Blender 4: The Ultimate Environment Artist's Guide

1. Blender 4 The Environment Artists Guide Introduction: Welcome everyone to Blender for the Environment. Artists guide the most ambitious and comprehensive course ever crafted by three D tutor. If you ever dream of bringing the elegance and intricacy of the Victorian era to life in your own three D projects, this journey is for you, designed for both beginners and seasoned artists. This course will guide you through the creation of an entire Victorian town environment. From a quaint coffee shop, to a detailed perfume store, from a traditional butcher's, to an inviting bookstore, and even a vintage truck and a classic subway entrance. We've covered it all. Led by myself, Neil, the founder of Three D tutor, and your guide with over a decade of experience in the industry of three D modeling, this course is set to transform your understanding of three D art. Join us as we embark on this monumental journey through time and creativity. Mastering the art of stylized three D models in the captivating world of the Victorian area. We start by delving into the critical process of gathering and utilizing references like a true professional. In this essential part of our course, we unlock the secrets to create a massive referencing guide, ensuring your Victorian era town scene is authentic and detailed as possible. As we embark on this detailed journey of creating a Victorian era town scene, an essential tool kit awaits. The course comes equipped with a resource pack, features nearly 50 shaders, a host of geometry nodes, and as with all three D toed courses, our trusty human reference model. Moving forward in our journey, we approach of gray boxing. This crucial step is where your project begins to take shape, transforming from a collection of references and ideas into a tangible three D space. You will learn how to block out the major components of our town scene. From the sprawling layouts of streets to the imposing structures of buildings. Each element is carefully positioned to capture the essence of the Victorian Era, establishing the spatial relationships and proportions that are key to a believable and immersive scene. In our first section on modeling, we dive into the heart of any three D scene. We'll start by creating four massive buildings and a subway entrance. Along with various assets like street signs, lamps, and even a new stand, all while maintaining the authentic Victorian aesthetic. This section is designed to take you from the basics to professional level modeling techniques, including using curves to create amazing geometry and modifiers to elevate our models. Whether you're just starting out or looking to enhance your skills. This course will provide a comprehensive understanding of what blender has to offer. Crafting, not just three D art, but your very own complete town scene. Next we turn our focus to shaders, a pivotal aspect of bringing the Victorian area to life. In your three D scene, we'll guide you through the process of quickly and easily changing shaders to suit your scenes needs, ensuring you can adapt and refine your materials without hassle. A highlight of our exploration will be achieving the worn edge effect on wood. A detail that really brings the scene to light. Through practical examples, you'll learn how to use Blender's powerful node system to simulate years of wear and tear. Given your models a lived in realistic look that resonates with the historical accuracy. Our shader training part of the course equips you with both ready made Victorian shaders and the know how to craft your own focusing on efficiency over starting from scratch, you'll learn to quickly modify and create shaders, saving time for the more creative endeavors. This method not only boosts your technical skills but also empowers you to produce distinctive high quality three D art with ease. Moving forward, we'll delve into rendering and compositing with an in depth guide on both cycles and V. Our focus will primarily be on cycles as it offers superior results and greater control over compositing for our Victorian scene. You'll learn how to work with layers, including ambient occlusion and the mission. Mastering the techniques to blend these elements themelessly. We'll guide you through the process of transforming your project into a polished portfolio piece, equipping you with the skills to realize your dreams. Whether you're a hobbyist or aspiring to work in a triple A studio, this section is designed to elevate your art showing. You have the experience to create stunning visuals that can help you stand out in the industry. In wrapping up this introduction, let's emphasize the breadth and depth of this journey we're about to embark on with 40 hours of meticulously crafted content. This course stands as a comprehensive guide to environmental modeling in Blender Four, tailored to breathe life into the intricate details of the Victorian era. It's structured to equip you with the skills and insight necessary to transform any space into an historically rich visually stunning environment. This isn't just another step in learning blender. It's a leap forward. Mastering the art of three D modeling with a range of techniques and insights. It's designed to be an important part of your journey, helping to expand your portfolio and improve your creative abilities. As we conclude this preview, remember the scope of what we've covered is just a glimpse into the transformative experience awaiting you. The real journey unfolds as you dive into the course, with each module crafted to guide you closer to realizing your artistic ambitions. This is your chance to blend historical elegance with contemporary technology, mastering environmental modeling in the process. All of this in blender for now is the time to take that step and make your dreams a reality. Happy modeling everyone. 2. Getting Started Resource Pack and Project Overview: Welcome everyone to Blender for the Environment Artists Guide. And this is the complete course on creating your very own professional environments. In blender for and beyond. This scene is set in the Victorian Era, but with the knowledge you learned from this course, it could be set in any historic era or world for that matter, whether that be a fancy world of your own making or some future dystopian reality with a little help from some of our geometry nodes and shaders. Please though, bear in mind, building this scene will take a lot of time and effort. And some of it, for sure, will be tedious, but by the end, you'll have the skills to model and render any of your own scenes to this professional level that you see here. So before we begin, we'll be taking a quick look at the scene and then we're looking at the resource pack that comes free with this course. The main thing about the scene is because we've actually set it in a Victorian era, we had to think long and hard and grab many references to how we're actually going to build this. Now the moment you can see this is in rendered view, what I'm going to first of all do is just put a material view because that then will help us look around the scene. Now bear in mind you're not going to have your own scene to actually look around, but I'm going to show you how to build up a gray box. First of all, how to do the referencing. Basically how to get started in building something like this, because it's all easy building something and just watching me build something. But you need to know the basis of where you get your ideas from, how you're going to set out the scene, how we're going to build the buildings next to each other, what's gonna look right for that area and so on and so on. So you can see we've got actually a cafe here. We're going to build this building actually. First we're going to build the windows as well that actually go in there. We've got some trees as well that come with the actual resource pack, so we're going to be using those, All of the shades and materials here, which we're going to talk about in a bit, do come free with the resource pack. And we'll be going in as well and explaining how they actually work. But basically you can grab any of your free textures and materials, pretty much so many places online. So we're not actually going to be building shaders in this course, but I will show you how they work also, We've got things like the car. This is something that I'll teach you how to put together really easily and quickly. And then of course we've got the rest of the buildings, how we put them all together. The floor, as you can see, is made up of three different textures. You're going to actually find out how to do that. So when you come to building your own scenes out, one of the most important things is the actual floor or the ground plane. So I'm going to teach you how to do that. And then finally we're going to be going into the composite to make this look a really, really beautiful scene. So basically the whole shebang from eight to will be covered in this course. And in the end, you will end up with something very similar to what we have here with nothing actually missed out. All right, so now let's move on over then to our resource pack, and I'll go through that with you. So here is our resource pack. I've set this out so it makes it really easy for when you first load it up. There is a lot of data in this actual blend file, so at the moment, everything is turned off. But you can see everything is named. Even when you open them up, you'll see everything is named correctly. So you'll never struggle to find anything. If you do want to find something, just do a quick search and you'll be able to find it. But generally, I'll be showing you where they are anyway. So first of all, we've got our floor. Now, within here, we've actually got our shader that I'm going to show you how to build. Next of all, we've got our trees. Trees within blender can be used with the IV generator. There's plenty of resources out there showing you how to create trees. So rather than go through the hassle of creating this tree, all I've done is supplied that for you so you can actually use that. Next of all we've got our cloth. So these now what we're going through are going to be our actual materials. So at the moment you can see we've got cloth, then we've got truck, and we're going all the way down to glass. To our human reference. The human reference obviously is very important because we're going to be using this guy to actually base the scale of all of our buildings, our trucks, our lights and things like that. So we really need something to base that on. Next of all, then we've got metal, all the different metals that are going in the scene. As you can appreciate with such a huge scene, there is a lot of actual materials that are going to go into it. We want to make it look as realistic and stylized as possible, and we can only do that through many, many materials and many, many different types of models. Next of all, then we've got our curtains. And these curtains are actually going to be behind our windows. So you might look here and think, oh, wow, this looks a bit funky. But trust me, when we've got this in, because it has some transparency in it, they're going to come together really, really nice. So moving down then, we've just got stone and wood, more materials. And then finally, the most interesting one is our geometry nodes. And these are really, really important because these are going to speed up the whole process. Now along the way, you're going to learn not only how to use geometry nodes, but also you can actually create your own geometry nodes or even find many, many of these online. So what I've done is I've supplied one that is the planks, I've supplied one that is the actual roof tiles. And this then is going to make it really, really easy to create things within your scene, especially when it comes to roof tiles. All right, so then we've got the actual backdrops. And these backdrops are basically the things behind the windows, so a lot of them are going to be things like bedrooms, living rooms, in the butchers for instance. Or we also have a cafe there or a perfume shop. And I'm going to show you actually how to use these. They're basically just images, but we're going to set them in a way which is going to make them look really, really realistic. Set behind the window next of all. Then we've got our walls. We've got our roof material, clay material, our signs, and our posters. As a final touch, so you can see with our signs and posters within the scene. We've actually got these and we've laid them out so they have a transparent background. And then we're going to put them over the top of our signs, the posters as well. We tried to get posters from that kind of era, especially when it comes to the news articles from the newsstand. All right everyone. So I hope you enjoyed this first introductory lesson to what you're actually going to learn on the next lesson. Then we're going to look at referencing. And finally, after that, we're going to look at actually the basics of blender. So even if you knew to blender, absolutely knew to blender, you will be able to follow along. It will be very difficult in the beginning for sure, but please bear with the actual course and you'll find that you soon pick it up. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks lot. Bye bye. 3. Mastering Blender with a Referencing Guide: Welcome back everyone to Blender Four, The Environment Artists Guide. And this is not where we left it off, but we left it off of our resource pack where we've now finished with that. So as you can see here, I've got the standard blender build I'm using, as you can see down here on the right hand side, Blender 4.0 0.1 And so I recommend if you're using anything below Blender 2.8 then it's going to make it much, much harder to follow along. But anything really after three would be the best way because then you can actually take advantage of your asset manager. Now within my actual build, I'm not really going to be using a lot of the asset manager, but don't worry because you're going to learn all about it and how to put your own models in there as well. So we are going to cover that in detail. All right though. For now though, what I'm going to do is I'm now going to play a short introduction to referencing within Blender or three D modeling in general, even if you're any sort of three DRs, whether that be in environments in Unreal Engine or whether that be in blender or three DS max, it doesn't really matter. The referencing guide will be really, really handy for you are everyone. So I'll see you on the next lesson. If you already know all of this, just skip to the next lesson. Thanks a lot. Bye bye. Welcome everyone to our in depth referencing guide. And it's very important that we actually use references in pretty much any kind of modeling or environments that we're actually going to be work on before we actually do anything, before we put any cubes down or anything like that. It's really important that we have some really, really decent references to actually work with. The first thing I want to recommend is that you can use to actually put all your references on like Photoshop or even Word. But what I'm going to recommend is that you use something called Pure. So if you go to the site that's called Pureref.com you will actually open this. And from there you can actually click Get Purerev. And that then will take you to this download screen. And you will see at the moment you've got 157 or custom amount. You can actually put this on zero and actually get this for free. So it's completely free and you can come back and make a donation if you like. And then all you need to do is click download. So the only things we're going to talk about, pretty much for reference in here are going to be free except our mid journey part. But there are other alternatives like Darley and a load of others out there that you can use instead of mid journey. Once you open up Pura, then this is what you will be greeted by this screen. And if you want to right click, you can actually drag this around to any of your other screens, or you can actually make it smaller like so. And it's a really, really good program, this really, really handy, highly recommend getting this. So now let's actually think about getting our references. And there are a few sources that we use to actually grab references from. But generally what you want to do is you want to build up a kind of reference pack if you're going to be a hobbyist or a professional in three D modeling or environments where you're going to see things perhaps on Pinterest or sketch up. And actually you want to save them in a file so I know people with thousands and thousands of images that they've saved over the years. And whenever they're coming two way project, they'll then dive in and actually find all of the images that they've got on that particular thing. This could be a samurai warrior or a Chinese bell. Also a lot of people I know as well, who are working professionally at this will go around museums. They will take their own actual images and then they'll also upload those to the file as well. So the first point of call if you've not actually got your own database yet is probably going to be actually Google. So let's open up Google. And you can see here that at the moment I'm looking for a Victorian delivery truck. Now I'm going to do is I'm just going to go through these and get some nice references like this one for instance. And then I'm simply going to write Click and I'm going to copy Image. Then what I'm going to do is I'm going to go over to Pureref. So I'm just going to open it by cup press control V. And you'll see now that I've got my nice image in here. What we're also able to do with PurereVs, we're able to also pull it out and make it bigger if needed, which is really, really handy when we're putting in lots and lots of actual images. Now the next thing I recommend you do, once you've actually got an image in there, here's what you can do, is you can left click and drag it over somewhere. And then what you can do is you can press control and you can actually make a note. So let's call this Victorian, let's put it trucks. Now, within my scene, I might actually want a Victorian lamppost as well as part of the scene or something like that. So, let's actually look at the next one. So, the next point of call is actually going to be Pinterest. And let's actually put in Victorian lamppost, so let's try that. So let's see what we get. And we can see we've got many, many styles, especially this one. This one's actually really nice. This one's also really nice. So what I'm going to do is I'm going to actually take this one, I'm going to write click copy, image, go back to my Purev and then drop the images in there. So maybe make this one a little bit bigger. What I tend to do is gather a load of images for each of these things. When we're actually building a scene, or even just the model, you want to grab as many images as possible. I'm talking hundreds of images here. And especially if you're doing a scene, you want all of the little parts. You want everything down to the lighting, the environment, the trees. You want to grab references for absolutely everything. Because it will make your scenes just really, really look so much better if you've got some really good references. So now let me show you. This is one that I'm actually working on at the moment. So I have to come over and load recent and I'm just going to load this one here. And you'll see at the moment I have all of my props. I have all of my main buildings that I'm going to be looking out to us as references. I have a ton of doors. I even have a load of foliage. I have all my windows. I have my lights over here, and also have, more importantly, all of the lighting. In other words, it's a scene. So what time of day is it going to be? Is it going to be early in the morning or is it going to be a dusk? Is it going to be a night scene or is it going to be midday with that sun beating down on my scene? Just make sure that it actually matches the scene. There's no point in having a scene like this, for instance. So this one here, if you've got a log cabin out in the snow, you really want it to match your actual scene. Now, before moving on, there are a couple of other places that we do go to use for referencing. Especially something like sketch up, which is really, really great because you can actually come into an actual scene and then what you can do is you can actually rotate around it and really, really check out how a model is put together like something like this, which is one of our actual own. But you can see here how easy it is then to get a good idea of what actually incorporated in this scene. And what you can actually do from there then is we can actually come down and we can actually get some screenshots of this or even click and copy image. There's also, let's say if we wanted to do a Victorian truck, for instance, to keep it the same theme as what we've been doing, you can see that there's no end of actual Victorian or Vintage type vehicles on here, not as many as what there is on Arts Station, but still a very, very good place to start looking for reference in. That leads me onto my next one, which of course is Artstation. This simply is one of the biggest resources for referencing or for looking up artists in the world. Let's put in a reference of Victorian, for instance, and let's see what we actually get. Let's search artwork. So we're going to search artwork and let's see what it actually comes up with. Should be lots and lots of things to work with here. Especially good if you're looking for actual lighting. So you're looking for lighting effects like this one here. Again, we can take these andan actual use them for references. And the best thing is about Art Station is we can also come down and look at things that may be our concept to two D or actual three D. And we can also come down as well and look at what subject matter it is. So it could be automotives, so Victorian automotives. Or it could be architecture or something like that. So the possibilities with Art Station are pretty much endless, and you're able to grab tons and tons of really, really high quality references. There are of course, hundreds and hundreds of other places you could probably go to grab references. But I'm showing you these because as far as references go, these are some of the best places to go. Now let's move on then to one of the things that we really use a lot of now, which you wouldn't have thought actually would come into it as far as referencing goes, but it actually is really, really handy. So let me introduce to you now chat GPT. So here is chat GPT. You can see that we have chat GPT four, but we also have 3.53 0.5 is actually free and it is actually good enough to do whatever you want. You really don't need to pay for this. It's also free. So what I'm going to do is I'm going to go to message and I'm going to type in, give me ten different buildings for a Victorian town scene, something like that. Let's click Enter, and let's see what it gives me. You can see now, it's given me a lot of things to actually work with here. The best thing about this is you can also say, give me ten more. You will just then go ahead and give you ten more. Now, these things are really handy to use because then I can simply take these ideas and it'll also bounce other ideas to me. And I can then go into Pinterest. Or Google Search and actually look them up or try and find something like this. And I can get ideas and design my scene around there using all of those things. And especially Pureref, we can also take them in to our actual mid journey. Now again, our mid journey is paid for. I think the lowest amount is $20 or something like that, but there are many, many free things out there. But I will still show you what we actually do with our AI based image generator. So you can see at the moment this is the image that we've actually, I know we've called it is Victorian era delivery van and this is what we actually get. If we go to my images, you will see that we've generated a ton of images about all of the things, especially we use this as well to generate textures. It's not just there to actually generate images and ideas and things like that. You can actually use it to generate transfers that are going to go on windows or adverts, or actual textures. And we do use this especially for things like curtains, because it's really, really easy to get that look that you're actually looking for. So you can see here we've got a lot of ideas for living rooms, we've got a lot of ideas for bedrooms and things like that. What we can also do in mid journeys, we can also go and explore. What you could do is you could look up with a search prom Victorian, let's put in carriage. Then we can also get ideas from this. If I put in Victorian carriage, you can see this as what comes up. Now if we come over to here, we can also say, if we click on here, this is the actual prompt that somebody put in. So you can actually take that prompt, maybe change it around a bit, and then get your own images. Rather than just simply copying other people's images, it's a great place to start to actually gather your own images. The other thing is about mid journeys, I can come in, for instance, let's just go back. And then what I can do is I can hold the shift bone down. I can grab all of these for instance. And then what I can do is click the download bond and download all of those images. And the best thing is about pure is you can bring in multiple images at the same time. So you can just drag drop them and then they'll all appear actually next to each other. So really, really handy things to have. So lastly then, to somewhat don't do what I did a few years ago where I just dive straight into blender and not even think about references and just find references if I had to, while I'm actually building something, don't do it that way. It leads directly into building a beautiful gray box as well. All this, because first of all, you grab all of your references. You make sure everything's set out. You can go and find some more references if you need to know. If you suddenly have a spark of inspiration, you want to make something on the fly, then grab some more references for it. But to start with, grab all of the references, have them really, really nicely laid out and spend, you know, even half a day to a day grabbing all those references. You can then save the value as well into individual files. And then you'll have all the other references around that particular build in there ready to use maybe on another project in the future. All right everyone. So I hope you found this useful and I'll hope you'll take my advice going forward. Thanks everyone. See on the next one. Cheers. 4. Blender Basic Navigation: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left off, so I hope you really enjoyed that referencing guide. And we really tried to put it together to make it as comprehensive and easy to understand as possible. Now if you are new to blender, you'll definitely want to check out our next guide, which is the Blender basic navigation. So how do we get around the viewport is something you're actually going to really need to know to actually do anything in blender. So before we go any further and start on our grade box, we're really going to have to show anyone out there that's not familiar with the blender navigation, how to get around. So I'm going to play that now for you. Please watch it if you're new to blender and if not, move on to the next lesson, which will be starting our grade box. All right everyone. Thanks for that and I'll see you in the next one. Bye bye. Welcome everyone to the basics of blender navigation. Now before we begin, it's important to understand how the axises work within blender. So we can see at the moment we've got a green line going this way and a red line going this way. This is called the Y axis, and this one is called the X axis. We also have one that is the Z axis, which we can't see right now. It doesn't actually come in with Blender Viewport as default, but if you want to actually set it on, you just come up to the top right hand side where these two interlocking balls are and just click the z axis. And now we can actually see that. So how do we actually move around the blended viewport? There's a number of ways of doing this. One of them is over on the right hand side here. You can see if 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 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. Unfortunate 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 T 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 you're actually bring in another cube, so if 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 B button 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. See it 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 view, 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. 5. Blender Modeling Basics: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left it off the last time. All right, so now you've got the blender basics, navigation hopefully nailed down. What we're going to do is then come in and first of all, I'm going to delete this camera. So we're going to left click, delete the camera down the bottom left hand side, you will see that I have screen casting on. This should be on all the way through the course, so if you ever miss anything, it should be down here at the bottom. You can see as well, my mouse clicks are also actually down there. So let's come in and actually select our cube and delete the other way. And let's come in and select our light, and delete the other way. Now the first thing I want to do is just save out the scene. So I'm going to come up to final. I'm going to save As. I'm going to save this out then in where all my resources and turntables and things like that are for this scene, I'm going to call it Victorian course seen, so enter twice and then we can save that out. Now, whenever you want to save it, I recommend you do this after every single lesson, you just come up to file and you go to Save. Now at the moment, you can see if I go to Edit and go to Preferences down the Bombrat. And side here you can see it says Blender 4.0 0.1 If you want to actually see that, all you need to do is come to interface, come down to where it says Status part, and this is where the blender version is actually turned on. I recommend actually turning all of these on because it's going to give you a lot of data down there as to how many faces and things like that you seem. How much V Ram using, how much Ram using, really, really important as we get further on into the actual course. The next thing that you want to set up is just for now, which is really, really important. If you come to system, you can see at the moment that we are undo steps 32. If you're running a much lower end machine, you might want to turn these down a little bit. But just remember that if you turn these down, you won't actually be able to press controls head as many times obviously. So, but I recommend don't turn this up because we've really, really got a big scene here and we want to make sure that most of you are able to actually render this out. So be very, very careful with that. A little bit later on in the course, I will be going through how you can set up your blender for better performance and optimization. Especially when we get to the stage where it might be your machine might actually be struggling along. All right then. So finally then what I also want to talk about is how to get your work back if you actually blender crashes. So all you're going to do is you're going to go to file. And you can see here where it says Recover. And then all you want to do is go to Auto Save. And what it should have done is you will see here that I have my Victorian Cor scene saved out at 1 minute ago, something like that. But what will happen is Blender should also have a cup plus saved here as you get further on into the course, and then you can go back to that actual last save. What that means is you normally will end up losing around ten, maybe possibly 20 minutes worth of work, but that should be the maximum. Normally, I've found minutes myself, it's normally just three to 5 minutes or something like that. I also recommend, if you're trying something out new, save it in another blend file. So save it in another blend file and then that will enable you to actually go back to that part. So whenever you come in, let's say to a new part that you've not done before and you know you're not sure about this modeling part, just save it out as a new file. So it could be Victorian course seen working or something like that for instance. And then once you've actually done whatever you need to do, then you can save it back as this hope that makes sense. All right then. So let's close that down. They're the first things that we want to do. Now At the moment, what we're going to do is we're going to actually be building out our gray box. So to do that, what I'm first of all going to do is bringing a ground plane. And it's called a ground plane just because it sits on these axis going over here. Now, before we go any further, it's important that we understand the very basics of blender modeling. So we're going to be going through that now. This will tell you all about the object and edit view modes and all about the faces and verts and all of that great stuff that you're actually going to need to know. And then after that, we can actually start building out this actual gray box. Alright everyone, see here on the next one. After this, if you already know all this again, move on to the next lesson. We'll be starting our great box. Thanks a lot. Bye bye. Welcome everyone to the basics of modeling in Blender. And this is a short introduction just to get you started on a few of the basics in modeling. So the first thing I want to do is bring in a primitive. The way that we're going to bring into primitive is press Shift in A. And then what we're going to do is open up a menu. And you can see that we've got all of these things along this actual primitive menu. But the one we want to focus on is the actual mesh. From here you can see we can bring in many, many things like cylinders, cubes, planes. And the one we want to bring in just now is going to be our cube. Now that we've brought our cub in, the next thing I want to discuss is object and edit mode. And you can see at the moment over on the left hand side, we're actually in something called object mode. And this means basically we can manipulate this whole object. So if I press, I can actually move it around my Viewport, so if I press S the scale, I can actually scale the whole of the object in. But the thing is, we don't really want to work in object mode necessarily, and a lot of the time we're actually going to be working in edit mode. So we can come up to the top left hand side and put this in edit mode, or we can actually press the tab button and jump into edit mode. That way you will notice once we've actually gone into edit mode, we have a lot more options to use and more importantly, we have a lot of the topology now to play around with. So the first thing you'll notice, the difference being, is that we have now these three options up at the top left hand side. And if you have over them, it will say vertex edges and faces. Now vertex is going to be these little points here. The edges is going to be these edges of my cubes or any of the edges. And finally, we've got the faces, which is actually the whole polygon face. Now you can also, instead of clicking on these, press one on the keyboard. And that then will jump you into vertex select. If you press two, you can go into edges and three is going to take you into faces. From here, we can actually manipulate any of these parts. You will notice at the moment, I've got gizmo here. Now, if you don't have the gizmo available, come over to the left hand side and you'll have this little born here that says move. Or you can press shift space bar and bring in your move tool like so. Now because I'm on faces, I can actually pull out this face like so if I go to edges I can actually grab one of the edges and pull this out like so if we're on vertexes I can grab this vertex or grab the second vertex with shift select and then pull this out like so really, really easy to actually manipulate things once you know how to select each of these parts. Now before we go too much in the weeds with actually modeling in this actual edit mode, let's just jump back into object mode. For now. What I want to show you is how we can actually move this actual cube around. So as well as moving it with the actual gizmo here, we can also press and actually freemove this object around. Or we can press G and Y two. Let's put it along the y axis. Move it around. Or the x axis for instance. And move it this way. Or even the dead axis. And move it up and down. To drop it back where we started, let's just right click like so that's actually moving the location of, it's not a cube anymore, but let's just say it's a cube. We can also scale this in as well with the S B. So we can scale it in or scale it out like so. Now we can also press the S button, hold the Shift button. And then we have a lot more finesse on actual scaling. We can also scale this up by, let's say a factor of two. So two enter and there we go. And of course we can scale it down pretty small as well. Now the next thing I want to discuss is rotating. Because if we rotate it with R and just rotate it around, we haven't got a lot of control over how this rotates. So what I want to do instead is I always want to press R, then attach it to an axis, which might be the It, so the green one. And then rotate it either by freehand or by actually inputting the value under our number pad. So if I want to rotate it, let's say by 90 degrees, press the Born. And now rotated this round by 90 degrees. Now if I want to rotate it back, I can press Y, the little minus born on the number pad 90, and then we can rotate it back. Now there is something else that you need to know. We also want to reset our transformations. And this is one of the most important things within Blender because if you don't reset your transformations, blender still considers this a cube even though it's not really a cube anymore. So what we want to do to reset the transformations is press control. All transforms. And then you'll notice that the orientation has moved over here, because it will always move to the center of the world From there, then we want to actually reset our orientation as well. So we want to right click Set Origin to geometry. And then it's going to put the origin right back in the center of this object. Now it's also important to know resetting the transformations will also impact things like UV mapping, things like modifiers. Basically, if you ever have a problem in Blender, always make sure that you reset the transformations and then most of those problems will definitely go away. All right, the next thing about resetting our transformations, it makes it really easy then to get something back to how we add it before. In other words, if I press S and scale this down and then let's press art and zed. And rotate it around this way. Because before this, I actually reset my rotations. What I can now do is press alternS and put it back to the scale that it was before I did anything, and then alternate and actually reset that rotation as well. So really, really handy once you've actually reset your transformations in what you can actually do. Now moving on, we're actually going to be looking now at duplication. So if I come round here, I'm able to actually duplicate this. If I press shift D and then press the Enter Born, it's now a duplication. And I can move this over to the right hand side. So now we have actually two objects. Now what if you want these two objects actually combined and you didn't mean to actually duplicate it in object mode for instance. Well, that's easy. We can just shift select the other one and press control J. And now they're both actually join together as you can see. So if I press Tab, now we're able to come in and actually work on them both at the same time. Now what happens if we want to actually split them off so we don't want the objects to actually be together? That's also easy. Just make sure that you select one of them first, and then all you're going to do is press L, just to select everything, so all of these faces. Then you're going to press P. Come down to where it says selection. And now if I press tab, they're both actually split off. Now, of course, using the same command. If I press tab, I can actually come in, grab a face, for instance, press Shift D. I can actually also duplicate things with inside edit mode as well. So we might want to duplicate all three of these. Shift D, I can actually come in then and actually duplicate them like so. What it also means though is that these, when you duplicate them in edit mode will be part of the same object. Of course, because in edit mode they're not actually classed as an object, they're classed as the same actual part. Now for the next part, I'm going to bring in a brand new cube. And I'm just going to show you some of the basic modeling techniques within blender and go through a few of the options. So here we have a brand new cube. And the first one I'm going to show you is if we come into edit mode, we'll always be working in edit mode to show you these things. Just make sure you're in edit mode. I'm going to grab the top face and what I'm going to do is press and that then is going to extrude this out. Now sometimes you will need to extrude something out and it will need to be a long axis, for instance. So all I'm going to do is go to edge, select, grab this edge. And then what I'm going to do is press. And you can see, because it's not tied to an axis, it's floating around everywhere. However, if I press the x born, you can see now it extrudes out following along that actual axis. Which then makes it really, really easy to manipulate it where I actually need it to go. The next one we're going to look at is something called beveling. And then all I need to do is come in and I'm going to grab my edge. So I'm going to press two on the keyboard, grab an edge like so. And then I'm just going to press control B, like so. And you'll notice now it's actually beveled off that side. You'll also notice down on the left hand side here we have something called an operator panel. It will be closed. Just open it up. And from here then with the actual bevel, we're able then to turn the bevels down. For instance, turn them up, move how the shape of the actual bevel is going to be and all that other good stuff. Now pretty much anything you do in blender is going to give you an operator panel like this. We're not going to go too much into this, but basically the moment that you press Tab button to come out of edit mode, this is going to disappear. And then you're locked in with the actual shape that you've chosen or the insert or the extrusion. So just bear that in mind. So the moment I press Tab, that actually disappears. Now what about if we want to bevel off vertices and not edges? So for instance, if I come to a vertice like this and vertices like this, press control B, you'll see that it bevels off like this. But if I come to one that are the opposites of each other, press control B, you'll see nothing actually happens. However, if I press control shift and then we're actually able to bevel off the actual vertices like so. So that's another handy tip for actually beveling. Now the next modeling technique we want to discuss is actually edge loops. So how do we get more geometry onto this? So for instance, I want to bring some edges on here. I can press control, and that then will bring me one edge in here. If I left click, then you can see that I can put this either this side or this side. But let's say I want it right in the center. I'm just going to right click on the mouse. And that then is going to put it right in the center. Now the other thing I can do with the operator panel again is then come in and turn all of these up to give me more actual edge loops. And I can even move them to the left and the right. Now I can also, if I press control Ed come in press control, I can actually scroll up on the mouse wheel to give me as many edge loops as I actually want. Or if I want a little bit more finesse, I can actually type it out on the actual number part. So I can type out 120 for instance, and at 120 edge loops to cancel it at any time, just press the Escpeboard and then that will cancel it out. Now the next modeling technique I wants to show you requires two actual blocks or two cubes like this. And all I'm going to do is I'm going to come in and I'm going to select opposing faces like so. And then I want to actually join these together, for instance. So all I'm going to do, I've selected them both. I'm going to right click and come down to what it says, bridge faces. And now you can see I can actually join those together. Now if I press Controls that and just go back a minute. You can also do this by coming in and let's say grabbing this edge. And this edge. And what I'm going to do instead is I'm going to press the Born. So, and come down to the bottom as well. And then grab both of these and press the Born. So sometimes bridge will not work, because bridge has to work with two edges and nothing in between. In other words, nothing selected there. If I come into this one now and try right click and come down to where it says bridge edge loops, you will see select at least two edge loops. So we can't actually join it off from there. And that is when it's a good idea to use the borne instead. And now the final modeling technique I actually want to show you is something called Insert. So what I'm going to do is I'm going to grab this face here. I'm going to press the Eyburn. And then you can see you can actually insert this face in. And from there you can actually extrude it out if you want to. You can also then press control B and bevel it off if you want to. And you can see now it's really easy to use all of those techniques that have actually showed you. Now lastly, the last thing I want to show you is the insert again, but this time we're going to grab this base and this base. And if I press I, it's true you can actually insert them both at the same time. Now the best thing though about insert is if I press the I and then press I again, we can actually insert them separately from each other. Like so. Now I see a lot of renders on Facebook and other social media that kind of look really, really blocky. And for instance, if I press Tab now and go into object mode, you will see this actually looks pretty blocky. But there's a real easy fix for this, so it doesn't actually have to look like that. All you need to do is once you've actually finished, right click, come up and where it says Shade auto smooth. And that then will shade it off based on the actual angle. So really, really easy to either shade flat, shade completely smooth like so, or shade auto smooth like so if you actually are struggling and you actually want it to shade it a little bit smoother than what it is, you can come over to the right hand side where this little triangle is. Go down and open up the normal. And from there you can actually increase this and shade it even more smooth based on a higher angle. The default is always set to 30. Just make sure you set it to 30 in case you actually overdo it. Now, the last thing I want to show you in this introduction is the actual cursor because I think it's very, very important to actually modeling. So what I'm going to do with the more is I'm going to make another cube with shift D. And then I want this cube on top of this cube, for instance. Now if I move my cursor over here, so shift right click. And then what I can do is I can press shift desk. And I'm going to go selection to cursor, keep offset. And that then is going to move the exact center of this cube, or the orientation to my actual cursor. Now how would I get this then? On top of this cube, I would literally grab this cube. I would first of all right, click and set the origin to geometry just to make sure that origin is right in the center. So I would then press Shift Cursor to Selected. And that then is going to put my cursor right in the center. And then I would grab this cube. And from there I'm able to go shift S selections cursor Key pot set. And now that cube is right next to this actual cube here. From here, then I can actually bring this up and let's actually just have a quick play around of everything that we've learned. So you can see now if I pulled this up, I'm going to join them both together then with control J. And then the first thing I'm going to do is come in, grab this face and this face, I'm going to right click. Then I'm going to come down to bridge faces. And then I'm going to bring in some edge loops. So let's bring in two or three edge loops. Left click, right click. And then what I'm going to do is I'm going to press Alt. Shifting, click just to select all of this edge going around here. And press the S born and pull it out like so from there then what I'm going to do is I'm going to level off both of these tops. So I'm going to grab this top shifts like this top, I'm going to press control B and actually level them off like so from there then I'm going to bring in an insert. So I'm going to grab the front top here. I'm going to insert this with the eye button like so. And then from there I'm actually going to extrude out. So I'm going to extrude this out like so. Now let's say I want a bigger piece on the next bit. I'm going to press Shift D, Pull it out, so this is a duplicate of this face. I want to press the S bond to make it a little bit bigger, and then I'm going to press and pull that out along that axis. Finally, then what I'm going to do is grab this one. And this one, I'm going to right click then and bridge faces like so. And you can see just how easy this really is now to actually start building out some really, really complex models with everything that you've just learned. All right everyone. So I hope you enjoyed that. And I'll see on the next one. Cheers. 