values, that's exactly the information that we're using. Again, this is a little bit too much. I will go back to global, will exit the edit mode, back to the object mode. Now, let's go ahead and fix this value up. The offset is way too much. Let's go ahead and lower it down for us. To do that, we're going to make use of the Maps node itself, but there is a different type when we're using the vector values. Vector values have three different values, x, y, and z. So we need to work on it accordingly. If we click shift and search for vector maps is a value that will allow us to change all of the free ones at once. We're going to scale, we're going to change the add to scale over here. Then this will allow us to basically change this value over here. And we're able to control how much is being offset from the original mesh. Again, I'm just going to hold shift and just give us a small value just like that. Just a little bit. So it'll be offsetting off from the mesh. We can adjust this value in a bit, but for now that's going to be more. Now actually we are going to make use out of this and set ourselves up with a custom parameter. We're going to go ahead and click on the symbol. Click on Input Change to Surface Offset. Change this minimum value to zero. The thing we can change to one as well, just in case people want some extreme values. All the default can be 0.01 0.02 and we can attach this from group input. I'm going to go ahead and select this group input, click Shift and D and just paste it off to the side. Just like that, with this value we should be able to have ourselves the right value. I'm going to go ahead and delete it to get the default value whenever we change the default value over here. If we have a different surface offset, in this case surface offset value, if we have a different value over here, we can go ahead and click click Enter. And this will give us back the default value that we set ourselves up here. But that's quite a useful information to know. Now that we have a bit of an extra time, let's go ahead and clean up this mess a little bit. It is quite messy. I don't want to, I'd like to spend an entire lesson just showing you how to do certain bits. But for now I'm just going to move these a little bit off to the side, just like that. Going to perhaps make a new one over here. So keep this just a little bit off to the side but it wouldn't get tangled up. These parts are okay. Again, we're going to clean up this entire section in a bit, but for now we're just going to continue on just a quick thing. I recommend you also to test out what it looks like in regards to different values. For example, right now if I were to change the density and lower it is down a little bit. While changing the length, you should get something like this. Length random. Nice. We can also change that up a little bit. The length is a little bit too much for that. Going to lower it down. Yeah, everything seems to be working quite well on my end. In the next lesson, we're going to talk a little bit in regards to getting ourselves some more random values if we want, for example, not only the paths to be coming from one point, we'll also be talking about how we can just randomize the points a little bit in case we want to have more organic type overlook. In case we just want binds to be growing from random points. We're going to find out how to do all of that. Yeah, that's going to be it from this lesson. Thank you so much for watching and I will be seeing in a bin. 9. Creating Random Points for Vine Spawn in Blender: Hello and welcome back everyone to blend their geometry node workshop for jungle vines. In the last lesson, we created ourselves a nice set up for the offset of the vines. Now we're going to continue on making some finite adjustments. We're actually going to make some random generation of points across the mesh as well. The reason being is if for example, we want to control not only one area, we want to just add randomly generated points from where the vines grow from. We want to make sure we get to do that as well. Right now, if we move this around, we can see that it creates some nice binds going coming out of this point over here. But again, let's go ahead and make some nicer points coming out of this section as well. If we go all the way back from our geometry set up, we go onto where it says shortest edge paths. This is where we actually create ourselves, the set up for this place over here. I'm just going to go ahead and low this down a little bit. We're going to minimize this, actually, we're going to make the smaller by clicking on this arrow over here just to make it more manageable. Just like that. Now we have ourselves opened up the space to create some random points. We could technically make use out of the random value like this one over here. But the thing is that it's not actually going to create random values. Is going to give us across these lines over here if we attach this like so and get ourselves with actually I think smaller value just like that. You can see that we're getting the lines, getting these edges coming out out of the exact same spots that we're basically deselecting the half from. It's just going to give us some broken up paths. We want to generate random points that are coming out of the line itself, out of the mesh itself. For us to generate these points, we're going to firstly grab ourselves these points. We're going to click Shift in A. We're going to search for points like so. And this will allow us to create our own unique points across the mesh. This will allow us to create points alongside the geometry. We can set this to something like free, for example, and it'll give us points in the area. If we click Control Shift and tap, we can see that we're creating these points over year. We want to make sure that we're actually setting ourselves up with just different locations across the geometry rest. To do that, we're going to sample index from the position of the mesh. We're going to click shift and A, we're going to search for sample index. So we're going to select this one over here. A quick thing, If it's not at the top in the selection, you can, whilst just having your mouse off to the side, for example. You can use your arrows to scroll through them. And then once you have the highlighted one, like in this case, sample index, I can click Enter, and this will give me the sample index for this. I'm going to go ahead and add this value onto the position. Of course, it's not going to do anything because we need to set ourselves up with the right sample index. This is going to be a vector based because it is within the three dimensions. We're going to actually reconnect this real quick. So now we need to make sure that this, well, we're going to keep it as point. We're going to be basically selecting the points of the mesh, the value itself. We're going to grab the position of the geometry. So let's go ahead and grab the position of the geometry. Just like that. As for the election, we're going to grab the geometry actually, instead of using this because I'd like to have more control over the way I'm setting them up. I'm going to make them into comment boxes afterwards to make sure that they're properly set up in regards to the organization, how they're organized. Basically, I'm going to go ahead and create a new group input, group input over here. I'm going to grab the geometry from this. I'm going to make use out of this group input geometry to grab the main size. But this will determine basically the point count. We're able to grab ourselves, the point count out of this in order to get it for the index. The thing is that we also can randomize it which points we're picking up. Basically, for that, we're going to go ahead and actually grab a random value. Random value like. So this is going to be. Maximum like, So I'm just checking. Yeah, the minimum is going to be zero which we're taking it up from. The maximum is going to be set to the point count. And we're going to pick a random value from that, which we're then going to attach it to the index like so. Then we also need to determine, actually before that we need to subtract one because the index starts from zero. We need to just, we need to take away from the point count because this one starts from one and we need to make sure it's in the right direction, in the right places. We're going to grab ourselves a map value. We're going to subtract one to make sure it matches the value of an index basically. And then afterwards, we also need to set it up with pgeometry to sample the index from which we're not going to be taking it from the group in pygometry. The reason being is that we need to grab it from, where is it, volume to mesh? The volume to mesh is over here. We're going to go ahead and grab this from volume to mesh like so there we go. We're going to get ourselves these points. If we increase it, we can actually see that it's shaping in regards to how Susan is set up. That's exactly what we're looking for. And they're going to be scattered randomly across, which is very nice. I'm going to go ahead and just set it to free. So let's go ahead and make use out of these points in order to actually add it onto if we have a look onto the shortest edge paths over here. Instead of using the random value, we're going to make use out of these and sample them with the geometry proximity. Let's go ahead and grab, actually delete the viewer over here. We're going to click Shift and A and search for geometry proximity. Geometry proximity. There you go. Let's go ahead and attach this to the points. We're just basically picking up the points and we're going to make sure that they're getting attached as closely as possible to the mesh. Now we can go ahead and actually make use out of these in order to set it up with the shortest edge paths. Let's go ahead and do that. Going to go ahead and just move it off to the side. Add the position on the end vertex. We need to make sure we set it up with equal value as well. Just going to go ahead and move this entire thing to the side a little bit. I'm going to go ahead and find equal. I'm going to go ahead and drag this from position search for equal. Then we're going to set it up to be a float valume'yeah. We're going to keep the value as equal and we're going to change the absolute value a little bit higher. We're going to change this to be 0.01 basically grabs the closest values with more of approximation. Let's say. Let's go ahead and attach this over here. Attach a. Let's go ahead and actually not the position we need to make use out of a distance. Let's go ahead and grab the distance and attach to the end vertex. Let's go ahead and change the geometry proximity from basis to points because we're grabbing the points from the shortest edge paths. That's where they start and we're going to get ourselves this result. I'm going to lower down the length just to make sure I can see where the points are starting. We have three points at a moment. Here, here, and here. If we were to increase the points, we're going to get ourselves more of them. Just like that. We're able to control ourselves swift the random placement of these points. If we want to change the location of these points, by the way, we can change random seed value. If we were to change the seed value, we're going to be able to change these points, now we're going to keep them at zero. Yeah, that's pretty much it in regards to placing random points. Now we still have this empty object over here, which doesn't do anything at the moment. But we're going to be cleaning up this entire set for now. We're going to make sure that it's nicely placed in the Geomegry setup and alongside, we're going to make sure that we're able to switch between our custom point and random placement. Yeah, that's what we're going to do in the next lesson. Thank you so much for watching and I will be seeing in a bit. 10. Geometry Node Cleanup and Seed Setup in Blender: Hello and welcome back everyone to blend The Jo Node workshop for Jungle Vines. In the last lesson, we set ourselves up with some random points that we're able to use to grow from random areas in the mesh. Now we're going to go ahead and actually set ourselves up with a just organized set up for the jo node itself. The first thing that you need to know is how to create a comment section. We can do so by making a selection like so. We can click control J, which will allow you to create this type of a bubble. This will now allow you to move all of them simultaneously as everything is attached within the section to remove something from the bubble if you don't want it. For example, this one over here. If you want to try to move it outside, you can see that everything is being attached. We can't really do that. If you do want to detach something, you can click old. And this will allow you to detach something from outside this box over here. To put it back in, you can just simply drag it in and that'll give you the item back into the box. And we can also rename this, actually we can select on this box over here, we can click two and call this Volume Generation. There you go. We can have a name now, which is very nice and makes it a little bit more organized. As The other thing that we should also mention in regards to organizing is that not only can you hide away the points, the items by clicking on the arrow over here, which is going to give you this bulky type of a set up. We can also select this group input, and we can click Control and H, which will basically hide everything that's not being used by the node. And that helps you to make everything smaller and more compact. Things like this. For example, if I were to click control H, it's not going to do much. Let's go ahead and undo this. We can do so by clicking control H again, which will bring back all the parameters. The same thing goes for this node as well. Click and control H will go ahead and bring you back all the nodes. So just doing that, we can go ahead and simply change up the way we have the set up. The other thing that I'd like to talk about is if we have, for example, lines that are going across some attachments that are going across the nodes. We can hold shift and drag it across the line which we already mentioned in the previous lesson. Whilst this is being selected, we can click and move it to the side. But what we didn't talk about is a bit of one additional type of positioning for them. For example, if I have two of the lines, we can do it like so. We can grab ourselves a second line, we can then move them around and reposition