6. Modeling Greybox Using Human Scale Referencing: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left off. All right, so now let's start with our gray box. So first of all, what I'm going to do is I'm going to bring in a plane. So shift, let's go in, bring in a plane. And then what I'm going to do is actually I'm not going to scale this up based on the object mode. So what I'm going to do is I'm going to go into edit mode. And then we're going to come over here where this little boxes. And what I'm gonna do is I'm going to click this little down arrow. And what I'm gonna do is I'm going to put edge length on. So just click this edge length on and now you'll see it actually gives you an edge. Now the reason I want to do this in edit mode if we do this in object mode, so if I bring this out like so, you can see that this isn't right. So you can see at the moment it's been scaled up. And each one of these represents 1 meter. So this is realistically around 6 meters, but it's still saying 2 meters. So what I'm going to do is press controls a couple of times and then we're going to bring it to 2 meters. And then now if I has press seven on the number, had to go over the top and bring this out. You can see now it actually scales up the way that I want it. So the way that I want to scale this up is I want this to be around 27. So if I bring this up on going this way, so around 20.7 meters. So let's scale it down. You can also hold the shift on to slow it down. So 20.7 going that way and then 23.3 going this way. So the other great thing we can do is we can press two and actually grab the edge like so press shift space bar to bring in you move tool. And then all I'm going to do is pull it out. And as you pull it out, you can see down on the right hand side. This actually starts scaling up. So we want this on the right hand side and left hand side. In other words, the length of it to be 23.3 meters. So again, I'm going to start pulling it up, holding the shift button down, bring it up, bring it up, bring it up 23.3 meters like so. And I've measured this out so that we get a really accurate representation of what actually, or what I've built before. So that you can actually follow along really easily without worrying too much about scale and things like that. All right, so the next thing then we want to do is we want to then hop on over to our actual resource pack. And what we want to do is we want to bring in some of those resources. Now now in a little bit, I will be going through the asset manager and showing you how you can actually bring things in from the actual resource pack using the asset manager, which is going to make it much, much easier. So for now what I'm going to do is though I'm going to bring over my asset manager, which I've got to open here. Let's open it up. And the one that we want is the human reference. So this one here. And all I'm going to do is I'm just going to press control C just to copy it. And the great thing about blender is if I put this down then and press control V, There we go. Now my man is actually brought in. Your man should be facing this way at the moment. So if you press one on the number pad, it should be facing this way. And because I'm in object mode as well, I need to press Shift Spacebar. So in other words, to bring in a gizmo, I need to press Shift space bar in edit mode and in object mode. Or you can just come up to the left hand side and click this on. And here's our little guy over here. All right, so the next thing then, if you press seven on your number pad, what we want to do is we want to place him roundabout here. So just a little bit from the center. The other thing is we want to move this now to the actual center. So the easiest way to do this, as you can see at the moment we've got the cursor right smack bang in the center. If you haven't just press shift S cursor to world origin, that's going to pray in the center. And from there now you can grab your plane. You can press control all transforms, right click, set origin to geometry. And what that's going to do is it's going to put that origin right in the center of our plane. And from there then we can press Shift. And so shift S selection to cursor keep offset. And it's going to move our plane right into the center. So now we've got our plane bang in the center. Which means that when we're building things out, we know when we're taking a render or, you know, going around our scene like this, it's right in the center and not lopsided over this side or something like that. All right, so now then let's actually bring in our first building. And it will be the first building we actually build, which will be the actual cafe. We will be bouncing between these buildings because it gets very tedious if we're just focusing on one building. So in other words, we build one whole building. Can we do all of the furniture, all of the windows and things? It does get very tedious like that. So the easiest way to do it is to bounce between things and keep it, you know, exciting and things like that. We'll also be adding materials and textures as we go along just to keep you really invested in the project. All right, so now then let's come to our first building, which we're going to put roundabout here. Let's first of all bring in a actual cube. So what I'm going to do is I'm going to bring in a cube. So let's bring in a cube. What I'm also going to do is I'm just going to pull it up like so I'm going to press the tap button and immediately you can see the best thing is that we've actually got this scale on here again. So we've got all of our sizes on here. Now what I want to do is I want to focus on this line going down here first. So I'm going to come to face, select, grab this face. And what I'm going to do is I'm going to pull this out so that this one down here. Comes to 5.96 So 5.96 something around there. And then what I'm going to do is I'm going to go round this side now and grab this face. And what I'm looking for is this one down here. So in other words, we've got the length. So this is the length. That's the width I've just done. And what I want to do is I want to pull this out then to 5.81 I'm going to bring it along. 5.81 holding the shipborne, there we go. So now what we need is of course is the height. So the height on this is going to be 3.42 meters. So I'm going to grab the top of this. And then what I want to do is lift this up. And you can see at the moment it's 2.5 Let's keep going. So 3.42 meters. So now you can obviously see that we've got a little bit stuck in the floor and we really, really don't want that. So all I'm going to do is I'm just going to grab this and pull it up just a little bit. So now we need to put this in place. Now the other thing is you will notice if I put my guy next to here, you will see that this is quite a tall building. What we're trying to do here is get the gray box for the individual levels of the building. Now, some of the buildings are going to be short and some of them are going to be high because you want a lot of variation, especially in a scene like this. Because after all, it's a Victorian era scene, they weren't built like today, where you have just levels going up and they're all exactly the same. That's not how they were built. They were built on different levels and all of the buildings at different levels. But we need to make sure that whatever we're building, that we can put doors or levels in there which are obviously taller than our guy, because he's not going to be stooping down to get in a door. So we need to think through this process when you're building your own projects out there. All right, so the next thing we need to do is let's put this in some sort of place. So what I'm going to do is I'm going to come over the top and I'm going to grab it. I'm going to press seven to go over the top. And what I want to do now is press, and when you press, when you're in this top kind of view, it's not actually going to move it from the floor. In other words, wherever I put it around here, you see you can press now, I can put it somewhere and all it's going to do is move it on the Y and the X axis. It's not going to change where it is on the floor. If I press one and I press now, I can move it around here, but it's not going to put it down along the Y axis. All right. Also remember if you're pressing G and you move it somewhere that you don't want to, just right click and it'll drop it right back in the same place. Well, let's press seven now and go over the top. And what I'm going to do is I'm going to put it roughly around here. Because I've got to think what I actually want in this scene. So at the back here, I'm going to put some benches in the front of here. I'm going to have some tables and chairs, because it is a coffeehouse after all. All right, So now we've got that, Now we can actually focus on our next floor. So the next floor all we're going to do is I'm going to come round, I'm going to grab this part here, I'm going to press Shift D. I'm going to drag it up because what I don't want to do here is I don't want to actually alter the size of this, at least not at the moment. All I want to do is alter the height of this actual building. So the height of this building is going to be 3.05 meters. So all I'm going to do is we're gonna press Tab. I'm going to grab this top and as I pull it down, you can see now that that starts to come down. I'm going to hold the shift button down and bring it to 3.05 meters. So you can see 3.05 meters like so. All right, so now let's come to the next building. And what I want to do now with this one is I want this on 3.47 meters, so L shift D. We can also grab it in edit mode. Bring it up like so grab the top of it and then we're going to pull it up and we're going to bring that then to 3.47 meters, like. So there is basically our first building or our first grade box all there. Now you will notice, because the way I did it, that these two are actually split from each other. That's because we actually duplicated this part in edit mode. And this part was duplicated in object mode. Now let's join these together because we've pretty much got what we need here. So all I'm gonna do is I'm just going to join these gaps. I'm gonna press on this one, left click, shift select on this one, and then press Control and J. And that then is going to join them together. Next of all, I'm going to come in, save out my file. And I'll see on the next one everyone. And by the end of the next one, we should have the gray box laid out. Then what we'll do is we'll think about looking at our asset manager. And finally after that, we'll bring in some lighting. All right everyone. I'll see on the next one. Thanks lot. Bye bye. 7. Greyboxing Buildings Crafting the Foundation of Your Victorian Scene: Welcome back everyone to Blend the Fall, The Environment Artists Guide, and this is where we left there. Alright, so what we're going to do now is we're going to do the actual next building. So what I'm going to do is I'm going to come over to this side now and I'm going to bring in another cube. And then we'll set that out over here. This will be the actual perfume shop. So what I'm gonna do is I'm going to press shift A. I'm gonna bring in a cube. And then all I'm gonna do is I'm gonna drag my cube over here, press seven to go over the top again. We can press G. And then what we can do is we can actually go into edit mode. So tab A to grab everything. Just make sure you do, press A, so you've grabbed everything and then all we're going to do is we're just going to pull it out just to get some sort of scale. Now I'm going to do is I'm just going to pick this up above the ground plane to make sure that it sat just above the ground plane like So now let's get some right scaling on this. So what I want to do is I want to make sure first of all that this going from here to here is going to be around 6 meters or 6.01 meters. So if I pull this out, I'm going to pull it back a little bit. I'm going to keep pulling it back, so to 6.01 So then the next one is I'm going to pull this one out. And what I want this to be is 7.8 1 meter. So let's pull it out. 7.81 meters. And now we've got just the, and the height on this one will be 4.55 so keep dragging it down to 4.55 Again, holding the shift B. Now we've got the right size. Let's actually put this into the place where we want it. So all I'm going to do is I'm just going to press tab seven to go over the top. And what I want to make sure is that it's a little bit of a line of difference from here to here. Because we're going to actually put another building here. And we want to make it look as though, you know, somebody is going to be walking down this road. Now the other thing is we also have to think about steps and back doors and things like that. We don't want to allay too tight or anything like that. What I also want to do is I want to move this down a little bit, maybe a little bit more like. So now I'm just going to put my man here and just make sure he can walk down this alleyway and he looks pretty nice. Now again, remember once we've actually built buildings, we can move those round to our heart's content. All this is doing is just getting things in place so we can actually start building upon them. A lot of times you're going to build this out and you are actually going to have to change things. But the main point of actually building a gray box is the fact that you can get lighting in and you can have a good look round at how it's actually going to look. And that's the main point of an actual gray box checking out how the environment's going to look. All right, so the next thing then what we're going to do is we've got the first level on here. So what I'm going to do is I'm going to grab this actual box. I'm going to press Shift D. I'm going to drag it up then to the top like so. And what we're going to do now is do the second floor because we know they're going to be the same kind of length here. So what I'm going to do then, I'm going to press Tab. I'm going to grab the top of here and 'n drag it down. And I want this to be 3.34 meters. So pull it up, pull it up. 3.34 meters, going along this edge here. So this one here, you can see is 3.34 meters. Same for this one as well. All right, so now let's come in and actually do the next one. So what I'm going to do is I'm going to grab this again. Shift D, bring it up and you can see it's already taller than our last one. We only want it a slight bit taller. So what I'm going to do is I'm going to come in three to grab my face. So press three, grab my face, and then just drag this down to 2.87 meters. So 2.87 meters. So. So you can see it's slightly taller than this one. It is a different shape and that's the most important thing. We want each of these buildings to be a different shape, so they really starts to look nice and not too much the same, too similar, because this is not how this era built buildings. All right, so now we're going to do is we're going to bring in another one. So we're going to bring in another cube. Before we do that though, let's join all these together with control J. So shift select them all, press control J. And now we can do is bring in another cube. So I'm going to bring in another cube. And now what I'm going to do is build the bookshop. So what I'm going to do is I'm going to set it slightly back from this one so you can see it slightly set back from this one. And then what I'm going to do is I'm going to press Tab again to go into edit mode. I'm going to pull it up to my ground plane like so. And then what we're going to do is we're going to pull it out this way, pull it out this way, and finally get the actual right height. You'll notice that I'm clicking on my other screen as well. And obviously that's because I've got a gray box over there, which I'm using to actually help me set this out for you guys. All right, so with this then, what I'm going to do is it's going to be 6.3 meters this way. So if I pull it out to 6.32 meters this way, so going back a little bit, holding the shift bun down 6.32 meters that way. And then what I'm going to do now is I'm going to pull it the other way, and it's going to be 4.06 So pull it out, pull it out, pull it out to 4.06 like so. And then what I'm going to do now is I'm going to pull it up to 2.94 so we can see at the moment, 2.94 Around there. The height is 2.94 The width is 4.06 and the length of this building is 6.32 Now I'm going to do is I'm going to press Tab again, press Shift D, Drag this up, then put it on top of this building. And the height of my next building then is going to be 2.94 meters. So let's just check that whether it's already there, 2.94 meters, like so. And there we go. All right, so now then we've done the bookshop. We just need now the butchers. So let's come to the butchers. So we'll do that. Now what we'll do is again, we'll bring in another cube. I find it easier to do it that way. The one thing is with this one, we want it set back a little bit on here. But we do want it level along here because we're going to put a chimney on there. Now again, it's important when you're building this out, imagine what each of these buildings is going to be. And with the references you've already got of what you're actually going to put in them. And you'll find as you work through, you'll start building the base. And then you'll start adding more and more things, which is really important. All right, so shift A, let's bring in another cube. Let's pull it over again. Let's just get it, first of all in the right place. So I'm just going to press G. I'm going to push it back against there. And then what I'm going to do is I'm going to pull it up just so it sat on top of that ground plane. So then what I'm going to do now is I'm going to get the right size. So first of all, I'm going to pull it out this way. So I'm going to grab it this way and it wants to be 5.19 meters, so pull it out 5.19 meters. So then what we're going to do is we're going to pull it the other way. And it's going to be 4.47 meters. So pull it out 4.47 meters like so. And you can see as well that this, it's actually probably in the good place. It probably needs to all go this way a little bit. This building and this building, but we'll saw that out in a minute. But you can see now it's laid out really nicely. I also think that it needs to probably come this way, but we'll deal with that in a minute. Now let's get the height. So what we're going to do is we're going to bring this to a height of 3.6 meters. So let's bring it, bring it up, bring it up 3.6 meters. There we go. And then all I'm going to do now is come to the next one. And the next one, we're going to make it 2.12 meters. And it should be around the same height as here. What I'm going to do is I'm going to press L to grab it all. Shift D, bring it up. And then what I'm going to do is I'm going to bring this down to 2.12 meters. I actually don't think that's the right height. What I'm going to do is I'm just going to bring it down to just the top of there, actually. And then what I'm going to do now is I'm just going to check that this building is the right height. I think that this I'm not sure actually, if it's a little bit too small. I'm just wondering, actually, you know what, We're going to leave it that high. I'm going to come back to this one now. And then what we're going to do is the last one, which is going to be 1.68 meters. And the reason this one is smaller than what I said before is because the roof actually is going to intersect with this one, giving it that Victorian field. But we'll go through that obviously, as we come to that part. So, what I'm going to do with this one is I'm going to press L again, shift D, just to drag it up. And then what we're going to do now is we're going to come to the top of here and we're going to pull it down to 1.68 meters. So pull it down, pull this one up now, 1.68 meters like so. And we should end up with something like that. Now finally, what we're going to do before we finish this is we're going to go over the top. We're going to make sure, first of all that all these are joined together. So join them together with control J. Make sure these are joined together. Make sure these are joined together. And then what you can do is you can go over the top now. Now what I'm going to do with this one is I'm going to grab both of these. I'm going to pull them a little bit this way, and then I'm going to pull them a little bit this way as well, just like that. And then I think the gap here is looking pretty nice. And the last part we're going to put in here, then on the next lesson is going to be the roofs. And it's going to be the subway, which is going to be here. And we're just going to create a block for the subway just so we can get an idea of where everything's going to go. All right everyone. So I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 8. Sculpting Victorian Rooftops with Greyboxing: Welcome back everyone. To blend, The Fall, The Environment Artists Guide, and this is where we left here. All right, so now let's come to our actual subway. So what we're going to do is again, we'll bring in a cube. So I'm going to press Shift A, bring in a cube. And then all I'm going to do is press to go over the top. And I'm just going to put this somewhere around here just for now. And we'll move it out in a bit. Let's then pull it up. And then what we can do now is we can get the actual length. So the length is going to be 2.13 meters times two, which will be 4.26 meters. So let's pull it out to 4.26 meters. So something around. Let's have a look. 4.26 Let's pull it down there. There we go. And then what we'll do now, the height is going to be 1.08 meters. So bring it down, bring it down 1.08 meters, like so. And then what we're going to do is we're just going to bring in an edge loop. So control right in the center, Left click. And then what you're going to do is you're just going to right click and that will drop it right in the center. And then finally what you're going to do is you're going to pull up this next bit. So if you come to face select, grab this face and all I'm going to do is press and just extrude it up. And you'll see as you start to extrude the right hand side, you'll see also has to lengthen it. And we want to bring this to 0.991 0.99 not 0.99 wants, bring it up a little bit. Not 0.991 around there. It doesn't have to be absolutely perfect. There's something around there. And you can see now this is going to be the top of our subway. This is going to be the walkway and the little, you know, kind of barriers that are on the side of here as well. Now we're going to do is we're going to go over the top soon. Just going to press seven just to go over the top. And all I'm going to do is just make sure this is in the right place. I'm going to pull it this way a little bit of like, so pull it this way a little bit, and then we've got enough room for the bandstand over here and things like that. Now again, these are just, I think I'll pull it this way a little bit. These are just placements, so just remember that. And we can, you know, change them at any point or make them a little bit bigger, a little bit smaller depending on how we feel. For instance, on this one, I feel like maybe if I put my guy here, it is a little bit too long on here. I think I'm going to leave it for now. And when we come to it, we can make it a little bit bigger. Now, the other stuff like the benches that you see in the scene, or this U bus stop over here, or the little newspaper stand, or even the car, we're not going to worry about at the moment. We're going to do those, you know, as we actually start to build the buildings. This is, as I say, just a grade box. The next important thing though with the grade box is to bring in the actual roofs, just to have an idea of how the roofs are going to look and especially which direction they're going to go in. So to do that, I'm not now going to worry about any sizing or scaling or anything like that because we don't need that anymore. We've pretty much got everything laid out that we need laying out. So what I'm going to do now is I'm going to come up, I'm going to grab one of them. I'm going to come up and turn off, let's turn off this, so we'll come in edge length. Let's turn it off. And now what we can do is we can come in and let's say we grab the top of this one. I can now duplicate it. So shift D, duplicate it. Bring it up a little bit, and then all I'm going to do is press control to bring in another edge loop. Left click, right click. And then all I'm going to do is just pull it up a little bit and this will be the way that this building is facing as you can see. And now what I'm going to do is I'm just going to grab this one and this one press and then come round, grab this one and this one press. And there we go. Now all I can do is I can just grab the whole thing with L and just bring it down into place. And that is then going to be my coffee shop, or roughly my coffee shop. We're obviously going to build it out. Now let's come to our next building. This one is a lot more complicated. First of all, it's got a round part in here as well. We'll put that in in just 1 minute. Let's first of all deal with this roof going up here. So all I'm going to do is I'm going to come in, I'm going to grab this roof here. I'm going to press shift again, bring it up. I'm going to press control left click, right click. Pull it up then. And then obviously what we need to do now is making it much, much thinner. Because this roof is going to come to round about here. If I grab this with L, I'm going to scale it on the Y and Y, bring it in, so bring it to the side. So, and let's just put that in place, roundabout there, right to the edge like so. All right, so that's looking pretty nice so far. Now let's think about this bit because it is a little bit rounded. So the way that we're going to put that in is I'm going to press tab. I'm going to press shift and I'm just going to bring in a cylinder. I'm not going to worry about how many verts or anything like that at the moment. I'm just going to bring in a cylinder. And what I'm going to do then is just scale it up. So I'm going to scale it up like so, and then I'm just going to put it into some sort of place like so where I know it's going to roughly go. And then what I'm going to do is I'm just going to pull it up. Now the thing is about this cylinder is it's going to be the same height as these. Now we don't need to worry about that because we're definitely going to be replacing this. All we want to do is get this in place so we can see how the rest of the building is going to be. So that's what I'm going to do. So at the moment, if I go over the top, I can see this is kind of the scale it's going to be. Is this a little bit too small? I think so. So I'm just going to scale it up a little bit. And then I'm going to put it back into place. So pull it back into place like so. And it's nearly nearly touching this roof here. And I think that looks about right. Okay. So what I'm going to do now is I'm going to come in, press tab face, select, grab the top face. And then all I'm going to do is I'm Jaws going to bring it up to here. And then finally what I'm going to do is I'm going to extrude it up. So I'm going to press, pull it up and I want it to be quite high, so a little bit higher than this roof here. And then I'm going to press and scale it in like so. And I think that's looking about the right height as well. Now I'm going to do is I'm going to come in back to my building. I'm going to grab this building here, so L to grab it. I'm going to press Shift D Enter, so it doesn't move. So the moment if I press, you can see we've got another duplication. Right click to drop it back in place. Then all I'm going to do is press R D 90 to rotate it round. And then I'm going to go over the top with seven, go over the top. And then I'm going to press G and move it into place. Now we can see straightaway that it's way, way too big. But if we scale this down, it means that it's going to scale all of it down. And we want this to come round about. Down, down to round about here. So in other words, just into this building. Now the other thing is this roof wants to be a little bit smaller than this one. So first of all, I'm going to press S and's head and pull it down, and then we're going to fit it to top of the roof. And then finally when I'm going to do it, I'm going to press and Y, is it Yes, and it no S and X. Let's pull it in, let's move it over like so. And we want it basically come in to round about there. So you can see it needs to be a bit pulled out a little bit more like so roundabout there. And that then is going to be this roof. Now, last of all, what I'm going to do is I am going to fill in this one and this one. So I'm going to grab this one and this one, press the button to fill it in, and then I'm also going to grab this one and this one to fill it in. And finally this one and this one to fill it in. And I'm doing that for a reason. It basically means that when the light, so when I bring me in, my light, I've actually got some understanding of how the light is going to work on here. If you've got a hole in there, it's going to make it much, much harder now as well. I'm going to come to my actual cylinder. I'm going to right click, and I'm going to shade auto, smooth so I have a good visual on how that's going to look. And then finally, let's come to these two. So I'm going to grab this one and this one, I'm going to pull them down a little bit, just so they're actually interacting with that bottom part there. All right? So that's that part. Now let's come to this building here then. So this building here, I want to go straight up, it is going to have a flat roof. Same as this one. And then I'm going to have a little bit of an outcrop over here. So let's do that next. So what I'm going to do is I'll come to this roof. Same thing again. I'm going to grab it. This part here, I'm going to press Shift D. And then what I'm going to do is pull it up slightly. Press control, left click, right click. Just drop it right in the center. And then what I'm going to do is I'm going to pull it up like so. And this one is going to be quite a tall roof, but again, it's going to have a flat bit on the top. I'm going to make the flat bit straight away. And the way I'm going to do that is I'm just going to bevel off the top. All I've going to do is I'm just going to select this edge. I'm going to press control B, pull it out. And then I can actually flatten that off really, really nicely for me. Then what I'm going to do now is I also need one going this way, so maybe, maybe a little bit too hasty there. And what I should have actually done is press control. Ed, just to go back, I should have grabbed this roof. Press shift D, R D 90 to spin it round. Let's put this in place then. Where I want it to go, I want it to be a little bit thinner than what this is. So I'm going to press S to shrink it down. And the other thing is I want it going a little bit to this side at the moment, it's right in the center. Let's pull it a little bit over to this side. And I think that actually is a good scale. It's about the right height. And now I can actually come in and level this off, and then I can make this a little bit smaller depending on how this looks. So what I'm going to do is I'm going to press control like we did before, pull it down. And then what I'm going to do is I'm going to come to this roof. I'm going to press the S button, like so I'm going to drag it down to the actual top of this building as you can see there. And then I've got it in the right place because they already put it to this side. And what I'm going to do then is grab this building, press L, and I'm going to also press one on a number pad. And just bring it down then to the top of there. So now you can see this is how it's going to look. You can see that this one is way, way too far out. We need to really, really bring that back. So to do that, all I'm going to do is I'm going to press L on this. I'm going to drag it this way first, just so it's intersecting into that roof. And then I'm going to come grab this edge, shift select this edge, and then I'm going to bring it back to where I want it, which will be something around there. I think that's looking pretty nice now, again, because of lighting. And we're going to see the bottom of this building. So let's come in, press the button on both of those, and then we'll grab this edge. And this edge, we'll press on those like so. And then finally we'll grab this one and this one, press the button and then round the back. This one and this one. Press the F button, and there we go. All right, so on the next lesson, then we'll get the final building, actually, sorry, the final roof in place. And then what we'll do is we'll think about bringing in some lighting just so we have a good visual and how it's going to look. All right, everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 9. Organizing Your Scene Collections and Layers in Blender: Welcome back everyone. To Blend The Fall, The Environment Artists Guide, and this is where we left it off. All right, so what I'm going to do then, I'm going to come to this building now, let's actually pull this up a little bit. So this one's a little bit of a weird one because the actual roof is going to start from here. In other words, the windows are going to come in partly into the roof. So let's come in then. And what we'll do is we'll grab the top of here, we'll press Shift D. We'll pull it up like we've done before. We'll press control R, left click, right click. And then what we're going to do is we're going to pull this up higher than this one. And then I'm going to bevel off the top of this one like we did with this. So let's press control B. Let's pull it out like so. And then what I'm going to do is now I'm going to drop these down. So if I bring these down to here like so. And then what I'll do is I'll press S and why pull them out a little bit like so. And I think that's going to be about right for now. Then what are we going to do is we're going to press F. While I've got these two edges, just press F. And then what we can do now is we can come in, grab this one, and this one, press the F button, come round to the back, this one and this one. Press the F button, and there we go. All right, so that's that building done a little bit higher than this one. The only thing I think that we need to do is just come in, grab the top of this one, and we're just going to pull it out a little bit. So I'm going to press and y, and pull it out just to make it a little bit larger than the other one. Okay, so we've got our butcher shop, we've got our bookshop. We've got our perfume shop, and we've got our cafe. And finally we've got the makings of our subway. So everything's sort of in place at the moment. Now, one thing that's probably not right is just the alleyways and things like that. We're not going to worry about those at the moment, as I said. Now the next thing we want to do then, before we do anything else, is we want to join all of these up. If I join these together, control J, right click, shade, auto, smooth, and then make sure that these are all joined together. You can press right click, drop them in place again, and then finally this, all of it is joined together. Now I want to do is I'm going to actually show you how to actually do collections properly. It's very, very interesting. We're going to use it on the next lesson and go through it and actually put these in some sort of collections because it's going to make it much easier as we start building in the future. All right everyone. So I hope you enjoy this collections tutorial. I hope you find it useful. And if you already know all about collections, move on to the next lesson. Alright everyone. I'll see on the next one, thanks a lot. Bye bye. Welcome everyone to our collections guide. And you'll notice over the right hand side in blender, you will have something that's called theme collections over here. And this is basically how the old blender used to actually handle laying. So with different layers you would have different scenes or different objects in place. It's changed a little bit now, and in the new Blender 2.8 onwards, we're now dealing with scenes and collections. So the first thing you'll notice is over here that we've got one that says collection. Let's call this collection plane. And then what we'll do is we'll actually put our plane into that collection. Now at the moment you can see within this collection, our plane is actually here. And we don't actually want the other three, we want them basically into a different collection. So all I'm going to do is I'm going to right click, I'm going to go and click New Collection. And then what I can do is I can call this cube like so. And then what I can do is I can left click and drag and drop my cube into the new collection. And then what you can actually do is you can actually close these up and you can see how neat that is. Now what we're going to do is I'm going to show you the other way of doing this. Now if we come to our actual sphere, what I'm going to do is I'm going to press the button. I'm going to click New Collection, and I'm going to click Sphere. So press Enter or hit the okay B. And there we go. Now we've actually got a new collection with our Sphere in there. The other thing is you can also come, you can press the N button. And then what you can do from there is you can actually click on one of these. So let's say we wanted this cylinder in the cube, and it will automatically put the cylinder in the cube. Now if you don't want that, you can press the Enb again. New collection. And let's put cylinder like so. And then click Okay. And then we go. Now we've actually got a really nice collection sorted out really fast. Now what about the objects in there? Then what you can do as well is let's say we want to change the name of this cube. We can come on over to it. And instead of actually going in here and renaming it, what we can actually do then is press F two, and there you go, the object name comes up. And if we change this to cube 33, press Enter. You will see. Now if we go to the right hand side, this cube is called 33. Now, it's important in large scenes to actually put things into collections because that way you can actually increase the performance of blender. Or you can hide certain things out of the way. Because what you can also do is you can grab multiple objects. Press the button again, drop them in a new scene. So press M New Collection, and let's call this one objects like so. And there we go, we have our new one with all of the objects actually in there. Now you can see as well that because nothing is left in there, we've not got this little arrow there. So all of these are now empty. But it's quickly and easily able to just press M and put them in their own collections once more. The other reason why this is actually important is because many of the displacements or particle systems and lots of other things within blender or even geometdes, you can actually use collections to do certain things to a certain bunch of collections. Okay, so the next thing we're going to look at is over on the right hand side. We're also able then to hide any of the collections. So if we click the little on here, that will mean that this collection has been hidden away from the Viewport view. Now it's important to distinguish between Viewport and Cam review. So the Cam review basically means that if I click this off, when I actually come to render this scene, everything within this collection will be hidden out of the way. It won't cast any shadows or anything like that. It will all be hidden out of the way. Now the other one we've got is this little tick born. If I select this, you will see that it just turns both of them off, so it won't be visible in the viewport nor in the render. Now the other thing to look at is if we click this little down arrow. We also have a few interesting ones here. So we have one that says indirect only. We have one that says hold out. But the ones we're most interested in is actually this one here. So if I click this little arrow here, you can see now we get a new option. And if I come and click it on here, you will see now that if I come across, these will still be rendered in the Viewport. Still rendered in the render, but I'm not able to actually click on them. Which makes this really handy if you're trying to grab a load of actual assets or objects, that you won't actually be actually selecting this collection on top of that. Now the other thing is if I turn this on, I can also do a search here for, let's say cube. So if I'm typing cube, so I'm able now to quickly and easily find it within my actual scene. The other thing is over on the right hand side as well, the double tap, the Able. And to deselect everything also actually works. So let's turn this off now. So now let's have a quick look at this in actual action, in a real scene. So you can see here we have a scene here with many, many, many parts which aren't named. And we need to basically put these into their own collection. Because you can imagine a scene like this with thousands of parts all in the same collection is obviously having an impact on the blender performance. So what I'm going to do is I'm just going to hide the floor, hide this part of the floor, hide maybe this car. And then what I'm going to do is I'm going to go over the top. And all I want to do now is just make sure that I'm not going to select anything else apart from this actual building here. And then all I'm going to do is I'm just going to press B and just try and select everything on that actual building like. So just make sure I've not got my camera selected or anything like that. And then what I'm going to do is I'm going to press the Born New Collection, and let's call it Butchers shop. And then press Enter and click, Okay. And now what I'm able to do is I'm able to now come all the way to the top of here. So I have to go all the way to the top. And then let's start closing up these collections like so. So we've got square building there, we've got bookshop and butchers, And now we've got the butcher shop, which is the one that we've just made. And now you can see just how quickly I can actually clean all that up. So now I've come along and I double tap the A so I've not got anything selected. I bring back my floor like so I double tap the A again. And then what I'm going to do is just close the hide the butcher shop out the way. And you can see this is the parts that I've actually missed. And then all I can do is I can select these three parts or four parts like so press M and let's drop them into our butcher's shop. And then they'll be hidden out of the way, leaving the other parts that are left which I actually missed. So butcher's shop again. And there we go. So now we're able to hide the butcher's shop or we're able to bring it back into the scene. So from there, going a little bit more advanced now, what we're also able to do is hide all of our collections in one go. We just need our mouse in the viewport. And then all you need to press is number one. And what that'll do is hide all of these collections from there were you can actually do is you can press number two. And what that'll do is actually bring in the gray box or the second collection on there. Number three then brings in the third actual collection and so on and so on and so on. As you can see upturn maximum I think of even nine or zero. So you can see very, very easy once you've put them in collections to rename them, to actually increase the performance within blender, to hide them in the actual viewport or hide them in the render. And then also once you've done that to select, they'd have to be a very, very big scene to have more than take collections within the collections as well. You can also add in a collection, so I put new here and you'll see if I open that. Now we've actually got a new butcher shop one. So within the collections, you can also have collections within themselves. And you can build a really, really large hierarchy from there. All right everyone. So I hope you enjoyed that. I hope you found it useful. Thanks everyone. Cheers. 10. Enhancing Atmosphere with Blender's Sky Texture Node: Welcome back everyone to Blender for the Environment Artists Guide, And this is where we left off. All right then. So what we're going to do now is we're actually going to put these in collections. So I'm going to come, first of all, to my ground plane. I'm going to press the button New Collection. And I'll call this ground plane. And then I'll come to my Subway. I'm going to press collect. Subway press. Okay. Or twice. You can also press twice. We'll come then to our coffee shop, and then we'll come to our bookshop, New collection book shop. Enter, Enter, and then butchers M. And then finally our perfume shop. Perfume shop. Not like that. Without the. Okay, there we go. Now you can see we've got all of these into a collection. Now last of all, what I want to do is I want to write Click New Collection. And what I want to do is I want to call this gray box or gray boxes like so. And then what I can do is I can drag all of these, so all of these ones we've just made. And drop them into our gray box. And close that up. And now anytime I want to close down my gray box, I'm free to actually do that, making it much, much easier to work with. All right. So now what I want to do is we want to bring in some lighting before we do anything else and check out how that's going to look. Now over here on the right hand side, you will see that you've got some options where it says world. And at the moment we've just got a background. If I click this on at the moment, you won't really see anything. And the reason is because first of all, we've got no light in here and second of all, it's on actual V. Now I recommend for this, you can use V to basically check how the scenes coming on, and for those of you with a quicker computer, you can actually use cycles. So if we switch this over to cycles, you'll see this happens. And what we'll also do is we'll put de noising on for now, this actually uses a lot of actual power from your computer. We will talk about this in the future under performance and optimization, but for now just click it on. Now the next thing we want to do, we're not going to go into too much details about V and cycles right now, because we're going to discuss that again a little bit later on. For now, all we want to do is getting some basic lighting to see what the scene is actually going to look like. And this is what I always do, basic lighting first. And from there as we build the scene out, then we can bring more and more lighting options in and get a really good visual then on what things are going to look like at the moment. All we want to do is get an idea of how this scene is set out, if the lighting is going to look good. So what we're going to do now is we're going to go up to Edit Preferences. And then what we're going to do is we're going to put this on either non cutter or optic X. The higher you go up here basically towards optics X, the better it's going to actually look and the quicker it's going to render. So I recommend if you can put it on optic X. Click that on, and then click on both of these, because then it gives you the option of using your GPU or your CPU. Now, some of you out there might have a much faster graphics cards and some of you might have a much better processor. It just all depends. I'm going to click both of mine on, so just click on whichever one you can. And basically if you can't have any using a low end machine, then you're probably going to have to use V instead. Alright. Once you've done that, then close that down and what we're gonna do is we're going to actually, as you can see here, the samples, they're very slow going up before it says done. If I move this over and see very slow before it says done, what I'm gonna do is I'm gonna put this on my GPU and now you'll see just how much quicker that is every time I move around. It's done near enough, straight away. So that's what we want, that's why we put it on our graphics cards rather than our process it. Because the graphics card is much, much better actually rendering it out whether it be in the viewport or whether it be in actual raytracing. Render the graphics cards normally better. All right, so once we've done that, then what we want to do now is bring in some lighting. So what I'm going to do is I'm going to come over to my shader. And then what I'm going to do is it's gonna load up like so. And at the moment you can see that my shader is going to be on object. We don't really want that on. What we want our shader to be on is to be on the world. Now, first of all, before we do anything, what I always like to do is just drag this across because we're not going to need really any of these. So I'm just going to come down to the bottom left hand side. You'll see if Garlille crosst, left click hold, and just drag it across to the left hand side. And then you're going to end up with a bit more room. I do want to keep my UV map on here because sometimes that's really handy actually to have. But the rest of it we're not actually going to need. The only other thing we're going to need really, is to be able to click on our materials. We're going to definitely need to do that. So we're going to leave this side over here on next of all then at the moment this is on each of the objects, they've got no materials on them, so there's nothing showing up here. We're not interested though right now in materials. What we're interested in is coming over and putting this onto world so we can actually mess around with our world Lighting. As I say, at the moment we can't see anything because we've got this on material mode. If we put this on shade mode, it will take us into blend the cycles. If a double tap, the, this is what it's going to look like. Now at the moment, the world, if a zoom out of a little bit, only has a background on this. If I bring this up, we'll bring the lighting in and we can change the background to be a blue or something like that. We don't actually want this. I recommend honestly when you build in things like this, trying to get away with as much world lighting without light sources as possible. Because it's going to speed up the whole process. So instead of this we're going to be using a sky in built sky texture world. So I'll show you how that works now. So what we're first of going to do is we're just going to select our background press, Delete and delete out the way in your notes. Straightaway, everything goes black because there now isn't any lighting whatsoever, no light sources at all. So now what I'm going to do is I'm just going to come in, I'm going to press Shift Day to bring in a new node. And I'm going to click on where it says Search. And the one I'm going to look for is the one right at the top. Or you can put in sky texture and click that on. And now when I plug this in to my surface, you will see we actually get some really, really nice lighting straight off the bat. And that's why I always use this. It's much better than the sun, and generally it's much better than a HDRI. Because with a HDRI, although it is realistic, lighting is based on real world lighting and that depends where you are. So you have to make sure with HDRI lighting that you're really going to sue the lighting for the project you're working on. So I tend to always use the sky texture because it's much much bear on performance as well. All right, so what we're going to do is now we're going to come in, we, we're going to leave the sun size, in fact, no we want, we'll change the sun size to zero. We'll put the sun intensity on 0.5 And then what we'll do is we'll come now and look at the elevation and things like that. So the sun size basically is how big the sun is in the sky and we can't see our sun. If we make this massive, then you'll be able to see some type of sun as you can see there. If I make it a little bit smaller, as you can see now, we can just see our sun there. The sun intensity obviously turns down how bright the sun's going to be. So I'm going to leave that on. No, 0.5 It has a very small impact actually. If I put this to note 0.1 you'll see it's kind of tiny on much impact it has. If I put it to one, you can see not really much difference between one and not 0.5 as you can see, a little tiny bit of difference. The elevation is basically what the lighting would look like. So let's say we're 10,000 feet above sea level. Put it on there, you'll see that we can't see anything. Because up there, I don't think this is 10,000 feet, by the way. I think it's 10,000 miles or something. I'm not even sure. But if I put this on 1,000 for instance, and let's bring it down actually, let's try 500. There we go. Now you can see the actual lighting is changing because of the elevation. So if I, let's carry on bringing this slowly, slowly, slowly as you can see. Now as we get higher and higher and higher, you can see exactly what's happening with the sun all the way down past sea level under the water, basically. So that's what that does. Let's set this to something like 50 then. What I'm going to do now is the sun rotation. Obviously wherever I move this, you can see the shadows changing. And this is really, really handy, actually, to do this on the fly. It doesn't mean you have to go in, mess around with the sun. You've already go in the scene. It can all be done from here. All right. The next thing then we want to do, sorry, explain that a little bit wrong. The sun elevation is how high the sun is, so the altitude is how hi, we are in the air. So if I come in and I actually set this to 10,000 feet, you will see it's very, very blue. If I set this to 50,000 feet, we should get to a point where it's really, really dark. And you can imagine in space, this is actually what it's going to look like. So that is what that deals. So generally, for now, I always set this down to zero just to get some basic altitude in which is a roundabout sea level, All right. The air is basically, as you bring this down, you can see it actually has an impact on how the sun is actually going to look. So we're going to set this to 0.05 Then we're going to come to how much dust is in the air, as you can see how that interacts with the sun and things like that. We're going to set this to 1.769 and then finally we've got the ozone. And you can see how blue that's actually going to look. And what we're going to do is we're going to set this to 6.923 and there we go now pretty much, I'm going to set the sun side to zero by the way. Like so it's just maybe a little bit higher axially just to kind of soften those shadows off a bit. But now you can see already what we've got here. And we can see the one that we really want to mess around with is our actual sun rotation. But we can see now just what this is going to look like. Now, one thing I do recommend before going any further. So we'll do this on the next lesson before we do anything is actually with the gray box. Give it some actual material, just a very, very basic material. And you'll be able to see much, much better than just this white box here. So we'll do that on the next lesson anyway. All right everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 11. Streamlining Workflow Introduction to Blender's Asset Manager: Welcome back everyone to Blend, the Fall, the Environment Artists Guide, and this is where we left off. All right, so now let's come into the material here, Let's come in and put this on object. And then what we're going to do now is we're just going to give this a new material. So I'm going to click New. And I'm going to call this gray box box. Instead of it being white, we will actually make it a little bit darker. And you can see straight away now what's happening, you can also see that it's got way, way too much shine on here. So what we're going to do is we're going to turn that roughness this way, to turn it down a little bit, and now you can see it's looking much, much better. Now, we do want this to be on all of these including my ma'am. So all I'm going to do is I'm going to be for box select, select everything like so. And then shift select this house last because that one already has the material. And then all we're going to do is press control L, And we're going to come down to where it says Link Materials. And now we can see exactly what this is going to look like, really, really nice. Now the other thing is we can come over and we can also click on our little computer here. Let's put this on V so we can have a good look with V. Now we'll tell you that the lighting, so the sky texture doesn't work nowhere near as well with V. But if you are using V, I recommend turning ambient occlusion on. Let's turn on a little bit of Bloom and let's also turn on screen space reflections. I find that helps a lot if I'm actually working in V, now I'm not going to be working in V, but you can, you know, choose whichever one you want to. A bit later on in the course, you might want to swap too easy because it's getting a little bit heavy on your computer. But at the moment, I'm going to be working in cycles and have a really nice look of what everything looks like now from here. Because we've done that, What we really want to do now is go over to our resource pack to start looking at our materials. And get that resource pack set up ready to use. So that when we start building really, really easy then to bring in materials and things like that. All right, so let's move over then to our resource pack. First of all, though, before do that, let's save this out and let's also put it on an object mode, saving us some performance on our computer. Now here we are in our resource pack. So just have this open ready and what I'm going to play now is our Blender Asset Manager complete guide. We're going to go through that first, and then when you return on the next lesson, we'll actually start incorporating what we learned into that into our actual asset manager. Alright everyone, So I hope you enjoyed that and I'll see you on the next one if you already know all that again, move on to the next lesson. I'll see on the next one. Thanks a lot. Bye bye. Welcome everyone to the Blend, that asset manager guide. And basically what we're going to do in this one is just go through the asset manager, show you how it works. It does seem fairly complex when you first start this, but actually is quite simple once you get your head around it. So here you can see I've got a standard scene here and I've actually brought in some actual assets and they're named, this is important actually, that just make sure you name the assets before you actually put them into the asset manager. Now you will notice when you first come into blender, whether that be blender three or blender four at the top here, it doesn't actually say asset manager, so that's the first thing we want to do. So to do that, all we need to do is come to a little plus Bd. We're going to come across to where it says General. And then we're going to go down to where it says Asset Manager. And once you click that on, you'll actually be taken into the asset manager. And this is the easiest way to actually work with this. And the thing is now you'll see at the moment we have our asset manager down here with all of the files on the left hand side. And in this, this as we'll be populating all of our assets, let's actually just pick this up a little bit then. And then what we're going to do is you can see at the moment we have current file and we have essentials. And under essentials is basically all of the assets that Blender has decided to put into the asset manager. As default, what we want to do is we want it to be on current file. So now I'm going to do is I'm going to come to my first asset which is going to be my tree. And now what we're going to do is we're going to add this into our current file asset manager. So with this selected typical mover to the right hand side, you can see here it says three. If the right click, you'll see here it says one that says marks asset. The moment we actually marks asset, you will see now that actually appears in this space down here. You will also see that if we put this onto material mode, and now if I come in and actually drag this out, you will see that it actually comes out with materials actually attached, which is really, really handy. So now let's delete this out the way. And what I'm going to show you is now if we focus on our actual car, let's press Shift in Space Bar, just to move it over here. And then what I'm going to do is I'm going to come over right click, and I'm going to Markets Asset. And you'll see now our car appears there. Now if I come up and right click and put clear Asset. And then spin this round R -90 like so. Right click markers asset, you'll see it appears exactly the same way. So to actually change the rotation in the asset manager itself, what you need to do is you need to now reset all of the transforms. So what I'm going to do is I'm just going to clear the asset and then we're going to put control all transforms, right click, set origin to geometry and then right click and I'm going to come down markers asset. And now you'll see it's actually rotated that round for you. You will also see as well. Now if I pull this out, it comes in with all the materials. We can actually do some other things as well. We can actually also save out materials. What I'm going to do first of all though, is I'm going to come down and click the Little Plus button. And what I'm going to do is I'm going to call this Assets like, so I'm going to call the next one materials, like. So now I'm going to do is I'm just going to save out my work and then I'm going to go to unassigned. And you'll see at the moment we have these two assets that we put in there, we can simply shift select them both, or shift select them all if you've got a lot and drop them then into our actual assets, and now they're going to appear in our assets. Now let's move on, and if we click on this bench, what we'll do is we'll come over to our material. And we can see we've got two materials in here. So let's right click this one. Marker's asset, the same thing. And then what we'll also do is come to this one and we'll right click and marker's asset. Now you will see when you've marked them as asset that we've got this little book here, the same as we've got up here. And now you'll see we haven't got any assets in there at the moment. So these two materials didn't go in there. And that is because they will be in unassigned. Now let's grab both of these materials now, drop them into our materials, and there we go. We've got materials and we've got assets. Now the best thing about asset manager, what you can also do is you can also use this for things like geometry nodes. The only thing that you can't use it for at the moment is animations, but pretty much everything else, you can use it with the asset manager. Now, the next thing we want to look at is actually doing that then with an actual geometry node. So I'm going to do is press control V, and here is a geometry node that I've actually created. You can see here that if I pull this up over on the right hand side, you can see it's actually a geometry node. And at the moment if I press Tab, you'll see it has actually no mesh or any kind of topology, because it's obviously a geometry node. Now what I want to do is I want to come up right click markers asset and now you'll see that I've got something that says unassigned. So let's make one more now and what we'll call this is geometry or geo node like so. And then I'm going to come to it on a sign and put it into my geometry node there. You will see now if I bring this in, it actually comes in as a geometry node, which is really, really handy if you've got loads of geometry notes and you want to bring them and drop them in your scene. Now let's first of all come up to file and save, because this is all great in that. But actually, how do we use this in other files? The way that we can do that is we can come to a new blend file. Let's open up a new blend file. So here is our new blend file. And what I want to do, first of all, I want to come up and add in my Asset Manager, so plus Asset Manager. And at the moment you'll see there's nothing in there. And what I want to do now is I want to go up to Edit. I want to come to Preferences. And within Preferences you will have one that says File Path. And this is basically going to tell Blender where it needs to go to look for Asset Manager. So let's actually come in and what we'll do is we'll click the plus. And then all I'm going to do now is find where I've actually saved out that previous file and has saved it in something called Blender Asset Manager, which is here. So this is the one that I'm going to add it to. You'll see here that it doesn't show any blend files or anything like that. And then all you need to do is add asset library like so. And then we can actually close that down. Now what I can do is I can come down and you'll see that I've got one that says Blend Asset Manager, and here are all of those actual files that I actually put in there. As well as where it says assets go, nodes and materials. So now I can simply come in, drag and drop my actual truck in there. I can actually turn on the materials. And now you can see once again, it actually comes in with all the material. Now the best thing is if I actually bring in a cube now and just drop that there, shift space bar, just to move it. And then what I can also do is I can come to where my materials are, drag and drop, straight on to my actual cube. Let the actual shader compile and load up. And there we go. Now we can actually drag and drop materials as well. Let's come to our geometry node then, and I'll show you that that also works. So now we can see we've got a geometry node that we can actually use, which is really, really handy. And now you can see just how useful the actual asset manager really is. Now the other thing, if we go up to Edit and go to Preferences, you will see that we are able as well to add many, many asset libraries. Just make sure that you save your blend file. So if I bring this over here just to show you, just make sure you make a file. And then within there you're going to actually save your asset manager. Because the most important thing actually is when you're actually saving it in here, you will see that what else comes in is an actual text file. This text file gives Blender all of the data that it needs to actually set up these groups. So very important if you're moving your asset manager to a different file, make sure you move this text file as well. All right everyone. So let's close that down. And lastly, before I finish, what I will show you is if you come to current file where we don't have anything, you can also select all of the things in your scene, right click, go down and mark as asset. And then you'll see that they all get poured into the Asset manager. Alright everyone. So hope you enjoyed that and I'll see you in the next one. Thanks a lot. Cheers. 12. Setting Up Your Asset Manager with the Victorian Resource Pack: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left off. Now, I don't really need to explain much of the asset manager because hopefully you watch that short tutorial. So what we'll do now is we'll first of all come up and bring in our asset manager, so asset manager space. And then what I'm going to do is at the moment it's on current file, that's exactly what I want it on. And what I'm going to do is I'm just going to click on my human. So I've got my human here. Go over to the right hand side. We might as well pull this down a little bit for this part here. And then all I'm going to do is press the dot button. And that then will take me straight to human 1.8 meters from there. Then I can right click and I can mark as asset. And there we go. Here is my actual human. Now you'll notice it comes in like that. As we discussed, if a press control is just a game off, let's press control all transforms right click, set origin to geometry and let's see if it comes in any better now. So markers asset and there we go, he's in, looking much, much better. Now from here, what we want to do, we want to come to our tree. Same thing again. Right click Markers Asset, bring in our tree. There's our tree. And then the final two ones we want to do are these two here. So I'm going to grab both of them. So one is the roof geometry node and the other one is the planks. And what I'm going to do is press a little dot B, right click markers asset. And there is our roof and there is our plants planks. Sorry. Now let's come in and make some actual names here. So what 'n to do is where it says plus, I'm going to click on this, I'm going to call this, let's call it human. Let's give it another one. Then click and we'll call this one Geometry Nodes. I'm going to save this out as well. Save, and this is the resource Pac. I'm also going to save it here. I'm going to call it Victorian course. I'll just call it resource pack so we know where we are like so. And there we go. We're saved out. Now we can come in. We've got geometry nodes. We just need our tree now. So click it again. I'm going to put tree like so. And then what I'm going to do now is I'm going to go back to where it says all and you can see them in here. I'm going to grab my guy, drop him in the human one. And then I'm going to grab my geometry nodes. I'm gonna drop those into the geometry nodes like so. And then I'm going to grab my tree and I'm going to put my tree in there. Now, I don't think that we actually need this tree bark here. I'm not even sure why that's there. I think it's just the material that's been put in there, but we're going to put it in somewhere good anyway, after this, I don't actually think we need it. So what I'm going to do is just clear that asset. All right? So neither come to geometry nodes, we have them there. Human we have there, and tree we have in there. So they're all looking good. Now let's create one more and we'll call this materials within here. Then we want to have all of our materials like our roofs, backdrops, metals, things like that. So we need to make sure now that we're putting these in the right one. So we'll do this a little step at a time. First of all though, I want to come in and get some names of these. So what I want to do is I want to call this floor and then want to name another one. So I'm clicking the plus where the materials is because that means then I can open and close this. So the next one I'm going to do is going to be truck like so. And then I'm going to do another plus and we'll do cloth. Let's go back to that. The asset manager, It's called assets. There we go. Source list. I clicked that off. I didn't even know I did that. But we'll double click it. And then what we'll put in is cloth like so. And then we'll come and click the little plus again. And this time we'll have glass. We basically need to make all of these. I'm going to go ahead and I'm going to actually come back once I've created all of these, I'm going to create all of these ones going around here. And I want you to do the same, please. All right, so now they're all named. Should have them all on here. It means that you can close that up if you want to or open it up if you need to. So now you can see has got a little star here telling us that we need to save out this file. So what I'm going to do is I'm going to go to file and save. Last of all, then I'm actually going to move this file now into its own file. So now you can see our resource pack is here. So what I'm going to do is I'm just going to make a new folder and I'll call it course resource pack. And I'm going to do this because it's going to make it much easier for us to use this within our scene. Now what I'm going to do is I'm going to grab this one and this one and I'm going to drop those into my course resource pack. Now I can delete all of these, why it means it's just a temporary save. So you can actually delete those out the way if you want to. Leaving in there this actual TXT file, which is very, very important because all that data then will be used by Blender to set out these what we've actually made. So now when I save it, I can go to file, Save Os. And I just want to make sure then Court resource pack, I'm saving it in here. Now every time I save it, it's all in there. All right, so now we can actually move on. And what we want to do is we want to pull this up now because we're not going to need this. We want to click on my floor. I'm actually gonna put my materials on. It's going to take a little bit of time to load them up because it's a lot of shaders. But it's going to make it much easier to actually distinguish between the actual shaders if we do this. So here we are, they're all loaded up. Now if we come over to the right hand side, over to our materials panel over here, we can see we've got our first one which is Flow. If we come up and come down and click to unassigned, you can see nothing in there at the moment. But if I come right click and what I'm going to do is mark as asset, you can see that we end up with our floor in there. Now this is not this object or anything like that, it's just a material meaning. Now I can come and drag and drop this onto something which is really, really great because in our own scene that we're going to be creating, we can just drag and drop all of these materials. Now of course, within the actual course, you will find out how we put these materials together. That will be something that we will go through, but for now, let's just get the basics of getting the materials in there, Okay. So the next two, then we need to get our rubber so markers asset and our leather markers asset. And now I'm going to do is I'm going to drag my floor over to where it says floor. So let's drag and drop in, drag both of these. And we're going to put them into our truck. So they're going to come over to our truck. Now we're going to go to our cloth. So I'm going to right click marker's asset. Right click markers asset. And then all I'm going to do is drag both of these now over to my cloth which is up here. So I'm just going to drag and drop them in there. Then I'm going to come over to the glass. Now the bad thing is that we just can't come in. We have to come in individually. So marker's asset. Markers, asset. And just quickly do that, like so. And then we have more in here. Now these are going to be glass. So all I'm going to do is grab all of my glass and I'm going to drag and drop them in there like so. And there they all are not sure about some of these. If yeah, it does, it actually works why they aren't loaded up yet. Maybe it's just taking a little bit of time to do that. All right, so the next one we've got is metal. And what I'm going to do from now, I'm going to just select all of these and drop them into all of these. So I think you've got the idea now, so I'll be back when I've actually done that. So here we are guys. I've got everything in here now. Backdrops, clay cloth curtains. I'm just going to quickly go down and making sure that I've got all of these in here on every single one. And that then should be done. So now we can actually close that up. We've got materials, this is on materials now. We've got our tree, we've got our human, and we've got geometry nodes. And now we can actually go over and file and save that out of the way. Now I don't think we'll actually have to come back to this anymore. So we can actually close that down now and everything can be done from our actual scene now. So let's just come in, make sure it's saved out first. Close it down. All right, so within our scene, what we want to do now is we want to go to, plus we want to go to General and bring in Asset Manager. So here it is. And then what we're going to do now is at the moment you can see it's on current file, which is what we don't need. What we want to have it on is to go to that file where we actually put it. So all we're going to do that is we're going to go to Edit Preferences, file paths. And now you can see asset library library. We don't really want to user library, so we can minus that off and then what we can pick on is the plus. And now we just need to find course resource pack I think. Is it under there? Yes, it's Sunday here. So I'm going to click is Add Asset Library. And let's click this off. And now we can come to Course Resource Pack. And here we are. Here is all our materials. Now the great thing is now I can come in, select this on, let's say I want blue cloth on there. I can actually drop the blue cloth on there. Let's say I want my wood floor on there. Something like that. I can bring, drag and drop them in really, really handy. It's set up really, really nicely now. So again, let's just go through that just one more time because I know people sometimes get a bit muddled up about this. All we want to do is we just want to select our course resource pack. So we're just going to click the minus button. I'm going to bring it in again now. So I'm going to click the plus. And then what I'm going to do is I'm going to go back and you can see our course resource pack is here. You're just going to click that on. And then you're going to click Add Asset Library. Add Asset library. And there we go, Now it's there. You can close that down then. And from there then all you want to do is put it on course resource pack. And now you've actually got all of those in now, every single time we come. Now back to our asset manager, this is going to be open for us. The other great thing is as well, you can see that we've got geomegenodes here. Whenever we need to bring a roof in, we can just bring that in now. So I'm just going to press Tab just 'cause I had it on edit mode and I can bring in my roof. And from there now I can actually bring it in and actually move it around so and come in then and mess around with Matt house. Now, obviously at the moment this looks a bit funky because of the light. Don't worry about that, we'll sort that out. But at the moment it's just showing you what we can do if we want to bring planks in. We can also bring those in really, really easily. Same for our human as well. We can bring them in like so. Alright everyone. So I hope we found that really, really handy. And on the next lesson, we can finally actually start creating our actual building. The first one we're going to start creating is going to be the coffee shop, because that one is actually the most simple out of them all. Alright everyone. So I'll see on the next one. Thanks a lot. Bye bye. 13. Perfecting Details Seams and Sharps in Blender: Welcome back everyone to Blender for the Environment Artists Guide, and this is where we left off. All right, so now what I recommend we do is we go to modeling. It's the easiest way. It's the best one to actually click on because it has this wonderful viewport. If we click on any of the others, it's not really going to show us as much as the viewport. So that's why I really like having it on there. If you've got it on layout, it has this little timeline on there which you might need if you're going to be animating something. So that's why I tend to use the modeling one. All right, so now we've got that on. What we want to do is then we want to start on this here. But what we want to do is we want to hide out some of these. So the moment you can see we've got these all open of the moments. So let's just close each one of these up, going to make it much easier for us. And the one I want, I want to leave the ground plane on, I want to close the subway, keep the coffee shop on, and close the other ones as well. And then I've just got something like this. Now at the moment you can see Gizmo is not there. So I'm just going to left click over on here on magismo. And then I can just move it out over here. Now I'm going to do is I'm going to start, I always tend to start with corners. I think that makes it much, much easier. So what I'm going to do is I'm going to start with this corner here. And to do that, all I'm going to do is I'm going to come in. First of all, I'm going to come in with edge select, select this edge shift S cursor selected. And that's going to bring my cursor there. From there, then I can press Shift and we can start with a cube. So let's bring the cube in and drop it down to where I actually want it. You can see, because I've put it right there, it's actually when I scale it in. So I just scaled that in. You can see it scales in from the actual edge, which makes it really, really handy to do it that way. Now from there, I want to actually bring my guy over a little bit because I want to see how big, so how big this actual block is. You can see at the moment it's fairly, fairly chunky, we don't want it that big. So I'm going to press the S one and scale it in a little bit more from there. Then I'm just going to press one to go into front view and pull it down to my actual ground plane. And now what I can do is I can make this a little bit thinner, I think at the top. So what I'm going to do is I'm just going to come in, face select, grab it, pull it up. So shift space bar again, just to bring in that move tool. You won't have to bring it in anymore, I promise. Unless you reload your blender and let's bring it up like so. And then from there then we can actually scale this in like so, so that I think is a good start for our building. So I just think that it needs to probably be in a little bit. So what I'm first of all going to do though, before doing that, I'm actually going to bring this up to where I want it. So it will be just below here. So we can put this corner in. All right. Next of all, then let's press the board and bring in an insert. So if I press, I'm going to bring in an insert. Hold in the shift board if you need to. And then from there what you can do is you can bring it right up to, we'll want it, which is going to be around here. So if I press now, I can bring it up just below there. Now we want to give a little bit of room for the corner that's gonna be in here. And then what we want to do is we want to bring in now a couple of kind of, you know, bits actually on there. Because whenever we're building this out, we want to always think about the architecture and how it actually looked. They never really had anything straight. It was very ornamental type stuff. It was very blocky in some parts as well. And we really, really need to take that into account. All right, so what I'm going to do is I'm going to press controller two, left click, right click. And then from there what I'm going to do is I think I'll keep them right where they actually put them. And I'm going to press control B and pull them out a little bit just to get those little reliefs going on there. So I've pulled them out that far. Now if you want to mess around with these, go over to this operator panel down the left hand side. And from there then you can actually change the width of these if you need to. Don't worry at the moment about the shape or anything like that. We don't want to mess around with that. So just the actual width at the moment. Now what we're going to do is we're going to extrude them out, but we want to extrude them out from each other. Individually. In other words, not from a center of origin or anything like that. So what we're going to do is we're going to press, just press it once and then press the Enter button. And then what you're going to do is you're going to press old test, not for scale O test. Now you will find a five presses. You can see the come out very, very strangely. This is because at the moment we've got it on medium point, we really want this set on individual origins at the moment. So set that on, if you presses, you can pull them out like so. Still not right though. They're still not coming out right. But if you press test, they come out at a very, very nice angle like so you only want to pull them out so far. Now, once your left click, you will end up with the operator panel down here again. And what you really want to do from there is always tick on, offset, even on. And what it will do is it'll make them a little bit wider. Now these are a little bit wide for me now. So what I want to do is press controls and go back. I'm going to press alternates. Bring them out again. Offset even on, and there we go. They're looking much, much better now as well. Also, once you press the tab button or you click on another part, the operator panel will disappear. So just bear that in mind. Okay, so this is the first part of the stone. Just make sure that it's looking really, really nice. And now what you should really do is as we're working along, we create something and we bring in a material or texture or something like that. So what I'm now going to introduce you to is sharps and seams. And this is really important because a lot of the times on certain things we are going to actually have to use seams and sharps to actually get what we actually want. So I'm going to introduce you to seams and sharps now, and if you already know all that again, move on to the next one. And if not, I hope you enjoy it and I'll see on the next one. Thanks a lot. Bye bye. Welcome everyone to the short introduction to marking seams and sharps part of the course. So before I give you examples of what I'm actually talking about, let me just briefly explain what they are. Seams, you can think of like seams on a piece of clothing, like a shirt or pair of trousers. The main job of seams is to make sure the texture that you're trying to place on your mesh goes on correctly, but more importantly, gives you control of how that texture will look. Sharps are marked like seams, but serve an entirely different purpose. We use sharps to give us control of how sharp and soft angles are on our measures. This makes them look realistic. It is also important that we do this not only for rendering in Blender, but also sharps. Carry on through to other software or games engines wearing one to use like Substance Painter or Unreal Engine as an example. So with all that said, let's get started. Here we are in Blender with our starting cue. Now if I click on my Cube and go to my UV editing, you'll see that the cue is basically unwrapped in this actual way. Basically, it unwrapped like a present. Now if I come across and I grab this cube, and I press Shift D, and then we press Shift Spacebar to bring in our gizmo, and we move it across. Now let's say I want to alter this cube a little bit. So what I'm going to do is I'm going to press the Tab button. I'm going to go Interface select Click the top face shift Spacebar to bring in the move tool. Bring it up. So now let's say I want to unwrap this. Now if I grab this with L just to grab everything and I press the U button for unwrap, you'll see that it unwraps exactly the same way. Even if I reset the transformations of this, it will still unwrap exactly the same way. Now let's mark some seams and see how that has an actual effect on our actual unwrap. So let's grab the top and we'll come down to the bottom. And what we're gonna do is we're going to press control and then come down to where it says Mark Seems. Now it's important to remember that it's control leap to mark seams in face select. But if for instance we're in edge select, so if we come to this edge, if we press control leap, you will get this option up as well, mark seams, but you can also right click in edge select. And you can also see we can mark Sem this way as well. So for now though, I'm not going to actually mark this scene. What I'm going to do is I'm going to grab the whole thing with L like so. And now I'm going to press Unwrap. And you can see it Unwraps completely different. Now let's bring in some textures so you can see what exactly I'm talking about. So if I press Tab, I'll come up to my materials panel up here. And I'm going to give this material. So I'm going to come across to the right hand side, click on my Material button. So let's now bring the material I've already prepared. So if I come across this little down arrow, come on down. You can see I've got one here called Wood. And let's click that on now you can see what's happened. We've actually applied our material to this object, but you can see it's pretty much a mess. The top of it looks fine, but the bit going around the side is all bent and skewed. So if I zoom out and I press Tab now you can see that the reason is that it's not actually be unwrapped correctly. So how do we fix that? If we come up to edge Slate, Let me grab this edge. And now I'm going to do is I'm going to right click, come down to mark seams, and now I grab the whole thing again. I'm going to press you unwrap, and now you'll see it unwrapped. Absolutely fine. You can see that wood's looking really, really nice, actually, on this mesh now. So what this does the seams do is actually gives you control of how this actual texture is placed on this mesh. You also need to take into account that this is basically an infinite loop. If I come round and I look at this face and this face, you can see that they're going around if we have no seam. When I talk about infinite loops, it's basically going around and around. And blender doesn't actually understand how to unwrap it, so you'll end up with that mess we had before. Now the other thing to take into account is if I turn this wood around, for instance. I'm going to do, I'm going to come over to the left hand side the viewport of my UV editing, press A to grab everything, R 90, spin it round. Now the other thing I want to show you is that where we join these actual seams up is also really important because you'll never ever get it perfect on here where there's an actual sea. So let me exaggerate this a little bit. So what I'm going do is I'm going to press Tab. I'm going to make this a lot smaller and I'm going to move it into the center of my UV map. And then I'm going to press Tab. Now you can see that these edges don't line up whatsoever against this other side. So this texture here doesn't line up with this texture. And the reason is because we've got a seam down there. And that is the actual break in the texture yet if we come round to this side. And I spin this round, so if I grab it or Z 90 and now go to this one where we can see, you can see that these line up perfectly. And the reason is because obviously there's no seam there. The seam is here. So you need to take that into account on your own measures and objects that when you're applying textures and materials that try and put seams where you're not going to see them. So if it's on a door handle, for instance, try and put them on the inside where no one's actually going to see them. So always bear that in mind when you're actually marking your seams. So now let's discuss sharps. So if I bring in a new primitive, so if I press shift A, I'm going to go across the mesh. I'm going to bring in a cylinder. Now you'll notice that this cylinder has all these little edges around there. And let's say you want to make a cup or something. The last thing that you want is all these hard edged faces in there. Now there are things we can do, Sort this out. So the first one we can do is we'll bring in another cylinder. So I'm just going to move this one out of the way. So shift space part, bring in ma gizmo. Move it out of the way. Shift a, bring in another cylinder. And this time I'm going to come down to where it sits, add cylinder, and turn up the vertices to 100. And now you'll notice that we do have a round edge, but the problem is that we've brought in 100 vertices to actually achieve that. And that's not something we want. We want to use as few polygons as possible while still getting a really good looking mesh. So how do we achieve that? Well, there are a number of things we can do. First of all, we can come across to this right hand side. What we can do now is come to where it says normals and click on auto smooth. Then we can right click on the viewport and click Shad smooth. And now you'll notice it's actually been smoothed off. But the problem with this is if I turn up my auto smooth, you can see if I turn it up all the way, it goes really, really funky. And that is because at 170 degrees, Blender decides that these edges along here need moving off. So it doesn't give us a lot of control if we do this on the other one. Sura grab this one. Right click shapes, move autos, move on. You can see, again, even with lower amounts of polygons, we're still able to smooth it off. But if we turn this off, we're still going to end up with the same problem as what we had before. So how do we solve that? Well, if we come in now press a tab button, come to the top, grab the top shifts like the bottom press control because we are in face Slate and we'll come in and mark a shot. And now you'll notice if I press tab that now it's got hard edges on there. This gives us control. So this is why we actually use shops. No matter what, I turn this up to 180 degrees, which is the highest it goes, it will not get rid of those shops that we mark. We can also mark shops around the edges as well. Sea grab this one and this one. And now because we're in edge select, we can write Click, come down, mark a sharp, press the tab. And now you'll see you've got hard edges on there. So it's very important that you mark sharps where you're going to actually want hard edges. It's also important that you get into the habit of marking sharps when you're actually marking seams. And then what happens is when you join two objects together and you turn up the auto smooth if needed, you're not going to end up with some measures like this. Okay. For one. So I hope you enjoyed that introduction to marking seams and sharps and as they say on with the show. 14. Material Nodes Introduction: Welcome Crib on to Blender for the Environment Artists Guide, and that's where we left it off. Now that we've got this on, what we really want to do then is actually unwrap this. So what I'm going to do is I'm going to come in and we don't actually need to add any seams or any sharps on this, because we don't need to have any sharp bits because they've already got a very nice angle on them anyway. And because we're using stone generally, we can get away with using blenders, smart UV projects. So what I'm going to do is, and first of all, before I do anything, make sure that you always reset your transformations. If you don't reset your transformations, nothing will work. Your modifiers won't work properly, your textures won't go on properly, it won't UV unwrap properly. So just always when you've created something, press control all transforms right click, set origin to geometry. Basically what it is is if I bring in a cube like so, if I alter this cube. So in other words, if I pull this edge out, like this, blender still considers this to be a cube even though it's not a cube anymore. So when you come in to add modifiers or unwrap it, it tries to unwrap it as though it's a cube, or add a modifier on it as though it's a cube and it doesn't work. Any problems you ever have is normally always down to one of two things. And this is the first one of those things. All right, so let's lead that out of the way. What we're going to do now is come to my actual post press control all transforms right click, set origin to geometry. And now what we're going to do is we're actually going to bring in a material. But first of all, let's unwrap it. So I'm going to press Tab. I'm going to press A to select all of it, I'm going to press and then Smart UV Project. And click Okay. Now this leads me to my next point. It's un wrapped, but we can't really see anything. But if we head on over to the UV editor, we can see this is how Blender has actually unwrapped it, which is actually really, really nice from there. Now let's bring in a material and we'll see just how nice that actually looks. So let's press Tab. Let's go to Asset Manager. Now let's press dot on the actual number pad to zoom to our actual post. And what we're going to do now is come to material. And the material we want is going to be understone. And we have stone flags. And stone, the stone flags are basically going to be this material going around the outside of here. It's more like a path type material, a little bit darker than this one, but this is the one we're going to use now. So let's come to our stone, and we're going to click and drop that on there. And there we go, you can see it's all ready, looking really, really nice in that nice light from there. Then let's actually go over to our actual shading panel just to see I can show you how this is set out. So let's go over to the shading panel now. Let's actually put this onto our cycles render. And then what we're going to do is we're just going to zoom out of here now. And you'll see this is the layout. Now before I go through all this, what I want to show you is short tutorial for a while. There won't be any more for a while to come yet. And this one is about shaders and textures, just to give you the low down of how you can actually start bringing in your own textures and things like that, really, really important if you've not done it before or if you're actually a beginner. And I promise once this one's out the way, you've pretty much got the backbone of the basics of what you need to learn from blender. And from there on out, we can actually focus on modeling and things like that. There are a couple more in the future, but they are, you know, at the higher end of modeling. All right everyone. So I'll play this for you now and I'll see you after this is done. Thanks a lot. Bye bye. Welcome everyone to the blender shading and texturing introduction. And you can see here within my scene have actually brought in a few shaders just to kind of explain how they actually work. So first of all, what is an actual shader? A blender shader is a type of material that can be applied to three D models. Within blender shaders define the way surface of objects appear under various lighting conditions. Simulating a wide range of materials and effects, such as metals, glass, plastics, wood, and more. Essentially, shaders tell blender how to render the surface of an object based on its properties like color, transparency, shyness, texture, and reflection. So within Blender we use actually a 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 shades 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 reck 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 side where our material panel is here, you can see this is completely empty. Also in the shader panel, you can also see if I zoom out, this is also completely empty. If you do happen to have a shader in here and then there's nothing in here, just zoom out as far as you can and then you'll find all of the nodes. Now what I'm going to do first of all is adding a new shader. And what we'll do is we'll double click it and we'll call it wood like. So 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. So here are my textures that I'm going to use as an example. And you can see here we've got wood grain. And you can also check out what these actually look like by coming over to the right hand side here and clicking this on. And now you have a good idea of what these are actually going to look like. We can also make them larger as well if we need to. So you can see here at the moment, the size is 128. And we can just bring that up to actually make them bigger and see exactly what textures they are. Now to bring them in, all I need to do is select the first one, shift, select the last one, so we've got a more selected and click principle texture. And what 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. Now a lot of the options are actually hidden behind these little tabs here. So Emission, for instance, is now hidden behind here. So I can turn this up, as you can see, bring it down and change the color of it if I sell one. So just remember that some of them might actually be hidden. Now, because this is a basic video, we're just going to go through a few of the actual options that we normally get within our actual textures. So a PBR 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 graze in there, that then is defined the roughness of the actual metallic. In other words, those little spots that you see when you shine light on something. The next one is roughness. And this isn't to be confused with metallic because roughness is how shiny something is and metallic is obviously how metallic something is generally as well. With metallic, either something'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 bounces off the surface, creating the illusion of depth and detail. And this is used a lot in games to actually look as though there's more geometry than what there is. Now let me show you how that works then. So if 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 up 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 want to click the plus button again. Click the down arrow, and this time I'll choose one that says Stone. Now if I go into my cube and press the tab button in actual edit mode, come over, select one of these faces. It only works on faces, by the way. You can't select an edge and apply a material on there. You have to select a face or multiple faces. So what I'm going to do then is come down to glass. And finally then I'll click a sign like soap. Then I'll come 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 down and bring it to the front light so you can actually see that glass then is actually starting to be see through. And you can also see that actual normal map working on the inside of this cube. Now let's quickly go back to our wood. So to do that, what I'm going to do at the moment, you can see that we're probably on the stone in this one, in this shade of view here, it says actually stone here. I can actually come down and click on my wood for instance. And then it will take me and put the wood on there as well. So that's another way to actually apply them. Instead of the stone, it's actually just put on wood instead, as you can see. Now what I do want to do is I want to come in to my actual wood. So that's the one that we actually brought in, this one here and just show you for instance, we can actually interact with all of these texture maps. Now there's thousands of nodes available in Blender and the way that you put them all together, it can become extremely complex with huge hundred node maps and shaders. So I'm just going to show you something of the basics just to get you started. And that will be an RGB curve. So an RGB curve, as those of you may know who use Photoshop, changes basically how the actual image is actually lit, darker spots, lighter spots, things like this. So if I come in and press shift day Search RGB, and you can see I've got an RGB curve here now. Just before we do that, if you do press shift day, you can come down, you can just 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 from here now you can see that I can actually affect the color of this actual wood on the fly in real time like so. We can also put this onto the metallic, onto the roughness and even onto the normal to get different effects and different ways that the metallic or roughness actually work. Now the next thing is we want to discuss is just shaders. So as I said, this is the main shade within blender. This is like the one ring of shaders and basically this will be the main one that you actually use. But of course, there's plenty of shades, so depending on what you want to do, if you come down, you can see we've got diffuse, we've got emission shades, we've got glass glossy, and a whole range of other shades 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. 