it like so. But by default they're not going to be straight because given the nature they're just being attached. Adding this item onto where we drag the line across, what I do recommend you doing is I recommend you grabbing both the points, clicking and y and zero. And this will give you a real nice straight line. Now we can click and just bring them outwards like so for example. And get ourselves a really nice line going across, just like that. This is a very nice type of set up. The other thing that I'd like to talk about is attachments to the lines. If I were to click control and shift and just drag it across. So if I were to click, if I was to click control and just drag it across like so, I can remove the lines just like that. But if I click and hold shift and drag my right mouse part across, I can combine these lines, those two together. And because it's coming from the same section, it's basically going to give me this point over here. And this also helps us to kind of clean up the overall Newley type of set up, which we would otherwise have. So, let's go ahead and rob or sells the set up. This is actually empty selection. Let's go ahead and quickly fix these points up. Like I'm going to go ahead and actually grab these and select this point over here. Maybe put it up onto the side, just like that. I don't want to hide this away because actually it might be quite all right if I were to hide this away. This is going across the line. So I don't really like that. I'm going to go ahead and select this over here, make sure we have it. So now I'm going to click control J to make a new box. We can go ahead and call this empty selection. Now that I think about it, it might be better to get a re route note from here instead of from the bottom as it would look a little bit better. At the very least, I'm going to go ahead and do that. I'm going to hold shift, drag my right mouse button and just simply reattach it like this. We can just keep it as is. Just like that. This is going to look a little bit better in regards to just reading how the geometry node is set up. If you want to make further adjustments, I do recommend you taking time and polishing up the clean up overall. It is a bit of a hassle when it comes to this stuff since we're pretty much done with this part, but it really is. Especially again when we come back in the future and we try to think on what we did in the past, we try to determine what it's like. The set up, it really is useful to have everything properly set up. This part at the bottom is going to be, we can select at all click control J, and we can call this one Random selection Might just hide this off to the side. We don't really need this to be too big. Here you go, and the rest is okay. You can also add a bit of a control over in this section. Over here counts, It would be nice to have control over the amount. Let's go ahead and do that. I'm going to go ahead and create yet the number integer, number value which is going to be an integer not a float. Let's go ahead and do that. We wouldn't get a leftover. It's actually just the value itself. Minimum. We're going to set it to zero, maximum. I'm going to leave it as is. It really depends up to a user. And now let's go ahead and actually we can see that once it's hidden, even though we hidden everything away because we created a new integer, a new value, it's going to pop up in every single group input, which is a bit of a nuisance. So I do recommend you doing clean up towards the later stages to avoid that kind of a situation, let's go ahead and grab the socket. Well, first of all, let's rename this. Let's go ahead and double click call this start count. There we go. We're going to get ourselves entice to set up or the amount that's going to be going in, count's going across this line. We don't want this, we're going to hold ship and reposition it. I like both of them as Y zero. So I'm just going to move this as X and move it to the side, just like that. All right, this is much better. Now, we also want to add a set value over here, otherwise it's not going to give us good control over the randomness. I will increase the start count a little bit so we can see what the seed does. It basically randomize the position. There are multiple areas for where we can control the Seed. Actually, I will go ahead and do that. I will create a new group input, selecting this clicking Shift and D and putting it off to the side. I'm going to go ahead and add a, add a seed. This is also going to be an integer. Call this a seed. Just like that. We're going to go ahead and attach this to the seed. Click control and H twice, put it off to the side, just like that. We have ourselves control for the seed. Now when we control through here, we're going to get ourselves different values every time. Then this same seed can be used on other random values as well. Let's go ahead and elect this group input. Click D, move it off to the side. And I just forgot we need to selected, then click and move it out of the side. Now we're going to find ourselves the position next position. We have random values. We have a couple of random values, actually we have random value over here and random value over here. Let's go ahead and just connect them. And I'm just going to move it above it, attach it to the seed like that. The next one is going to be over here. I'm just going to keep it consistent and add it above this seed over here. That's going to give us a nice set up. We also have another random value over here. Again, we can control the seed of this random value. So that's pretty much it for the seed. We still have to finalize to clean up this area. I do want to also add a bullion switch over here to control the ability to go between a random selection and or empty selection. But I think we're going to continue on with this in the next lesson. Thank you so much for watching and I will be seeing you in a bed. 11. Setting Up Boolean Switch and Parameter Cleanup in Blender: Hello and welcome back everyone to Blended Geometry. Nodes Workshop for Jungle Binds. In the last lesson, we set ourselves up with some nice cleaned up area over on the left hand side. We still have some work to do on our right hand side, but before doing that, we're going to add a bit of a switch to make sure we're able to switch between empty selection and random selection. So how do we do that? Well, it's actually quite simple. All we need to do is grab ourselves something called switch. I think before doing that, I'm going to go ahead and select both of them. Just move it off a little bit to the side. We have extra space to work here. On this end, we're going to grab ourselves something called switch. And we're going to add it over here. Now we're going to grab ourselves this switch. Make sure we are setting this up with a bullion, either true or false. This will allow us to control that for the bullion itself. We need to make sure we set it up with our value that we're able to control through this section over here. Let's go ahead and add a new item like an input. Change this to a bullion. This is a simple switch on the right hand side. We can call this one something like use MP. We're going to attach this to the switch. So let's go ahead and click Shift and a search for group input. We're going to put it off on the side. Use empty, set it as switch, click control and H to make it much smaller. So I'm actually just going to put it right above this point over here. If we're using empty, if this is true, we're going to use empty selection. If it's false, we're going to use a random selection. Now we can actually go into the monkey itself and see how it works. If we use empty, you should be able to make use out of that. Let me just have a look. Use empty, turned off. I'm not seeing that up, I'm just wondering why that is the case. I just realized that I forgot to connect it over here. Output and vertex, there we go, empty is going to start using it over here to create it on our custom section. When we turn this off, it's going to give us random points, which is exactly what we want. Yeah, that's looking so far so good. Now we can go ahead and slightly control where it's actually going to be set up with how it's going to be set up. At the very top we'd like to see, to be visible As you can see, the order of the set up for the parameters is based on the section of a year. What we can do is to change up the order. We can click and hold, and then drag it up like so, right above the start empty, underneath the geometry to make sure that the seed is at the very top. We can also do that. Same for start empty and use empty. So use empty can be right underneath it, actually. There we go. Start empty and then use empty. So we can select it and basically determine whether or not properly set up. Now as for the labels itself though, I'd like to have some nice labels so we could actually break up these parameters, break up the information. For us to do that, we can create a new input. We're going to go ahead and actually select the Seed. We're going to click on the plus and click Input. And that's going to give us a socket right underneath the seed. If we set this up to a string like we're able to write in the text, we can go ahead and just delete the information from here since it's not necessary, we don't have any information on this point, we can go ahead and delete the name for the socket. But when we go to default, if we write something like starting points over here, we should get ourselves the. After writing the starting point, we can reset the default value by either Reich clicking and reset the default value, or as you can see it says backspace. Whilst hovering over this socket, we can hit backspace and it'll reset the default value, which is at this point called starting points. This will give us a very nice label to be able to just break apart information and it'll give us nice controls overall for the geometry node. Then we can add another label. We can go ahead and select this empty socket, empty string. That is, we can click on this little arrow over here and click Duplicate item, which will give us a duplicate. We're going to go ahead and change the name. We're going to change this to curve generation. We're going to move this a little bit downwards. It's going to be after use empty. We're going to change the default to be different Default. Yeah, it should be saying curve generation. I'm going to add the space, make sure we have the word separated. Then I'm going to hover over this click back space. And that's going to refresh itself. I will actually move the start count as well. Let's go ahead and do that. I'll just drag it all the way under the use empty. It will be within the same section basically. Let's have a look how this overall set up looks like. I would like to also box in these sections over here. But ideally, let's go ahead and get ourselves up with the leaves first, let's spawn them in, and then we can continue on with the clean up, because this starting point is going to be pretty much done. But these sections over here we're going to make use out of and whatnot. So we're going to continue on with this further down the line. Now though, let's go ahead and just quickly check which things need to be hidden. For example, if they need to be hidden at all. Let me just go ahead and look through it. These groups inputs can be hidden as well. This should also be hidden, so I'm just checking, making sure that nothing is set up in an awkward position. For example, the spine length we can hold shift, drag it across using our right mouse button. And simply set it up so I'm going to have a loopy here as well, hidden as well. For now, that's going to be good enough for us. We're going to continue moving on with this in the further lesson. Thank you so much for watching and I will be seeing in the bed. 12. Vine Mesh Parameters and Scaling in Blender: Hello and welcome back everyone to Blended Geometry Node Workshop for Jungle Vines. In the last lesson, we left ourselves off by setting up a more cleaned up version and getting ourselves a switch or between empty. And if I were to move this downwards a little bit and random selection. Now we're going to continue on moving on and actually creating some geometry for this set up. I'm going to use empty for now just so we have more of an understanding where it's coming from. And we could increase the length a little bit as well. There we go. We could see how exactly it looks like. Now if we have it like, we can go ahead and go to the area where we set the position. From here we can turn the curve into a mesh. The easiest way to do that is simply just use shift in A and search for curve to mesh. Let's go ahead and add it in onto the curve. Before it actually creates a mesh, it actually needs to determine what a profile are we using, how it's going to look like with, in regards to the shape. The best way for us to do that is to simply, if we were to search for curve circle, there you go. That's the nicest way for us to determine that. It's just going to be a round that up. Let's go ahead and attach it right away. We're going to get ourselves this mess. The reason being is that the radius for it is a little bit too big. Let's go ahead and lower this down to a more manageable version, 0.05 Let's put it this way, actually, 0.01 Let's go ahead and keep it like this. Right away, you can see that we have a bit of an issue where at the end the gaps are not actually closed off. It is creating a free mesh for us out of the curvature, but we're getting those gaps over here. We need to make sure we fix that. For us to do that, we're going to go ahead and click fill gaps and that'll just right away fill in those gaps. We're also going to lower down resolution because this is way too much. Setting it up to something like ten is going to give us a much more manageable result. This is just simply taking the amount of vertices that it is using for the radius. If we were to set it something like three, we can make it triangulated. And this is what we're going to get. As you can see just from this, we are having an issue where there's a multiple of the meshes coming from one point and whatnot. So we will address this later down the line. Let's go ahead and set this to ten. For now, let's focus on the shape itself first. So for us to do that, we're going to move everything a little bit to the side. We're going to basically change up to curve of radius. For us to do that, we're going to just drag, actually we can just click shift and both the search and search for curve radius. That curve