15. Architectural Details Modeling Cafe Supports with Bevel Modifier: Welcome back everyone to Blender for the Environment Artist guy, and I hope you really enjoyed that. Textures and Shaders Shot Tutorial. And now we can jump right into this. So you will know already then from watching that that shaders can be very simple or very complex. For instance, with this shader here, we have a, some textures, which are these here. So we have a roughness, we have metallic, we have a normal map from there. Then what we've done is we've added a little bit of noise on top. We've used a color ramp to actually bring out that noise, so difference between the grays and the blacks. And then finally we've got an RGB curve, which you'll see if I turn that down, highlights them or brings them down. So we've got a lot of control over here. Next of all, what we've also done with this particular shader is we've also set up a geometry node, and we've used the random per island. And then a difference in colors. In other words, basically every time I duplicate this. So if I press shift D, duplicate it over. You will see there's a slight difference in color as we actually duplicate them out. So you can see slight difference in color because we want a little bit of variation. This is really good for planks as well and things like that. All right, so let's delete those out the way. This is the one that I actually want if I click on this one now moving onto an RGB curve, then this then will highlight even more of this color ramp. An RGB curve basically makes it either lighter or darker based on the actual color ramp. Moving in then to a principled, and finally, we join in both of these principles together with an actual mix shader. And then based on what we get is the best of both worlds, so we get a really nice texture coming from our actual texture maps. Then we actually do the noise, so we can bring out all of the noise on this texture. Finally, then we can make difference in color variations from the actual post. So every post will be a slight different color. And then we join both of those up, and that then is basically it for this shader. So as we get further into the course, the shades are going to get much, much more complex. But this then is a relatively simple shader set up. All right, so what we want to do from here is and we want to bring in a modifier. So first of all we're going to bring in a Bevel modifier. And the reason we want to bring in a modifier and not bevel this, so if we come in and grab all of this going around there, press control B, like we've already done, and bevel them off is the fact that not only is it quicker to use the bevel modifier, but also it's non destructive. In other words, we can change it on the fly and we've not actually created something where we can't go back and change it anymore. So that's why we want to do that. It's called non destructive workflow and we're going to be using a lot of that within this scene. So let's come up and add modifier. And the one we're going to do is come down to generate and the one we want to put on is bevel. And now you can see that's exactly what it's done. Now if we come in and put this on object mode, we get a much, much clearer view of what that's done. It's basically rounded off the edges. Now nothing in life is like a razor sharp edge except a razor. But everything else, whether it be stone, whether it be wood, always has a slight bevel on the edges. So what we want to do now is come in and put this down to not point n naught three, something like that because it is stone after all. It's not going to be, you know, perfectly razor sharp, but it is going to have a slight, slight bevelon, but it's also not going to have a bevelon which is huge like this or anything like that. So that's why I've put on not point nought three, let's try n point naught naught five. Slightly more maybe that's the way to go with stone. And I think that's going to look good. We're not going to mess around with any of these other options right now. Instead what we're going to do now is we're going to bring this round to the actual post. So we're going to have one post here and start actually creating this out. So now we've got this. What we can do is we can go back to modeling. And then what I can do is I can come in and I want to join all of these up, so I'll show you why I'm going to do that as well in a minute. So first of all, let's press shift D, and what we'll do is we'll drag this over to this side. Now the thing is I want to get these into a better place, so I'm now going to mess around with these and actually bring them closer into the wall so you can see that the wall here, I'm going to pull it out a little bit so we've got a little bit of room to put things against this, and we're going to have to mess around with these as we're building now. But you can see this one here, probably a little bit too far out, so I'm going to pull it in. And again, when we're building things like this as well, don't worry too much about getting everything exactly, it's actually the opposite. You want to really work making things as different as you possibly can. Now what we're going to do is if I put this back now onto our rendered view, you can see that these are exactly the same. The texture, texture here look exactly the same. So all I'm going to do is I'm just going to grab this, press our 90, and just spin it around, and now it's actually different. All right, from there then, what we're going to do is we're going to come round. I'm going to press shift D. I'm going to drag it then this way I'm going to drop it in something somewhere around there. I'm going to put it on to material view because it makes it much easier. You will have to load up your shades to start with, but once they're loaded up, it's going to be much easier to work in this sort of view. You can also come in and put on your scene wheel, for instance, if you want a bit more light there as well, which I find actually pretty handy. Be warned though, it does use a little bit more computer power to actually do that. All right then. So from there then, I'm going to come round now and I want one right in the center of here. Now to find the center of is pretty easy. All I can do is I can click on my actual gray box, Press the tab button. And then I'm just going to press controller left click, right click. And that then is going to drop it right in the middle. From there, then I need to actually grab this and this. So I'm going to grab this, I'm going to grab this, I'm going to press Tab them. And then what I'm going to do is I'm going to come over to this, select it with left click, press the L button, and then I'm going to press three on the number pad or control three, which you'll give me the other side minus the other side from there. Then if I move this now, it's just going to put it over here. So what I really need to do is I need to press shift D to duplicate it like so. And then I can bring it right in the center. There doesn't need to be absolutely exact. And then from there I can press 90 and spin it around slightly, just so it doesn't look the same as this one from there. Then what I can do is I can press Shift D. I can bring it over to this side like so. And then 90 again. And now they all look slightly different. All right, what you should have now, if I press tab double tap, the A is you should have four. Is there four? No five posts that look like this. Okay, so let's come round then to the other side of our actual cafe. And what we'll start work on is the bottom section. So this section going across here. So all we're going to do is we're just going to create a simple piece of wood. So we're going to create a simple piece of wood that's gonna go down at the bottom, over here. All right, so let's do that now. So all I'm going to do is I'm going to shift. I'm thinking whether I should use, yeah, I'll probably start with a cube. So let's press shift date. Let's bring in a cube. Let's press the S bot. Don't worry about scale or anything like that right now. All we want to do is just get this into some sort of place. If I bring this down here, it's going to probably come up to round about here. Something round about there. So if I come in and bring it up like so then what I can do now, I can actually bring this out to where I want it. So I'm going to do is I'm going to bring it out your roundabout there. All I'm doing is just creating one piece because from this piece I can actually use this over and over again. Now I want to do is I want to create a little bit of a edge on here. Control, bring in an edge loop. Bring it back just in front of the wall like so. Then what I'm going to do now, I'm going to bring up this part, so I'm going to come to the back of it, select that face, and then I'm going to press and bring that up to roundabout here, something like that. From there then what I want to do is I want to press control R, bring in another edge loop. And this time I'm going to bring it up to maybe roundabout here. And then from there then what I'm going to do is I'm going to grab this face, I'm going to press E, and I'm going to pull it out like so now I do want to bevel off this top of it without the modifier just to get it the way that I actually want it. So what I'm going to do is I'm going to come in, grab this edge. First of all though, before I do anything, is press tab control. R all transforms right click origin to geometry. And then what I'm going to do is I'm going to grab this edge. Now press control B and just bevel it off to where we actually want it, which is something like that. From there then what we do is I'm going to come in with the operator panel and change the segment. If I click this up now, we can see that we have a bevel, which is being rounded. We want to actually have it going the other way though. So what I'm going to do is I'm going to pull this down to have it going the other way like so. And you can see just how easy that is. You can see as well, if we turn this up, we actually get a nicer bevel as well. From there. Then we can actually press Tab. And this is what we actually end up with a for me. Actually. I'm going to turn off my scene lights just so I think you'll be able to see a little bit easier what they'm doing. And also for now I'll just put it on object mode and then I think you can see much, much better. All right, from here then we've basically got this piece of wood ready to go. I think one thing I'll do is I'll just come in, grab this bomb face, and just pull it out a little bit. Now, as we move on, as we move on within the course, we're going to be moving much, much faster as we get, you know, more accustomed to the way that we actually work. So this will be slow in the beginning but it will speed up. So if you're a blend and injure or anything like that, just bear with the process and you'll see it'll speed up. All right then. So we've got this now. So what we want to do now is we really don't need a lot of this mesh that we've already gotten here. So all I'm going to do is I'm going to isolate this out the way first. So I'm going to press shift H just to isolate everything out of the way. And then what I'm going to do now is I'm going to grab the back off here. So I'm going to select this, we've left click shift, select this one. Shifts like this one. And then all I'm going to do is just pull them back into place. Like so we're not going to need this back and we're not going to need these sides. So we might as well delete them all the way now. So what I'm going to press is delete and faces. And then what I'm going to do is I'm going to shift select this one, shifts like this one. Control select this, which will mean it'll select them going all the way down and shifts like this. Now we're also going to need the bottom either. So I might as well shift select shifts. And then this side, same thing again. Shift selecting, delete and faces. And we should end up with a piece of mesh like this, which is exactly what I want from there. Then I'm going to right click and we're going to shade auto smoove. Because that then is going to make sure that this bevel isn't looking so beveled like this. So right click, shade, auto, smoove. And there we go. That's what we're left with. Now let's press control. All transforms, right click, set origin to geometry. And now what we can do is we can actually bring in the same modifiers what we bring in before. So generate, let's bring in a bevel. And then let's also turn the bevel down to naught point naught three like so. And now you can see what a beautiful bevel we have on there. Now on the next lesson, what we're going to do then is we're going to get some material on this. And then we can actually start moving this and using it in a really, really nice way. Now remember as well, from what you've learned from the asset manager, you're free to actually come in, rename these. I'll show you the next lesson, how to rename things fast, and then you can actually put them in your own asset manager. So I'll quickly show you how to do that on the next one, just in case you want them for yourself. All right everyone, So I'll see you on the next one. Thanks a lot. Bye bye. 16. Crafting Decorative Pillars with Extrusion and Inset Techniques: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left off. All right, so we've pretty much got this all set up with our bevel. All we need to do now is we need to come in and we need to give a texture. So the texture we're going to give this is blue paint. And you'll see this texture is really, really nice, how it actually works. So what we're going to do is, first of all, again because it's wood, we can really, really get away with just pressing a, grabbing it all, pressing Smart UV project and clicking, okay. And you'll see now that can actually come in and with materials. So let's go to Asset Manager and what we'll do is now we'll go down to our wood. So where is wood? And then what I'm going to do is I'm going to drag and drop my wood on there, first of all. So let's drag and drop that on. Let's double tap the, and let's see. Now, I can't really see what this is going to look like right now, but if I zoom in, you should be able to see, if I come into my world, I'm going to turn my sun rotation around a little bit now, just like this. And you'll actually get an idea of what this wood is actually going to look like. So there's what it's going to look like. Now you should, you might be able to see, or we might be able to see when we actually render it out that it has a slight relief along here. In other words, wherever the edges are, it actually has a whiter paint on there. And the way we do that is if we quickly go to our shading panel, we can see that this one is a little bit different of a set up. In other words, we've got basically two lots of maps going on here which you can have as long as you plug them both into your actual principle. As you've seen on the tutorial I showed you, it's four maps plugged into the principled messed around with everyone, whether that be roughness or whether it be metallic. We've messed around with those just a little bit. And from there then we've actually got another set and we've plugged basically both of these into each other, into our shader. From there what we've done is we've actually used two bevels, so one bevel for the inside, one bevel for the outside from there. Then what we've done is we've changed the actual color and made it slightly lighter or slightly darker depending on if it's the inside of the mesh or the outside. This is really great because what it does is it enables you to actually have edgewaar without actually taking into substance painter and that's why you renders will look really, really professional even though you've done it all completely in blender, which is what we're trying to do here. I recommend what you do is if you have any shaders, you just basically take this all of this part and you copy it. And then what you do is you add that to your own shader. So in other words, you bring the onward shader, add this to it, and then plug this into the fact down here. Now at the moment, this might be a little bit complex for where you actually are in learning blender. So I don't want to dwell on this too long. But what I'm going to do is when we come to actually rendering out the scene, we'll actually look exactly what this does. And we'll go a little bit more into how to get this to work correctly and you'll see how it works. But for now, put this on our actual wood, which we have done. And now let's go over to our modeling. And now what we'll do is we'll press Tab. We'll press Alt H to bring everything back this time. And now if I double tap the just to deselect everything and finally come to my rendered view. You should see now this is what we've actually got. So it's a really, really nice start to our actual coffee shop. Again, don't worry about the pacing. We'll pick up the pacing as we move on. All of this stuff needs to be front ended, though, so it needs to be explained before moving on. Now the next thing is we want to go to our asset manager. And what we want to do is we want to come down to it. It says course resource pack. Click that on, and then go to current file. And nothing will be in there. And what we want to do is we want to call, let's start with this, we'll call this one post. So if I come in and I press F two and first of all come in and call this post or stone post for instance. Like so. And then what I can do is I can come over and find it on the right hand side. And the way I'm going to do that is I'm just going to come over to the right hand side, press the little dot board on the number pad. And there you can see post stone is here. From there, then I can right click, come down and Market as Asset. And now you'll see if I come over here to where current file is, click on a sign, There is Marc Short post. So you could now build up your own asset manager with all of these little parts. We're not going to do that within this course simply because of time constraints. But we already know how to use the asset manager, we already know how to set up the files, we already know how to do the materials. Now the great thing is when you're actually saving out things like posts where they've already got a material on blender will actually save out the materials as well. So if you want to use these in other files, you can just drag and drop them and it'll have the same materials in. All right then. So what I'm going to do is I'm just going to clear that. Because I'm not going to do that in mine. And then what I'm going to do is I'm going to put it back on resource pack just so I've got all my materials that I want to use. Okay, so now let's move on to the next part. So what I'm going to do is I'm going to move my little guy over here. I'm going to put this onto object mode again. I'm going to save out my file then. And then from now I'm going to actually build that in the next part. So let's come in and what we'll do is we'll shift at the moment. We've got a cursor here, let's put our cursor on this. So all I'm going to do is press shift S cursor selected shift. Let's bring in a cube. Let's make the cube a little bit smaller with the S button. And then what we're going to do is we're going to put this round here somewhere. Make it a little bit smaller. Bring it down to where I actually want it. Something like that. I'm going to squish it in a bit on the X, X. Bring it in like so, making sure it's still going in the wall. And then from there what I'm going to do is I'm going to come in, I need to reset now, my transformations. And the reason is if I come in, let's say, and grab this face, press the eyeball, and you'll see it comes in really weirdly. We don't want it coming in like that. So what we're going to do is we're going to press control all transforms, right click its origin geometry. And now I'm going to bring it in with the eyeball and you can see it comes in much more even. And that's exactly what I want, so I'm going to bring it to there. And now what I'm going to do is I'm going to press to extrude, and you will see that a line appears moving along the z axis as I pull it up. That's okay to follow that. If yours isn't, just press the Z again and it will follow that. Or press it a couple of times and it will follow that axis for me. Then I'm just going to left click to drop that in place. And now I'm going to do is I want to pull this out round here. So the way I'm going to do that is I'm going to press E S to pull it out. And you can see, again, we've got an issue here. The issue is that it's not being pulled out level, it's being pulled out farther on the sides than the back and the front. So I'm just going to press controls at once. Tab control, reset all the transforms, right click Rogen geometry. And now what we're going to do is we're going to press S to pull it out. Now if you've still got the same problem where it's not coming out, it could be to do with the actual shape. So all we're going to do in that situation is I'm going to press shift spacebar move. And instead of doing it that way, all I'm going to do then is just pull it up. So I'm going to pull it up to where I actually want it now. From there, I'm going to do something a little bit different instead, because it wasn't coming out the way I wanted it. What I'm going to do though first is go over to modeling, because it's easier for everyone to see what I'm doing. And then I'm just going to put this on object mode. And then finally now make sure I'm on face select. And then Olt shifting click. And what they'll do is it'll select them going all the way around. And now I can press again Enter and then alternS. And now I can pull it out nice, and even you can see much, much more even. Let's set the offset too, even. And there we go. That's looking much, much better. Now I will say that this is looking a little bit chunky at the moment. So all I'm going to do is I'm going to press L to bring that, select it all. And then and Y, I'm going to bring it in a little bit like so now that's looking much, much better. Now what I want to do from there is I want to bring this up one more time. I'm going to bring all of this up. And what I want to do is I want to level this off. The way I'm going to do that is actually I'm going to delete this top bit. I don't need this on here, you can see it's a face that we really, really don't need this one. The way I'm going to do that is I'm going to grab this face, press control, press delete and click Faces. That then deletes all of that off. Then all I'm going to do is select this edge, this edge, press and join that back in from there. Then what I can do is I can press, now bring that up, we extrude, grab this edge, press control, and pull it out. Now you will notice when a press control, the same thing is going to happen of what I did here. Because Blender remembers it. I don't really want that. So all I'm going to do instead is I'm just going to turn down the amount of segments. And that is the kind of look that I'm actually going for. All right, so now what we're going to do is we're going to bring this part in now. So I'm going to come back to this again. I'm going to grab this part here and I'm just making sure. Yeah, it's just that part there. What I'm going to do now is I'm going to press I to bring it in like so. And then what I'm going to do is I'm going to press E, and I'm just going to pull it back a little bit like so. And then what I'm going to do is I'm going to press I again, jaws to tad. So you just want to press, bring it in a tad. If you're not got it right, just press the button and hold the shift on. At the same time, Jaws to tad, like so. And then from there now what I can do is I can bring it back out, bring it back out to here maybe. And then finally once more and bring it back out. If I hide this out, the way you can see that what I did was to hide this one. I pressed and brought it out and then I pressed again. I'm just going to actually go back and do that just once more from here. You can see it at the moment. If I bring this out, it's bending it, which I don't want. So you can see it slightly bent there and that's because I didn't extrude it. So what I'm going to do is I'm going to press, bring it out. And then what I'm going to do now is I'm going to press again again. So from here now what I can do is I can come in, put this onto medium point, press the S button and bring it in like so. And you can see now got a really, really nice mesh. And it's looking the part now. It still might be a little bit too chunky, so I'm going to press and Y make it a little bit less chunky like so. And let's put that in plate now. I'm not sure where these posts are going to be yet. I do know that they're gonna be under each window. So that's what we're actually gonna make next. The actual windows to go above these. And then I can actually work out where actually want these. Alright everyone. So I hope you enjoyed that. I hope you're really enjoying the course so far, and I'll see on the next one. Thanks lot. Bye bye. 17. Window Framing Mastery Using Seams and Face Split Techniques: Welcome back everyone to Blender. Fold the Environment Artists guide, and this is where we left it off. All right, so we said we're going to start with our windows now. So one thing before I do that though, just to actually bring us up to speed on what this actual shader is. So you remember we went into the wood shader and have a look at it. So here we are. I've actually pulled this up just to show you what happens, so we now have control of how this actual wood looks, especially on the edges and on the inside of them. So you can see here, we've done exactly the same thing with the wood on here. Exactly the same. And on this one, it's a little bit hard to see, but you can just see it around these edges here. It all depends what the angle of the wood is, and we have full control of doing that. We've also put it on the inside of the wood here as well as you can see. So that is exactly what we, what we're doing with it. We've also put it as well on the metalwork and things like that so that you actually, your scene basically comes to life. It looks just so much better than just flat shaders on top of them and better than that actually you can bring in your own texture maps and add this to any of them once you actually look at how the set up is done. So you're free to actually take this shade, just replace the actual maps, and then you'll have a beautiful shader to actually do many, many things looking like actually that you've took it into substance painter or something like that. But of course all done completely in blender so because we haven't got a light actually set up in this scene, I thought I'd just show you that just so you know what we're trying to do. So now let's actually move on with our actual window. And we are going to be building a lot of windows and a lot of doors in this project. So by the end of it you should have a really, really good idea of how to actually create windows. All right, so let's actually get cracking on with the window. So first of all, what we're going to do is Shift S cursed to selected. And then what I'm going to do is a thing to start with. What we'll do is we'll bring in a cube. So let's bring in a mesh, bring in a cube. And then let's make it the size that we actually want it. So if I bring it something just above this point is, so I want my window basically to start here. And how I up do I want my actual window to go? Well, we can see the top of here on this window is going to be, has to come round about here. So this is the very, very top of it, because this is where our next level comes. Now remember the level is also going to be across here and a little bit down here. So we have to take that into account. So what I'm going to do is I'm going to go into edit mode. Grab the top of it and face select. And then I'm just going to press three and then pull it up to where we actually want it. Now. As far as the window goes, at the moment, I'm pretty happy with the actual size of it. So this looks a good size for a nice thin coffee shop window. Then what I'm going to do from there is I'm going to round off this top now. So if I grab this edge and this edge and what we'll do is we'll press control and we'll round it off like so from there then what I'm going to do is I'm just going to left click. And I'm going to come down to my operator panel now and let that do the rest of the work. So I'm thinking I'm going to give it kind of three segments and just round off that edge like so. Now from there what we can do is we can actually take the front of it, so this front here, we can duplicate it with shifty. And then what we can do is we can pull that out like so. Then I can come to the back part of it. And what I'm going to do is I'm actually going to use that as a Boolean, so I'm just going to keep that there for now. And I'm just going to separate it away from the other part of the mesh by pressing selection and separating it away like so. Now if I press Tab, what I can do is I can press Control all transforms, right click, set origin to geometry. And now that's ready to actually go into my wall and create my Boolean. What I'm also going to do, what I tend to do, is I'm going to put all of my Booleans into kind of one place. So what I'm going to do is I'm going to press New Collection. And let's put it down as Boolean like so. Click okay and OOklay again. And then also I'm going to press f1f2 and actually rename it. So call it coffee shop window. And then we should know which one this is now it's named and it's in its own actual part. From there. Then I'm just going to pull this up there and I'm going to drop it right at the very top over there. Because then I've always got access to it. I've not got to scroll down here to find it. Now I'm going to do is just hide that out of the way. Finally, then what I can do is start work on this window. First of all, let's reset all to transform. So all transforms right click, set origin to geometry. And then from there then, now we can actually start working it. So if I press three to go into the kind of side view, what I'm going to do is press I. What I'm going to do is press Tab. And then when we come to face, select, select the whole face. And I'm just going to press, and this will be the kind of first part of the window. So this is going to be the stone part that's going around here. With this part, we don't need to worry about edging or anything like that, it's just going to be some simple stone. All right, from there then. What I'm going to do now is I'm going to press I again. From there, then what I'm going to do is press I again and bring that in. And then this is going to be the first wooden slats going round. And from there I'm going to make a much thinner one. So I again, bring it in, hold the shift button if you need to. And a kind of thin bit that's going to go into there. You can see it's much, much thinner than these parts. All right, so now what I want to do is I want to split these off because I find it much easier to work with them once they're split off. So what I'm going to do is I want to keep my selection here, Press the Y button, and that then is going to select it away from all of these. So you'll notice now if I press, it's actually split off from the rest of the mesh. Now if I press three again, and what I can do is I can come in now and separate these parts off. So ult shift click y and then ult shift click and Y and now everything. So if I grab this one, should all be split off from each other. If I grab this one, you can see if I press L, everything is split off. All right, from now then let's have a look at our stone first of all. So all I'm going to do is I'm going to press L on just this top one, so just this one going around the outside. And then we're gonna press and pull that out. Now I'm going to pull this out a little bit further because this part here is going to be into the actual wall. So you always want to make sure that part there is always a little bit chunkier than what it's actually going to be. So now if I come in and I grab just this part and bring it back and sit it against my wall. You can see that can sit nicely in there like so. And we can, you know, pull it out or in. Now let's think about this bit 'cause this bit is going to be the first wooden kind of bit. Now you've got to think in wood, you're actually, you're going to have some breaks in the wood. You're going to have one down here, down here, and probably one down here and over here as well. So what we'll do is we'll press control R. Left click, right click. So that's got the bottom one. Control R again, and we want to get this top one. It can be a little bit iffy sometimes, so just hide one of them out the way if you need to from here. Then let's focus on this one here. All I'm going to do is I'm going to select this one here, select this one, this one. And then come down and select my edges like so. And what I'm going to do then is right click and mark a seam. And this is so we can select those islands. Now I'm going to do is the next one I'm going to do exactly the same thing like, so come down right click, mark scene. Now all I need to do is split these off. So I'm going to start with the outside and the inside them together, so L, L, Y. And what I tend to do is once I've hit the Y, which means that the split off is hide them out the way with H. And then I know that they've actually been done. So L, and L, Y, and H. And then come down to the bottom ones. So select both of these, Y, H, and now we can see all of those are split off, alternH and bring everything back. Now I want to do is we're going to actually extrude these out. So if I press L, L, L and L, we're just going to do this wooden one first. And then what I'm going to do is I'm going to pull it back into place like so. And then I'm going to press two extrude and pull it back just just before that actual stone wall there. Now I'm thinking that I probably need to go a little bit further back with this. So all I'm going to do is press L, L and just grab it all like so. And then what I'm going to do is I'm just going to press and X on the x axis And pull it out so that now I can put this kind of in just into my wall as you can see there. And bearing in mind, we're taking our time with this because it is the first window that we're going to be doing. But later on we'll be whizzing through this, so don't worry. Now, let's think about our next part of our window. So all I'm going to do is L, L, L, and L and grab it all like so. And then I'm going to pull this one back to roundabout here because you would be able to see inside the window, the sill. And then I'm going to press and pull it out slightly slightly back against that wooden part there. All right. So far so good. Now let's come to the last part, the most difficult part to do, and this is basically going to be the actual windows. So what I'm going to do is, first of all, I'm going to split this off away from everything. So all that, I'm going to select it, I'm going to press P selection, Split it off. And if you're worried about my voice being a bit croaky, by the way, it's because I've got a bit of a sore throat. But I'm going to battle through this and hopefully you won't mind too much. Then what I'm going to do is I'm going to press three to go into front view. So three on my number pad like. So I'm also going to just hide these out of the way because I managed to bring them are back. So let's just hide all of these and bring back my coffee shop like. So that's going to make it much, much easier. We've also hidden our man out the way, so let's bring him back. That'll make it easier as well. Now we can press three, going to front view. And now what I want to do is create my windows. Now you will notice if I try and bringing it in an edge, we can't actually bring in any edge loops. And the reason is because it's an end on, in other words it's got more than four sides. You can't put edge loops through triangles or engons. You can only put them through polygons. But luckily for us, we have a simple fix. What I'm going to do is I'm going to come up, hit the verte button, select this verts, this vertise. Press the J button, and now you'll find that because we've joined those up, we can actually bring in. Some actual edge loops like. So making it really, really easy to do that. Left click, right click. Now we are going to have the same problem going down here. Exactly the same thing. So to actually combat this one going down, rather than actually join something up, you can see we haven't got to join here anyway. All I'm going to do is I'm just going to come in, I'm going to select this edge. Select this edge, right click, subdivide. And now what happens if I come to my vertex select, We've got one in the center of each, and I can simply press the J button like so. All right, so now let's actually create our Windows. So what I'm going to do first of all, is I'm going to come in to these parts. So basically select everything with L and then you're going to hit the eye button. And hopefully if you hit the ye button again, you should be able to bring those in and create some nice windows. Now from there, we need to actually split these up. So what I'm going to do is I'm going to press Selection. And then what I'm going to do is going to grab everything, all the windows going down, press the H Burton just to hide those out of the way. And now what I can do is I can bring just these in. So what I can do now is I need to come in and need to select all of these edges now, rather than, you know, go in and select them all. What I want to do is I want to press A. I want to then press control. Come down and click Mark. Same. Now, there are some seams here that we don't want to actually select. So what I'm going to do is I'm just going to select these three, and these three. And then what I'm going to do is going to right click, clear. Same. Now you can see what we've got here. Now the reason we've done that is because we want to separate all of these. It's a little bit tedious, but it's well worth the time of actually taking the time to do that. So we want to separate all of these islands. Luckily for us, there is actually a quick way of doing that. So what I'm going to do is I'm going to press A to select everything, mesh, come over to split. And what we want to do is faces by edges. Once we select this one, now there will be split up. So if I come in now and select this one, let's say press the G key, you'll see it's actually split up. However, we do actually have a problem. If we come to this one, for instance, you'll see this one's also split up. That's not something that we want. So what I'm going to do is I'm going to grab all of these now. It's much quicker though, doing this way like so. And then we're going to press shift in age, hide the rest of it out of the way. And then I'm going to come up to mesh. Come down to clean up, and what I want to do is merge by distance. Once you do that, it says removed 13 vertices and now you should be able to come in, select them all like so. Now you can see we do have a problem with these two being overlapping. But all we have to do is press Y. And now we can press, and now everything on here should be split up. If I select any one of these, it should all be split up like so. And that is a really, really easy technique to do this. Now the next lesson what we'll do is we'll pull it out and then we'll get them beveled off and you'll see exactly why I wanted these all split up. All right everyone, So hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 18. UV Unwrapping and Texturing Window Frames: Welcome back everyone to Blender for the Environment Artists Guide, And this is where we left off. All right, so let me show you them, why exactly did we do that? So now what I want to do is I'm going to grab everything. I'm going to pull it back over to here. Then just just in front of that window there. And then I'm just going to press like so to bring it out like so. And there we go. We've got a beautiful window. But it gets better than that because now what we can do is we can press control on everything. So let's just select everything now. We can even pull them out a little bit if it makes it easier for you. And then what you can do is you can join everything together. So control J, control or transforms right click, set origin to geometry. And now what we're going to do is we're going to right click shade or too smooth. And then what we're going to do is add in a modifier. And we're going to bring in our Bevel modifier, not a geometry node. We're going to add in a Generate and bevel. And there we go. You can see the all split up. And if I pull this down now to naught point naught three, you can see now everything split up and we've got some beautiful wood in there. All right? So really, really easy to do that now if we press all tach and bring back our window, now we can actually put these into place, so let's put them into place kind of halfway there, so maybe around here, something like that. Let's have a look at maybe these parts here. Maybe they want to be a little bit bigger than what they are. Because the windows, if I pull them back, as you can see, let's just grab those windows. Pull them back a little bit. Pull them back to the let's have a look. Yeah, there's no gaps there. So luckily, I think I've got away with that. Now if you haven't, all you can do is you can grab the whole thing. You can press S and X and pull them out a little bit like so stretch them out if you need to, or you can go in and actually grab all of these being as these are already selected for me. Another little trick I can do is control plus and just select everything like so you can see everything selected now. And then from there I can press S and X and pull them out like so. And then pull them back into the place that I want them or something like that. And then grab my windows and pull those back to where I want them. And you can see now that's looking really, really nice. All right. So now I'm going to leave them split up at the moment. The windows and the actual wood, and the stone, and things like that. And the reason is because I actually want to unwrap these separately. So what I'm going to do is I'm just going to select all these. I'm not going to mess around with the modify, I'm going to leave it on there because this is non destructive workflow. And then what I can do is I can press Tab, Smart UV Project, click Okay. And then finally, what I can do is now press Tab. And I can come on over now and bring in some materials now rather than just bringing in materials willy nilly. The easiest way to actually do this is if I put it onto material view, let it load up. We can actually select this and apply those materials from the stone to get that first bit in. So it's going to be much easier to do that. So what I'm going to do is once we've got like loads of wood and loads of different materials in there really, really quick then to actually apply materials. So what I'm going to do is I'm going to select this one. And this one I'm going to press control L, and what I'm going to do is copy materials. And now you'll see it's all being put to stone. From there, what we can do is we can actually grab just the stonework going around here, hide it out the way. And now what I can do is I can bring in another material. So the material we're going to bring in is going to be some wood. And the one it's going to be called is lightwood. If I go over to mass manager, let's come down then. So we've got materials here. Let's have a look. We need it onto current file, I think it is materials. Let's go to metal. Need to reload that back up. So let's see if I've actually got that in there. Now if this ever happens to you where it's not working correctly, all you need to do instead is just go up to your edit preferences. Let's come down to file paths. And I'm just going to minus off that plus. And then I'm just going to find where my actual resource pack is. So we can see we've got Court Resource pack here. If I click on this, click Add Asset Library, close that down, and now it should be able to come to Course Resource pack. And there they all are again. Now unfortunately for me, all of mine have disappeared in here. In other words, this is all not. In fact, yes it has. I thought it had, I'd saved that text file out. So it's very important as you can see, saving that text file out and now I'm gonna do is I'm going to go down to wood. And here's all my wood. The one that I want is gonna be light wood. So let's put this on material. And then what I can do is I can grab just this part here, put lightwood on like so you'll see it will change. And now all I need to do is just come over to the right hand side. Now, I did think that the stone would stay there, but it hasn't unfortunately. So what I've got to do is I've got to late plus down arrow. And the one I'm looking for is stone. And from there then what I can do is press Oltage and now assign this stone. So I've only got these selected, as you can see. And I want to assign stone to them. And there we go. Now you can see that's looking pretty nice. Now you can also see. Because our blender unwrapped it, that it's all going really nicely. In other words, the wood grain is going all the right way. And that is exactly what we want. Now in the future, we might have some where the wood grain is going the wrong way. So I will show you how to deal with that if I just select this one, come over to UV editing, You can see at the moment the wood is pointing this way. If I undo this and just put this onto Material mode, press the little doll born and then on we're going to do is press R 90. You can see now this is going the wrong way, so we need it to go the right way, else they're not going to look right. So all I'm going to do now is press controls head and put them back. Now you'll also see that these ones up here, they look a bit iffy. And the reason is for that is because all of these are actually faced. And as you can see, these ones here aren't actually going the right, you know, they're kind of bent round. So to easily fix that, what we want to do is we want to come over over and select this one here. And you will see that this one is a face edges and virtus. So let's select this one here. Now, depending on which face you select, all the rest of the UV's will follow that active quad. So if I select this one and then press L on the rest of it, this is the one that's highlighted. And then I can right click follow active quads. And now you'll see that it actually looks much better. If I rotate this now you can see just how much better that actually looks, for instance. And what we can also do as well as we can select this one, we can press L on each of these, then right click, follow active quads. And I thought it would work on the rest of bout A. So what we'll do is we'll follow active quads and then we'll select the rest of it with L, follow active quads. And from there then all we need to do is select them and rotate them round. The same for this one. Rotate them round, and the same for this one. And rotate them round. Now there is a free add on that I should tell you about called UV squares. So if I just come in now and just turn those back to how they was, so let's use this one as an example. I can come in to edit, so it is a free, you can get off Github and it's called UV squares. So if I come in to Edit Preferences and look for UV, you'll see one that says UV squares. Just install it and then have it ticked on. Close that down. And now I can come to this one, for instance, select the all press alter, and that then straightens the mall up really, really nicely. Same for this one as well, Lt. And you can see just how easy that is. Much easier than messing around. I've just done that. And you can see now these look really nice. Now, I'm going to be using this to speed up the process of the course, but you're of course, free to use either of the methods or get the free out on that I'm talking about. All right, so let's now come in with all these and the God, the good thing about the UV add on is I can come in and select them all at the same time. Like so press T and it straightens them all up really, really nicely, really, really easily. Now, the other thing that you should know is depending on, so let's select all of these. You can see at the moment this is the UV map. If I come in and make these much, much smaller, you'll see that they all end up really, really blurred. And if I come in and pull these all the way out, you'll see that it makes the wood look much, much nicer. And same for the stone, and basically this is because your UV's are based on this UV map. And the smaller they are, the more blockier, the lower resolution the actual shades are going to be. And it's the same, if you make them bigger, they're going to be a much more, a much better shader. So what I would say is bring them out to the size I've got them so you can see something like that. The other thing is at the moment as well, we're using a seamless texture here, so it doesn't matter, you know, if I go over the edges because it's completely seamless each side. And it would say if you're going to grab textures online or anything like that, just make sure that you're grabbing seamless textures. You can of course, use non seamless textures. It just means you can't go outside of the UV space, which is this block here. All right everyone. So I hope you learn to learn this one. And on the next one, then we'll get these windows in, and then of course we'll get this window going over again. I will reiterate this is going to be much, much faster when we do new windows from now, as we've pretty much learned the basics of creating windows. Alright everyone. Thanks a lot. Bye bye. 19. Streamlining Texturing Copying Window UVs with Magic UV Addon: Welcome back everyone. To blend the Fall The Environment Artists Guide, and this is where we left the art. All right, so now let's look at our actual glass. So what I'm going to do is I'm going to come to my windows, first of all, and then I'm going to press control. First of all, resetting transforms always do that before doing anything else. And then what we're going to do now is bring in that material. So I'm going to go over to my asset manager, which is over here. And then what we're going to do, we're going to look for glass. Now this is my glass. Glass lit windows. If you can't see it, just come down to where it says glass. And then we're going to drop this one onto there like so. And there we go. Doesn't look like much at the moment, but let's actually unwrap it first and then I'll show exactly what it does. So first of all, we're going to go over to UV editing. It's going to make it much easier from here to actually do something with it. And then what I'm going to do is just put this on material and then I'm going to come to my actual window. So I'm going to select my window press tab. Select this one first. And as soon as you select it, because we've actually got this material on there, it will open in your UV map. Now to open that on. What I'm then going to do is I'm just going to press wrap that then is going to get it the right scale that I'll want it press a. And then and then I'm going to bring it down like so from there then what I'm gonna do is I'm gonna put it into place in here. As you can see, now it's looking fairly nice. Okay, so now we're gonna wrap it. What we want to do now is bring in a new actual add on. So I'm gonna go up to Edit Preferences, and the one I'm going to bring in is called UV magic. So you're going to type in UV and it's called magic. Uv or UV magic. This is the one that you actually won. Then what I'm going to do from there is I'm going to close this down. I'm going to press the U button. And now what you're going to see is you're going to have all of these other options on here. And the one we won is going to be to copy. So we're going to copy and you're going to click Default. And what that's going to do is it's Basic. Going to copy this UV. And now what I can do is I can select all of these. So and then what I can do is I can press U and we're instead of copy, what we're going to do is paste UV's. And there we go. Now I recommend, first of all going over to the left hand side on UV map, pressing the button, and then coming back over and selecting one. Now you can see all of these UV's are now the same, but the best thing is they're now the same size. Which means now I can just press G and then go to the next one. Press go to the next one. And because we selected them already, they're already selected. So it's just a question of G, move, move, move. And you can see just out quickly and easily, we can actually work with these now. So it's a really, really handy little tip to get. Uv's done really, really fast because we want a little bit of variation in our actual Windows. We don't want them all looking the same. All right, so now there's that. Now let's sort these out. Now what I'm going to do with these is I'm going to grab both of these. I'm going to press three, I think it is, on my number path just to be in straight view. And then I'm going to press U. I'm going to come down to where it says Project from View. So this one here. And it's basically going to project it from the view of where I'm looking. Hence why I want to be straight on. So at the moment you can see I don't want to be an angle like this. I want to press three straight on. And then I can press U and Project from View. And we're going to end up with something like this from there. Then I can press A over on the left hand side, press the S bottom, and I can make them bigger. So I'm going to put this one, this one here over there. Then what I'm going to do is grab this one. I'm going to press G and actually put this one over there. And there you go. You can see just how short work we made of that. All right, let's go back over to modeling, and now let's actually look at this shader that we've actually got. So if I come in to Mirnda View, you will see that actually it's glass, but we can actually see through it now. At the moment, we've not actually worked on the emission or anything like that. But you can see if I change this wall, so if I just come to this wall and change the gray box to red, you'll see now that you can actually see through there. And it brings out that light because it's got a little bit of light. Let's just change that back with controls Sd and now what we'll do is we'll just go into the shader so I can show you how that's actually set up. So basically, if I put this on material, pull this up a little bit, you will see that this is just a basic shader. So what it has is it has some maps. So basically some glass maps to give us all this. And then what's actually plugged in here, as you can see, we actually, if I open this up, was the emission. We have an emission here with a color, which is the emission from here going into here. And then we can turn the strength up or down. If I put this down here to our rendered view, I can turn this up and you can see it gets a much bigger glow on there. I'm going to press Controls head and put that back to what I had it. And then finally we've jet's got another texture where this is the actual window texture as you can see the emission. And from there what I'm trying to do is I'm trying to bring out these dark parts on here so you can see these dark parts or lessen them with this actual color Ram. And then finally I'm just mixing the shades up. Now. Now what you can do if I bring this down, as you'll see, we can actually bring it back or bring it up. So you've got an option there of bringing this down. This is because when I finish the scene, I know then I can go in, I can alter this shader and put it the way that I actually want it. All right, so now we're going to do is we're just going to go back to modeling. Now we can actually join all of this together. So I'm going to grab my window. I'm going to be on material view just so I can see what I'm doing. I'm going to grab the rest of my window. Then I'm going to press control J and join it altogether. Now you will notice as I did, that things actually changed a little bit if you notice. So if I press control D, you can see it just changes slightly. And what I want to do is shade auto smooth just to make sure everything is shaded smooth. And then finally what I'm going to do is again reset all of my transforms. You know what? In fact, before doing that, I know what actually happened. So what happened is we've actually got a bevel on here and when I joined it to my windows, it's going to take that bevel off there. That's what actually happened. We don't want to do that. So what I'm going to do first of all, is, and I think I will join my windows. So grab my windows and join them to my actual round window. So press control J, join it altogether. And then it's gonna keep on that bevel, it's not going to bevel off these windows or anything because it has no edges or anything, so we don't need to worry about that. But what it is going to do is it's gonna put a nice bevel on here for us and round our wood that we actually want. All right, so remember though we also have our boolean behind here as well. Now what I'm going to do is I'm going to grab my boole and I'm going to move it back, just a tad like so. And also you can see that if I move my window back now they're exactly the same size. We don't actually want that. What we want to do is make this boolean a little bit smaller. So what I'm going to do is I'm going to press three and I'm going to put my ghost or my x ray on as you can see. Let's see if that goes through. Now let's put it on an object. And here we are. Now we can see the size. So we can see here, this is it going around. If I press the S put in now we can see it get smaller. But what we can see also is that this bit here maybe needs bringing down a little bit like so. And then let's also press and y and bring it in a little bit like so. And now you can see it's fitting much, much nicer basically. As long as this stone, this is the outside, the stone is covering the boole in, we should be fine. So something like that looks absolutely fine. Here's our stone around the outside. And in future, obviously, I'm not going to go into so much explanation about why we're actually doing it this way, we're just going to be doing it. All right, let's turn that off them. And now I want to do is I want to actually, maybe I'm thinking, grab both of these and put them over the window. Now we have a few options of what we can actually do here. I'm just thinking the easiest way to do this is probably probably, yeah, what we'll do is we'll grab this one. Yeah, what we'll do is we'll array it. I think we'll array it. So what we'll do is we'll reset both of these transforms. Let's grab them both. Control or transforms, right? Clip set, origins, geometry. And then what I'll do is I'll array it in across. So I'm going to come to this one first. Let's add in another modifier. So we'll add in a array. And then what we'll do is we'll turn this down here down to zero. Because at the moment it's trying to ray this way and we don't want that, we want to ray it along the X and we also want it three times. Now if I press three now, I can see that I really, really want this one to be kind of the same length from here to here. So what I'm going to do is I'm just going to move it over on the Y and hold the shift button. So I'm going to hold the shift burn to get it a little bit tinier difference and something like that looks about right from there. Then what I can do is I can actually grab my Boolean, grab my window, press control L, And what we're gonna do is we're going to copy modifiers. And now you can see that we've got the modifiers over there. Unfortunately, this does sometimes happen where they don't seem to line up. Sometimes it goes right, sometimes it doesn't. So all I'm going to do is I'm going to come over to my Y, and I'm going to move them over very slightly just to get them all into the right place. So you can see here now, they're all lined up really, really nicely and that's looking really, really good Now on this actual building, there is no other need for any billions like this. So in other words, we don't need any more rounded booleions for this. So all we're going to do is we're going to bouillon them into the wall and then we can put our windows back on The actual next one. The one thing we want to do though before doing anything is we want to actually come in and split this wall up. At the moment you can see it's attached to the whole object. So all I'm going to do is just come in, grab both of these parts. Press selection, and then I'm going to grab it. Control all transformed dry clicks at origins, geometry. And the reason I've done that is because a lot of the times when you're bullying something, if you've just got a plane, it's much easier for Blender to deal with it than dealing with all of this, for instance. That's why I've done that as well. When we come to unwrap this part here as well, it's also easier to unwrap if it's just a plane. So that's the reason we've done that, and you'll find out more as we go on why that is. All right, everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 20. Background Details Creating 2D Planes for Window Backgrounds: Welcome back if you want to blend it for the environment Artists guide and this is where we left the art. All right, so now let's come and actually bullion this off so I've got my plain wall. I'm going to put it on material mode jaw so I can see some kind of you know, materials on there. I'm going to go to this now my bull, I'm going to apply my array. So control, let's apply that array. Let's take the bevel off. We don't need the bevel on the bullion, so let's take that off. And then all I'm going to do now is come back to this wall. I'm going to add in fact, before we do that, we'll reset all the transforms origin to geometry. Come back to my wall now adding a modifier. And we're looking for boolean. And the boolean is going to be this object here, like so. And you can already see it looks as though it split them all off. And now all we need to do is apply that. So we don't need to do anything else. Just hit Apply. So control to apply, or you can actually come up to here and click Apply like so. So just control a apply, And then what I'm going to do is I'm going to come now to my Boolean, delete them out the way. And we should end up with something like this. Now we're going to need something on the back of ear. So we need to put, you know, some parts in the back of ear to actually make this look as though, you know, there's something behind there. So for now what I'm going to do is I'm just going to hide these out the way. And then I'm going to come in and grab all of these. So lt shifting click, Ol shift click, just going all the way around like so. And then what I'm going to do is just pull these back a very slight bit. So I'm going to press two extrude and pull them back. I'm going to press X so they follow that x axis. And then all I'm going to do is just pull them back very, very slightly, something like there. And finally then I just want to fill them in. Now sometimes it doesn't work. We can press and sometimes it does work where it actually fills them in for you. And now we've got a nice piece of wool with a Boolean in there. Now from here then, what I want to do is I basically want to give this a certain color. And the way I'm going to do that is we're going to give it a greenish tone to this. So let's come over back to our asset manager as well that we want to unwrap it. Now if we want to unwrap it, it just means that we're going to have to reset all the transforms. So control all transforms set origin to geometry. And now what we can do as asset manager, and let's find our walls. So we can see our walls here and let's drop on our green onto this. And there we go, a beautiful wall now from here. Then let's think about these backdrops here. So what I want to do is I want to first of all press the tab button. And I'm going to come in and just make sure that all of these are grabbed. So basically all of these ones are grabbed. And now what we're going to do is we're going to press three. And I'm going to press and we're going to project from view. And the reason we're going to do that on these parts is that we want to put a backdrop in there of our actual restaurant. So now let's come in and what we're gonna do is we've got one that says backdrops and the one we won is going to be one of these. I'm not sure if it's shops one or shops two. I think it shops two because this one actually looks like a restaurant. So I'm going to click that on and drop it on there like so. Now you will notice that it's not actually coming on here. So what we need to do instead is I think we can press Plus and then can we drop it in there? Let's see if we can drop it in there. And there we go, we can drop it in there like so. And from there then I can just hit a sign. And there we go. We've actually got the start of our restaurant. Now before we carry on, let's again go to the shading. And again, we're not going to keep going through these shaders. Once we've been through them once, then we're not going to go through them anymore. But you can see on here, all it is, is just a simple texture that we got from somewhere, I'm not even sure where. And it's just a restaurant as you can see, or a bookshop, I think actually we made these with mid journey, I think. And then what you can do is you can just drag the color to the emission, turn it up very slightly, and then it'll just give it that kind of, you know, a bit of a glow behind it. All right. So now what we can do from here as well is if I come in and I'm hoping, yeah, it's not actually coming out here, so look, they're not actually coming out here. Let's put this on UV Editor instead. And there we go. Now we've got what we want, so we can see how these are laid out. And from here I can actually put these into place then. So what I can do is I can grab this one and I can press G. And as we move it, as you can see, we can actually start to move this into place. The other good thing about doing it, not doing it here, is if I go to UV editing, you will see I have more options up here. So for instance, with this one here, I can actually come in UV mirror on the x axis and turn that round so it looks a little bit nicer as you can see. All right, so now let's think about the other side. So I'm going to come to this side, I'm going to move over slightly. And then what I'm going to do is I'm going to press, I'm not going to press you, I'm going to press a and then and move this one into place as well. So I'm thinking, should I put it something over here like so? And then again, I'll go to U V mirror on the x. And then finally this one here, let's have it more of a centered piece. So let's put it right in the center. So something like that, I think looks pretty nice. Now let's come in and what we're going to do is we're going to just give these a little bit of a test. But before we do that, what we want to do is we actually want to bring these in a little bit. So if I press eye now, you can see I can bring it in like so. And that's exactly what I want to do. Because what I want to do is I just want to pull them out a little bit. So I'm going to do these all at the same time. So I'm going to grab them all. We're going to press the eye button, bring them in. So, and then what I'm going to do now is control R, maybe three, left click, right click. Control 123, left click, right click. And then control 123, left click, right click. And now from here what I can do is I can come to face click, grab each of these faces. Make sure that I've got proportional editing on. So this button here. And then what I want to do is I want to pull these back. Now you can see at the moment I've got no gizmo, so I need to press shift space part to bring in my move tool. And what this does is basically this proportional editing is if I pull this back, you'll see that we've got a little circle here. And basically we can make that circle bigger to have more effect or less to have less effect. The other thing is we've got a lot of options here that we're going to be going through when we do this. But the main thing is we want to have it connected only I think, let's see if it actually moves it. Yeah, it moves the whole wall, unfortunately. So what we're going to have to do is we're going to have to come in and split these off. So I'm going to grab all of these. Press the button to split them off like so. And then hopefully now I should be able to come in grabbing all of these like so and then pull them back. No, can see we're actually going somewhere. So you can see now I can pull them back slightly like so, like so. And there you go. Now you can see just how nice they look. Now from there, if we go to object mode, you'll see they're very blocky. So let's right click shade auto, smooth. Let's smooth those out. And now let's put it back on, and you'll see this is the effect we end up with. Let's now finally go back to modeling. And then what we're going to do is we're going to press Lth. Bring back everything. So bring back our windows. Double tap the A, grab our windows and let's drop those into place like so. And finally now let's put on our rendered view. And hopefully we should be able to see through our restaurant like so. And it's looking pretty nice. And it gives it that three D effect because we actually pulled it back. So you can see how quickly and easily really we did this. If you think about me not explaining this, it would be done pretty fast. All right, so now from here, let's actually come in then to this part down here. And what we're going to do is, first of all, we'll unwrap it. So I'm going to press Control A, all transforms right Click, set origin to geometry, press the Tab button and then U, and then Smart UV project. Click okay. Now, rather than going and searching my material, I've already got a lot of materials on here. So all I'm able to do is if we select this one, you can see we've got a bevel on it and we've got the material that we want. So what I'm going to do is select this one, shift, select this one, press control L, and we're going to link materials. And then we're going to do is press control L. And we're also going to copy modifiers like so. And there we go. Now we've actually got a bevel on here, so let's just check our bevel out. Let's see how that's working. So you can see we've got a slight bevel on here as you can see. If I take this, hide this with this little computer box. There's our bevel on there. And we've also got a material on here as well, which really, really handy. All right, so now what we can do is we can move our guy to the side and we can actually start putting in the bottom part of here. So all I'm going to do is I'm going to do this roughly. I don't need to, you know, place them exactly like I did with my windows. So what I'm going to do is just press three. I'm going to press Shift D, bring it over, put it in the middle. Shift D, bring it over, put it in the middle, like so. And now this other bit, I'm going to press shift D, bring it over, and then all I'm going to do is press S and Y. Pull it out to where it needs to be. I'm not going to worry about the stretching of the, you know, of the material or anything like that. Shift D, then bring it over, put it into place that can overlap a little bit as well, that doesn't really matter. And finally, grab this one, shifty, and bring it over and put it in place like so quickly and easily. Now let's grab this one. Press the Tab button A just to make sure it's all selected and all you're going to do. Smart UV Project, click okay. Move on to the next one. Exactly the same thing, Smart UV project, click okay. And finally, this one, Smart UV project, click okay. And there we go. Let's have a look what that looks like then. So double tap the A, and there is the beginning of our actual coffee shop. So really, really nice, really easily. And what we'll do then on the next one is we'll work on this top bit here. And I think we'll start working round the back and round the sides and things like that before coming to the front because the front is a little bit more complex than the rest of it. Alright everyone, So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Oh, don't forget to say about your work every single time as well. I'll see on the next on everyone. Thanks a lot. Bye bye. 21. Creating Decorative Stone Blocks for Cafe Frame Support: Welcome back everyone to Blend the Fall, The Environment Artists Guide, and this is where we left off. All right, let's put this on object mode now. And what I'm going to do is I'm just going to bring in a cube. So it doesn't matter where my cursor is, as long as it's somewhere around here. You can shift right click and just put your cursor wherever you want. And then I'm going to press shift A, bring in a cube. I'm going to make this much, much smaller. And what this is going to be is this corner section here. So I want it to be, if I press and's and just squish it up, I think that's about the right size. Again, I'm not going to worry about placing it exactly. That's not how things like this worked. What I'm going to worry though is actually making this a little bit or more ornate than what it is. So to do that, I'm just going to press Tab. I'm going to press control R, left click, right click. Just to drop that right in the center there. And then from there I'm going to press control B and bevel it out. Now from there I'm just going to hold it there, Drag my mouse button all the way back just to bring in one of the actual U bevels, left click and then just drop it in place like so. And now from there what I'm going to do is I'm going to use this part to pull it out. So while I've got it selected, I'm going to press E and then Enter and then alternS and bring it out. Now we don't want proportion editing on, so alternate bring it out, bring it out to less than you think. Always bring it out to less than you think. Because when you come down and click offset, even it will pull it out a little bit like so. Now already that's looking pretty nice, but I want to have it a little bit rounded on these edges. So what I'm going to do is I'm going to first of all reset all my transforms. So control all transforms, right click, set origin to geometry. And then from there all I'm going to do is I'm just going to grab this corner here, press control select on this corner. And then what we're going to do is just level this off very slightly. So control B, bevel it off like, so. Let's bring in one more thing. Let's have a look at that. Left click, and there we go, beveled off nicely now. Right click, shade, auto, smooth, and that's what you should end up with. Now it's up to you whether you want to bevel it off a little bit more so we don't get these kind of hard edges. So let's just go back before we finish and instead of doing that, we'll press control B. We'll bevel it off three, left click, right click. And now let's see if we've got a better version. So shade auto smooth. And the other thing is if you shade an auto smooth, you can come down to the right hand side here, come to where it says normals and turn this up slightly. And what that'll do is it'll just bevel it off that little bit, that little bit more for you. All right? I'm not going to worry too much about this one. What I'm going to do now is bring in my next part. So my next part is going to be along here. So I'm going to press shift S, Kurt to selected. Just to drop that in there. Shift. Then let's bring in another cube. Let's make the cube a little bit smaller. And what I want to do is I want to fit this cube right in here, so just below here and here. That looks near enough, perfect. And from there then, what I'm going to do is I'm gonna press Tab. I'm going to pull it out. So grab this side, pull it out. So, and then what I'm gonna do is I'm going to press control and bring in another edge loop. So controlar left click, right click. And then finally what we're going to do is we're going to grab the top of here and just pull it out a little bit. Now as we work more and more through this, we are going to make more and more complex parts, more ornate parts. But you can see you can get away with relatively simple parts really easily. Now, from here with this corner, we might use this in other parts. So in other words, I want to keep, so if I grab this corner, press shift H. I want to keep most of it because I might have a part or I might put it in my asset manager. And I might want to keep this edge here. So I don't really want to delete any of this, not to mention the fact that we can also see the edge here. We can see the edge here. So which edge are we actually going to get rid of? We can't actually get rid of one, unlike this one. We can actually get rid of these sides and we can get rid of the back because we don't really need them. So what I'm going to do is I'm going to first of all come round to the back of it, grab both for these faces and just pull them back a little bit just so I'm not wasting so much UV space. Because the more UV space you're actually using, the more optimization you're going to need and the more performance heavy it's going to be on your computer because it's just more to render. So we don't really want that from here. Then what I'm going to do is I'm going to grab it again, shift H to hide everything else, and then I'm going to come in now and just get rid of these sides and the back of this because we're really not going to need that. So I'm just going to press Delete and faces like so. And we should be left with something like that. Now when I do is press ol tag, bring back everything. Now what I tend to do is attempt to do bulk building. In other words, I'll build quite a few things and then I'll go back in, add my materials and textures and use my beveling, and that's what I'm going to do with these. Okay, so now let's come to the next part. So we want another block in here, so let's bring in another cube. Let's make this cube a little bit smaller like so. And let's put it into place. So obviously I want this to come a little bit out like so. And I also don't want so far in the back, so rather than going to go to the back and pull it back and things like that, I'm just going to press S and X and pull it back to the size that I want it from there. Then what I'm going to do is I'm going to come and press control. Bringing an edge loop, bring it up slightly to somewhere like that. And then what I'm going to do is I'm going to come in and extrude this out. So I'm going to press extrude it out. Now I'm going to be level this bit. But before I do that, what I really want to do is I want to make sure I've reset my transforms. Because bevels are really upset if you don't reset the transforms and just make sure you do that. So I'm going to press control all transforms, right click, set origin to geometry. And then what I'm going to do is I'm going to come in, grab this edge, and this edge, I'm going to press control and level that off like so. And we should end up with something like this now. I'm fairly fairly happy with that. If you're not happy, or if you want to make this a little bit longer, all you need to do is just press Sen's head and you can pull it out. Then what you need to do is just pull it down slightly. And finally then what you can do is you can come into the bottom of it with face select, grab the bottom and pull it up to where you want to it now the other thing is I'm happy with the thickness of the, I think it's a little bit too thick actually. So all I'm going to do is go into object mode tab and then press and Y and just make it just a slight bit thinner. Now from there let's come in. We can't get rid of the sides. We're going to need the sides unlike this one. But what we can get rid of is the actual back. So I'm going to come in and get rid of the back press. Delete and faces by the way. If you can't go in the building for whatever reason, all it is is you need to press five on the number pad. And then that will either stop you going in the building or allow you to go in it. Just change the perspective. So there is that you should be able to go in it just in case you hit something and you can no longer in it. All right, so now what we want is one more. So I'm going to come to this one, I'm going to write click Shade, Auto, Smooth like so. And then what I'm going to do is press shift S, Ursa selected. And now let's bring in another cube. So I'm going to press shift A shift shift. Let's bring in a cube. Let's make it smaller. I'm going to want it to be round about the same size of this one. So I'm just going to line it up to be round about the same size. Now before we do that, there's one more thing I want to do is if you have it on object mode like this, I prefer to come up to the top here and just make sure that this cavity is ticked on from there. Then I get a much better visualization of what everything's going to look like. I could see there for this one for instance, I couldn't really see, you know, this part here when you go like here, you can't really see it. Bit easier to visualize once this is on. All right, so let's carry on with this part. So from here then, what I'm going to do is I'm going to just grab this and move it over here, just to put it next to it, just so I get a good idea of scaling and things like that. And then what I'm going to do is I'm just going to grab my block, pull it out a little bit, come to the front of it, so grab the face like so bring it just to roundabout there. And then bring up the bottom. And the bottom wants to be about heart, you know, two thirds of the way down from this one. And then what I'm going to do now is just reset. Because I need to bring this in with insert. And so I'm going to reset all the transforms. So all transforms, we don't need to keep clicking. Set origin to geometry. It's just a habit that I actually have, but you can do that after then. What I'm gonna do is I'm gonna press now and bring this in. Now, I don't want to go past this point because obviously I want it to be stuck out further than this. So I'm just going to bring it down to there. And then from there I'm going to do is I'm gonna drop it down. Past, so past this part here. And then finally what I'm going to do is press and Y and bring it in like so. And there we go. That's that part nearly done. All we need now is just to bring out this center part. So I'm going to grab the face here, press the eye button. And then what I'm gonna do is I'm going to bring it out with E, like so. And there we go. All right, so we're nearly done then with this next part, believe it or not. And the next part up actually is going to use a lot of parts that we've already created and we can just reform them and things like that. And then we've nearly got the entirety of the base of this actual building nailed basically. Let's come in then, and what we'll do is we'll put this on material mode to let it load up. Come on, there we go. And then what we'll do is we'll grab each of these now, Press control. All transforms. All transforms, right? Click, set origin to geometry. Now all of these materials are going to be the same, so all I'm going to do now is control all transforms. Right click to origin geometry. Come over to my stone wall over here. Control L and we're going to link materials and then control L. And we're going to lit copy modifiers like so. Now from here what I want to do is I want to grab each of these. You can see here it's not unwrapped properly. I'm going to press press A to grab everything, and then you smart UV project. Click Okay. And everything then is going to be unwrapped beautifully. Now the next thing you always want to do is you just want to check, now your modifiers have gone on properly, in other words, have the devils gone on. You can see on here, they've gone on pretty nicely on here, the bevels are not really showing, and that's what I'm talking about on here they are, and on here they are. On this one, why aren't they showing up as much? And the reason is, sometimes when you've got curves and things like that, it doesn't always bevel them perfectly. So I'm going to come to this one, come over to where it says bevel, open up geometry, clamp overlap off. And now you can see it's starting to bevel a little bit better from there. Then I tend to just bring it up or down, holding the shift bottom very, very slightly. And you can see the reason is that it's this point on here that's causing the issue. So you can see now we've got a slight, slight bevel on there. Maybe not as much as I actually wanted it actually. In fact, you know what, It's actually good enough so you can see I had to bring that down all the way to not point Norton nut one. If I put this on Naut point north two for instance, you can see slight, slight difference on here. You know what, I think I'm going to leave it on not point North, not two, I think that looks fine. And from there now we can put this back on material. And now we can start creating our next kind of block up. And then we can start the thing. What we'll do first is we'll create all of this for card, I think it's called all of this bit. And then what we'll do is we'll get the new windows put in. All right everyone. So hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 22. Multi Story Building Modeling Cafe Floors: Welcome back everyone. To Blend for the Environment Artists Guide, And this where we left off. All right, so now let's start getting these in place. Now in the original, I didn't actually put these in the center over here. Put them a little bit to the left and right, So I think I'm going to do that on here. So what I'm going to do is I'm going to put this over this side, and then I'm going to press three on the number pad. I do want this one lined up with this one going down, so I'm going to line it up with that one down there. And from there then what I'm going to do is I'm just going to press shift S, cursor selected, grab this one then. And then all I'm going to do instead of the orientation being here, I'm just going to place the orientation at the actual cursor. So right click set origin to three cursor and now I'm going to do is I'm just going to mirror that over there. So add modifier generate, bring in a mirror and what we want to do is put it on the Y, turn off the X, and it's basically going to mirror it from the origin. Always mirrors from the origin of things. Always important to remember that wherever the origin is, that's where it's going to mirror it over. And now you can see this looking pretty nice. Now I'm going to actually apply that now because I don't need to really keep, you know, this mirror on, it's non destructive. But mirrors and things like that, you know, they're not really going to make any difference, really. It's only the bevels that are, when you apply the bevel, it's going to be much harder to V on, wrap it, for instance, and you're going to end up with lots of edging problems. And that's why I leave the bevels on, so let's come over them and let's press control to apply that. And now what I'm going to do is put this bit into place. So on this bit here, you can see it fits in nicely. We don't need to shrink it or anything. What I'm going to do then is shift, bring it over. And again, all of these parts that you see here, you can come in and put them in your asset manager. So shift D, again, we're not going to do that because we want to save some time. And now I want to do is I want to bring both of these parts over. So shift D, bring them over and then pull this one over here. Now of course we do have a problem Once I put this part in, in that this is not the corner of it. So all I'm going to do is grab this one object mirror and it's going to be mirrored on the y. So you can see this green is the y, the red is the x. So we're going to mirror on the y. So object mirror y. Put it into place and there we go there. Is that part actually done? Now let's work our way up. So at the bottom you can see this post. It has a bit of an outcrop in, so it's coming out. I'm going to say a animal work as well. And the reason for that is obviously it's got a weight of all of this going up. Now, on the next one up, we don't really need that. So what I'm going to do is I'm going to grab this one, press shift, and bring it up, put it into place. And now what I want to do is just find where the center of here is. Now, again, sometimes it's really hard to find, you know, where the actual center line is. And we can see it is here. So we just have to be a little bit careful of where we're bringing this up to because we want this corner point to be against here. So what I'm going to do is grab this one, press Shift D, and then I'm going to drag it up. I'm going to put on my little ghost. Can I see from there if I put it an object? Yes, I can. I can just see it now here as you can see. And this actually has been put Near enough. Near enough in the right place. So if I press three, you can see I can bring it up a little bit. Put it in the right place. And from there, what I can do is I can bring this down. Now put it just under there. And what I want to do is get rid of this bit. So all I'm going to do is I'm going to come in, press tab, grab the face there. Press control control, press Delete and faces and delete that out the way. Now if I take my ghosting off, there we go. Nice and easy to do that bit. Now obviously we want it going over to the other side. So all I'm going to do is I'm going to grab both of these, press shift, drag them over and put them on top of there. And then what I'm going to do is go to objects. And I'm going to have to go to mirror. I'm going to mirror on the Y again, and then pull those into place. So there we go. As simple as that. All right, so now let's think about this bit going over here, this bit coming up here, and this center part in here. So what I'm going to do is I've got my one in the center, so that's handy. So what I'm going to do is I'm going to press shift A, bring in a cube. I'm going to bring my cube up, so I'm going to bring it over. Then I want to make something from here to here. What I'm going to do is I'm going to press and Y, and X. Let's pull it back like so pull it into the wall. And then I'm going to press S and Y. Pull it all the way out and make sure that it's just level so you can see here, it's a little bit, not even at the moment. So what I want to do is I want to pull it up a little bit. So pull it up and the other thing is I think I need to make these a little bit higher height. So let's come in, grab all of these press sens head. Now if we press Essence Head, we don't want to move them from this point. So what we want to do is we want to move them by individual origins, pressins, head. And then we can pull them out and make them a little bit bigger. And from there then I also want to make sure that this here, so all of these here is a little bit above there. So I'm just going to grab them all in and you're going to find you're going to do a lot of this where you're just trying to make sure everything fits in. Definitely. You're going to be doing a lot of that. All right, so that's looking good. We've got enough room now for these kind of umbrellas that are going to go over here. And I think it's all looking pretty nice. Now, the other thing about this is you can see, I don't think with these two. I auto smooth them so they're looking a little bit better now. And now from here then, this is fitting in much, much nicer. And what I want to do with this is I want to come into it and I want to press control or left click, right click. And from here then I want to bevel it, control B, let's bevel it out. So we're going to pull it out, we're going to drag the mouse down just so we have one bevel in there, so. And then what I'm going to do is I'm going to just drag it down just a tad. So pull it down just a little bit like so. And then what we can do now is we can extrude this back. If I press, I can extrude it back. You can see at the moment it's going along that z axis. We don't want that, we want it to go along the x axis. And now I'm going to extrude it back to something like that. And there we go. You can see we've got another nice bit of stone. If you've gone back too far, you can still pull it forward like so. And finally, now we need to fix this, because at the moment it's going to be way too long. We actually don't want it that long, I don't think so. What I'm going to do is I'm just going to press Tab and Y pull it together. And the other thing about this is you can see we've got a lot of parts here that we're simply not going to need. So I need to fix that as well. So to fix that, I'm going to press Shift H. Hide everything else out the way. And then what I'm going to do is I'm going to come in now and fix all of these parts. Now the thing is at the moment, as you can see, I could go round and try and select all of these parts. That will make you a bit of a mess. So what I'm going to do is just press control, left click, right click, control. Pull it out to something around about here. Come in with your edge, select old shifting, click, old shift, click, right click, mark scene. Then all we're going to do is go to face select, select this face on the outside, press the L button. And because we've already selected all of that, going all the way around there, I'll just select the M for you. Come in and do the same thing over here, so L delete faces. And there we go, really, really easy way to do that from there. Then we can just come in, select the top, Control select. Control select. And then we can just press Delete and Faces. And there we go. Really, really simple to do that. Now let's put this into place now. So I'm going to press his tab, old tag and put it into place and just keep an eye on what you're actually building. Just so you can keep on top of what you've actually built, what you need to come in and actually add bevels to, and materials. Generally, I don't add materials to anything. I come in and do that all at the end, so I can remember which ones which. Now let's come in and put this over to this side for now. Let's then bring in a new cube shift. Let's bring in a mesh and a cube. Let's bring this cube up. Let's press, bring it down, Put it into place, Press and X, let's squish it in. Maybe that's a little bit too much and X, pull it out. And then and's, let's pull it up a little bit. And finally then I'm just going to grab this one and y and pull it into place like so. And then finally I just need to pull this out because it's a little bit too big, so, and I think something like that's going to be fine. Let's grab this one then. Shift D, pull it over to the other side. Double tap the A, and there we go. That's looking pretty nice. Now the bit on top as well, it's going to be pretty similar. So all we need to do is grab all of these. So we're going to grab all of these parts. We're going to grab this part, this part and this part. And then all I'm going to do is press Shift and D and bring that up and put it into place. Now I can see from here that this is pretty much the right place where I actually want it. So that's looking pretty good until I build this top part on here, and then we can actually base things around there. Now from here then we need one more kind of post coming up here. So what I'm going to do is I'm going to press shift A. I'm going to bring in a cube. I'm going to press and I want it to sit on top of this one here. So I want it to sit on here. So I'm going to make it a little bit smaller like so pull it up a little bit like so. And then from there what I want to do is I want to split this off just to make it a nice kind of pillar going up. So all I'm going to do is I'm just going to grab the top of it. I'm going to pull it up into place or wherever I need to go. You can see that I need to pull it all the way back. So I'm just going to pull it back a little bit like so. And then I'm thinking, do I need to make it a little bit wider? I'm happy with it being as you know, a square or pillow. I think I am. So what I'm going to do now is on the next lesson is I'm going to split this into. And then what I'm going to do is I'm going to use the technique which will bevel it offers and make it look like stones stacked on top of each other. That's what we're going to do. All right. I'm going to save my work out like so. And I'll see you on the next. And everyone, I hope you're really enjoying the course so far. Thanks a lot. Bye bye. 23. Advanced Beveling Techniques for 3D Window Bases: Welcome back. Everyone's Blend for the Environment Artists Guide. And that's where we left off. All right, so let's come into this one and what we'll do is we'll press Tab. We'll press Control. We'll press two, left click, right click. And from there then, while they're still selected and going to press control B, bring them out to give us a couple of stones in there. And from there then all I'm going to do is split them off. So I'm going to press Y. And that then is going to make sure if I press that, they're both split off. Now I've got a really, really interesting technique to actually show you how to actually do this really simply and easily. So if I press a to slick the whole thing, if I come up to mesh, come down to clean up, what you want to do is fill holes like so now when I come in and grab, let's say this one here. So press L, pull it out and you'll see we've got faces on each of these now on the inside, even though there weren't any before. So I'm press control D now and come back. Press control, all transforms. Come over it, add, modify it, and generate a bevel. And you'll see now that it's already started to bevel them off. So now I can do is put this on naught point naught three. And there we go, Really, really easy technique to actually do that. All right, so from here then what I want to do is I want to now drag this part up. So I'm going to press, in fact, Before I do that, let me just make sure I'm happy with the sizing. Because at the moment I could, if I wanted to, let's just write click Set Origin to geometry. I could if I wanted to pull it out on the Y to make it a little bit more blocky, which I think that's what I'm going to do. Then all I'm going to do next is shifty, bring it up and put it into place on this one like so double tap the A and there you go. That's what you should be left with. Now let's come over to our materials and we should be able to see, hopefully all of the ones which we haven't worked on yet. So all of these, you can see these here are all ones that we need to add materials to and more importantly, modifiers as well. So what I'm going to do is you can also see we do have a problem in that all of these look the same. We don't really want that. What you can do is you can grab all of these blocks. So press Tab, Smart UV Project. Click Okay. And then that's going to make them all different. We can grab these two. Next, press tab, a Smart UV Project. Click okay. And now these are going to look different. And we can do the same thing on these as well. So Smart UV Project, Click. Okay. Now I wouldn't do it on the little ones, I wouldn't do it on everything. You can get away with the little ones, you're not going to see them as well, but especially the big ones or what's obviously the same UV for instance. Just make sure you do that. Now we're going to do is we're going to grab the whole of these shift, selecting all of these. We're going to press control all transforms, right click, set origin geometry. It's going to reset them all. And then what we're going to do is we're going to come over to this one, press control L, and we're going to copy modifiers first of all, then control L and we're going to copy materials like so. Then what we're going to do is we're going to deselect this one. Shift, select this one. We're going to press Tab. You can see it's still selected. So what I'm going to do is I'm going to do them separately actually, because it might be a little bit easier. Let's grab these two. Press Tab Smart UV Project, click okay. And then let's come to these two. So tab A, U Smart UV project, click okay. And then let's come to these two, like that. And then finally these two here. Tab Smart UV Project, click okay. Finally, let's go to object mode. And what I want to check now is make sure all the bevels are on so you can see all the bevels looking really nice on those. And then finally, we can go back to material and envelope what that actually looks like. And that is looking really, really cool. Now the one thing is the windows in here, we're not going to actually put a bull in in there. I just left those because I put actually a different material on those. But what we do want to do is we definitely want to make sure that these two parts here have an actual material. So what I'm going to do is I'm going to come in and I'm going to split this off. So I'm going to press P, Selection, split it off, and then we're going to come to this one and then Selection, split it off again. I think it's always a good idea to split off your walls. It does make things much easier from there. Then let's grab them both. Shift, select them both. Contro