radius, we're just going to attach it right before the curve itself. This way we're able to control the radius like so off the curve. It's useful to do it beforehand before actually applying a profiler, because we need to get some information, we need to make sure that we create curve radius based on where it is in regards to the curve. At the very start, we want to have a bit of thicker type of curve at the end. We want these branches to be smaller. We want them to be thinner overall. Basically, for us to do that, we can actually use spline parameter, we can get some information from this. Let's go ahead and click shift in a in search parameter, attach the factor to the radius. Just by doing that, we can see that we're getting this result. That's exactly what we want. At the very start it's going to be fix, and at the very end it's going to fit out. But the thing is that it's going to be constant right now. It's going to have the entire value set to be gradually decreasing. We want it to be decreasing more towards the end. And keep the thickness at the very start a little bit longer. Keep the consistency in regards to its whip. So we're going to go ahead and fix that. Let's go ahead and do that. We're going to firstly create ourselves a new area. We're going to make sure we control the width and whatnot of the branches. For us to do that, I'll just go ahead and select the Mt going to go ahead and duplicate item, drag it all the way to the bottom like so. For this we can change the name to call it binds. Let's go ahead and do that. I'm going to hover over this. Going to hit Backspace to refresh. Now we're going to make use out of something called Map range. Let's go ahead and click Shift in a Let's search for Map Range. This will allow us to basically determine the value and we are able to rearrange it, basically the minimum and maximum values. For that, for the value itself, instead of using a factor which determines 0-1 we're going to use the length which determines from the length from the starting point to the actual distance where the in line ends. Basically, if we were to attach this to a radius like so, it's going to give us a much different result in comparison. But all in all, this is actually going to be much better use for the map range because we're again able to determine the distance that we're now able to control. Now by simply changing this from max, we're able to basically tell how far it's going to start. Actually, I'm going to go ahead and get closer. If I were to go to a lower value 0.01 I just realized that I didn't connect this. Let me just go ahead and connect this leg. So I'm going to set this back to one. Now we can see we're getting this range again from the original size all the way to zero. But once we start setting the maximum value, the starting point basically offsetting this. We can make use from the maximum by just simply lowering it down. You can see that we start basically getting the shrinkage going closer towards the end point. The closer we are getting to these points, the more offset we're getting from where the value actually starts decreasing. That's exactly what we want. That's how we're going to control our radius offset. Let's go ahead and grab ourselves group input for the side. Let's put it off and let's use the radius offset from maximum. For this, we can set the default value to something like 0.5 That's all right. I'm going to go ahead and reset this value over here as well. That's a nice value to make use out of. All right, now we can finalize this control of the thickness for the vines by getting some controls for the curve circle resolution and radius. We should be able to control it from the geometry node itself, from the parameters. Let's go ahead and real quick do that. Yeah, first things first, we're going to get ourselves the radius. Let's go ahead and scroll up wrapper sells a new input, rename this to radius. So we're going to go ahead and just make a new group input for that. The second one, well, let's go ahead and attach the radius right away. The second one is going to be a resolution. Let's go ahead and add an input or a resolution. This one, instead of a float, it can be integer, that wouldn't give us the decimal spots. Well, first of all, let's change the name. We can call this resolution and attach it over here, just like that. I think the default value should be something like, previously we had ten, but let's go ahead and actually use a bit of a lower value. Let's set it to eight. The default value for this can be, well, let's actually have a look. Can be set as 0.02 I think that's a good value. Let me just copy this and paste this onto the default value, like just by selecting it. Clicking control C, control V is a simple set up. This is a resolution we already changed, so let's go ahead and change the resolution over here. Let's click backspace to reset it to default value. And there we go. All right, so we're pretty much done with this. In the next lesson we're going to continue on, and actually we're going to start adding leaves onto the spine mesh. Actually, as the final thing, I will actually grab this part over here up until the set position. We'll just strike the set position back. We'll grab these. And just to make sure it's easier to navigate through, we're going to go ahead and join them together. Control J, we can call this one in mesh. For now, we're going to leave it as is the rest. We're going to be able to do it later down line. Yeah, thank you so much for watching and I will be seeing you in a bit. 13. Adding Mesh Collection Along the Curve in Blender: Hello and welcome back around to Blended Geometry Nodes Workshop for Jungle Vines. In last lesson, we set ourselves up with sine mesh that we're actually able to get ourselves from curves. And now we're going to go ahead and get ourselves some leaves to be spawned on top of these meshes, basically for us to do that, we'll first grab ourselves some parameters to work with. We're going to create ourselves yet another tab again, we're just going to go ahead and select the empty one. We're going to just make a duplicate out of it right away. Slide it all the way to the bottom leg. Change this to be called leaves. The next thing is we'll need a couple of options. Let's go ahead and grab a new input. We're going to change the type to be collections. This time this will allow us to select leave collection. So let's go ahead and find the collections. We can, we can call this one just collections. Let's go ahead and how this looks like. We can actually set the default one to leaves a description. Let's go ahead and change this to call it leaves collection or actually we can just call this collection. I think that's fine as well. Since we're only planning to have one collection, it's more than enough to just call it collection is. I'm just going to go ahead and click space. I'm just going to go ahead and select leaves A over here as well. The next one, we're going to go ahead and we're going to grab ourselves a new input. We're going to make a float value for density, for how many leaves we'd like to spawn. For the mesh, we can call this one density, the fault value. We're just going to keep it as one minimum value, we're just going to keep it as zero. That's going to give us the right result. I will also update the density over here, back space to get actually spawning off the leaves. We can actually make use out of the set position. From this point onwards, we can grab ourselves the curve. Let's go ahead and simply drag this downwards and search for sample curve. The next one we'll need to grab our selves a value or the factors for where we want to happen for the leaves. We can simply just get ourselves random value. Random value it is, we're just going to attach it over on the factor so then we can actually visualize how the leaves would look like, where they're going to spawn. In regards to the set up from the value, we can grab ourselves points, that's not it. And grab from points, that's actually should be position. Let me just go ahead and fix that up real quick and we can increase the count. We can add it to joint geometry. Actually, I'm going to go ahead and just quickly fix this up just like that. We're now going to attach it to joint geometry and see if it actually behaves the way we want it to. I just realized that it shouldn't be going from the value, it should be going from position. Let me just go ahead and fix that up. And there we go, We're getting ourselves the right result. I'm going to lower down the value of the radius so we can actually see where there's being spawned over here. We will also want to make sure that all curves are being used up. Right now, it's only being used for one, which if we were to change the curve index, we can flip between them. But for this particular case, we want to make sure that all curves are being used up. Just like that. All right, now we will have an issue in regards to the, the main issue is going to be if we were to add density as is to the count value. If we were to change the length of the curvature generation, you'll realize that the shell of a length you're going to get, all the points are going to get bundled up in one area. But once you start changing the length, growing this, they're going to be spread out even further. What we want to make sure it happens is that we want to make sure that the density overall stays the same. They're going to be spread out more or less in the same way throughout all of these curvatures. Let's go ahead and do that. We're going to make use out of the curve length itself. We're going to grab the position, from the position, we're going to grab ourselves, the curve length like. So I'm just going to go ahead and actually move everything a little bit off to the right side. Then if we were to grab this curve length and actually get ourselves a new group input, let's go ahead and grab ourselves a new group input with density, we can add a map node. I'm just going to go ahead and multiply, basically density going to click control and H to hide this long list out of the way, we're going to multiply this with the curve length. For some reason it decided to unplug itself. Let me just plug the curve length back in. Now we can actually multiply both of these values together. We can add this to the point value. I'm going to actually lower this down a little bit. Add this to the count just like that. What you'll notice is that when we start changing the length right now, the overall size, overall amount should be kept more or less the same in regards to how well they're being spread out. Once I start, maybe if I were to change the density. So if I were to change the length, now we're going to get this result which is exactly what we want. Now we can get those points to be set as instance on points. We can spawn our objects, we can spawn our leaves. Let's go ahead and do that. Actually, right away we're going to drag it from points, we're going to, for instance, on points, it's a very useful geometry node for when we want to spawn additional objects and whatnot in locations for where the points are. Let's go ahead and grab ourselves the collection that we had. So I'm actually just going to find the group input over here. I'm going to click control and he to open the whole set up. And I'm going to get the collection to be placed in, actually I need to grab the collection to be placed in collection info. First, there we go. We could grab all of the instances. I'm going to click control H to hide out of the way. Now, once we plug this entire selection, we are going to get ourselves a nice set up. We're going to plug the instances, two instances like which should show us after we of course plug this entire set up. We're here. I'm just going to go ahead and do that. It's like that we're going to get this mess. The reason being is that it's actually not picking separate children. We need to make sure that this is being picked on like so we're going to select pick instance. We're going to make sure that we firstly gale everything down and they're being put off to the side. We can, by the way, just click and hold it and drag it downwards to select all of them at once For the scale, I'm going to set it to 0.1 I'm going to see how this looks like. All right, that's going to be a hit for this lesson and the next one we're going to work on in regards to the scale parameters. Thank you so much for watching and I will be seeing you in the bin. 14. Creating Leaf Scaling Randomness in Blender: Held. Welcome back. Ever on to blend the geometry nodes workshop for jungle binds. In the last lesson, we left ourselves off with a couple of leaves being stuck out from the curvature itself, But as you can see, it's not quite right. If it were to change the scale that's closer to zero, you'll notice that it's actually, well, that's a little bit too close to zero. Let me just go ahead and do that. You'll notice that they go to the centerpieces of the curvature. But as we go further from them, you'll notice that they're going off from the center, so we need to go ahead and fix that. Also, the same goes for the rotation as well. You can see that they're almost using one word To use x, it might be a little bit more visible. They're using as one origin in the way we need to make sure we fix that as well. Actually, it is quite an easy fix. All we got to do is just we need to simply take on reset children. It'll reset the local transformations. The reason we're doing this is because when we had the leaves on for the presentation purposes, we had them separated out like this. But if you'd have all of them in one location, something like I could actually show you. Even if you'd have all of them in location. If I were to click shift in S to get all of my objects to free the cursor which happens to be in the world position. I can get selection cursor by simply doing that I wouldn't really need the reset to children would be able to just scale it outwards and now rotate it and all of them would behave in exactly the right way. But again, because we're doing with the presentation, I'm just going to go ahead and use it like that will give us the right set up. So now that we have the reset children, Tikton, we should be able to, there you go, rotate it around it. Now, everything is being basically rotated locally. Everything is also being scaled locally as well. All of them are in a position. All right, now that we have this sort let's go ahead and actually get ourselves a nice scaling parameters. We'll get ourselves similar parameters as we did previously if we let me just go ahead and look. Yeah, I forgot to restart this. I'm just going to hover over. Click at backspace and that's going to restart the default name of leaves. The next thing is, again, we're going to set ourselves up with the scaling parameters. Let's go ahead and do that. We're going to click on a plus symbol. We're going to add an input. We're going to actually add another one right away. Input, two inputs like so. One is going to be called. If we double click on it, we're going to call this scale. And another one we're going to call it scale randomness. We're going to be setting those up to help us with the scale. First things first, we're going to get ourselves a group input, which I believe we can just use. This one over here should be all right. Let's go ahead and do that. Actually, I'm just going to move collection input to the top. This a little bit to the bottom. And there we go. We're going to grab ourselves a simple add value. We're just going to directly get ourselves mass value. We're going to add it in as the default value, which we're then going to be people plugging it into the scale. I will right away actually change the scale, the default value to set to one or actually 0.1 I think that'll be. All right. Going to go ahead and delete the original value over here. So it's actually set for the parameter of 0.1 Let me just go ahead and delete the values for adding set to zero. Now we can go ahead and actually get ourselves a randomness for the value just like we did previously. We're going to grab ourselves a random value. We're going to, again, set this from minus one to one, and that's going to be multiplied basically with the scale randomness. And it's going to give us a very nice range. We can actually just make use out of this math node. We're going to hit Shift D to duplicate this. I just made a mistake. I'm going to click control it real quick just to add, to make sure it's not added onto the node itself. We're going to combine these two together, scale randomness and random value. We're going to change this to multiply, now it's going to give us, again, a good range. Then afterwards, we're just going to add this value to this section, just like that. We can now go ahead and actually test these values out. I'm going to set the default value to 0.5 just so we can see the leaves a little bit better, or actually 0.3 There we go. Now we can change the scale randomness. There we go, We're going to get ourselves a very nice randomization. By default, we can leave it as something 0.1 as the leaves themselves already have a bit of scale variation. Doesn't need to go too far in regards to the scale randomness itself. I think that's going to be quite all right. Okay, We of course need to randomize the rotation as well. For us to do that, we're simply going to use a random value. Again, in this case though, we're not going to use a float value, we're going to use a vector value. If we were to just click Shift in a search for random value, we're going to add this in here, a little bit off to the side. Let me just move this a little bit downwards so we'd be able to fit this in. We're going to change this from float to a vector value, since we need to rotate it in multiple random directions. And for the minus, we're going to click and hold the left mouse button. We're going to drag it across, downwards. And then we're going to click minus one, which will internally change everything to negative one in this section. Then we're going to go ahead and connect the value to rotation. And just like that, we're going to get ourselves those randomly rotated leaves. It's already looking pretty nice. Although the scale, it's a little bit too large, for example, maybe I'll just lower it down and increase the density a little bit to something like point or co thing. That's much better. Now here's the thing when we want to make use out of the set up, If we want to convert this to a mesh. When we do that for a geometry node, usually all the assets that don't have the mesh set up will just simply disappear. And what I mean by that is if we have the selected, I can click shift D to duplicate it. Just to show you as an example, this will duplicate everything with the geometry node itself. Now what I can do is just I can go to object, convert this to an object, convert this to a mesh that is which will basically take everything, the information from the mesh, from the geometry and just put it as a simple asset, as a simple mesh, we can go ahead and click on it, and then you'll see that those leaves actually disappeared. The reason the curve stayed was because it was already a mesh. So if we have a look at it over here, we already created a curve to mesh. So it was already able to just convert that to a simple geometry. So we clicked that, We can see that there is a geometry, but the leaves themselves, they don't classify as a mesh. That's going to be an issue for us when we want to actually set it up for just a simple geometry so we could actually modify it, manipulate it after using geometry itself. Actually, this is quite an easy fix. All we got to do is simply realize this to a mesh. What I mean by that is there is a very nice and simple type of a node. If you click Shift in A, we can search for realized instances. This will take any geometry that we have, basically any instances, and it'll convert this to a geometry. Now when we actually duplicate this and convert this to a mesh, we can see that all of those leaves actually stay behind for us. We can see that we can manipulate them and whatnot. We can grab some of them and we can just do what we want with them. That is pretty nice for us. All right? Just in case we make sure we do that. In case I just realized that I don't really like how it actually rotates. I don't think it's rotating full away in regards to all of its values. So if I were to, for example, change the minimum value to minus ten, it would give us more of randomness in regards to its rotation. So we don't have enough randomness. So actually in this particular case, what we're going to do is we're going to use a value of pi. The reason being is that it's just going to give us a full 360 rotation across our leaves. It's just going to give us basically more randomness for the set up, it's actually quite easy to make use out of if we write within the value pi, we can click Enter, and that's going to give us exact value of pi. And it's just going to max out the digits over here. That's going to be pretty nice. In this particular case, what we're going to do is we're just going to select this for the minimum range. We're going to do minus pi. For the maximum range, we're going to do pi just like that. That's going to give us more randomness for the leaves. Now we also have to work on, in regards to the scaling, what I mean by that is the scaling randomness is there. But we want the leaves to be shrinking down, to be smaller as we go approach to smaller values over here, smaller branches, we are going to be working on that in the next lesson. Thank you so much for watching and I will be seeing you in a bit. 15. Geometry Node Leaves Scaling Based on Curve in Blender: Hello, welcome back. Ever run to blend the geometry nodes workshop or jungle vines? In the last lesson, we left ourselves off by setting ourselves up with values for the scale. Now we're going to continue on and make sure that we scale it down in regards to when it reaches the end points, the leaves would be much smaller. The way we can do this is if we go back, we have sample curve. Through the sample curve we can grab ourselves the value of the width, basically, of the curve. For us to do that, we're going to make use of this. Basically, we're going to input a radius value into here, and then it's going to output ourselves with the value of through the curve, basically through each given point. Let's do that. We're going to hit shift a, we're going to search for radius, and we're going to add this to the value just like that. Then afterwards, for the value, we can simply multiply this. After forward to search over here. I'm actually going to make this probably smaller. Or actually I do want to keep this a little bit higher up. And I'll just try this down. So we want to grab the value and put it next to the scale after we add everything in together. Let's go ahead and do that. You'll realize that it doesn't actually work quite as well just yet. Let me just go ahead and show you why. We'll go ahead and multiply this value. I will wrap the value over here, Add, make sure we have this cleaned up a little bit. That we're going to do more clean up in a bit. But for now that's going to be good enough. All right, now that we have combined it like so, you'll notice that all the leaves disappear. The reason being is that we are calculating the radius after the original curve. Here, we're just getting the value from the sample curve. But if we go back, this is where we set the original curve itself and this is where we set the radius. We need to grab the information beforehand. Yeah, we're going to go ahead and do that. We're going to, instead of grabbing this curve from here, we're going to firstly apply the curvature radius. All it's going to do is just going to give us the right information for the leaves. Actually, the way I'm going to do it is I'm going to grab this entire set up. I'm going to move it to the side, just like that. We'll combine these two together since I know that it's coming from the set position, curve, length and sample curve will just go ahead and hold shift, right click, and drag it across to get both of them off like that. Now I'm just going to, instead of connecting it from the set position, I will connect it from a set curve radius. This will give me the right information. I will go ahead and just move it off to the side a little bit. Going to go ahead and do that. I'm just going to move this a little bit more to the side, just like that. All right, so now we're going to get a solus, the right information, hopefully. Let's go ahead and look. Set curve radius. We're plugging it directly into the curve, sample curve and curve length. It should give us the right values As we get closer to an end, actually will increase the density a little bit, a little bit more. There we go. As we approach the end bits, you can see the leaves are getting smaller, which is exactly what we want. The downside of this is that if I were to increase the density even more, we'll notice that once we get to the, they might be a little bit too small, they might be a little bit too small for overall set up. The reason being is that as it gets closer to the value of zero which gets to the end, they end up being very small. Like this part over here. What I'm going to do to fix this situation, before I add in the value which would be over here, before I add in the value from the radius, I will just simply add a mass node to add a 0.1 And that will just make sure it doesn't reach the zero. Or actually instead of that, I will use the lamp. Lamp is also very nice when it comes to certain mathematical equations or making sure that it basically never reaches zero. Right now, the minimum value is set to zero to one, for example. That's going to give us overall set up or how we reach the minimum and maximum values in regards to the scale. If we have a look at it for the vines, we can in a way reach a maximum value of one or even go past that with or set up. But as you can see, once we go past a certain value, not even reaching 0.5 we get crazy values. We're pretty safe to say that we're not going to reach any values above one. So we don't need to worry about the value of one itself for the maximum value. For the minimum value. We can set this up to be something like 0.1 and that's going to make sure that it's never reaching the value that's right under it. Actually, I will show you with more density of the leaves even, I'll set it this to four day ago, we have these leaves at the very end. If I were to set this to zero, we can see them disappearing. But if I were to set this to 0.5 we can see that they're being always set to a minimum value of 0.5 which then gets multiplied by this. Afterwards all the values for the scaling, it's a very nice type of thing to use. For this case, I will make use of, I think 0.2 is going to be great for this particular set up. These tiny leaves do look quite nice, I think. I reckon maybe I'll set it to 0.3 It really is down to a personal preference in this particular case, as it might be down to the type of leaves that we're using. For example, leaves A, we have these shapes, these forms. But leaves C, we have a more broken up type of leaves. They might want to clamp even further to avoid those hardly visible type of small leaves. But these chunky ones at the leaves A, they're quite perfect for the clamp to be set as minimum value of 0.3 That's the reasoning behind it. All in all, it's looking pretty nice. All right, so we're pretty much done with the leaves. We're now going to move on to setting ourselves up with a material for the vines themselves. Since the leaves they already came with the default material, we don't really need to do anything with them, they're just using the material directly for the collection. But again, the vines themselves, they're still kept as wide. Even when we do enable the material mode, you can see that there's nothing happening and we need to make sure we fix that. Yeah, that's going to be in the next lesson. Thank you so much for watching and I will be seeing it in a bit. 16. Fixing Overlapping Curves in Blender: Hello and welcome back everyone to blend the geometry, nose workshop, or jungle vines. It'll last lesson. And we set ourselves up with some nice scaling for the leaves. Now we are going to actually finalize this, since we're not going to be touching this part. I'm just going to go ahead and select this entire chunk over here. And we will do some bit of cleaning afterwards. But we can now at least control J to join everything together just to make sure that we know where it is. We're going to go ahead and we can select click two and just call it Leaves Generation. And that should be All right. Now we do have a couple of issues that we need to address. I did say back in previous lesson and one of the lessons actually, if I were to make the leaves scale set to zero, we could see what is up when we get closer. And we'll realize that there are a lot of overlapping parts in these sections over here. The reason being is that if it, if I was to check where we convert the vine mesh, there we go. If I