all transforms right click, set origin to geometry. And now let's go back to our asset manager. Come to our walls, So this one here. And what we want is the wall gray that we're going to drop on here. So, and then the wall gray we're going to drop on here. So back to them modeling. You can see how quickly this is to build things now. And let's come in and grab this one smart UV project. Click okay on these. Actually you can probably get away with just hitting on rap because it's just a plane. So you can just hit on Wrap if you really want to. Makes no real difference apart from the will look a bit different from each other. All right, so they're looking pretty cool. And now let's go onto our rendered view. Have a quick look at that and there's what you've actually got and what you've made so far, which is looking really cool. All right, so now. Let's think about our windows. I think what we'll do is we will do our top right at the end. So I think the easiest way to do this, because I'm trying to think of an easy way to do this, is to build out this side next and then fill in the actual other sides. I tend to, when I'm building, bounce around, I think you should do that as well. Bounce around between little parts of the same building. And what that does is it just keeps you more interesting. You don't want to be building the same things over and over again. You want to kind of bounce around. So for instance, doing the front of the coffee shop is going to be a lot more interesting than just keep remaking these blocks. Albeit they're a little bit different, but you get the point that I'm saying. All right, so now let's think about doing our next actual windows. So first of all, with these windows, the easiest thing to do is get the scale. So all I'm going to do, I've got my cursor here. I'm going to come in, bring in a plane, turn the plane round, so Y 90, press three on the number pad, and let's get in the scale that we want it. First of all, you can see this is round about the right height. So you can see the heights right. It's just the width. So if I bring this in on the Y and Y, let's bring it in. And this is probably the kind of width that I'm going to want. Now, the thing is about this window then, is they're a little bit different in that they've got an outside to them, so they've got a stone outside. So let's start with that first and then we can kind of work from there. So what I'm going to do is I'm going to press shift S, Kurt to selected. Because then that means I can work from this actual window. I can then press shift H to hide everything else out of the way. Give me complete control of this. What I'm actually building here, not having to be looking at other things. Press the little dot button on the actual number pad. And then what they'll do is allow me to move around it as well from here. Then now I can start building out my window. So what I'm going to do is in a press shift day, bring in a cube and I'm going to actually build out the top first. So if I build, come to here, I'm going to build it. You don't have to keep exactly to this as long as it's roughly around there. So and's Ed, let's pull it down. Let's pull this up and then let's pull it out. So S Y, pull it out to just pass the edges of here. And then and X, pull it in to something like that. Now from here, let me build out the side, where is it going to come down to? All I'm going to do is pressure shift D and then R x 90. Rotate it round and then I'm going to put this into place over here, if I pull this over here like so. And then all I'm going to do is pull it back a little bit, finally. I'm just going to pull it in a little bit, that's what we should be left with, something like that. And then from there then I can bring it all the way down. So I'm going to press Tab, Grab this face, I'm going to pull it down to roughly down to here. Now from here I want to bit that comes out of here. So what I'm going to do is I'm going to press the controller to bring in an edge loop, left click. Let's bring it down to roundabout here. Now I want to have a beveled round bit on here. So the easiest way to do that actually is to come in to face select, grab this face press to extrude it out. The thing is now, if I come and level this off, it'll be level all the way down to there if I want it. But I don't really want that. I want to have some control of it if I bring in another edge loop. So now wherever I put this edge loop, I'm going to have control over how far this gets beveled down. So now put it right in the middle with right click and can come in. Now press control B, and you'll see we have control of where that comes down to now. It's not beveling off properly at the moment. And the reason for that is, is because I didn't reset the transforms, so I'm going to press tab control or transforms. Come back into it, Press control, and now you can see it's beveling off really, really nicely. Let's turn up the bevel then with the middle mouse. So we'll turn it up something like five. And there we go, right click shade to smooth. And there we go. There is the start of our beautiful window, al right on the next one. Then we'll carry on with our window. We should get this finished and we should be able to place them where we need them. I think we're going to use these windows a fair amount And it's the next window down saw different style of window as well. All right everyone. Sobi enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 24. Efficient Workflow Copying Modifiers and Using Shade Flat: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left it off. All right, so now let's grab this top part here. And what I'm going to do is press Shift D. I'm going to bring it down just to the bottom off here. And of course, I want this to be further out than this bit here, so all I'm going to do is press Tab. Grab the Bom bit with face Select. Pull it out like so. Now the other thing is I do want to round it off on here as well. So I'm going to grab the whole thing with L. I'm going to press and y, pull it out a little bit like so. Then what we're going to do is pull it out a little bit more this way. And finally then I'm going to reset the transform. So control or transforms tab. Let's come up and grab each of these sides. Press control B and just be level them off very slightly like so. And I think five actually will be fine on here as well. And there we go, we've got our actual ledge down there. From there we can write click, shade, autos, move. And that's looking pretty nice. The one thing is, I would say it's way, way too thick. So let's come in, face, select, grab the bottom, pull it up like so. And there we go. Now let's think about this part in here. So let's come in, grab this top part, Shift D, bring it down to where we want it. I think actually we'll pull it out a little bit more and then all we'll do is we'll press S and y and bring it in a little bit like so. And that's already looking pretty good for I want it, it just obviously needs picking up a little bit. So I'm going to pick it up just to put it just on top of there. And I think I'm going to leave it. So from there then let's press control or transforms right click, set origin to geometry. And now I can bring this in. So I'm going to grab this face, press the eye button and bring it all the way in. Now for me that's a little bit too long still, so all I'm going to do is press and Y and bring it in like so. And, and then let's pull it out, pull it out a little bit, and then let's press S and Y again. And pull it in just very slightly. I think that's looking pretty nice. All right, this one here then we also want on the other side. So what I'm going to do is press control all transforms. Right. Click, set origin 23d cursor because it's right in the center. Add modifier, generate mirror, put it on the y, turn off the x that side. Let's actually apply that then with control A. And finally, let's deal with this part here. All they want to do in this one then is bringing in fact, don't want to bring in an edge loop first or do you want to bring it in? Just wondering the easiest way to do this. Yes, I think I'll do it that way. So all I'm going to do is I'm going to press tab control, left click, right click, control B. Score your mouse wheel back because you don't want that many, You only want something something like two and bring it in to somewhere like here. So if I press three, you can see it's about round here. And from there, then we're just going to bring in one more edge loop. So control, left click, right click, put it right in the center. And I'm just going to move around to the top. Then grab the top of here. Press three again. And I just then want to pull it up like so. Now from here what I can do is I can come in now and I can drag these out. So in other words, Ol shift and click Olshift. Click. You can see I've grab them all around there. Press three again. And then what you can do is you can press S and Y. And you can pull these out if you want to, as long as we have it on medium point S and Y. And you'll see then it just flattens off this bit a little bit more. I think it's a little bit too spiky. And then what I can do is pull it down just a little bit. Like finally we can come in, grab both of these. Press the eye button again, just once. Now you can see the knot coming in very well. And that's because we need to reset all of our transforms. Some control, all transforms. Srogens, geometry tab. And now I again, and now we can bring it in very nicely. Hold the shift on as well if you need to. And finally, then let's pull it back. So let's pull it back like so. And if you have some motive or something, you can put it on there as well. Now, we've done all that. What about our window? So we've got our window still here. We just need to put it into place. So what I'm going to do is I'm going to press three. I'm going to put, not that on. I'm going to put my x ray or ghosting on. I'm going to press the Born. And what I want to do is I want to get it to the scale where it's all going to fit nicely. So you can see the edge of the windows there are fitting nicely. The bottoms fitting nicely. It's just this top bit here. So I'm going to press tab, I'm going to make sure one edge, select, grab this edge, pull it up like so. And then I'm going to turn off x ray. And there we go. There's our window, now let's pull it out a little bit, something like here. Now let's actually create this window. So first of all, we'll do it pretty much the same way as we did the last one. So one window is, I'm going to press Tab. Come into it, I'm going to press the Eban to bring it in like so. Now again, I'm going to reset my transforms before doing that. So all transforms, then press the eban, bring it in. The frame is going to be roundabout here. And what I'm going to do is now I'm going to split this off away from this. I'm going to press Y, and then I'm going to come in again. So now it's split off. Let's come in, grab all of this one, and press Selection. And then let's hide them out of the way. So grab this, hide it out the way. And now free to work on this one. All right, so what I'm going to do, I'm going to press three. I'm going to press Tab. I'm going to press Control Law. Let's bring in 33 edge loops, left click, right click. Come to this one control, left click, right click. Let's just bring in one edge loop there. And then from there what we want to do is now we want to come in, grab the whole thing. Press the eye button and that eye again, and let's make our actual windows hold in the shift button again to make those frames. Once you've done that, press P selection to just separate all those come to your windows, then press H to hide them out of the way back to your frame then. And all you're going to do is you're basically go to select everything and then you're going to come to select and we're going to go, sorry, not so we want split split faces by edges like so. And now it should be all split off as you can see. All right, so now let's press tab, press Oltage to bring back everything. And now we've got our windows. We've got our frames, sorry, our windows. Our frame. And our large frame as well. Now the one thing we didn't do on this one is again, we need to press A, we need to mesh, and we need to split faces by edges. That then we'll make sure all of these are split off. Now let's grab these and put these into place. All I'm going to do is I'm going to press A, I'm going to pull it back, I'm going to press E, Then pull it forward to where I actually want it, something around there. Let's have a look how big that frame is. Maybe I'll pull these back a little bit. Maybe it's not going to be big enough. Let's grab the back of them. Pull it back a little bit. So now let's come to the second frame. And now from here can right click Set Origin to Geometry. Let's pull it back to where I want it. So something like here, let's press tab A to grab it all. Let's pull it out. We can move that in place as well once we've actually finished this. And now finally the windows. Let's press right Click, Origins, Geometry. And move those back in place as well. If we pull those back here, let's say now I can see that I need to pull all of this back a little bit like so. And maybe even the window. So what I'm going to do is I'm just going to grab this X, stretch it out. And then we're windows looking a little bit better there and that's looking pretty nice. All right, so you can see how quickly and easily we made short work of that. And now comes the actual beveling part. I'm going to separate these out, so I'm going to put my stone together, then my wood, and finally then my window. I'm going to grab all of these parts first. So these all the stone. If I press G, you can see I've got all my stone press control jades join it all together. Control then all transforms, right? Click the origin to geometry and now let's actually grab this stone. So I'm going to shift like this stone, press control L. I'm going to link materials control L. I'm going to also copy modifiers like. So again, you can see we do have a little bit of a problem here. The modifiers aren't working. And generally it's either because of the bevel here or because of this part here. Either way I can come in though, and if I turn it up, you can see nothing's working. If that's the case, that's the wrong one, actually. This one here. If I turn this up, you can see nothing's working. If that is the case, geometry clamp overlap off, turn it down very, very slowly. And you should be able to get away with having some kind of bevel on. So let's try naught point naught naught three. And there we go, there is the bevel actually on there. And it's looking really nice. Now let's right click, shade, auto, smooth. And if you've got a problem with these not looking so smooth, you can actually come in, grab the faces on here and here, click. And what you can do is shade. And there you go. I'll shade those flat few as well. I think I'll do the same on these parts here, right click. And where is it? Shade flat and there we go. Now you can see it's looking, Tom's bare. All right, So on the next one then what we'll do is we've got these beveled, There is some materials on here, but we'll actually get the materials on here and the glass and we'll get these windows finished. All right everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks lot. Bye bye. 25. Mastering Window Overhangs with the Solidify Modifier: Welcome back everyone to Blender Fall The Environment Artists Guide. And this were left off. All right, let's come in now and bevel these parts off. So if I grab both of these, I'm not going to. I think, yeah, let's try. First of all, so we'll grab this one control copy modifiers and actually that's done nicely. All right, so from there then, let's have a look at our materials. So if I go in, let it load up, we can see we've got those materials on. I think I'm going to use these materials down here. Just so I think we'll actually use these materials down here. The only one we'll change is the actual glass. So what I'm going to do is I'm going to grab these two here, like, so grab this part here, press control L. I'm going to copy or link materials. There we go. Now let's come in and what we'll do is we'll come over to the right hand side. I'll make sure I'm clicked on Shall Windows. I'm going to join both of these together, actually. So control J. Join them both together. And then what I'm going to do is I'm going to press tab A to grab everything. Smart UV project. Click Okay. And there we go. Now they're all going the right way. And the other thing is I don't need the stone and glass on here, So I'm going to Minus this off. Minus this off. Let's come to this part now. Then press a Smart UV Project. Click. Okay. There we go. And then what I'm going to do now is come over to my asset manager and I want to bring in the glass. So we want the glass not lit. So this one here, we've got many glasses. This is the one we want. So all I'm going to do is drag and drop it onto my window like so. Now, pretty much the same thing as what we did down here. We will make it very easily. We'll go over to UV editing. We'll press the little dot one to zoom in. I'll come to my glass then, and all I'm going to do is grab one of them. I'm going to press and unwrap. I'm going to press S and bring it into place like so. Then let's make it a little bit wider and X, let's pull it out a little bit. And there we go. Now let's press, come down to where it says copy, copy default. Select all the rest of them. So the copy paste default. And there we go, press A. Remember to do that, or she'll have to go in and select one every single time you select these A. And then let's come in and just press G and move them across and just work your way down, putting them in different ones like so. But you can see nice and easy, nice and quick to actually do that. And I'll leave that one as it is. All right, so all of this is done now. All we can do is we can join everything up together. So join these, press control J, Join everything up. Control or transforms. Right clicks at origin to geometry, right click and shade, autos, move. And there we go. All right, so now let's come back to modeling and we'll get this into place now. So what I'm going to do is I'm just going to pull this back into my wall like so let's put it where we want it. So something roundabout here. And then all I'll do is I'll press three on the number pad. I'll press shift D to bring it up. Put this one into place, grab them both, press shift D, drag them over. Put them into the middle of this one. Double tap the A and there we go. All right, so now let's put it on render. Let's have a quick look. And there we go. How easy was that to actually do that? First bit. Really, really easy to do that. Now what we want to do is I want to actually come in and I think what we'll do is we'll make these kind of banners that are going to go round there. And from there then we can actually work our way round to this side. We're moving along now. Let's actually save that out. Come to save, let's put it onto object mode and let's make a start on these then. First of all, what I'm going to do is I'm going to bring in, I think we'll use a sphere to do this. I think they'll make it easier. So what I'll do is I'll press Shift, bring in UV Sphere. Do I want all of those? I think actually we'll leave it on. I'm thinking 32 segments. It might be a little bit too high. Let's bring this down to 18. And what they'll do is it'll turn down these segments going around here. I think actually that's too little. Let's try 24. And I think 24 is going to just about do it. Yes, I think we'll use 24 from there. Then I want to actually split this up so I don't really need this bottom section. So all I tend to do with a sphere is out shift and click, delete faces, and then come round to the side view. So if I press one to go round to the side, I want to come in Out shift and click, going all the way up there as you can see. Out Shift click and then go round to the other side. Control three, what we'll do is we'll press Tab. We'll press Shift Hide the Other Way, and now I can come in. And it's Where is it? One control, one. There we go. There we go. Now you can see it's selected here. So I'm going to press Alt shift click, Alt Shift click, Delete and faces like so. Now, last of all, we're not going to need this top part now. It doesn't go all the way up there as you can see. So all I'm going to do is press C. Come in, select all of those, going around to there, press Delete and Faces, then come down to the bottom. Same sort of thing. C. Select all of these, delete and basis with the C. You can actually select things so you can make it bigger and smaller with the mouse. You then come in left click to select things, middle mouse to de select things. That's exactly how it works, just in case you lost me there. All right, so what I'm going to do then is come in now and grab this one. And this one with L delete and we're going to delete vertices. We might as well they're not touching anything just to make sure nothing's left over. Finally then we also need to delete this one L, delete vertices like so. Finally then we can press Ltage and bring everything back. This is what we should be left with. Now I'm going to do is I'm going to press three. I'm going to press to bring this into place. And then we're going to make it much, much smaller to where I actually want it. So it just wants to go over the top of here. Let's pull it back into place then, and see how it's going to look once it's over the top. So something like that you can see is looking pretty nice. The one thing I would say is it maybe wants to be a little bit wider. So I'm just going to press S and Y pull it out a little bit like so. And I think then that is looking pretty nice. Now before we carry on with this, what we want to do is we want to have something that's going to support it. So all I'll do is I'll come into the back of it. I'll grab this back. So out shifting. Click. So it grabs this, going all the way around. I'll press shift D. Then to duplicate it, bring it out. And then what I'm going to do is I'm going to press and I'm going to make it follow the X and X like. So from there then what I can do is I can pull this down very slightly. So I'm going to grab both of these and I'm going to press and Z, pull them down very slightly like so. Now what I'm going to do is split this off. So I'm going to press L P selection. Split it off, come back to it. Then control or transforms. And now I can do is then come over and adding a new modifier. And this time we're going to be adding in a solidify to turn a two D object into something three D. You can see now the further I move up my thickness, the more thickness it is going to give it. I can also change this offset. If I put this on one, for instance, you can see it brings it all the way back to here. But if I put it on something like not 0.5 it will put it halfway between, which is what we actually want. So halfway between there, like so. All right, so I think I'm actually happy with how that looks and then I can use that. I'm going to write click shade, auto, smooth. And then what I'm going to do is I'm going to put on even thickness. I always like to tick that on even if it's not going to do anything, just a, just to get into the habit of doing it. And finally then all I'm going to do is apply my modifier, the solidify control A. And then let's come down to the bottom of these two. So I'm going to press three and put it on face Select Althift, click O shift click. Make sure we're on individual origins for extruded Enter alternates, pull it out a little bit. So something like that. Make sure offsets even is on. That's a little bit too much. I'm going to press control Z to go back alternate, pull it out a tad, just like this, small amount, press offset even. And then you should end up with something like this. And from there then, just probably, I'm just wondering whether I need to pull them down a little bit more. I think actually I'm going to leave them. All I'm going to do then is just come to the bottom now. And I think I'm going to bevel, bevel, the bottom of it off. Now, we will have a problem beveling this bottom off at the moment, because we've got this on here. In other words, it's two kind of faces on here. So let's come in and grab this face. This face. Let's press control And plus, and then what we'll do is just press Delete and Faces. Now let's fill in these faces. We'll grab the whole thing, L grab the whole thing. Mesh. Come down to clean up, fill holes, and that'll fill those infrasallyow. Let's grab this one. This one and this one. Then all we're going to do is press control and pull those out. Maybe two. Left click. Yes, like that. That's perfect. Finally, let's come in and grab both of these faces. Let's press the eye button, and then let's press and pull them back. And we should end up with something like that. And it looks as though it's actually been placed into the wall now. Now let's come to our umbrella. And what we'll do on the next one then, is we'll first of all pull these parts down to get those umbrella parts in. And then what we'll do is we'll bevel them off. And, you know, this will be really, really short work of this, actually. All right everyone. So I hope you enjoy that. And I'll see on the next one. Thanks lot. Bye bye. 26. Advanced UV Mapping Unwrapping Window Overhangs: Welcome back everyone to Blend The Fall The Environment Artists Guide, and this is where we left the art. All right, so now let's come in and we're going to have our edge select. So let's select all these going around Old shift and click it'll select them going all the way around. And from there what we want to do is we want to go to Select and we want to select Checker D. Select that then is just going to select every other one, all the way around to here. And then what we're going to do is just press three and you're going to press and Z, and you're just going to extrude them down a little bit. So then what you're going to do now is you're going to come and you're going to grab the next lot. So we're going to have to come in and select the next lot, like so three then. And then all you want to do is pull them down to the same length, pull them down to the roundabout, the same length. Then from there then what we want to do is we want to put this onto verte select. And I want to come in, put this on wire frame. From there, then I'm going to press B, give me box select. Then I'm going to select all of these bottom ones. Then what I'm going to do is put it back onto object mode. Turn I haven't great on, so I don't need to turn X ray off. And from there then what I want to do is I want to level these off. Now remember we can't just press control B. To level these, we need to press control Shift and B. And then we can level those off like so. And they're looking pretty nice already. So happy with those. Now let's come in and right click and shade auto smooth. And that's what we should be left with. Now we need to give these obviously a color, so we'll give them the blue color. And to do that, we'll just quickly go over to our asset manager, let it load up, and then we'll look for cloth and bring that in. So cloths here, let's come in and bring the cloth, let's drop that on there. You can see it's going the wrong way. You can also see it's not on route very well as well. Also, while we're here, we're going to need a metal to go round here, so we might as well bring that in at the same time. So what we're going to use is we'll use this black metal here. You could use the metal light or any of these really that you want to. You could even use the blue metal. I think for me I'm going to use the black metal. So I'm going to drop that in on there. And there we go. Now let's go back to modeling. Let's put this onto material mode. Let's deal with this one first. So this one first, I'm going to press a Smart UV Project. Click okay. Now you can see all of that nice metal work on there. You can see that it's slightly hidden from this bit here. Which tells me that maybe we need to just pull this out a little bit. So double tap. It's have a look, is that too far out? I think it is. And I think what we need to do is instead I need to pull these down a little bit. Just again, below there. Because at the moment it doesn't look right. So I'm just going to put it back into place again. And then all I'm going to do now is come to these parts. Now to grab all of these were probably going to have to, let's think how we'll do this. I think I'll grab this middle one on each of them. Grab the middle one. Press control control. Actually, I got away with it. I just need to select the front now of each of these. So now I should be able to pull these down further than these parts like so. And there we go. Now it's looking good. All right, from there then what I can do now, I can come back to my cloth, press the Born, and let's unwrap. And we can see it's some wrapping at a really, really weird angle and we don't really want that. Let's try going over the top and let's press and project from, let's try that. Let's go to UV editing, where we can actually really start to mess around with this. I can go over the top. Now what I can do is I can press S and bring it out like so, but we can see it's not really working out for us, so Well, let's have a look at Unwrap. Let's try how that's going to work. Let's try bringing it out. Is that going to look any better? That doesn't look any better either. Well, it might do for you, but I'm not actually happy without that look. Instead of that what I'm going to do, I think I'll come in and I'll press Alt Shift click. And I'll just go down each of these, I'll split them up. Basically a shift click as you can see, and then a shift click, and then shift click, shift click. Then what I want to do is I want to also click on these. Remember there's two in there. We're going to probably have to go in and fix those as well. Right click, Marco scene. Now if I come in, can I come in now and select these? So I want to base to be able to split them up. As you can see. Yes I can. I can select all of those, which is great. Now let's come to this middle one first, we'll have this one blue. So I'm basically going to grab it, wrap. And then what I'm going to do is I'm going to unwrap them all separate. Now if I select them all I can press and wrap, they're all split up. Now let's turn this one round because it's the wrong way round Re hundred 80 then what we'll do is we'll press A and spin them all round so r 90. From here. Now I can actually split them up. So I can come to this one for instance. And this one is where I want it. I can just press, then I can come to these two. These two here. And I can put these in place. So I'm just going to press drop this one here. L drop this one here. Luckily for us, we ain't got to do this again. That's the best thing. So now I'm going to grab both of these. I'm going to press, put them in the blue one. Grab this one with L, put this one in the blue one, like so then finally we've just got this one here, I think. Drop that one in place. And then L drop that one in place. And there we go. Now we can see that's looking much, much nicer. All right, so now we've done that. What we can do is we can go back to modeling and then I can join these two up. I'm not going to put a bevel on here, there's no point in that. But I can join both of these up with control J, right click, shade autos, move control or transforms, right click, set origin to geometry. And now I can do is I can put this into the wall. So I'm going to bring it all the way back. Holding shift born, then to pull it back out. So let's pull it out a little bit more like so. And then what we'll do is we'll press three. And I'm happy where the position is now. I could array this over, but I know it's probably not going to be correct. So all I'm going to do is just press Shift D again. If you want to put this in your Asset Manager, please do that. And then Shift D, bring it over like so. All right, let's have a look then what that looks like. So if I come in, put it on render view. This is what you should have. And you can see now really, really starting to come together really nicely. Now we're going to do is we're going to move on round to this side. We'll start building out this bottom. It's going to be a little bit of a step up in terms of modeling this bottom pit, but it's definitely going to make it much easier for when we go along and we're building much more complex models and things like that. So let's make a start on that. So what we'll do is put this back on object mode. I'll come around to this side, make sure that my man, if I press one, is actually feet on the floor there. Not really. So let's put him on the floor like so. And then what we'll do now is we'll start to work out where we're going to have these parts. So what I'm going to do first of all is I think we'll start work on the door. I think that's going to make it much, much easier. So what I'm going to do is I'm going to start with the post going up this side and heading towards the top. We definitely need to think about the top up here going around. So I think actually first of all, what we'll do is we'll grab this shifty, we'll drag this over to here. And then what we'll do is we'll mirror it. And we can see if we mirror on the x, it's this one here. Object mirror x. And then we can drop that part in place. So just make sure it's in the right place. Then what I can do is I can grab these three parts. So what I'll do is I'll grab this one. This one, this one, this one. This one, and this one. And then what I can do is I can press shift, drag it out. And then let's rotate it, let's make sure that we're on a medium point instead, so R Z -91 And then let's put it into place. So I'm not going to move it down or anything, I'm just going to put it into place like so. And then let's pull it back where it needs to be. Something like that I think is looking good and I think I'm going to leave. I'm wondering whether to move these either side or leave them there. I'm not so sure yet. But from here the main point is I've got room now to build where my actual door is. Now to think about the scale of doors, you want to make sure you guy can actually walk in it, so R 90. And then if I press one, we can see if I put them in the center, the door is going to have to be round about this sort of scale. So something around there and then he'll actually be able to walk inside. That's the main thing that we want to do also as well. We want a little step up here, so let's think about the step before we do anything, Shift S Ursa selected. And then what we'll do is, well, I think we'll bring in a cylinder shift. Let's bring in a cylinder. Let's turn these vertes down. There's too many vertes on the Europe at the moment. Let's put it on something like, let's try 20. Then what we'll do is we'll make this a little bit smaller and then we'll pull it down. How I tend to do with steps is by press sensed. I tend to do it so that where his shins are. So if I come round here, you can see that this is a pretty tall step already because he's got to really step up there where this actual shin is, that's where your step should actually be. And then on top of there you can actually put your stones that are going to go on top. So that's what I tend to aim for, so essens head. Let's bring it down. Let's press one again. We're going to put it then where it's going to be. So you can see now it's level, near enough with his shins. And from there then I can put a little bit more of a step on top of here and we can get that in place. Once we've got that in place and we've got it the right actual size. Because you can see it at the moment as well. It's a little bit too small for press one. You can see that I need to probably pull it out a little bit. So before we end, all we're going to do is press S and X and just pull it out a little bit like so. And I think now that's looking about right. All right, let's say about our work. And then on the next one we'll get this step finished and then from there we can build the door. It's very, very hard. Sometimes when you're building things like this, you've got to pre plan and you've got to try and then fit everything into place. And you need to change things probably on the fly just to make sure everything fits. So we need to take that into account. It's okay when you're following me, building things like this. But remember, I already built this scene. And it took hours though to actually come up and put all the little parts in, make sure everything fits. So just remember that when you're building out your own scenes. All right everyone. So I hope you enjoyed that. I'll see on the next one. Thanks a lot. Bye bye. 27. Crafting Stepping Stones for Door Entrances: Welcome back everyone. To blend the four the Environment Artists Guide, and this is where we're left the art. All right, so now I'm going to do is let's actually get this set up. So I'm going to grab this one so it's at the side. So if I press three, you can see basically I'm grabbing it going all the way round to the side, so this is like in the middle. And then the back bit start. So all I'm going to do is press select, grab that. And then all I'm going to do is delete this part. So delete that part other way. And then from there then I can actually pull this into the place where it's going to start. So somewhere around that. And you can see if I put it on here. Now this is the test. So is it going to be able to step up there? Is it going to be big enough? I think it needs to be pulled out a little bit just to give him a bit more of a step. So I'm going to do is press and Y, bring it out just a little bit more like so. And I think that then is round about perfect. And now from here, let's build out this top part of the step. So all I'm gonna do is I'm going to press Control all transforms, right? Click, set origin geometry. And now what I'm going to do is I'm going to come in and grab all of the top of here. So old shift click and then enter S, pull it out like so. And from there then I can actually make this top part of the step. Now how am I actually going to do that? Well, we're not going to be using this part that we've just made, actually. So all this part here, we're not going to be using it. What we're going to do is press P selection. Split that off, and now I'm going to do is come back to my step tab and then I'm going to delete this one. Going around here, leaving this edge that I had, Control, click control, click, control, click, delete, and faces. And there we go. Now what is the point of doing all of that exactly? Well, it means now I can come in, grab this bit control, or transforms right clicks at origin geometry. It seems a lot of work this, but you'll soon find out why I did it. So shift H, let's hide everything else out of the way. Seven square over the top. What I want to do is just make these some kind of stone slabs. And the way I'm going to do that now is come on in and first of all, give this a face, so let's give it a face shift click. Give it a face. And now I'm going to do is I'm going to use my actual knife tool. So I'm going to use a knife tool. If I press K, you'll see that you get a little knife that comes up and from there we can actually click on one of the vertices and we can actually cut it across wherever we want, like. So if you get too close, it will be magnetized to there. To stop that happening, you can just press control and then you can get really, really close to the edge if you need to like so. And finally, when you get to the end of it, you click on it, press the end to button, and you'll end up with a nice cut going across. Now of course we don't want this cut. We want a better cut than that. So what we want to do is we want to press K again, this one. And we want it going straight along here. Now the way to do that is just hold, press the button and that then will straighten it up, Click on there, press the Enter button, and now do the same thing on the other side. Over here came over here, Where do we want it? Let's say over this bit here, and then this bit over here. K. Hey, enter. And there we go. Now you've end up with something like that. Now before we go on, is it right? Are you happy with it? Let's bring everything back before we do anything else then. So all I'm going to do is press Tab. All tag, bring back everything, and this is what we should be left with. And from there, before bring it up, one we do is split it off. So select this one, middle one, this one. Press the Y button, press A to select everything. And then all you're going to do is press extrude it up like so. And there we go. There is our stone slabs don't look like slabs yet, but that's because we need to press control A all transforms, add modifier, bevel, turn it all the way down. Naught point naught three. Something like that. And there we go. As simple as that. Now let's right click and shade auto smooth. Let's come then to the bottom part of the steps, right click, shade auto, smooth. And now what we can do is I'm not going to bring in the material yet because I know what that's actually going to be. But I'm just looking to make sure that I'm actually happy with it. And I think that's going to be fine, except the fact it might be a little bit far out on the sides as you can see. So I'm going to grab it, I'm going to press S. And you can see there, tried to go from there, that's because we didn't set the origin to geometry. And now I can press S and X and just bring it in a little bit like so. And now it looks as though those slabs are actually into something which is what we actually wanted. All right, so that's that bit. Now we want to do is we want to create the post. So first of all, I need to see if my guy, when it's stood on here, is this door going to be big enough? And it looks as though it is. Now what we want to do is we want to put some supporting posts in here and then have the door mainly in this bit here, so on top of this bit here. So what I'm going to do is then I'm going to create my post from here, so I'm going to use my guy. I'm going to press shift S. So shift Custer selected shift, bring the cube. Let's make it smaller with S. And let's pull it down into place where it's going to go, I'm thinking. Somewhere like there. And then what I'm going to do is I'm going to pull it a little bit back, I think. So I'll pull it forward this time a little bit. And then what I'll do is I'll pull it back a little bit. Just a tiny bit. So then what I'm going to do is I'll pull it up to where I want my door to go. My door obviously needs to be probably around here a bit higher than the guy, basically. So what I'm going to do is then grab the top of it and pull it up to round about here. And then we'll have the top of the door coming round about here somewhere. So what I'm going to do now is pull it again again. And then what I'm going to do is I'm going to come edge, select, pull this part back to maybe something like that. Grab the top of it and then press and pull it up into place just under there. That's my first actual post. I think actually that's going to look fine. We just need to make it maybe a little bit wider. So I'm just going to grab each of these sides and pull them out a little bit. Now I'm going to do is I'm going to use this guy to put it on the other side. In fact, I won't do that. I will use this part here. So I'm going to press shift S cursor selected, grab my post control transforms right click, set origin 23d cursor. So it's going to go right there because I'm going to mirror it over the other side now. All right, so let's do that next. So what I'm going to do is add modifier, generate mirror, And there we go. Now we've got a definite size of how big this door is going to be, and we can see, yeah, it's probably going to be a little door on here, and I think that's actually going to fit in. Okay. So we always have to make sure of that. Also we have to take into account, we're going to have windows on here as well. We need some paneling down here and all kinds of things like that. So we really need to make sure that he will be able to walk through here if he walks in the door. No one of course walks with their arms out here, except maybe a body builder or something. So I think it's going to be fine if his arms are, you know, down by the side. So I think that's fine. So let's work a little bit more on the actual paneling. So what I tend to do is now I'll come in and just make it up as I go along. So I'll come into this part here. I'll bring in an edge loop. I'll press control B, scroll my mouse wheel back once, just to bring in one edge loop like so. And then what I'm going to do is press Enter alternates and just bring it out very, very slightly like so offset even on, and there we go. That's the first panel. Now let's make a couple more panels. Control, left click, right click. Let's press one so we can see what we're doing. And I think I want to have two panels in here, but one a little bit smaller than the other. So all I'm going to do then is come in now, I'm going to grab this and this. I'm going to press the eye button. And then you can see now we can bring in some more panels. And then what I'm going to do is I'm going to pull them out, pull them out like so. And maybe maybe this panel out a little bit further, just a tad, so holding shift a little bit further than that one. And there we go. And let's make one more panel at the top. What I'll do is I'll press Tab Control left click, and I'll pull it up a little bit like so. And then what I'll do is I'll come in, grab this one, press the eye button, and finally, do I want this to go in or out? I think we'll have it out again. So I'm just going to press, pull it out a little bit so you can see because we've garden miron makes it really, really easy to do that, especially going over the other side. All right. So now I want to do then is bring in our door. So what I'm going to do is I'm going to press shift A. I'm going to bring in a plane. I'm going to spin it around our x 90. I'm then going to line it up, so I'm going to press one. Let's line it up to where it wants to go. Right down here is where it wants to go. And X bring it in just so it's going to fit in there like so. And then just make sure that you're happy with the height. I think the actual height needs to be a little bit higher. So I'm just going to pull it up just a little bit, so something round there. And then what I'm going to do is I'm going to press and Z, pull it up a little bit, and that is going to be then the top of my door. All right, so we've got the top of our door. Now what I want to do is I want to make the actual door frame. To do that, I'm going to make the large door frame going around here and then an inner door frame. So I'm going to press control left click, right click. And then control B and pull it out. And then we'll have our door frame here. So this will be the main door frame going around. This will be also the main door frame up here. And from here then now I can actually work on this part here. I'm going to have two windows in the top, larger windows here, and then some paneling down here. So what I'll do is I'll now come in, grab this part here. And I'm just gonna press selection and pull that out because I want this separated away from there. I can actually pull it all out now as well, so I can actually see really what I'm doing. Alright, that's looking good so far. So in the next lesson, hopefully we'll manage to get this door actually finished. All right everyone, So hope you enjoyed that and I'll see in the next one. Thanks lot. Bye bye. 28. Modeling Detailed 3D Doors with Multiple Materials: Welcome E everyone to Blend for the Environment Artists Guide. And this is where we left off. All right, so now what we want to do is we want to put in our actual window. So what I'm going to do is, first of all, I'll come in to my actual door. I'm going to press Tab. And what gonna do is I'm going to press controller left click. I'm gonna bring that up, so we're gonna have some top windows around here. And then we're going to press control left click. And I'm going to have some windows in here and some panels in the bottom. So I'm just going to leave this one in the center. So going left click and then right click and drop it into place. Next of all I need a center part of here, so I'm going to press control left click, right click to bring me a center part. And now finally, I need to actually make sure that I'm splitting these off. Because these down here, I want to be a little bit different, but I don't want to split them off quite yet. I want to split them off in a minute. So what I'm going to do is I'm going to come into these parts here and grab all of this. So grab it all. And then what I'm going to do is I'm going to press the eye button and bring it in. Now you can see it's not coming in again properly. As you can see, the bottom and tops are different from the sides. So first of all, let's reset all the transforms like so. And now let's try that again. And now they're coming in really nicely, so we want a nice thick edge going around there like so. And then what I want to do now is come to the bottom part. So this part here, I think I will have a little bit coming in from there as well. So in other words, let's come to these ones first. I want to split all of these off now. So all of these, So I'm going to press selection, Split those off, and then I'm going to come back to these parts. Now these are going to be the Windows, so these two are going to be the windows. So let's bring those in a little bit more. So we'll bring those in a little bit more like so. And then finally what I'm going to do is come down to the bottom parts. And these then are going to be my paneling. So if these are one of them a little bit different, so I'm going to press to bring them in. And then what I'm going to do is I'm going to bring them, bring them back a little bit. So if we come in now and we press, bring them back just a tiny bit like so. And then what you're going to do is you're going to press the button again. So bring them in very slowly. So then what you're going to do is you're going to press and pull them out this way. And then finally, to get this panel in effect, you're going to press again to bring them out. You want to make sure that you're on individual origins. And then what you want to do is you want to press now to bring them in like so. And you can see now we've got some really, really nice paneling. Now the thing is on these ones, we basically, I'm thinking that probably I'm just looking, I'm wondering whether to keep these two together or not and have these separated and a thinker will do that. What I'm going to do, we've got all of these now, We've got basically this part, we've got this part, let's give this door some actual shape first. So what I'll do is I'll come into this part. I'm going to split off these. Shift select and control select Y. And then what I'm going to do is I'm going to press control Er, left click, right click, and