was to uncheck the fill gaps, we can see that there's a bunch of parts or actually it's not quite visible. Maybe a fill, set it to free. There you go, that's more visible over here. We set sail random list to zero as well for the leaves, but we can see it even better. There's a lot of overlapping parts basically over in this section. So we need to go ahead and fix that. For us to do that, what we're going to do is we're going to go all the way back to where we have a trim curve. This part over here, we're going to make some space between set position and trim curve. I will just click control H to hide this out of the way. Put off to the side a little bit. We have more space between trim curve and set position. We are going to be setting ourselves up with making sure that each type of a curvature path that we get from finding the shortest route, we basically merge them together. The easiest way for us to do that is if we were to change this curve out of these multiple paths. If we were to change the curve to mesh, curve to mesh mesh over here, then we will get a mesh version which is going to be basically multiple lines coming instead of curve and they're going to be vertices. Those vertices can then be merged by distance. By distance. For the geometry, there we go, Value can be default one, super small one. It's going to be all the vertices that are overlapping. They're going to be basically getting merged up. I can actually show you clicking and holding control shift, selecting trim curve, all of these lines over here. They will now have vertices which we're going to be merging them on the same spot. Then after we merge them all together, we can then bring them back to curve, mesh the curve. So we're going to get ourselves in set up. The downside of this though is that now that we set ourselves up with this, if we do connect it to the set up, we'll see everything breaking. The reason being for that is that we need to fix something. That is we need to actually capture information, we need to capture the curvature length beforehand before we actually do this operation. Otherwise, it just breaks the whole set up. We're going to go ahead and do that. There's a very nice node called capture attributes. Let's go ahead and use that. Capture attributes will allow you to basically put it before the geometry node itself when we're converting, when we're doing this sort of operation and getting a value out of it, then we're just going to get ourselves that same length value before this operation basically. So let's go ahead and do that. I'm going to just going to duplicate this. Going to click old P to parent. There we go. We're going to get ourselves to separated and then we're going to basically grab the value from the length, from this curve and we're going to get the right set up. Basically the same set up that we had before. Now we can go ahead and just simply plug this in instead of the length over here. So let's go ahead and do that. Hopefully, there we go. Everything seems to work quite well now. We just need to actually increase the resolution just a little bit. There we go. It's going to be fixed like that. I will fill in the gaps. Going all the way to end, fill gaps. There we go, That's what we're going to get. That's looking pretty nice now. We just need to make sure we apply ourselves with the U coordinates. Let's go ahead and test it out real quick, I will turn on the leaves scale, 0.3 something like that. There we go. Let me just go ahead and test this out. If it works, it seems to be working quite well. Actually, let me just go ahead and check something out real quick. I will go to empty selection. There you go. We have there is a day a go object info. If we were to check this as relative, it should give us a better set up. Sometimes for some reason it just decides to not get the closest point to the use empty to the empty origin point that we selected in this case. In that particular case, I recommend you just changing from original to relative. And that will just fix this issue. Although on this particular case, let me just go ahead and try to move this off to the side. There we go. Once we start moving, we can see that it's actually not behaving the way we wanted to. Because when we offset this main object, if we don't have the transformation reset, If I were to select this object, the transformations, I can click N to see that we actually have these transformations basically offset. One way to fix it, I could click control at A and then reset, transform, reset location over here. That would fix it for me, but it will just take off the transformation. We don't want this to happen for that particular reason. What we're doing over here is basically we're taking this and making sure that this is set to relative and that will fix this issue. Yeah, that's pretty much from this lesson. In the next one, we are going to go ahead and start working on the material section of the vines. Thank you so much watching and I will be seeing in a bit. 17. Storing UV Map Data for Curves in Blender: Hello and welcome back Ebron to Blended Geometer Node Workshop for Jungle Binds. In the last lesson, we set ourselves up by just fixing a couple of issues in regards to the binds themselves. Now we're going to make sure we add a certain material, certain texture on top of it. For us to do that, we'll firstly need to get ourselves up with U coordinates, basically, so we could actually use a texture that's provided within a resource pack for us to do that, we will firstly need to get ourselves the data to be used for in regards to what we need to grab from the curvature mesh itself. We're going to navigate to the ine mesh and then we're going to go ahead and firstly grab capture attribute in regards to x and y value. That's going to be the set up for the curve circle since this is what controls basically the set up itself. Or two D type of a circle. If we have a look at it, we can see what it does. Click control shift and left mouse button, and we should see this tiny circle over here, that's what's basically controlling the curvature. And essentially extrude the entire set up throughout the curve points to get to the mesh. To this point over here, we're going to go ahead and just simply make us sight of it and just duplicate the same type of information for the UV Bra for a site. We're going to go ahead and capture data from a UV circle. I'm going to go ahead and move the curve mesh a little bit to the side. I'm going to delete the viewer. I'm going to click Shift and A and search for capture attribute. Then I'm going to put the capture attribute in here. And what we want is we want to make sure we capture this curve circle right before it's done with the radius, this radius over here. We're going to remove it for now. We're going to keep it as a default one. It'll give us the default type of a set up. So the next thing is we also need to make sure we capture the right data. Right now, the capture data is only capturing the flow data value we want to make sure we capture within the three D space vector data. Let's go ahead and simply select vector. So this way it'll give us x, y, and z values to capture. Then we're going to just simply capture position those values. We're going to go ahead and just capture geometry position, shift in A. We can type in position and we're going to read geometry position. So we're going to input it over here. And we're going to get ourselves a nice attribute data. If we have a look at it, we can just go ahead and do that. We should get ourselves this type of a set up which indicates that we're on the right path as we're capturing basically each side individually. Then after which, we can use transformed geometry to actually set the radius back up. Let's go ahead and do that. I'm going to go ahead and delete the view, the suicide shift, a search for transform geometry. Place it in here. I'm going to just change the scale to radius. Just move this a little bit downwards, just like that. Essentially, this will give us the same result as it did for the radius over here, but we're just simply capturing the attribute before we apply the radius itself. There is that now it should work in exactly the same way as we had previously set up. Which it does, that's good for us. Now we want to basically store and attribute. We are going to get ourselves store attribute set up first. Let's go ahead and do that. Let's go ahead and search for store named attribute. We're going to place it right after the curve mesh like so. This will essentially allow us to well store the information to make use out of it. In the shaded parameter, we're going to change this from from float value to vector. We're going to make sure that this is at a point and then the naming is really important. We need to make sure that the naming actually correlates with the naming that we do in shading, so it would be exactly the same match. Things like it's key sensitive as well. So capital lettuce and whatnot should be same. In this particular case, I'm just going to call it UV underscore map, so that's it for the name. As for the x, y, z, we're going to basically make use out of the captured attribute over here, but we want to make sure we only use x and y values for the z value. We're going to make use out of the information in the back. Basically, I'll show you in a bit. But for us to do that basically, well, to use the capture attribute, we need to make sure we split the attributes, that we only get x and y values from it. So that's what I'm going to do. I'm actually going to lower the transform geometry so we could actually have some space over here to work with. Then I'm going to drag it from attribute, I'm going to just type in separate, separate x, y, z. There you go. This will allow us to split them into x, y, and z. Float values. From here, we going to move this a little bit of a side from here. We just want to basically combine x, y, z. We could actually get ourselves a vector value then x and y, they're going to be put over here. As for the value we're just going to use the length of the curvature, which is going to be actually all the way in the back. That's going to be this length over here. Because we basically replace the length with the captature attribute, with the capture attribute. That is, we can just go ahead and delete this. We can actually make a split over here, which will help us to organize ourselves a little bit. I'm going to go ahead and hold shift. Let's just split it with right mouse button and then I can just tap on this point. And to make it a little bit easier for myself, what I'm going to do is I'm going to click two and I'm going to just type in length. That will simply just help us to navigate from spline parameter length where it is in regards to this separation information. Again, this is from the capture attribute that we did from spline parameter length that we did before changing the curve to mesh. Merging it all and mesh to curve back in. This information will allow us to now bring it all the way to the value. Of course, we don't want to just go straight through it, we should probably go through the top. Or actually I will just go straight through it and we'll just split it off a little bit. The top, just like that. That's a little bit nicer. Going to click Y zero. There we go. All right, that is much better. Now we have ourselves the information for x, y, z value. We can click control shift and just tap on this area over here, or actually on the stored name attribute just to see it like. So there we go. We got ourselves combined x, y, z and stored a name attribute geometry. And this is what we should be getting. Basically, we should get ourselves the color palette within the geometry visualizer. It's exactly what we need in order to help us to get the texture information out. Just a real quick thing again, in case I just better prove it a little bit too fast To get the viewer, I can just click on one to get geometry and then I can click and hold control shift again and just tap on another one in this case is going to be vector value because the first one was a geometry is going to assign onto the viewer geometry. But the value itself, I can just click Control Shift and left mask button again to navigate the input for the viewer from the value of combined x xyz. Yeah, we can just visualize it like that. Anyway, back to the shade a set up. I'm going to go ahead and delete this. Maybe just slightly reposition it so we wouldn't see it like so I just realized that joint geometry is maybe way too far in the back. Could perhaps lower this down. We will fix all of these being expanded. I will show you a really nice set up for that, but it's going to be on the end part when we actually start cleaning everything up, which we're going to do after the texturing. We're running out of time. Actually, we're going to continue on with the texture set up with the shade set up. In the next lesson, that's going to be it. We got ourselves the UE map information and then in the next lesson we're going to learn how to make use out of it. Thank you so much for watching and I will be seeing in a bit. 18. Blender Shader Basics Introduction: Hello and welcome back everyone to blend the geometry nodes workshop for jungle vines. In the last lesson, we stored ourselves the UV map data, which we're now going to make use out of within the material shader. But before doing that, I'd like to explain a little bit in regards to the shaders. And I'd like to play a video introducing you to the shaders themselves within the resource pack. You will also find that you have bark texture, two variations of it, in fact, that you can use for any type of vines. So you have an older and a more jungle, mossy looking type, which you can check out in the shading tab over here. This is just a simple preset for the textures using the geometry node, which I did just grab it from just base color, metallic, normal, and roughness to automatically get assigned for the proper explanation. I will play a introduction video for shaders. Thank you so much for watching. And then in the next lesson, we will actually make use out of these materials. Welcome everyone to the blender shading and texturing introduction. And you can see here within my scene, I've actually brought in a few shaders just to kind of explain how they actually work. So first of all, what is an actual shader? A blender shader is a type of material that can be applied to three D models. Within blender shaders define the way surface of objects appear under various lighting conditions. Simulating a wide range of materials and effects, such as metals, glass, plastics, wood, and more. Essentially, shaders tell blender how to render the surface of an object based on its properties like color, transparency, shyness, texture, and reflection. So within Blender, we use actually a node based system for creating and customizing shaders. Particularly within its powerful rendering engines like Cycles and the newer EV render engine. Now it's important to note that the actual shaders within blender react differently to each of those shaders. So at the moment you can see that I've actually got this on V, but the moment I put this to cycles, these actual shaders, some of them at least will react differently. So now you can see that our emission here that we had, that was glowing, doesn't glow anymore. And that's what happens in typically in blender cycles. Also the glass, now we can actually see through the glass and see this is actually a glass shader. So it's important to know straight off the get go that some shaders will work in V and some in cycles. Now next of all, we need to look at the different types of shades within blender. So some are created entirely in blender through node systems, which we're going to look at in just 1 minute. And the others are created through textures. Generally, these will be PBR textures. Now a PBR texture is a physically based rendered texture. And it's a texture map designed to mimic the way light interacts with surfaces in the real world. Based on physically accurate models, these textures ensure that materials direct to lighting conditions in a realistic manner, making them essential for creating life like three D models and environments within blender. So now enough of all the back story on textures. Let's actually go up then. And first of all, we want to bring in an add on. Now this add on is in Bill within blender. In other words, it comes with blender. I wish they would actually turn this on a standard, but so far you have to actually enable it. But trust me, want to say it's one of the best add ons that blender ever produced. So let's go up to Edit, and what we're going to do is come to Preferences, we're going to go over to Add Ons. And the add on we want is called the Node Wrangler type in node. Make sure the Node Wrangler is turned on and then all you need to do is just close this down. Next of all we're going to go over to our shading panel, which is this one over here. And then what we're going to do, we're going to click on this cube, which at the moment, doesn't actually have a shader on it or any material. We know that. Because if we come over to the right hand, decide where our material panel is here, you can see this is completely empty. Also in the shader panel, you can also see if I zoom out, this is also completely empty. If you do happen to have a shade in here and then there's nothing in here, just zoom out as far as you can and then you'll find all of the nodes. Now what I'm going to do first of all is adding a new shader. And what we'll do is we'll double click it and we'll call it wood like. So now you can see here is actually set something up within Blender, just a basic principle BSDF. Now this basically is the super node, it's where all of the texture maps will plug into. This is the main node that you will be using. All right, so now what I want to do is I just want to click on this node. And what I'm going to do is I'm going to press control Shift. And and what then that will enable me to do is open up my actual computer file. And from there I just want to find my textures. Here are my textures that I'm going to use as an example. And you can see here we've got wood grain. And you can also check out what these actually look like by coming over to the right hand side here and clicking this on. And now you have a good idea of what these are actually going to look like. We can also make them larger as well if we need to. So you can see here at the moment the size is 128. And we can just bring that up to actually make them bigger and see exactly what textures they are. Now to bring them in, all I need to do is select the first one, Shift, select the last one so we've got a more selected and click principle texture. And what blender is going to do from there is is actually going to bring them all in and set them up for us like so. So you can see now because of the Node Wrangler, everything is set up for us. Now within our actual shade in panel, you will see over the left hand side we actually have a UV map here. And it's not actually showing anything at the moment. But if we come on over and we select one of these actual textures, like so, you will see if I zoom out, we've actually selected this actual metallic shader. I can also come down and select the roughness, for instance. I can select normal or I can select the actual image texture like so. So just remember if it's on the wrong one, it's probably because you've got one of the textures or the wrong texture actually selected, and I generally want to have it on the base color. Now with Blender Four comes a new principled BSDF. And now a lot of the options are actually hidden behind these little tabs here. So Emission, for instance, is now hidden behind here. So I can turn this up, as you can see, bring it down and change the color of it if I sell one. So just remember that some of them might actually be hidden. Now, because this is the basic video, we're just going to go through a few of the actual options that we normally get within our actual textures. So a PBR set up normally consists of a base color known as the albedo, or cut just a color map, a metallic map, a roughness map, and a normal map. There are more maps, but they take a little bit of work to actually set them up within blender. And this is a basic video. So we won't be going into those, but we will be going into those later on in the course. So the first one, which is the albedo map, it just defines the basic color of the material without any lighting or shading effects. It represents how the material looks under natural lighting. If we go to the next one, we've got metallic. And this map defines which parts of the texture are metallic and which are not influencing how the material reflects. Light metals have a high reflectivity and distinct coloration in their reflections. Now you will notice if I click on this one, it's completely black because this wood has absolutely no metallic. If this was completely white, all of this wood would be completely metallic. And if it has kind of grays in there, that then is defined the roughness of the actual metallic. In other words, those little spots that you see when you shine light on something. The next one is roughness. And this isn't to be confused with metallic because roughness is how shiny something is and metallic is obviously how metallic something is generally as well with metallic, either something's metallic or it isn't. You don't really get in the real world half and half. So the roughness map controls how rough or smooth the surface of the material appears, affecting how sharp or blurred the reflections are. A lower value results in a smoother surface with sharp reflections. Why a higher value leads to rough surface with diffused reflections? Now when I'm talking about values, I'm talking about these values here. So the more sharp this is, or the more blurred this is, or the more darker these little spots are, that will give you the result that you actually are looking for. And finally, we're going to go now to the normal, perhaps one of the most important maps. And the normal map simulates small surface details and textures without actually changing the geometry of the three D model. It affects the way light bounds off the surface, creating the illusion of depth and detail. And this is used a lot in games to actually look as though there's more geometry than what there is. Now let me show you how that works then. So I come down to this strength at the moment, you can see that we've got our wood here and it's kind of defined. So if we look from here, it kind of looks like it's you know, three D and these little grooves are going in. But if we turn this all the way up now you can see that's the effect we actually get. So you can see now it looks as though it's much more ripply along the edges. We can see big grooves going down there. And this is what the normal map actually does now at the moment with our actual cup here, you can see we've only got one actual material on there. And what about if you want to put multiple materials onto an actual object? So what I'm going to do is I'm just going to click the plus button. I'm going to click the down arrow, and I'm just going to choose one like glass. I'm going to click the plus button again, click the down arrow, and this time I'll choose one that says Stone. Now if I go into my cube and press the tab button in actual edit mode, come over, select one of these faces. It only works on faces, by the way. You can't select an edge and apply a material on there. You have to select a face or multiple faces. So what I'm going to do then is come down to glass and finally then I'll click a sign like so. Then I'll come round to the other side. I'll click this face and this face. And what I'll do is I'll come down, click the stone, and click a sign. And there we go. Now we've actually got stone, we've got wood, and we've got glass. And if we put this on our rendered view now, you can see exactly how that's going to look. And you can see how the lie is interacting with all of these surfaces. If I come over just to the right and side quickly and turn around my sun rotation, we can get a clearer view of what we're talking about. If I come even further around and bring it to the front line so you can actually see that glass then is actually starting to be see through. And you can also see that actual normal map working on the inside of this cube. Now let's quickly go back to our wood. So to do that, what I'm going to do at the moment, you can see that we're probably on the stone in this, in this shade of view here. It says actually stone here. I can actually come down and click on my wood for instance. And then it will take me and put the wood on there as well. So that's another way to actually apply them. Instead of the stone, it's actually just put on wood instead, as you can see. Now what I do want to do is I want to come in to my actual wood. So that's the one that we actually brought in, this one here and just show you for instance, we can actually interact with all of these texture maps. Now there's thousands of nodes available in Blender and the way that you put them all together, it can become extremely complex with huge hundred node maps and shaders. So I'm just going to show you something of the basics just to get you started. And that will be an RGB curve. So an RGB curve, as those of you may know who use Photoshop, changes basically how the actual image is actually lit. Darker spots, lighter spots, things like this. So if I come in and press shift day Search RGB, and you can see I've got an RGB curve here now. Just before we do that, if you do press shift day, you can come down, you can just see, get a flavor of how many nodes there are actually within blender. And you can see also how many shaders there are within blender. Let's discuss that after. But first of all, we're going to go with RGB curves, bring that in, and drop that down like so. And from here now you can see that I can actually affect the color of this actual wood on the fly in real time like so. We can also put this onto the metallic, onto the roughness and even onto the normal to get different effects and different ways that the metallic or roughness actually work. Now the next thing is we want to discuss is just shaders. So as I said, this is the main shade within blender. This is like the one ring of shaders, and basically this will be the main one that you actually use. But of course, there's plenty of shades, so depending on what you want to do, if you come down, you can see we've got diffews, we've got emission shades. We've got glass glossy, and a whole range of other shaders that you can actually try out and use. Now that we've discussed that, let's actually come over. Two are actual shaders that have got to set up here. Now you can see with this glass one, it's just a very simple shader of glass and got some roughness on and of course an IOR value next of all, then we've got an emission shader. And you can see, now this is using texture maps and it's slightly more complex, and you can see how all of these things plug in. In other words, what I'm showing you is that shaders can be very, very simple or get to be very complex. So the next one is the metal, and you can see this gets even more complex the next 1 stone. And you can see again, this is slightly more complex. And the final one is wood. And you can see things like this. So we can see that we've actually got some edgeware on this wood. And all of this is actually done within blender, again with quite a big set up for the nodes. But it's unbelievable really what you can actually do with these shaders Once you've actually got your head around how to set up the node systems, now we really are just scratching the surface in this blender shaders and texturing introduction. And even on the right hand side here, you can see you've got all of these options as well to play around with, as well as the fact that you can actually put these into your asset manager as well. But this is just a basic introduction just to get you started. All right everyone. So I hope you learned a lot from that. And I'll see you on the next one. Thanks a lot. Cheers. 