bring in a bevel. So control up one and maybe to something around here. And then what we'll do is we'll come in and grab our vertice and then just pull this up like so. And finally, let us just pull these up. So shift, select each of these, pull them up a little bit, and I think that's an actual better shape. Now from there then what we can do is we can come in, we can grab this, we can press and pull it out like so. And then we can come in, you know, before we do that, let's actually take it all back. So we're going to put it back into place where it's going to go, just in front of here like so. And then what we can do now is we can come grab all of this, press the button, pull it all the way out, just to there as you can see. Then what I can do now is I can come into these parts here. So all of these parts going all the way down. And I can pull those out. Now if I press, I can pull them out. But what I want to do is I want to make sure they're just below here. In other words, I don't want them coming out further than this part of the top. In fact, the top, I might even pull out further. Let's pull them just out to where this section is here. Let's come then to the top. So I'll grab this one and this one, and I'm going to pull it out a little bit further, maybe even something like that. I think that's actually looking quite nice. Now what we can do is we can fix our actual do the first thing with our door, we've frames. The first frame is this one. So let's actually fix this first frame. So what I'm going to do is I'm just going to grab the whole frame. I'm going to go up to mesh, split by faces by edges. And then what I'm going to do is I'm going to pull it out, pull it out like so tab. And let's pull it back into place then. So where it's going to go, something around there looks pretty good. Then what we'll do is we'll do now the panels and these bits here. We can see we've got more frames here. Let's split off. These ones. Like. So, yeah, we'll split those off first because they're going to be the windows. So let's press P selection. And then we can hide those out the way quickly. H for Hyde. And then what we can do is we can come to this part here. I'm wanting to split these panels off as well. So what I'm going to do is grab one panel, grab the second panel, control all the way back just before we get to here where this split is. We don't want to select this on the inside, we want to not have that selected. So control minus, and you can see now we've just got this panel selected. Separate that off, hide those out the way. And then finally what we can do is we can come to this part of here, press tab and then mesh. And we're going to split face us back edges. And then what we're going to do is we're going to pull these back. Let's pull them back this time because they'll make it a little bit easier on the paneling. So fire press, pull them back. Now you can see when I'm pulling these back, I've got something else selected here. I don't really want that. So let's press controls like so I'm hoping. Let's see if this split off. No, I didn't. So I need to press again. Mesh, split faces, back edges. Let's just make sure this is split off. Oh, that's the reason why. It's because it's split off all of these. Let me just see if I press L so you can see that this here is split off from this. That's the problem. It's no problem because all we can do now is ol, shift and click or shift. Click and select the inside of here. So you can see I got these split off and I don't really want these on the inside of here. When it extruded, it extruded these as well. Delete faces. All right, finally. And then what I can do is now press A. I can press, pull them back like so I can press Tab. And then what I can do is press Lth like so. And now finally let's pull back my windows. So I'm going to pull back my windows into place like so. And then let's pull back our panels. So let's pull back our panels into place like so. And let's press Ltage. Bring back everything. And now what we should be able to do is grab everything now and pull those into place as well. So I'm going to pull them. Let's move our goal the way, 'cause he's getting a bit of annoying in there. Let's pull these back into place as well. So I'm just going to press controls there twice before I pull those back. I'm going to come in now, pull my guy out of the way. And now I can actually see what I'm doing. So I'm going to grab my windows, my panels, press G just to make sure I've grabbed them all. And then let's pull them back into place like so there's something roundabout there. Looks absolutely fine. Now, you might have a problem in that your windows might not be in front of the wall, but we're going to check that in a minute. First of all though, let's put it on materials. Now look what this looks like, Let it load up, and then what we'll do first of all, is bevel everything off. So we'll start with our bevels and then we'll do our materials. So, I'm going to grab in fact Yeah, we'll do the materials first. So what I'm gonna do is I'm gonna come over to my asset Manager. I'm going to go over to my wood, and we're looking for this blue painted wood. Now, we could have took it off there, but I forgot we had that on, So let's drop that on there, like, So let's go back to modeling then. And then from here we've got pretty much all of the things we need except the bricks down here. We need some bricks. So what we'll do now is we'll grab all of this one. We'll press U, Smart UV Project. Click okay, like so. And then what we'll do is now we'll bevel this off as well. So add modifier, generate bevel, we'll put it onto something like naught point, naught naught three. Let's have a look at that. Is that going to be enough? Yes, that's going to be enough. And now from here we need more blue. So what I'm going to do is I'm going to grab this one here, I'm going to grab this one. Press control L, and we're going to come down and copy modifiers. Let's see now what that looks like. Let's put it onto object mode. Right click, shade, auto, smooth. It's copied the mirror. We don't want that. Let's turn that off. And there we go, now our bevels on there. Let's come now to the next part. I'm going to press control or transforms, right clicks origin to geometry, copy modifier. So grab this one control L copy modifiers. And there we go. And now the inside one. Let's press control or transforms. Grab the outside control L copy modifiers. And there we go. And then now the final bit, This one here again control or transforms grab any of these really control L copy modifiers. That's looking pretty nice. Now what we can do is we can grab all of these and the inside grab this outside control L, and we're going to link materials. Let's put it on materials now. And this is what we should be left with. One thing is, yeah, I think actually we'll leave them all blue on here. We'll keep them all blue. The one thing is though, we need to grab them now. Grab them all. Smart UV project and unwrap them all. So I'm going to probably unwrap these two together. Tab A, Grab them all. Smart UV project. Click Okay. And then these two. Look. Okay, now we've just got the glass. Now the glass on this is going to be the same glass as here. So all I'm going to do is grab these, grab these. And I'm going to press control L. I'm going to link materials. And you can see this is the wrong material. So come over to your materials just minus off light wood, minus off stone, and you should be left with glass. And now let's unwrap these. So the way I'm going to unwrap these, then I'll press one on the number pad. I'll move my guy, in fact, I'll hide my guy with H. That'll make it easier. Come to my glass and let's grab all of these. Let's press U, and what we'll do is project from view. And then I can go over to UV editing. And from there then you can see that these are way not scaled at all. But what you can do is if you press press one, I can grab both of these L L, I can put them in some sort of place like so. And then all I can do is press S and X, pull them out. And I should be able to get them in a relatively good space, even though they're a little bit stretched. Should be able to get away with it. Let's also grab these two them and we're going to do the same thing. So put them into some sort of place, press the borne and then and grab this one L. And so now I'm just going to grab them all and I'm just going to press the S borne and make them smaller. But I want to make sure that I, I'm hoping if I put this on Yeah, it's already on individual origins over here, It's not over here. I think it's this one. There we go. Bounding box, individual origins. There we go. Now we can bring them in. All right, perfect. That's exactly what I want. Let's put our rendered on. Have a quick look at what that looks like. And we can see we've not got a lot of light around here. And sometimes, you know, this will affect how things are going to look. So what I'm going to do to fix that is just open this up a little bit. Let's come round two. Now, before you do this, actually before we do this, let's just say about our work before we do it. Because if you're on cycles, there's a chance in mind crusher system. We don't want that. So let's come over to our world and then all we're going to do is move this rotation. So let's put it on 90. Something like that. And there we go, let it load up. And there is our door to our actual coffee shop looking pretty nice. Let's bring back our guy. We and there we go. Now our guys there. And I just want to make sure then that it's the right size now before we do anything else. And then of course we can get a top on here. So let's press Shift space bar. Move, bring our guy back. There we go. That's looking perfect so far, so. All right everyone. I hope you enjoyed that. Let's get this paneling on the top of the door done now and then we can really start cracking on it won't be long before we've actually finished, you know, the main part of this building. So I hope you're really enjoying it and I'll see you on the next one. Thanks lot. Bye bye. 29. Adding Decorative Details to Cafe Entrances: Welcome back everyone to Blender for the Environment Artists Guide, and this is where we left the art. All right, so now let's go back to modeling, and let's now attack this top part of this coffee shop. So what I'll do first of all, is I'll make an actual, just a round a bit going off here. So we've still got our guy in the middle, we've still got our cursor in the center. Let's press shift. Let's bring in a cube. And then we'll bring it up and put that into place where we want it. So we want it right at the top here. Just probably into the wall, even there. And then what we'll do is we'll swish it up. So I'm going to press Tab, make sure I'm in Face Select. Bring up this part to where I actually want it, so something around there. And then what I'm going to do is I'm going to pull it back. So I want it basically starting from there and coming all the way down here and then probably bevel it in a little bit from the inside, which I'm going to show you how to do just in a minute. So I'm going to bring it up to roundabout there. What I'm going to do then is press control. All transforms rightly origin geometry. Now let's just make sure actually that I'm pulling it back far enough because it's a little bit out there. I don't need it so far back. And then what I can do is now I can bring it down. So I'm going to press and then pull it out like so. And then what I'm going to do is press like so. And then I need a bottom bit on this. This is just the top bit at the moment. I'm wondering though whether I want this to come further out or to be beveled off in a certain way. I don't think that actually looks too bad. I think I just need to bevel off the top. All I'll do is just grab the top press control and just bevel it off like so. Yeah, and that's looking pretty nice. All right. So now let's get this other part in this bottom part of hearing. So to do that actually let's just grab this top part shift and we'll bring that down and we use that piece to make this bottom part. I'm going to press bring it out, keep going with the S. And then I'm going to pull it up into place. And then finally what I'm going to do is I'm going to press and pull that down. There's something like there. Then what I'm going to do is I'm going to pull it out a little bit as well. Let's pull it out something like here. And then I'm just making sure the thickness maybe it's a little bit too thick, so I'm going to pull it up. Yeah, I think that's looking much now I want to do is I want to round this off a little bit. I'm going to come in, grab each of these. Press control B, bring the round, something like that. I'm thinking that looking pretty nice the way that is now. I did want another window in here. I'm looking at my door now and thinking maybe I should make it a little bit taller than what it is. So I'm going to grab my door again. It's all about trying to get everything to fit into place. I'm going to press Gene. You can see I've missed some of it. So I need to make sure I'm grabbing it all. Like, so again, there we go. Now you can see I've grabbed it all. Now what I want to make sure is that there's no bevels or anything like that. So what I'm going to do is, well, not that there's no bevels on, I don't want to put my bevels in the wrong place, so I don't think there's any mirrors or anything like that. So what I'm going to try and do, I'm just going to try and join it together with control J, right click, shade, auto, smooth. And I'm just making sure that my bevels are all still on as I want them. Now you can see that the paneling on here doesn't look right anymore. So what I'm going to do is I'm going to grab these two panels right click, and just shade flat. And now you can see they're looking tarns tons better. Now you can also see if I move my guy out, that also these panels going around the side don't look right. So what I'm going to do is come back to my panels. Old shift click, old shift click, right click, shade flat, and there you go. Now you can see the look just tones better. So now we've got all that in there. Now if I press G, you can see I can move the whole thing. And finally then if I press one, what I can actually do is make it a little bit taller. So essence, head, make it a little bit taller like so. Now let's see if it's way too tall because if it is, the other thing we can do is we can put a bottom on the door as well. So we can put like a kind of a, you know, kind of kick part on this bottom as well. We could also do that, and I'm thinking that's probably what we should do. So let's come back to our dove, pick it up a little bit. Now I'm wondering, is it a bit too tall? It might be a little bit too tall at the moment, no. Actually, you know what? I think it looks good. I think it looks good. We just need this kick on the bomb. So all go and do shift, bring in a cube, press the S, P, let's bring it back into place like so pull it up. Then let's pull it out so it sits on this bottom here. And X pull it out into place. And then let's pull it forward a little bit. Let's pull it forward a little bit. So let's now bring in an edge loop. So control left click, pull it up a little bit, just so it's past this point here. And then all we can do is come to the front, press the born to pull it out like so. And that then is looking much, much better. Now from here, what we can do is I can grab my door, I can press control L link materials, control L copy modifiers. Come back to this one control all transforms and there we go. Now let's finally grab all of this. And I know we can't see it, but let's just press Smart UV Project. Click Okay. Now let's go to our material, and that is what we should end up with. Now that's looking pretty good. Again, the only thing I'm worried about is the door being a little bit too high. Let's press Sins head and just squish it down a little bit more like so We're just basically trying to get everything to fit into place. I'm just looking at this door, making sure it's a little bit too. As you can see, it's just going through that wood there. So I just want to pull my guy forward and then come back to my door. Now, there is a way where you can see at the moment, I'm trying to zoom out to grab this thing. I don't really want that. So what I'm going to do instead is I'm going to press the little sideways V. And I can now put that three decursor. And I can now move this from here, which makes it much, much easier. The other thing is, as you can see that these panels, they're not in place anymore, so I need to come in and fix those as well. First of all though, let's get this in place. So you can see here you sat on top of there. Now that looks good. The door looks a better size. Now, I would say as well that maybe if we just bring this up a little bit like so. And then we bring all of this up a little bit. I think that's going to make it look a little bit bare. Yes, there we go. That is much better. Now if I bring my guy and just stand him on top of there. Now, yours on top of there. That is about right. That is what I'm looking for. All right, let's move the guy to the side. Let's come in and fix the panels first. Let's also put this gizmo back to where I want it. So little sideways V again, individual origins this time. And then let's come back to my door. L and L on the panels, one and next press, and bring those in place. Now you can see they're coming out really the way I want them. Let's see, we are in individual origins, which means we need to do this a little bit different. And Z, pull them up first, and then and X pull them out next, like so. And there we go. And you can see still a little bit out. We don't want this white bit round here or anything like that. So I'm just going to press S, pull them out with the shift burn, and there we go. Now they look perfect. That looks really nice now. Now let's think about the next part, which is going to be our cursor needs to be here. And then what we'll do is we'll put another piece of glass in here. Just a small piece of glass. And then we'll also, I think, pull this out a little bit so you can see this bit here. Let's pull it out so it's a little more over the edges. So S and X, let's pull it out all the way over like so. And now it's really starting to come together. Let's press shift S, cursor selected. And then what we'll do is we'll press Shift and bring in another cube. Let's press the bottom. Bring it down. And I'm just going to sit behind this part here, this front here, and Y. Let's sit behind here. Let's press S. And when we've done this, I would take stock if you are intending to put them in your asset manager and Y, I would take stock. And what you just want to put in there and do it that way. So once you've finished it, so S and X, that's what I tend to do. I'll tend to finish something and then what I'll tend to do is I'll tend to work out what I actually want. I'll tend to go in and name everything once I've created a building and work from there and I find that much, much easier to work with. All right, so we've got this now. Now let's put a piece of glass in here. So all I'm going to do is I'm going to press to bring this in. Sort of select to this face, press the button, bring it in, press S, and then just to squish it and then pull it up a little bit like so. And finally then let's press and pull it back like so. And there we go. So now we'll put another piece of glass in here. The rest of this then will be this blue. So let's press control. All transforms set origin to geometry. Grab this one. Control, copy modifiers control L, and then we're going to link materials. Now you will see on here here, sorry, we've got a mirror, we don't want that one here, so let's just take off the mirror like so. And let's come in a smart UV project. Click okay. This is basically what we're going to be doing throughout the course. It's adding materials, unwrapping, adding a bevel. All right, so now let's come to this part. And what I want to do is unwrap it. So smart UV project. And then what I also want to do is I want to click my door press control, L link materials just to make sure that on this one we also have our glass lit. So now let's come to our glass lit and click a sign. And there we go. Now let's come finally to our UV editing. And let's press A and make it much, much smaller. And you should be able to get away with putting it just between those parts. There S like so, and it should look something like that. That's basically look we're going for on here. Now finally, let's come to this bit. Right click, shade, auto, smooth. Let's also then come to my door control L link materials control L, copy modifiers like so. Now finally, let's come to this bit A and smart UV project. Click okay, this is what we should be left with. And that's looking pretty nice. All right. The one thing I'm looking at is this part here. I think I need to put a sharp on here. If you remember, you can see it looks a little bit too smooth off. I don't really like it, so let's come in and add a sharp. Now the thing is over on the right hand side. We can see we need to just hide out our bevel. And now I can come in. Olf, click shift, click, shift, click shift, click, right click, and shot. Then let's turn it back on. Press the tab button, and there you go. Now you can see it looks so much better. Okay, on the next one, then we'll just make a little bit of an ingrain here. And then from there we can actually decide where our windows gonna go, how big they're going to be, and really start planning out this front of this cafe. Alright everyone, So I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 30. Modeling Symmetrical Borders and Applying Directional Lighting: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left off. All right, so now let's finish this door quickly. So what we'll do is we'll come in and we'll grab this middle section here. I'm just going to press the Eyeborne jaws to bring it in. And then I'm going to press to bring it out or inwards like so. And then all I'm going to do is just look to make sure it still looks okay, which it does. So that's great. And now let's come down to this bottom bit. I think this bottom bit needs to come out a little bit. So these stones, I think I need to pull them this way a little bit. So all I'm going to do is make it a little bit bigger and then and x and pull it out just to make sure that it's fit in a little bit nicer. We can see that it's probably these parts here. Maybe we want it fit in there. Actually, I'm not going to worry about that too much. You know, some of the other problems you're going to have is you can spend all day worrying about little things like that. So try not to do that. All right, One thing we do want to do though is make this a little bit bigger because you can see it's not quite fitting down to the floor. So what I'm going to do is I'm going to grab this bit and pull it down and then Essen's ad and pull it up just to make sure that it's gonna fit in the floor like so. All right, with that done then, what we want to do now is we want to work out where our windows are going to go, and then we can actually get the panels in and things like that. So let's go to modeling. Let's bring our little guy over. And then what I'll do from here is I'll first of all bring in a plane. So shift bringing a plane, let's spin this plane round so R x 90. And then what I'm gonna do is I'm gonna put that into the place where I actually want my windows. Now remember we're going to have some panels each side of here or some posts. So you've got to take those into account when you're doing that. We also need to figure out how high these windows are going to be. So I'm going to press S and's Ed and just bring it down slightly. And then I'm going to press and X and bring them in slightly. And from there now I can see that's probably going to be a good size for my actual windows. The other thing about the windows is we're going to have some, you know, kind of covers that are going to go over them as well. So we need to take that into account. And finally, we don't just want flat windows on here. We actually want to bring in some depth to these. So what I'm going to do is I'm going to press tab control off, left click, right click, control B. Then just to level it off, turn your mouse, putting down one just so it's a standard bevel. And then from here then we can actually pull these out. So if I pull this out like so, now you'll see that they're looking pretty nice windows, All right? So I think I'm going to fit them in like that. The one thing is I think the sides of the windows, it's all even. So these are the same as these. We don't really want that. So what I'm going to do is we're going to press S and X and pull them out a little bit. So this big window is much bigger than these little side windows. And that's exactly what I'm looking for whenever I'm doing this. And more is imagining putting an edge loop down here to figure out how big these windows are going to be. And that then we'll determine how big these windows are if you're gonna have two edge loops going down here. So you're gonna have three panes here, two panes in here. These panes are going to be much thinner than these panes. And that's why I'm actually figuring out when I'm doing something like this. All right, from there, let's say that I'll work before we go any further. Now something else I tend to do as well is I will bring in a sun at this point. So shift, let's bring in a light. So a sun, let's pull our sun back. Lift it up a little bit and let's point it actually at our door. So our point it at the door. And why I do that is if I come over now to the right hand side, click this little down. Now we can also bring in seen lights and you see it just brightens it up a little bit. Gives me a little bit better idea once I've got materials on what it's actually going to look like, if it's going to look too flat or if it's going to look fine. Then from there I can actually pull my sun. I can put it wherever I want, all the way out of the way, because it is an infinite light source. So it's not like, you know, it only lasts so long, like a candle. And then it, you know, kind of diminishes with the light. It's the sunshine, so that's why we're using that. And now from here then, what I can do is I can work out where my paneling is going to be. Now you will see my guy, he needs to come down the floor again. And you can see that the window is going to be this high now. Is that a little bit too high? Maybe, maybe it is. So what I'm going to do is I'm going to come in, grab my window, and let's lower it down just a little bit like so. And I think that then look in round about the right height now. And now we can actually work out where our actual paneling is going to go. So let's come in first, and let's bring in two panels down here. So I'm going to still keep my cursor. In fact, I'll move my cursor down to here. So I'm going to press shift S, cursor selected. Let's bring in our first panel then. Now the other thing you can do is if you press Shift, you can bring in a cube. And what you can do from there, you can come down to the left hand side and you can bring it right down in scale, which is going to make it easier because we don't want to keep bringing cubes in and really having to, you know, drag them and bring them down in scale. We don't really want to do that. So what we want to do then is just bring it down a little bit to make it a little bit more usable. When we first bring them in around about the size of this is absolutely fine. From there, then we can now move it over. Now we'll tell you as well because we've put scene lights on in our scene. It will make it a little bit heavier on the viewport just so you know. So if it is storing a little bit, just turn your scene lights off and you'll have to make do with how we had it before. All right, so let's now fix this bit. So what I'm going to do, I'm going to put a bottom panel in, so I'm going to press S and Y, just squish it back. I'm going to put that in place and I think at the moment this is still a little bit too big. So I'm going to press S and's head and pull it down. And then what I'm going to do now, I'm going to pull it to this side here. Now we can see that this realistically these parts here, they need to go all the way down. So what I'm going to do is I'm just going to come to this one here, grab the side here, and just pull it down into the floor. That then is going to make it easier for me to work this out. Now let's grab this one again. Let's press S and X and pull it out. And we can see that it's going to fit in really nicely there. Is it too far forward? I think it is, a little bit. So all I'm going to do is just pull it back a little bit. And then what I'm going to do is I'm going to grab this press control Los. So I get an edge loop going across there. And then in the middle, right click. Come down now and grab this face here. Press the Born and pull it out like so. All right, that's the initial start then of this. Now what I need to do is I need something that's going to come round about here to support the window. So all I'm going to do, I'm going to grab this one shift y, bring it up to round about here so we can have a piece of wood that's going to go under here. And then I'm just going to press and pull it down just to give me a little piece of wood there. And that's looking pretty nice. Now we need to think about is I need a panel going this way or a post going this way. A post in the middle, and a post going this way. So what I'm going to do is now I'm going to press shift Ursa selected, soon as that's right in the middle. And then what I'm going to do is I'm going to press shift A. I'm going to bring in a cube. I'm going to make my cube a little bit smaller like so. And then what I'm going to do is I'm going to move my guy out the way now, over here. And then I'm going to bring this cube down. So I'm going to grab the bottom of it face, pull it down. So then obviously I need to pull this out a little bit. So I'm going to press L and X. Let's pull it out a little bit. So I can imagine a panel here and a panel here. Now what I need is just another piece of wood each side. But first of all, let's deal with this part first. What I'm going to do is I'm going to come in, I'm going to press control left click, right click. And then we're going to press control, level that out up to here. And then let's bring in maybe maybe four edge loops. And I've got one in the center there as you can see. So left click and there we go. We've got four. We can move these around obviously with the operator panel, but I'm not going to do that. And all I'm going to do is make sure I'm on edge. Select, grab this edge, I'm going to come in, then keep this on smooth. And I'm just going to press and X and just pull it in. So I'm just going to bring it out and pull it in slightly just to get that nice sloping effect like. So now from there what I'm going to do is I'm just going to turn this off. I'm going to press A and X and just pull it all out like so. And I think now that's a good size. One thing I'm looking at is making sure that it's fitting in the front of here. So behind each part of these, I'm making sure it's fitting in. And I think, yeah, that's looking pretty nice like. So now from here what I'm going to do is I'm going to use this to put over here and over this side as well. So if I press control, left click, right click. And then what I'm going to do is I'm going to right click Markosm. Now what I can do is I can come in, press L to grab just that side. Let's press shift D, Bring it over then. And now I can spin it round, so R z 180. Spin it round like so. And let's put it to roughly where we want it, which will be somewhere around there. And then what I'm going to do is I need to grab the back of it. So Olt shift and click, grab the back of it. Now we don't know if we've grabbed all the back of it. So let's just go under and you'll see that we can come round the inside and we've grabbed all the back of it. And from there then we can just pull it back like so into place now. Just make sure you're happy with the size of that. Maybe it's a little bit too far out. So I'm just going to pull this back a little bit. Then grab the whole thing with L and then finally pull it back from there. Then I can press shift, drag it over, and then press 180 and put it into the other way. Now, over here. So there we go. We've got some beautiful panels. And lastly, just to bring down the draw calls, we don't want as many polygons on this one, so I'm just going to press Alt, Shift click, right click, and I'm going to clear that seam, that point there. And then what I can do is I can delete. So dissolve edges like so. And that's going to get rid of that for me. And there we go, we've got half of the amount of polygons that we had before. All right, so on the next list, and then what we'll do is we'll get these panels in. You can see here that this might not be level. It looks a little bit unlevel. So I might need to move this one over. I will know as soon as I create a panel in here whether this is going to be the right size or not. So we'll have a look at that. And the panels actually are going to be really interesting how we actually do those. I'm going to show you how to use customized bevels. So that's gonna be really interesting. Alright everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 31. Creating Wooden Decorative Panels Using Boolean Techniques: Welcome back everyone to Blender for the Environment Artist Guide. And this is where we left off. All right, let's bring in another cube then. So all I'm going to do is press shift day. I'm going to bring in a cube. I don't want to bring it in, well, I'm an edit mode because then it means it'll be part of these measures. We don't want to do that. So we're just going to press Shift Day. Bring in a cube. Let's make the cube the size that we want it. So if I press one, I'm just going to bring it down here. And I want it to be more like a rectangle. So S and X pull it out more like this sort of shape than the shape that we had from there. Then what I'm going to do is I'm just going to pull it out. I'm going to press S and Y and make it the size that I want it, so something around this sort of size. And then from there now we're going to try out the bevel in. Let's first of all reset all the transforms like so let's also put it on an object mode so we can actually see really what we're doing. And then from there let's come in now and grab each of these edges. Going around each of these edges like so. And then what I'm going to do now is I'm going to press control B and bring it in like, so now I'm not going to worry about the scared size or anything like that at the moment. What I'm now going to do is I'm going to come over to my operating panel and go to custom. And then what I'm going to do is I'm going to click on here. And you'll see once I click on here, then it'll give me another bevel. And from there I'm actually able to control how this is actually going to look. I can also click on the next one and control how that one's gonna look. We can also bring it up and you can see it or make it much sharper or we can bring it down, bring it back. And we can see now we've got a lot of control over how the shape is going to be. So you can see I'm messing around with the shape. Just trying to get it. I'll want it. Like I think now we're nearly there. Let's bring it back a little bit like so. And I think that is a very, very nice shape from there as well. You can also come in and take down the bevels if you want to, and you'll end up with some of the shape, or you can turn it up to a little bit higher if you want to. I think we're going to leave mine on four. I think I'm happy with how that looks. All right, so that's the first one. Now if I come in and grab this and I press I, this will be then the first panel here. And then if I press again, this then will be the second panel. Now whenever you're doing the insert, just be careful you don't go too far. Because if you go too far, what'll happen is you'll actually start to cross it over and break the mesh. So just be careful you don't do that. All we want from this is this panel and this panel here, that's all we want from this. So what I'm going to do, the easiest way to do this is shift click and then shift click And then all we're going to do is press shift D and bring it out like so. Then what we can do is we can get rid of this. So L delete vertices like so. And now we should be left with something like this. And from there then we actually have a lot of control. So what I'm going to do is I'm going to pull this out as very, very slightly like so. And then I'm going to grab the whole thing with a and then pull it back like so. And there is my panel now, I'm not going to need the back of this, so I might as well delete it. So delete and faces like so. And now from here let's bring in the actual wooden part of the panel. So all I'm going to do is going to grab this shift S Ursa selected and then I'm going to bring in now a plane. So what I'm going to do is I'm going to press shift A in object mode, bring in a plane. And then I'm going to shrink my plane down exactly the same way as I did with a cube. So let's bring it down. Bear in mind though, when you reopen blender, this will reset. So it won't stay there the moment you blend the crashes or you reopen it again, it's going to just come back to the same size it was. So let's rotate it round so R x 90. And let's put it into place where I want it. So just round about here, let's press S, and then shrink it down. And now finally what I want to do is I just want to put this into place. So I'm going to grab all of this now and I'm going to drag it into the place where I want it. And we can see now sort of the scale that we've got. So we need to scale it up a lot to fit in here. So all I'm going to do is press, grab all of them. Scale them up. And then I'm going to pull them back into place like so. And from there then, I can actually imagine how far I need these out. They're a little bit too far out, as you can see. Also, this plane needs to be a lot bigger on here, so all I'm going to do is press S, and so pull it into place. And then what I'm going to do is I'm going to come to these parts now. Pull them back to where I want them. Something like that. And now you can see that's looking pretty nice. Now let's join all of these together. So if I join this and the plane together, press control J, like so. And there you go. That's what you're left with. Now if I bring it over here, is it going to fit in here? That's the main point. So shift D, let's bring it over. And I don't think it will, so you can see we're a little bit out, which means We need to move this, Post this one here. So let's come in, press LP selection, And then what I'm going to do is just move this more to the center, so we can see this is nearly here. This is nearly here. Let's press one and put it more into the center. Let's put x ray on, and then we can really see what we're doing. And we'll put it right about in the center there. Now we can see that these are a little bit small, so I'm going to grab this one and this one. And then what I'm going to do is I'm going to make them a little bit smaller, so I'm going to make sure I'm on the individual origins, press the S born and then just bring them in like so. And now I can see that this one needs to go this way a little bit, so pull it away this way, and then this one needs to go this way a little bit like so. And now we've got that. We need to just make sure that these parts here, so both of these need making a little bit bigger so the planes behind them basically. So let's shift, click them both tab and let's come in and grab just the planes. So can I grab the plane here? So L and L and then son's pull them up into place like so. Finally then let's press tab. Let's turn off our x ray and let's have a look at what we've got. Let's decide now. Do I want to pull them a little bit further back? Which I do. And then also I want to right click and shade auto, smooth. And there we go. All right, that's that bit dumb. Now let's get in some material. So if we're going to our material panel shader, sorry, you'll see when it loads up that we need to do beveling on here. We've done the beveling on here, but we need materials on here. So let's focus on this part first. So what I'm going to do is I'm going to come in and I might as well join this all up together, because I'm just going to put it over the other side anyway. You might want to have it split up because you might want to actually be using it in your asset manager completely up to you if you keep it as a whole panel or if you split it up. So control J, control or transforms right click, set origin to geometry. And then what we'll do is we'll join it to this. So I'm going to grab me panel here. So grab this control L and then what we're done to do is copy modifiers and then control L and link material from there. Then let's come back to it. Let's press Tab, Not light pack, nope, Smart UV project. Click Okay. And here we go, there is our panels actually done. All right. So now what I want to do is I just want to make sure, first of all that our bevel is on the bevels looking good all the way around it, which it really, really is. And that is done. Now you might want to go in and delete some of the backs of these, honestly, the size of the course, you should really be cleaning these up. But I'm not going to be doing that on every single one because it's just going to take way, way too long. But you should be doing that just to cut down your polygons and things like that just so you know. Because the more polygons in the scene, the more optimized everything's going to need to be at this point as well. You know, if you've got a lower end machine, you might be struggling jumping between rendering and materials. So that's something that you need to take into account. A little bit later on, I will be going through performance and otonization in blender, but we're not quite there yet. There's still a few things to learn just to get you comfortable with blender. All right, so now we've got this, let's press one. And what I want to do now is put it over the other side. So Shift, let's bring it over to the other side. Let's put it in. So something, something like that. And then what we can do is we can just put it on material. And there we go. Now what we'll do is we'll make a start on this window. I think the first thing we'll do these windows, by the way, they Windows, they're the hardest windows to do, there's no doubt about that. They're pretty hard to do, so you have to really think through everything in advance when you're actually doing them. So try and copy what I do. And then from there you'll be able to create your room. Now before we do that though, let's actually come in, these two here materials. So let's just move our guy out of the way. Let's come into this first, and we'll go over to Asset Manager, and then we'll go over to Stone. We actually want to give this a different one. We don't want to have the same stone in here, we want it to have stone flags. Let's drop that on there. And then what we also want to do is we've got one here that should say brick. Let's have a look, where's my brick? So metal truck walls, there it is. So it's under walls. Let's drop that one on there. And there we go. Now let's just quickly unwrap this, so the stone flags really easy to unwrap. Let's press U Smart UV Project. Click Okay, and there we go. That's those. Let's also make sure you've got a bevel on which we, we don't need a bevel on here. So that one's fine. All we want to do then is press a U and unwrap. Now the thing is about the bricks. You can see it said object has non uniform scale. What that means is that I need to press control a or transforms right clicks at origin to geometry. And now let's try unwrapping that again. Now the thing is about the bricks is you want to make sure whatever size these bricks are, it keeps consistent across. You see, you don't want little tiny bricks there. You want them to look realistic. So let's come over to UV editing. And what I'm going to do first of all is you can see here my bricks are tiny. Let's spin this round. First of all, get in the right direction, so R 90. Spin it round, then let's press the S button and shrink them in like so. And I'm going to make it two, possibly three bricks. I think we'll have two bricks. And what I look for when I do this is to make sure that the grout, which is this bit between the bricks, is at the bottom and the top. Now the floor is going to be here as well. As long as you've got a bit of grout there, it's going to make them look a little bit more realistic. And that's what we're actually looking for. All right, then what we'll do now is we'll go back over to modeling. We'll save out our scene, and then on the next one we'll actually start work on these actual bay windows. I'll show you how to get those done. And from there then, this rest of this going round here is pretty easy. We've got a couple more windows I think to create, but it's actually really easy just putting the rest of the building together. All right, everyone. So I hope you enjoyed that. I'll see on the next one. Thanks a lot. Bye bye. 32. Extending Windows Modeling Techniques for Additional Detail: Welcome back everyone to Blender Fall The Environment Artists Guide. And this is where we're left, the off. All right, What I want to do then is I want to come into my bay window. I want to press the tapon. And what I want to do is press control. Er, bring in one edge loop going across the middle. And then what I want to do is press control and pull it out, scroll back my mouse wheel just to get the actual top and the bottom of my actual bay window. So something like that looks about right and I think I can actually work with that. All right, from there then, what we're going to do is we're going to split this off. So I'm going to grab this one. This one Shift select. Control select. And then we're going to press and split those off like so. And now I'm going to do from here is I'm going to come in, I'm going to bring these parts in. So I'm going to grab all of these before Yes, I think I will do that actually, because we'll make the frame going around them. We've also got the post that we need to actually bring up here. And I'm just trying to think how I'm actually going to do the post here. All right, what we'll do is, first of all, we'll insert these. So if I press, I will bring an Insert in just to get the main frame going around our actual windows. So something like that I think is going to look good. And then what we'll do is we'll press P again and separate everything off. Now let's actually bring something out so we can actually get an understanding of how this is actually going to look. So what I'm going to do is grab these, press control all transforms. Right click Srogen, geometry, add modifier. We're going to bring in a solidify. Let's do that again. Solidify is here. And then what we'll do is we'll add some thickness to this. So, and then of course we'll change the offset down a little bit just so we can pull it out. So now from here, what I really want to do is I need a post going up here, from here to here. So what I'm going to do, I think I can use this part here to do that. In other words, if I come in, I just turn this off and then what I'll do is press control over here, like so press control, pull it out and I'm going to pull it to there. And then same on here, control left click, right click. Control, pull it out. And then I think I'll use this as my actual post. What I'll do then is I'll grab this and this and I'll press shift D like so. And I'll pull it down just there like, so turn this back on and now you'll see we end up with something like that. And that is looking actually pretty much the way that I'll want it. So now I can bring this down if I just grab the bottom of it. So if I grab this one and this one, I should be able then to pull it down into place. Now you will see it's a little bit far out on here. But if we split off this part, so if press P selection, split it off. And then what I can do then is bring back this a little bit. So if I bring back that a little bit, you can see now that's looking much nicer. Albeit you can see it's past this point. All going to do is change the thickness as well. Let's bring back thickness, something like there, there we go. That's looking pretty nice. Now, the other thing is let's bring it out a little bit more. So something like that. Let's have a look at how that's fitting in. And also let's pull it up a little bit into place. All right, so all that is looking good. Now the main thing is as we can see, we are going to have a little bit of a problem in that the fact that this, as you can see now, doesn't look right. In other words, these parts here, once I've put this in, it needs to come in a little bit because we've got this huge post now and we need to take that into account because you can see it goes back here and it goes back here, and now we've not actually got this in frame kind of thing. So what I'm going to do is I'm going to come in and I think I'll fill this part back in. So I'm going to take this away. So press Delete and Faces. And then what we're going to do now is we're going to grab this, we're going to press a, I'm going to come in Mesh, Cleanup, and fill holes. There we go. And then we're going to press Delete. And we're going to click Limited Dissolve. And we should now end up with that back how we had it. Now I'm going to do is going to press control A, all transforms right, clicks the origin to geometry and now should be able to come in. Let's do both of these. Actually we'll do them all at the same time. I'm going to press one to go into the right view. I'm going to press and bring them down. So we're going to have it this sort of thickness. Now this parts here are where we're going to kind of get a bit messed up because we need to bring this part, so this part, this way a bit and this part. So let's do the middle part first. So all I'm going to do is I'm going to press and X and pull it in. And if I pull them into there, then it should give us a nice frame going around here. And that is exactly what we want. And then from there, what I want to do is I want to come now to this one, and I want to pull this across this way a bit. So to do that, what I'm going to do is I'm going to put my x ray on. I'm going to come in and select this edge. And then what I'm going to do is I'm going to make sure that this is on normal. And if I click it on normal, I should then be able to pull it across. Now if I pull this across to where I actually want it, so. Probably something around there. So you can see I've got a nice edge down here. And then what I can do is I can get this naught point naught 4187. And I can copy it. Copy. And then what I can do it is I can come around this side and I can pull this this way, like so. And then I can come here and click control V, but take