19. Material Shader Setup for Geometry Node in Blender: Hello and welcome back. Everon to Blended Geometry Notes workshop, or jungle winds. In a last lesson, we went a little bit over the basics of material shading and how I got these materials set up, basically with a basic set up for the PBR material. Now we're going to actually make use out of it. And first we're going to just select either one of the materials, whichever one you'd like, then we're going to just apply it onto the geometry node itself. So let me just go back onto the modifier stab. I will go ahead and simply select where it is, which I just realized I've not done. Going back to the geometry node real quick, I will go into geometry nodes, tab on the top section. Then we're going to go ahead and just set material. We're going to search for material. Set, there you go. Set material. We're going to apply it for the material itself. We want to make sure that the user is able to just customize it whenever you want so you can apply it and, and use whichever material you want. For that we're going to just create another input within the interface. We're going to scroll down and we're going to just change this socket that I just created, change the name for material. I'm going to scroll it up to put it into the binds section. Going to change this to be not a float, to be a material. So I'm just going to actually leave it as is and simply select a ne park. Now once we get back onto here, we're still not going to see anything. The reason being is that we need to apply UV coordinates for it. The starting point is already there though. If we remove this, I'm actually going to see anything. There we go. We just need to apply it over here. Let's go ahead and do that. Actually, first I'm going to just click and remove. Click shift A and search for group input. Let me just find the material, Put it in here. Click Control and H, there we go. We apply ourselves. The material for this, again, should be a wind bark. We get ourselves a basic color for it, but as you can see, we don't have the material set up on itself. So for us to do that. We're now going to go onto the shader stab. We're now going to make sure that this is set to object shader type and we're going to select ne bark. Now for this we will simply need to make sure we are using texture itself. Let me just actually have a look at what's happening for Suzanne. Think if I go to material. Yeah, there we go. What's happening is basically the Suzanne itself is using the material on its own because it had no material as an object. What I will do is I will remove this material. I will add a new one for Suzanne that we can call this Suzanne Material. Now, this should stay just a simple material. I will go back to modifiers Now I will make sure that this is set up with the material photo geometry node. Let me just go ahead and have a look real quick. Just going to actually reapply this ne park, there we go, Going back to shader, and there we go. Now it's only on the vines themselves. Whatever you're using this, make sure your actual object has a material on itself now for us to go back onto the shading, we're going to switch this to bark, but we're actually only using this. We're going to make sure this is basically the setup that we get with the node wrangler by clicking control shift. And to get this mapping, all you got to do is just shift and a search for mapping. Vector mapping. So we're going to be a using this one instead. Instead of that's going to go from the UVs. We're going to be the mapping from our data that we just created previously. Let's go ahead and connect it right away and we're going to get some weird results. For now, I just realized that for some reason I think I click control and it undid my material. We'll just go ahead and create a new one. Suzanne. There you go. Going to go ahead and select this all object. Click a sign and there we go. That's an alternative way for switching the materials. You go with an edit mode. You click a sign with the material selected and that will assign your material onto an object. Because everything else is not a math technically yet, because everything is in a, in geometry node, it will not affect the assigned material that we have within the binds. Yeah, let's go back onto the material over here. For some reason I still want to just switch like that and I'm not sure. I'm not sure why it's doing that. But either way, what we can do instead, we can't go over here, just click on the mesh. Basically that's within the resource pack and we can just work from this mesh. Instead, it's actually going to be way easier for us since we can just preview the mesh. Yeah, we'll just grab this, Click G, X. Just put it closer so we could actually see the mesh and how it looks like on the Suzanne. Okay, the next thing is that we need to grab ourselves an attribute. Let's grab ourselves, search for attribute, input attribute and we're going to make sure it's set to type geometry. It's going to search for the name from the geometry itself that's been applied on our modifiers. Basically, we can now attach this to the vector, the name itself. Let's not forget that it has to be the same. The easiest way for us to do that would be if we were to select back onto the monkey, go onto geometry nodes and just simply select this name over here. Click control C to copy it. Go back onto shading over here and just go back onto the bark spaced in this name. And that's making sure that we're not actually miswriting the name, making some human errors, basically, we're just avoiding that at all costs. Now, we should have ourselves something like this on the Suzanne's head. We should have some bark texture already visible a little bit, although as you can see, it's still stretched out, it still has some work to be done. The reason being is that by default the information that we provided doesn't actually try to go 0-1 space, doesn't actually try to get the right proportions from the texture, it just simply makes use out of the coordinates, out of the points that we stored. What we're going to do is we're going to just simply get ourselves a vector map node in here. Let's go ahead and just grab a vector map. Just add it in here. Change this to a multiply, change all the values from now to one so we could get default value now we can see what each one of them does. For example, changing this value will stretch it out. It's not going to be quite as easy to see, but it's going to be probably in this direction, horizontally. We need to keep this as one for now. The next one is going to be in regards to vertical. You can see it going in regards to this area over here. The final one is also in regards value that's going to be more visible, perhaps over here if I were to change. So although it's not quite as visible, we're going to basically change both of these values at the bottom to two just to get more resolution. Now in order to fix the stretching, we're going to lower this value on the vector itself. We're going to lower it slowly and doesn't seem to want to work. So I'm just trying to figure out why that is the case. Let me just go ahead and try to rotate these around. Let's see, there we go. Now it seems to be working. All right. By simply rotating this texture over here, we're just making sure that it's positioned properly to the way we want it to be. Yeah, we're just changing this to the value of 90. Basically, we're going to get ourselves this result which is already looking very nice. I'm just going to check real quick the other sides as well. If we need to rotate them, for example, over here, if we see them stretching out a little bit, we can fix that with rotating them. Yeah, 90 degrees. As for value, let's go ahead and check if that needs to be rotated. That does not need to be rotated. Let's go ahead and keep it a zero value. There we go. The vector over here, we can just basically control the scaling of the park, leaving it as something to a value of 0.2 is really nice already. Let's go ahead and keep it as is. And there we go. We got ourselves a nice arc set up. Basically all we need is these three nodes. We can reuse them in other areas as well. To reuse it in other materials, for example, in our own custom materials. What we can do is we can simply well go back on the material. We can copy these three materials over here, Click control C. Go to this one over here, Click control V. Doesn't seem to want to pick it up, so I'm just going to go ahead and select them all. Control C, put them in here. Control, there we go. Now it works. Let's go ahead and just put this in to this dot over here. Going back to our geometry set up, we can change now the material to wind by park mossy. And that's the result that we're going to get all in all. It's already looking really, really nice. But let's say we want to have a little bit more control in regards to the material itself. We can actually get that control quite easily. We can go onto our material set up, we can go onto the base color and tweak some values. This is the wine moss. I will show you a couple of ways for just a quick tweaks. Basically, if we want to have a brighter result out of these wine set ups, what we can do is we can click ship in a click search and search for curve RGB curves. It is a very useful tool for when we want to just have some quick adjustments for the contrast for the brightness of the material. By simply clicking and tapping just a quick tab, basically on the node itself, we're going to get this thought which allows us now to control how bright the material is. We can just use this thought now to tweak it in. If we add another thought by accident, we can just drag it out to the very end over here. And that removes this thought like so just like that, we can adjust this to our desires basically. If we want to, let's say change the color of it, we can also do that quite easily. Actually, I will show you how to do that. One of the easiest ways for us to change the color would be to actually use color mix. Probably that would be the best way. There are multiple ways for changing the color, to be honest. But I will show you the most logical way, I'd say, in my personal opinion, if we were to search for color mix, mixed color, that is, we can get this type of a node. Now if we work to add this, we can see that this is what we're getting. We want to make sure that this is set as one, which will allow you to overlay two different information, color information, at once completely. This is already set with A and B, because B is trying to be overlaid with the factor of one, It's just going to give us this result. However, if we were to change the mixing from just a mix to a color, there we go. We can now tell which color we want. Basically, we can use this B to just change the color, any type of color that we want, actually. And it's going to give us some very nice results just like that. And yeah, that's pretty much it. In regards to the set up, I really hope you enjoyed this video. And now in the next lesson, we're just going to get ourselves a quick final set up a quick overview of what we did. And of course, we are going to need to clean up a little bit in regards to this mess. So yeah, that's going to be it from this video. Thank you so much for watching and I will be seeing you in a bit. 20. Final Overview and Spawn Point Debugging in Blender: Lone. Welcome back everyone to blend the geometry notes workshop for jungle vines. In the last lesson, we set ourselves up with a nice material shade for the geometry node to be used on the vine bark itself. Now we're going to continue on and actually clean up a little bit. First things first, what you'll notice is that every single group input is now extended the more we add, basically, even if it is hidden. For example, I can click control H and hide it even if it adds more. Whenever we add inputs, when it's hidden, it just adds it as a bit of an extra Over here as a list. It gets a bit of DS to constantly go through every single one of the group inputs. And just constantly select and click control H to hide it or every single one of them. The easiest way to fix that would be to just select one of the group inputs. We can write click go on to Select Section, and then go on the select Grouped by type, and then it's going to select every single group input. We can now clear control H twice, that's all it is, in order to clean up this mess. Basically, we just do that and everything is now orderly or minimized with the group input. That's a very nice trick to know. Now, the next thing is going to be, in regards to all of this set up. We can now go ahead and go bit by bit in order to actually to organize the set up. The starting point, we already had an organized volume generator, Empty selection and random selection we had set up. After we get the selection, either from empty selection or random selection, we're going to go ahead and then create a curve with this over here. And I'm just looking, this is going to be all the way until Delete geometry. We're going to click control J to make sure everything is grouped up. We're going to organize it a little bit. Density can go underneath this or actually on top. Now underneath it is better. Density can go on the top and maybe a little bit more to the back. Just like that. Actually, I'll just put it over here. The geometry can come closer. These are okay. This which is all right. Noise is okay. This one, we can just call it a path generator. Since this part basically generates the path using the shortest edge paths, then it blurs out using the blur attribute. It basically creates random path using the non deleted geometry. Then we're going to go ahead and just select this flick to write it as path generation like. So after we're done with the path generation, this part was set to trim the curve. Basically we trimmed it in regards to the length of the curve. Let's go ahead and actually just grab everything until capture point. Here we go. Yeah, that seems to be all right. Let's click control J. The box click to call this curve trimming. So again, this is based on length, with a bit of randomness added on top of it that we multiply. And that we multiply with the length randomness added in through the mouth node. Based on that, we trim it. There we go. All right, we can just move this a little bit more to the side. We'll actually just hold shift and just move this a little bit up higher, just like that. Collect them both. Y zero. There we go. When that part is done as well as we move further, we get onto this part, which over here we set ourselves up with merging curves to make sure we don't have multiple meshes going through the same place. Basically, we turned it into a mesh. We merged it by distance and turn it back onto the curve. We can go ahead and just join them up together. The call them merge overlapping curves. Put them off to the side like that. This part over here, it's actually going to be, I will combine them all. This is responsible for offsetting it from the original curve. We're again grabing ourselves, the normal from the mesh. Yeah, and offsetting it. Let's go ahead and just grab this entire section. Click control J two and we can call it offset from original. Original surface. There we go. Just going to move it up a little bit. Yeah, we can actually remove this over here. This entire line is not needed. I'm going to go ahead and just make a duplicate out of this. Click old to make sure I take it off from the box and just attach it over here, making sure that we are removing this entire line. I'm just going to go ahead and just re route it. And this point as well. There we go. And that looks much cleaner. All right. This is that part upsetting from original surface. Then we had this set up or creating bind mesh, turning the curvature into mesh. We were then using the set up UV's. This can be set as UV base UV coordinates. We'll actually remove this as well, O P, just remove it from the side. Just go ahead and just grab this all. There we go. It's going to move it a little bit more to the right, just like that. This is responsible for giving us material and UV coordinates. Let's go ahead and just control J two UV and material, that's the bottom piece, is set for leaf generation. Just going to make this actually a little bit larger from the set curve radius, from wide mesh. We went ahead and grabbed ourselves the curve, then we generated some points along the side of it. We finally grabbed the collection from the leaves, from the leaf collection and output it into our geometry. Before that, of course, we realized instances. Yeah, that's pretty much it. We now got ourselves a nice geometry. I do recommend you checking and making sure it works properly. Go into modeling mode, for example. Going and checking how this geometry works is really recommended. I will go ahead and do that on another type of set up. Going to go ahead and click Shift and a new object that we'll actually let me go ahead and use O sphere. This has a really nice shape, will actually make it a little bit smaller. It doesn't really matter at this point, but we do want to just see how it looks like on different shapes basically. All right, now I have this. I can go ahead and just click Add a modifier. Select a geometry nodes within here, we should find ourselves a vine geometry node. Now we can go ahead and add an empty, Let's go ahead and do that. We can go ahead and just add a simple sphere on the side here. We can use empty, we can just change this up to be this empty over here. We can now go ahead and increase the length density. There we go. It starts growing now. It seems like everything is looking pretty nicely. Of course, we need to make sure that the material is also set up. Let's go ahead and do that. We can either use white bark or white bark morse. We can change the density a little bit more. Change up the scale, make sure the randomness is also there. There we go. Something like that, maybe is a little bit too big, will increase density instead. Yeah, everything seems to be working. Let's go ahead and now test out the use. Without empty, we need to make sure that the start points are set up, seem to be working, but it's only within this one point over here. I'm not sure why that is the case. We're going to increase the length and see how that behaves. Now it will decrease the length in this case for some reason really wants to be closer to this area. I'm just wondering why that is the case not being affected by this object over here. But if I were to use empty now, still still want to go within that one spot. I will go ahead and check why that is the case real quick. Back within a random selection, if I were to maybe take off the subtracting more doesn't seem to want to work. If I start spreading random value, that seems to want to work. If I do change the seed, let's see what happens. No, it doesn't want to change. All right, quick thing. This doesn't seem to want to work. Let's quickly try to debug it, see what's happening with it. I'm going to go ahead and click onto Points over here just to see these points. Basically grabbing the geometry of the points. Grabbing the position value of geometry, proximity, increasing the star count is not giving us much of a result. We can, for example, change the B. Let's see if that works. Actually, I'm going to go ahead and click on equal to see if that would work. That doesn't work, let's go ahead and move it out of the way. We can also try maybe changing the subtract value by it seems to be offsetting it, but not in the right way. Probably the reason is that it's not giving us the right maximum values because of the low topology of the mesh. If I was to click and hold control and I take this and then in start increasing the amount of vertices over here, you can start seeing that it's actually getting into the shape that we want. For example, if we were to try to remove this over here, we can start seeing that it's actually going around the mesh. The quick thing that was happening was because we were using the original geometry, he was just trying to grab those couple of points. But the geometry itself that we were using was not simply from the geometry of the original geometry, it was actually from the volume to mesh. So what we actually need to do is we need to grab this volume to mesh and just simply put it into the group instead of the group input. I'm going to actually move this upwards like so. Yeah, I will just click and hold control to remove this. Move this to the side, place it as a country start count. There we go. Just remove all of these re routes over here. It's going to be way easy to set it up. Then I'm going to grab the volume to mesh and place it in the main size. And this should give us the right value. Let's go ahead and put it into the max. There we go. We now got ourselves the nice set up that's actually going around our mesh properly. That is exactly what we want to see. All right, so that was a slight debugging. Now that everything is working fine, that's going to be it. From this lesson, we got ourselves everything sorted. We can even check a little bit more in regards to the density, the length, and see if everything is working and whatnot. We can also see a random length. We can see the surface upset, which is always good to have like. So the material we already checked, the radius, is always nice to see. That's the radius and radius offset. Of course, for these actions at the back, all of them seem to be working quite nice. We already tested out the leaves so that it's fine. Yeah, we're more or less done with the node. I really do want to show you the extra capabilities of it. In the next lesson I'm going to show you how to actually make use out of this with, in animation. It's actually quite simple. All it's going to take is just one lesson. That's going to be it from this lesson. Thank you so much for watching and I will be seeing it a bit. 21. Animating Geometry Node Vines in Blender: Hello, welcome back everyone to Blenderful Geometry. Node Workshop for Jungle binds. In the last lesson, we set ourselves up with the final debugging of final touches to the geometry node. Now let's go ahead and talk a little bit in regards to certain different uses. For example, other than we can just apply it onto a mesh for visual effect. What we can do also, we can make use out of it and get ourselves a nice set up when it comes to animation. So how do we actually do that? Well, first of all, in order to go to Animation tab, we're going to go onto the upper section. We're going to click on Animation tab itself. And that's just going to change and reorganize our windows and we're going to get ourselves at the very bottom, a timeline. Timeline is important when we want to play animation. So we can click Spacebar to just start playing, but at the moment we don't have anything. So that's all right. Another thing to know is that if we want to expand it or make this shorter, the overall animation, we can change it over here. So in this case I'll just change it to 200 and that's going to be the maximum amount. So once it reaches 200, it's just going to basically either stop or repeat itself. That's pretty much the basics of the animation. Again, we don't have anything. But what we can do is we can go onto our binds Jomichi tab and we can actually set ourselves up with any value that we want. Within the that up itself, I will actually go ahead and firstly turn on the material so we could have a nice visual feedback. I'm going to go ahead and click on this parton over here. If you're not seeing it, you can scroll your mouse while sobering over this area. And you should be able to just scroll to the right side and just get yourself a viewport shading that has material was going back to this. If we want to change, what we can do is just simply we can change up the length and we can see how it works. Like we'll notice that there is a bit of a lot of randomization with the leaves and they start like just popping in and out. The reason being is that to keep the consistent density, we try to basically change the value. And that often gives us much more trouble when we are animating it, basically. So we're going to go ahead and dig that For doing that though, let's go ahead and actually get ourselves and ice animation. So what we're going to do is we're going to go at the very start to the value of the frame zero. We're going to then hover over the length, which at the moment we have set as well. We can set it to zero. Actually, that's going to be better. We can click while severing over. And then we'll see that we get ourselves these dots. Basically, they show where the animation key frames are. Then we can just crawl all the way to the upper end. Actually, I will put it at something like 100 over here. Then while over length I'm going to click I, then I'm going to change the length itself to something of a reasonable amount. Maybe 1.6 looks pretty nice. Maybe even more if you want to, something like that. That looks really nice, actually, quite like that. Let's go ahead and click while severing over. And now we have a couple of frames that will be changing whilst animation is working. So we can click space par and it starts growing like so. Again, the leaves themselves are a bit all over the place, and the density being trying to be consistent with it being based on the length gives us that result. What I recommend you do in this particular case is go to geometry node, go back onto its editor like so. I will just expand it, then we're going to find ourselves the leaves. Since we cleaned up our geometry node, it's pretty fast to do leave generator over here as you can see over here. We multiply density with the length and that causes a lot of leaves to just pop in and out of existence. So we're going to fix that. And the way we're going to do it is first of all, we're going to grab an input. We're going to, we can call this consistent density. And I'm going to drag it all the way down to the leaf section right next to density like change this consistent density to be a bullion, either on or off switch basically. Now we can turn on or off. Now that we have ourselves the consistent density input, we're going to go ahead and actually add it over here with the help of a switch. Let's go ahead and search for a switch like so. We're going to make use out of this switch, since this value is a float value, we're going to change this up to be a float value as well. Let me just go ahead and find it. There we go. Now I'm going to, basically, if this switch is on with the consistent density, which I'm actually just going to go ahead and duplicate it over here to get it closer consistent density once it gets turned on. We want to make sure that when it's turned on, it's going to give us a true statement from this. So it's going to be multiplied with the length, if it's not multiplied by the length, if it's set us falls, we're going to have this as just a normal density like so. Now that we have the values plugged in, we can just plug it over here into the count value. We can just tick on and off and see what it does and we can see the difference it makes with the consistent value we can change is the length over here. And that's going to be trying to keep the density of the leaves in more or less the same regard, but with this ticked off. And actually I will increase the density over here, so by quite a large margin, just like that, we can start changing it. And you can see that it actually starts by getting clustered up. Then we're going to be getting ourselves spread out, like the leaves themselves. It's very fast. They're going to be moving in a bit of a randomized pattern because of the rotation of the curvature of basically their placement. But all in all you can see that they actually will solding shift, I can actually do that will solding shift, you can see that they're actually being kept in more or less the same location. It's actually going to be much easier for us to animate them. That's pretty much that. We can now go back onto the animation and actually not only set ourselves up with the leaves that are just being grown from the length itself. Like I'm going to go ahead and just go back here. We can also set up the scale of the leaves to also help us out with, in regards to this growth of the vines. I'm going to go past 100 point. I'm going to basically click eye on the desired result for the scale. I'm going to go back a little bit and set this to zero. I'm going to go right before when it reaches the maximum point. Then I'm going to click over here as well. Now it starts growing out like this and then starts picking up the leaves and growing out once it's like slowing down with the growth. We can even increase the density by quite a bit. I'm going to set this to quite a large value actually something like 300. I think that's going to be quite all right. Maybe 400 even like so, yeah, that's pretty much it. We're going to get ourselves a very nice type of a growth that concludes our journey through creating a wind geometry note together, I hope you found the techniques we explored in both the geometry graph and materials set up to be enlightening and valuable for your future projects. We've crafted a comprehensive geometry note set up that's versatile enough to apply to any object you choose, complete with custom leaf planes and bark materials. For those of you eager to continue learning, I highly recommend you our course on creating a staircase generator of geometry nodes. It's a fantastic next step for deepening your understanding of geometry nodes. If you're more inclined towards the modeling aspect, our latest course on creating a Victorian scene as a free die environment could be perfect for you. It's our most extensive course to date designed to teach everything blender has to offer from ground up for environment artists. That's all for me now. Thank you so much for joining and I hope to see you again soon in our future courses. Until then, keep experimenting, keep learning, and most importantly, keep creating.