off the minus, press Enter, and there we go. Now those are the same actual length from there. Then what I can do is I can turn this off and come back then to this part here. And what I can do is add modifier, generate a mirror, put that over the other side. And now I should have, if I click on here, a nice edge going around these parts. And that's exactly what I want, as you can see. All right, so that's that bit. Now what we can do is we can actually come in and we can split these off from these parts here. So press Selection. Split them off. Now let's come to them, press the Tab button. And what we're going to do now is bring in our window pane. So control two, left click, right click. Control two, do you want two or maybe three? Let's just have two on this one actually, left click, right click, and then we're going to come to the side now. So control one, left click, right click. Control two, left click, right click. And the same on this side now, so. All right, so now let's create our frames. So a ' gonna do is press, and then we're going to press the eye button and bring them in all at the same time. Like so something like that looks pretty good selection. Separate them all off and then let's hide them out the way. Now let's work our way round now in what we're doing. So first of all we'll do this one. So we're going to press A and then what I'm going to press is come down to mesh. We're going to split by faces and edges. And then what I'm going to do is now we're just going to use solidify to bring them out because extruding these all out is going to cause us some problems. Better to use solidify. So all I'm going to do is control a all transforms the right clicks at origin geometry. First of all we'll bring in a solidifying and then we'll second of all bring in a bevel, bevel at the same time. And now I can do is I can come to my solidify and bring them out. Now you can see on some of these, let's see if we've got any problems first, we want to bring these out. So you can see them coming out here. You can see them coming out here. Let's bring them out. And you can see that the bevel is a little bit too high, so let's turn the bevel down to 0.3 or not point nuh three, so. And there we go. Now that's looking good. Now if I put this on object mode, you can see exactly what that's going to look like. If I double tap the, that is looking pretty nice. Albeit they're probably a little bit too far out. So what I'm going to do is just pull them back, holding the shift born just a little bit. Something like that. Now let's come to these parts. We're going to do exactly the same thing. A mesh split faces by edges. And then all we're going to do is exactly the same thing. We're going to press control all transforms, right? Click the urgent geometry, grab these over here. Press control L, and what we're going to do is copy modifiers. And there we go. Now from here we can just come to these now and bring back this, so it's nowhere near as big as that one. There you go. Now let's press Alt tage and bring back these window panes. So there is our window panes as well. And you can see now just how easy it is to do something like that. All right, so now let's come in and think about the rest of this. So what I'm going to do before I finish, you can see I've got solidify on, let's actually get rid of these points here first. So you can see this is causing issues and we don't need these anymore. So what I'm going to do is hide out the way, grab this, this, this one. And then we're just going to press Delete and dissolve edges like so more. So then, and now you can see it just looks so much nicer. Click it on, and there we go. Let's put even thickness on so it evens all of that outgoing across those. Finally, let's supply that. And then what we can do is press Add Modifier. And this time we'll bring in a bevel, we'll set this down to naught point, naught naught three. And then finally what we'll do is we'll grab this, we'll apply our actual mirror first. Then we'll apply our solidify with control A. Finally, then we'll click on this one, press control L, and we'll copy modifiers, double tap the A. There we go. A beautiful bay window, and we've made pretty short work of it. All right, so on the next lesson then, what we'll do is we'll get the rest of this bay window into place. We'll get the supports here, we'll get the supports on the bottom. And then what we'll do is we'll actually put in a boolean going back here. And then you'll be able to see inside our restaurant as well. All right everyone. So I hope you enjoyed that. I'll see on the next one. Thanks a lot. Bye bye. 33. Utilizing Wood Geometry Nodes for Window Extensions: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left off. All right, so now let's bring in the post. So I've got my cursor. If it's not in the center, just grab this shift S cursor selected shift. And let's bring in a cube. Let's bring the cube then over to this side. So I'm going to press the Born. I'm going to bring you down over to here. I'm going to put it into place. I want it just just at the side of this, so you can see here just at the side. I want it just slightly above it as well. And from there then I can actually start working it. Now at the moment, I really don't need the back of this. So I'm actually going to delete the back. So delete faces, not edges. Delete face like so. And from there then, I can actually pull this back to where I want it. So I want it roughly just there as you can see. And then what I can do is I can pull this this way, so it's just in to there like, so don't worry about this bit. We can fix that bit with probably extruding these out. And then what I can do is now I can pull this down all the way down and then decide how far it needs to come out. You can see at the moment it's way, way too thick as you can see. I'm going to put it just to the bottom of there, like so. And then I'm going to grab the front of it and start pulling it back a little bit too, just so it's in this corner here. Now from there, I want to make sure that I can pull these out so you can see. At the moment, I want to pull these out into place. If I pull this, pull this, pull this, you can see now I've pulled it into place. But I might as well do this both together so I can pull them both out just so they're into place, into that wall like so. And then all I'm going to do is mirror this over and do it on the other side as well. I could have mirrored this over as well, but I don't actually want to do that. And make it a little bit, a little bit more harder doing it this way. All right, so let's press, pull it down to just so it sat on top of here. And you will notice the zed is going down. That's because I've still got a normal. I'm just going to leave that on for now. What I'm going to do is now mirror over the other side. So I'm going to press control A all transforms rightly origin three D cursor, add modifier mirror, let's put it over the other side like so. Now what I can do is I can come to this again, grab this one, grab this one. And because they're deviled, but non, destructively, no problems there. Now let's put it into place, so make sure everything's into place, and there we go. And then finally now what I can do is can come back to this, I can put this back onto Global. And then what I can do is I can extrude this out. So I'm just going to press and extrude it out like so. Now finally I'm going to want just one that's going to come across here now. So what I'll do is I think I'll just use this actually. So all I'm going to do is I'm just going to press shift D like. So I'm going to shrink it down a little bit, so just a tiny bit. And then what I'm going to do is I'm going to press and pull it this way. Now you will see as I'm pressing that this is also coming out. That's exactly what we all we want to do is just make sure this is a little bit closer to there. And then I also want to do is with the mirror, make sure clippings on. If clipping is not on, you'll see you bring them and they just go past each other. But the moment you put clipping on, you'll see that you bring them together. You can bring them out, but the moment you let go, now they're actually joined together. And that's exactly why you can also turn clipping off and split them back up again. So just put clipping on, join them together and now we're going to do, I think we'll apply this mirror. So let's apply the mirror because the one thing I always like to do once I've brought in the mirror is just get rid of this edge here, because we don't really need it. So all I'm going to do is just come to edge, select, press, delete, and dissolve edges if you can't get rid of it. It's another reason I like to make sure the mirror in the center is done is because if I hide this face out the way you can see here, there's a face in there and we don't want that face. So delete and delete faces and then ultate, bring back this part. And now you can come in and dissolve that edge. And the reason we want to dissolve that is because, one, it's adding more polygons, and two, it's going to mess around with our UV when we come to unwrap it. So let's press Delete and Dissolve edges. And there we go, a nice flat edge. All right, so that's that bit done. Now it's time to make the top and the bottom of this. So what I'm going to do is I'm going to bring in a geometry node. So let's go over to Asset Manager, let it load up, and this will be the first geometry node we use, which is our plank geometry node. Really, really handy this geometry node to make in any sort of planks. So let's bring in this one here. So I'm jaw going to drag and drop it in here is our planks. Now let's put these in place first of all, so what I'm going to do is you can see the way way too big. I recommend shrinking it down. Actually, on these, you can shrink them down over here on the geometry node tab. But what I'll do is I'll shrink it down. Now we've brought it in, so this is our first geometry node. Let's pull it out a little bit. Now geometry nodes are things that we can build in Blender using node systems. So if we quickly just go over to geometry nodes, you'll see that this is the geometry node that we've actually created. Pretty complex things. These, you can pick them up or you can actually learn to actually start to create them. We do have a course on this, how to create geometry nodes, so you might want to check that out. But if not, if you have no interest in this, you might want to go and either pick up free ones when you can, or you can actually purchase many, many different types of geometry nodes. I think we actually have 20 different types of geometry nodes that we've actually created. And then from there, once you've actually created or bought or downloaded a geometry note, you'll have over here like an operator panel. Now let's just go back to modeling and I'll show you what this does. Now generally with geometry nodes, you will see if I come to modeling, that we've got all of these options over here. I recommend messing around with these just so you get an idea of what this does. But for the most part, if we put this in place, let's put it into place where we want it. So it's going to be over here now. You will see, unfortunately, we can't actually bend that bit round, but we're going to sort that out in a bit basically. Let's just put it into place so there's a little bit of an edge there. And then what we'll do is we'll increase the count as you can see. We can increase it going all the way down. And let's then just put it and make sure that there's no gaps in there like so. Now from here what we want to do is we want to make sure that the gaps are right. First of all, we can see we've got these gaps. They need to probably be a little bit closer together. So if I can hold the shift and I can bring them down just so they're a little bit closer together. So from there then, I can also change the thickness of my planks. I don't really want to mess around with that because we're not going to see the inside of them anyway. What I can also do is change the width of them. And more importantly, I can change the width randomness. So if I bring this down, you can see I can change the width then. So they are much more random. And then from there I can increase the gap, sorry, the count. And from there I can actually change the seed if I want a different seed. And now you can see that's fitting in pretty nicely from there. Then let's make it a little bit smaller, so S and X. Let's bring it back a little bit, just so we can see this last plank here. And now we'll actually come to the other part. So we don't need to mess around with the length at random because it's actually in the wall. But what we do want to do is shorten the length a little bit, just so there's not so much of it in the wall. And then let's pull it out, and then let's mess around with it a little bit more. So pull it back just so everything's there, nice and neat. And now what we can do is we can actually come and mess around with the bending. So you can see if I click this bending, I can turn them up, I can turn them down. I can also come and turn the rotation, so I can turn them up and down, things like that. And the one we really want is going to be the rotation. So we're just going to rotate them, holding the ship bun, very, very slightly. So now we've got different widths on there and we've also got random rotation on there. And you can see it makes them look completely organic. And that's exactly the look we're going for. All right, so now what we want to do is we want to go over the top. We want to apply this actual Umich note. And then what we want to do is get rid of these corners that are, you know, kind of in way we don't really want those. So what I'm going to do also, sorry I forgot there's also a material option on here now. We want it to be the same material as may be the windows or a little bit different. We could actually change this material here, but what we will do is we'll change it as we've actually applied these. First of all, let's come in to object and what we're going to do is we're going to convert and convert it to mesh. And that then is going to convert this from a geometry node into actual mesh. And we need to do that, in this case, we can't actually keep the geometry node. And the reason is because we need to actually cut away those parts. So let's convert it like so now if we go over the top, if we press A, you can see that's what we've got. Now, one thing I did forget to do, so let's actually go and fix that first. You can see at the moment the resolution is 20. We don't need that. Let's put it on two. You saw there when I actually converted it. So let's convert once more that we had all of those lines going across there. We really don't need those. So now you can see we've reduced the polygons. It's really handy that resolution if you're bending something, you need a lot more edge loops in there, for instance. All right, let's press seven and go over the top. Let's press a, Let's come in now. And the one we want to bring in is called the bisect tool. Bisect. And then what you want to do is just cut it straight across here. So if I grab this part here and cut it across, nothing happens, but over on your operator panel, you can see we can clear the inner or we can clear the outer. We can also move this as well, this way or that way and just cut that away. I'm just making sure that it's cut away. We can't see anything in there which we can't now. We just need to do it once more. So what we're going to do is a, I'm going to come up again. There is no short cut for the bisect, by the way, you just have to keep clicking it every time. And then we just want to clear this round. We can also fill it in, but we don't need to fill in the ends of these. Now all we need to do is just grab this and I'm just going to press shift D and then just bring it down to the underside of here like so and drop it into place. There we go, right the way down. Double tap the A. There we go. That is our bay window. Just about done. We just need to make the bevel now, sorry, the boolean on the inside so we can see in there. And then finally we can actually put our tapestry that's gonna go over the top of here, over the top of our window block. You can see they're fairly complex, but once you know the right way of doing them, really, really easy. Alright, so on the next lesson then, what we'll do is we'll get the bevels done, we'll get the materials on, and we'll get the Boolean in here as well. All right everyone. So, I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 34. Advanced Texturing for Window Extensions: We welcome back everyone to Blend the For the Environment Artists guide, and this is where we left off. All right, first of all, then let's come in and make sure that all of these are beveled, so they all look beveled. These don't look beveled. So let's do the bevel on both of these. So I'm just going to join both of these together with control J. And then all I'm going to do is if I click on this one, you can see it's just a bevel, so I should be able to reset all my transforms like so. And then join it with this. So shift select this one, control L and we're going to copy modifiers. And there we go, there's our bevel on there. All right, from there then what we can do is we can make sure first of all that we've got no mirrors left on here or anything like that. We can see we've still got a solidify on here. We want to actually put this on even thickness. We also want to make sure we apply that, but not the actual bevel. So what are we going to do? Well, what I tend to do is just wear my way down. So I'm hiding that one out of the way. I'll check that one. Hide it. Check this one. Hide it. Check this one. Then hide it out of the way. Check these and you can see solidify on there. Control a. Hide them out the way. And there we go. All right, so all of that is done. Now what we can do is this one here as well. We've got nothing on there. So the mirror has already been applied and we haven't got a bevel on there either, so we need to apply that as well. So all I'm going to do is I'm just going to press ol tag, bring back everything. And then I'm going to select this one. Select this one, control L, and I'm going to copy modifiers like so now we've basically got everything with a modifier on it. What I want to do now then is select all of this and I want to press control J. Join it all together. Press the G B, see one missing? So I've got these missing, and these, join them all to this one. Again, to make sure those modifiers get applied control J. Join them all up. Now press the G B and make sure that you've got it all. The reason we're doing that is, by the way, it's so that we can make sure a double tap the, that when this is going over the other side, it's all joined up. Meaning it's much easier to put over this side because we're going to do one and then we're going to do the second one. All right, so we've got our bevels on now. We want to do, we want to basically copy, I think we'll copy this, this here. And then add in another material which will be dark wood and lightwood. Let's put it onto material mode now. And why it should be all wood, because I know it's not actually there we go. All right, so what we'll do is we'll grab this, we'll grab our door, we'll press control L, and we'll copy or link materials like so. All right, that's what we've ended up with. Now let's come in and also bring in some more materials. So the moment we've got two materials, we want more than two materials though, because we want this wood. So we want light wood. If you click on here, you can see light wood. So let's come in, Let's click plus down arrow and light wood. And the other one we want is dark wood. Let me see if I've actually got a dark wood at the moment. So I'm just going to scroll down. There's no dark wood on here, which means I need to, first of all, bring it in. Now what I tend to do, the easiest way to bring it in is because I don't, I want to add it onto here. So what I'm going to do is I'm going to go to my asset manager. I'm going to go over to my materials. I'm going to look for my wood. And here we go, we've got dark wood here. So then I'm going to go back over to Materials plus, And then I'm just going to drop this into here like so. All right, all the materials on there. Now, the painful task of actually giving these old materials and unwrapping them. So let's do this a bit of time. So what I'm going to do is I'm going to grab this one. And this one they've got the right material on which is blue painted wood. I'm going to press you Smart UV Project. Click Okay. Hide them out the way. Then what we're going to do is we're gonna come to these parts exactly the same. These parts are going to be exactly the same. So I'm going to grab all of these. I'm going to press Smart UV Project. Click Okay. Hide them out the way. Next of all, then let's do these planks. So these planks are going to be dark wood, so I'm going to press L. Just keep pressing L, going over them, make sure you grab them all you'll see anyway, because the ones that aren't hidden out the way they were be the ones that you need to do. We'll just select them like so. And then what we're going to do is going to press Smart UV Project. Click Okay and then assign dark wood like so. There you go. They're looking quite nice already. Let's hide them out of the way. Now we're onto these bits in here. Now the one thing is, did we actually split them up? Yes, they're all split up, so they're all looking nice. Now what we can do is we can come in, grab everything, because that will be much, much easier. Press Smart UV Project. Click Okay. Click the light wood. Click a sign. There we go. There is all the light wood. Unfortunately, it's on our glass as well. But that now is an easy fix, because all we need to do now is select all of these glass panels, which is going to be much, much easier than try and select all the wooden parts for sure. So then what we can do is now we can press Shift H. Hide everything else out of the way. Come to glass, click a sign. Now what we did before, we're going to grab one of these. We're going to unwrap it. Unwrap, Then what I'm going to do is go over to my UV editing. I'm going to press a, I'm going to drag it into the place where I want it like so. Now I'm wondering on this, where do I actually want it? So do I actually, this did a lot of dirt round this side, maybe, something like that. I'm going to press S and Y just shrink it down a little bit, something like that. And from there then what I'm going to do, I'm going to press you copy, copy, default copy. And then A to select everything. And then, and then copy paste. This time default. And there we go. Now let's press A. Always press A over here. And now let's just come and work our way down. In moving them over, move it over and then move it over. And just work your way down. Move them over. Making them all look a little bit different. So I'm going to use the entirety of the UV map just to move them over like so, and then work my way round here. We'll leave that one there. We don't need to move them all because if you have them all looking the same, you will notice even on the glass window. So you definitely don't want to do that. You want to avoid that if you can, and it's very, very easy with the tools that blender has to not actually do that. So you can see just how quick it is. It only takes a little bit of time. And I'm showing you the fastest way of actually doing this, which I have found in all my years of experience. So I would take this and use it in everything that you're doing. Because until there is a quicker way, this is the easiest. All right, so let's press Holtage, Bring back everything. And let's press Tab over. Tap the A, and there we go. That's what we've got so far, looking really nice. Let's then put it on rendered view. Have a look at what that looks like. Let it load up. There you go. Really, really beautiful as you can see. All right, this is looking really nice as you can see. What we need to do now then is we need to think then about the inside of here. Because we've done basically all of it. We just need a canopy. But let's do the inside first. So let's come up back to material mode. In fact, we'll put it, we'll put it on object mode. Let's go back to modeling. Let's put it on object mode. What I want to do now is create a cube, which is going to be from here to here, and then to the tops of here to make that hole in there. So I'm going to press Shift D. I'm going to bring in a cube. I'm going to press S. First of all, I'm going to bring it up just so it's touching these ends as you can see up here. And then what I'm going to do is I'm going to press and X. I'm thinking this might be a little bit out. Let's pull it over this side and see where it's going to go. So you can see there it's going in. Let's pull it up. So it's actually going in there as you can see. Now what we'll do is we'll work on the bottom first. So we'll pull the bottom down, so it's going into there. And then what we'll do is we'll pull this bit out into place. So it's going in. So Yeah, and I think that looks good now. We've got it there, let's pull it a little bit further. Because I think actually it'll look a bit better if it's going into these parts rather than those and then pull it out. All right, now let's see how far back it's going. Let's pull it a little bit further back like so. All right, that's looking pretty good. Now what we want to do is we want to put this on the other side as well. So what I'm going to do is I'm going to grab this one. In fact, I'll grab my door. Actually shift desk cursor selected. And then what I'll do is I'll grab this control all transforms right click set origin 23d, cursor And then I'm not going to put in bullion because I'm not going to keep it at the moment. You know, I'm doing it straight away, so I might as well not do that. So all I can do then is add modifier, Bring in a mirror. So let's bring in a mirror. And there we go. That is where it's going to go, so that it should be exactly the right place of where this window is. I just want to make sure. Yeah, I think there's going to be enough gap down there. I'm just making sure. And then what we want to do is we want to grab our actual building. And as I said, we want to grab this wall and we want to split it away from everything else. So all I'm going to do is just going to press selection, grab it again. Control all transforms, right click origin geometry. And now finally what we're going to do is adding a boolean on here. So add modifier, generate boolean, and the boolean is of course going to be these. And there we go. Now I can do is I can come in, I can press control and apply those. And from there I can actually delete these Booleans out the way, and this is what we're left with. Now we can do is we can just hide this window out the way for the now. And then I can come in and grab these going around there. So old shift and click like, so grab them going all the way around there. Instead of just pulling them back, all I'm going to do is just to fill them in. Now you can see there what I was saying. Sometimes they fill in and sometimes they don't. So I'm going to just grab this one on its own, I'm going to press the F. B, grab this one on its own, press the F. So finally then I'm just going to split these up. So I'm going to grab both of these, press selection and split them up. So control layer transforms, right click, set origin geometry. Now these on the next lesson now are ready to actually be brought in a little bit and then we'll actually get that background on these as well. All right everyone, So hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 35. Designing Larger Cloth Overhangs: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left off. All right, so let's bring these in. So what I'm going to do is I'm gonna grab both of them at the same time. I'm going to press the Eban to bring this in like so. And then what I'm gonna do is I'm going to come to this one first, control law and let's bring in four, I think it is, is it four? Right click four and then control law four, left click, right click, just make sure they're four. And then finally what we can do is we can grab both of these like so I can bring in proportional editing and then I can pull them out like, so let's pull them out making sure that they stick to the actual wall. So we need them going in a little bit more. You can see they're not quite bending from here, so let's press controls head. Let's pull them back a little bit more. So there we go. So there's a little, tiny bit of a sliver down here, but that is looking pretty good actually. All right, so from there then what we can do is we can grab both of these, press one on the number pad. And then what we're going to do is let's have a look smart. Where is it? Project From View. So we're going to hit Project From View. Now I'm going to do is I'm going to go round to this side, I'm going to hide these windows out of the way, and these ones here are the materials. What I'm going to do is I'm going to grab this one. This one. And then I'm going to press control L and link materials. And finally I'm going to come back to here, right click, shade auto smooth like. So you can even shade smooth on these, probably going to be a bit directly. We don't want any edges in there as you saw, so we don't want those. Now finally, let's go over to our UV editing, and then what we're going to do is we're going to actually bring in these to where we actually want them. So you can see at the moment I've got that on for some reason, don't want that. What I want to do is minus this off. The moment I press tab, there we go. We can see actually what we're doing. All right, so now I'm just wondering. I think this actually needs a different material. I don't think this is the right one. I think it's the shop two. Yeah, I think it's the shop two. So what we'll do is we'll go to Asset Manager, we'll go to Backdrop. Is this shop one or shop two? There we go, Shop two. Let's drop this on there instead. There we go. Let's go back to UV editing. Yes, this is the one I want. These are the ones that I actually want. First of all, is it this one? Let's grab this one. It's here, look, let's press and let's, let's, let's move it up to here, maybe something like that. And then what we'll do is we'll make it a little bit bigger without proportional editing on, let's make it a little bit bigger and then put it into place. Then the other thing is you've got to imagine this should be down, this floor should be down here. So we've got to really think how this floor is actually going to look. The other thing is, in fact, first of all, let's pull it up so you get the idea the floor would be down to here, so you'd just be able to see some chairs and things like that there. We don't want the floor, you know, way up here somewhere. We don't want that. Now let's come to the next one and what we're going to do is we're going to press S, make this a little bit bigger. And I'm just wondering whether to use that one actually. I'm wondering whether to use that or this one. Let's move just to the side so we can see what we're doing. Let's press the S born like let's press and y. I'm thinking, let's put this roundabout here. Something like that. So look at the floor. The floors looking maybe a little bit too high. I think this floor looks good. This floor is a little bit too high. So let's move it up a little bit. There we go. That's bare. All right. Something like I think looks good. Let's press Alt tags then. And bring back our window. Now from here, let's go and actually check out what that looks like before doing anything else. So let's put it on our render, let it load up. Remember you can put it on V as well. Remember also it's an illusion, You're actually going to be walking up here, but you can see that's actually looking pretty nice. So you can really, really see in there all the way around. And it's already looking three dimensional and that is what we're looking for. All right, so now what we need to think about is bringing in our kind of tapestry that's going to go over the top. And then what we can do is we can get this on the other side. Now there is this door. You can see it's flashing. And what that means is generally is that this on here. Five, zoom out. You can see that flashing. That's because it's too close to the plane from behind it. So what I'm going to do is just pull it out a slight bit. And now you can see that flashing is not happening anymore. And it's important we do, because a lot of the time if you don't do that, you'll end up with taking a render and you might be able to see through it. I'm also going to pull this out a little bit as well. So what I'm going to do is press control. Light all transforms, right click, set origin into geometry. And just make sure that this is pulled out just there like so now I'm not happy with it going in front of there, so I'm just going to pull it back a little bit and then what I'm going to do is pull my door back a tiny bit and making sure. And I've not got that flash in there. So I'm going to zoom out. No flashing, that looks good. All right, so now let's think about bringing in our actual canopy. That's going to go over the top of here. So what we'll do is we'll come to this part here. Press shift S cuts to selected shift. Let's bring in a plane. And from there then what I can do is I can bring my plane up, press the S button just to bring it out. I'm going to pull it out just so it's at that part of the wall there. I'm also going to pull it up a little bit and then going to make it a little bit wider because obviously the canopy needs to go slightly past here actually, to make sure that it's going to work properly. So, and X, let's pull it out to here. So then what I'm going to do now is grab the front of it with edge select. So make sure you've got edge select on. And then what we're going to do is pull it down in front of it. So I think that looks about right now. From there, we actually need to pull this down as well. What I'm going to do is I'm going to press and pull it down and press Z, so it follows that along just to make it a little bit flatter along there. Now the thing is with blender, it's actually quite hard to, to make a corner. So make this part in and then go round. It's actually quite hard to do that, but I'm going to show you a really easy technique to do it. So what I'm going to do is press shift H just to hide everything else out the way. And then what you can do instead is you can grab the back of it. You can press three to go in side view, bring it down. And then from there what you can do is you can join this up. But we want to make sure that this is further down first. And then what I'm going to do is I'm going to join this up, press the F B, and then I'm going to join this and this. Press the button, so we've got the side on now, and then this and this and this, press the F B, and there we go. Now from here what we're going to do, we're going to press a come up mesh sect, cut it across like so obviously we need to clear the inner, not the outer. And of course we want to make sure this is flat. To make sure it's flat, just make sure this y, so this y here is going to be on zero, like so. And now it's beautiful and flat. Now you can see it's just cut that hole in there. Everything that we need. The one thing we don't need is just this back. So delete faces, tab Ltg. Bring back everything. And there we go. Now we do need to round these bits off, these bits on here. So what I'm going to do is I'm just going to come to it, I'm going to come with edge, select, grab this bit and this bit, press control, and I just want to round it off. Now you can see when I'm rounding that off, what happens is because I brought in a bevel with control, it's automatically come in and put it on custom. I don't want that, but I still want to keep my custom. So all I'm going to do is super lips click that on and there we go. Now we've rounded it off and we've still managed to keep our custom. Right click and shade auto, smooth. And there we go. Now we need is just this bit coming down here. So let's come in. And I'm wondering if I can actually bring that in. Yes, I should have done it the other way. So what I want to do is just press control head again. Just go back. And now going to press control and bring in maybe we'll have four. So something like that. Left click, right clicks are 12345. Yeah, we can get away with five. That should be fine. And from here now I can actually come and level that off again. So control, let's level it off again like so tab right click, shade or to smooth. And now let's come in. Just pull these down. So I'm just going to grab every other one. Like so Z, pull them down. Same for this one. These two, sorry E, Z pulled them down. And now we're going to do is what we did on the other side. If I press one now, I'm going to make sure that they're just down a little bit more like. So make sure we're on verte select, press the B Born. We're just going to grab all of these like so. And finally then I'm just going to press control shift and B and pull them out. You can see I've got two missing here. Sometimes this happens, make sure if that happens you're on wire frame. And then you should be able to come in and select them all. And now you can see they're all selected control shift and B. And there we go. We can pull them out like so. Now let's have a look. See what they look like. So what I'm going to do is just put it back on object mode and there we go. I think that's actually looking absolutely fine. Now, you might want to have left the gap here. I'm not sure if you want to do that, but I think for me that's looking pretty good. All right, finally then, probably want to level this off. Let's see if we can level this off as well. So control B, once we've got this selected, some jaws going to select it all the way around here. And then what I'm going to do is press control, level that off. So I think that's actually looking a little bit better, so. All right, from there then on the next lesson we'll actually get some materials on here. We can use what we've already got here. So in other words, we can use this line going up here and we can bring it to here or something like that. I'm wondering, first of all, whether I should actually be level it off or not bevel it off yet. There's also other things we can do with it. I think I'll bevel it off after because it'll be easier maybe. I'm just wondering whether to bevel it off now or pull it back. Let me just check, see if we can actually pull this back. Let's have a look what damage that does. Yeah, it's a little bit to extreme that. I'll think on the next lesson, then we'll try and just make this a little bit more rounded. I'm not happy with that. Yeah, we'll do that. In fact, what we'll do is we'll leave it as it was. So if I go back, hopefully, let's have a look before the bevel. Yeah, I'll try and bevel it now. Let's come in slick shift click. Let's try control B now. I don't want to break it, so I'm just going to have a very, very slight bevel like so. Yeah. Okay. Alright. That's going to be absolutely fine. Alright everyone, So let's save that our work and I'll see on the next one, and we'll get the material on there. Thanks a lot. Bye bye. 36. Implementing Coffee Store Windows with Texture Planes: Welcome back everyone to Blender for the Environment Artists Guide. And this where left the art. All right, so now let's come in, put this on material, and we want the blue cloth. So we've got the blue cloth already around there. Let the material load up. By the way, it will take longer and longer to do that, but once we've actually finished this building, we are going to be putting it into collection. So don't worry. All right, so now let's grab this one. And this one we're going to press control L and we're going to link materials. And we need to come in and just remove that material for now. So black metal, let's take that off. And then what we're going to do is we're going to go and we're probably easier. We definitely want them coming down this way. So I just need to think, yeah, what we'll do is we want this part here to be a different color to this part. The easiest way to do that is if I come in and I press K to bring them, nor grab this one, press A and then I can cut it straight down to their light. So then what I can do is do the same thing on this one, K A, bring it all the way down to their like. So All right, looking good. Now we want to do is we want to bring in some seams. Old shift click, old shift click, Alt shift click, and old shift click, Alt shift click, shift click, right click, and mark. Same. Now what we can do is we can grab the whole thing with a U on wrap. And now let's go to UV editing. And now from here, hopefully I should be able to pull these down now. I don't want it onto individual origins, I want it on medium point. And then what I want to do is this starts with the white. I might start with the white as well. What I'll do is I'll grab both my edges. In fact, we'll grab more. First, rotate around both of these edges. Let's put them in place. I'm going to press, put that one here. L put that one here. Then with these ones, let's see which one this one is. First. This, this one's to be blue, and then we've got this one. This one also wants to be blue. You can see there that it's grabbing all of that. We don't really want that. Now I want is white, blue and white. So let's come to these two first. I'm going to grab this one and this one. Let's put them in the white. This one, L, G, put them in the blue. There we go. That's exactly what we want. All right, then let's go back to modeling. And now from here then, we need to make something that looks as though they're being there, being held up in some way. So all I want to do is I want to press Shift, the selected shift. And let's just bring in a quick cube. We'll make that smaller. Then what I'll do is I'll bring it, put it into the top of here. It's the things, the little details that are really going to make a huge difference to things like this. Then what we're going to do is we're going to pull it up. And finally then what I'm going to do is I'm going to grab the back of it, pull it down, pull it into place. And you can see it's way, way too big at the moment. No problem. We're going to make it a little bit smaller. So what I'm going to do is I'm going to press S, make it a little bit smaller into the place that I want it. Let's say, let's pull it out a little bit. Like, so let's put it into place like the I want it Jews to fit into there, and I do not want it poking out, so let's have it, so it's not poking out, let's pull it down into place. Now, finally, also, because we don't want an angle, let's have a look how far down. Yeah, we're never going to take an angle like that anyway. So I'll think that's going to be fine. Let's just make it a little bit thinner to do that, I'm just going to press old shift click. And what that's going to do is not going to select the top of bottom. And if I press old test, now you can see I can actually make it thinner, which is much, much easier than doing it the other way. Now, the last thing is I think it doesn't look very supportive at the moment. It's a bit too high up this. So what I want to do is I want to come and pull this bit down. Now to pull that bit down, I'm just going to go in, press the tab button, put this on, and then grab the back of it like so. And from there then, I should be able to now pull that down to where I want to. All right. Something like that. Let's turn it off and make sure everything's looking good, which it is from here. Then I'm just going to press Shift S, cursor to select Hood Shift. Let's bring in a cube again. Let's press like so. And then what I'm going to do is I'm going to press S and y. Pull it back, pull it out. Let's pull it up then. So now I'm going to make it a little bit thinner, just so it's a little bit, not so close to this edge S and X, and then Ans. So finally I'll make this a little bit more, not so what I'm going to do is just select all of these edges like so. And then I'm going to press control. Now you can see there, we selected that edge, we didn't mean to control. Like so. And then also just come down, put it on custom. And there you go. Just simple as that to do something like that. All right, so let's press control or transforms. Right click, set origin geometry tab, A smart UV project. Click, okay. And then the one we want is black metal tab. Double tap the A. There we go. It's as simple as that to put that in. Now let's think about putting this on the other side. So if I grab this ago, press shift S, cursor selected, grab this one. Then right click set origin to three D cursor. And what we're going to do now is just adding a modifier and bring in a mirror. There we go, double tap the A. There is our actual canopy on there. So we've nearly actually finished this. Now let's come to our wall. And all I want to do with my wall is I want to come and bring in a new material. So let's just have a look at the moment we've got gray box, let's change it to wall green. So all I'm going to do is click the down arrow, type in wall wall and then you can see wall green. And then just make sure that it's unwrapped A. I think we don't want to do that because that might select all of that and then you unwrap, and there we go. Now finally what we can do is we don't really want to join this with this, but we do want to also make this a little bit thicker than where it is at the moment. It's just a plane and we really don't want that. We want to give it a little bit of thickness. Let's just put an object most so we can see what we're doing here. Let's press control, lay all transforms right click, set origin to geometry. Let's come in then add modifier. And the one we want to do is generate a solidify like so. Basically as soon as you've hit that solidify, you can put it on even thickness, press control Y, and there we go. You'll also notice as well that inherits all of the actual UVs as well, which is really, really handy for what we want to do now. Finally, let's grab this, apply the mirror. So control. Join it then to the canopy. So control J. And there we go. Now we need to do is mirror it over to the other side. Let's grab our door. Shift S. Kirsta selected. Let's grab our bay window. Let's press Add Modifier Generate. And first of all though, we need to move the origin, right clicks the origin to three cursor, which is here, Add modifier, generate mirror, and there we go. That is looking pretty good. Now the one thing I'm a bit concerned with is the fact that this is near enough as you can see, touching this. We have to figure out why that is. And I think this is a little bit out. Either the door is a little bit out or this is a little bit out. So let's see if I pull these out, how far can I pull them out or how far do I need to pull them out? So look at this one. It's just near enough touching on that. Yeah. And we can get away with pulling them out a little bit like so. The other thing is of course we can also as well, because we're in the middle of building this out, we can also just pull this out a little slight bit like so. And there we go. That's probably going to be the best way of doing that. And that's looking much, much better now, as you can see. And we can probably even get away with pulling this out a little bit more. But hey, ho, let's move on to the next part then. So what I'm going to do now is write clicks a origin three, the cursor, adding a modifier, generate and we're going to add in a mirror. And there we go, double tap the, there it is. All right, let's actually have look on our rendered view then. What this is going to look like really, really nice, as you can see. All right, so this is our coffee shop. Now what we're going to do is from here we're going to start building this up all the way around. And then what we'll do is we'll put the roof on. And finally then we can put in all of the front of this. But you can see really, really starting to come together now. All right everyone. So what we'll do is we'll save this out. Then on the next one, as I said, we'll start doing that. Alright everyone. Thanks a lot. Bye bye. 37. Mastering Linked Duplicates in Blender for Efficient Modeling: Welcome back. Ever on to Blender Fall, the Environment Artists Guide, and this is where we left off. All right, so now what we're going to do is you can either use your asset manager to bring parts in if you've done that, or you can do what I'm doing where I'm just basically going to be copying this round. So I'm going to grab, I think I'll grab all of these. I'm going to do them separately actually. So grab all of these parts and I'm basically going to take them round to the other side. You can see we've got these parts in here anyway, so all I'm going to do is just grab all of these. Shift D, bring it over and then R Z -90 Now if it turns like that, just make sure that they're on medium point R Z -90 Let's press one them and then what I'm going to do is just put them into place like so line them up with here and then pull them back into place like so just a little bit out. So everything lines in. Now the main thing is just make sure all of these line up as you can see, so they all line up properly. You know, they're not in front of there or anything like that. Now what we're going to do is we're going to grab these, so all of these on this side. I'm going to then press shift, we're going to pull them over to this side. And then of course the corners on these aren't right, so all I'm going to do is go up to object, and this time it's going to be on the x because you can see this x going over here. So object mirror on the x like so. And now let's just put them into place like so. And there we go. All right, so that's that bit. Now what we want to do is we want to bring these windows over. But first of all, let's just bring in some materials on here. So what I'm going to do is I'm going to grab this one and this one I'm going to split them up, so selection and then grab them. And then control all transforms, right? Click Origins, Geometry tab again. Let's grab the top one. We're going to press the Y button just to make sure that this is split off from the other one. And then finally what I can do is I can change this now for wall grade, wall gray. This one here, like so. And now I can unwrap them. So you unwrap and you unwrap, and there we go. There is our wall. And now finally what we can do is we can grab all of these. If I grab all of these windows like so Shift D, bring them over and then Z -90 press one. And then what we can do is we can put these into place like so. Now we can see on this side, especially the N lining up here. And this is why I'm saying you might want to move these over just to make them line up a little bit bare. Do think it will make it look a little bit bare? First of all, the one I'm going to do is I'm just going to line the, the more in the sense you can see it's an even distance here in here. And then what we'll do is we'll pull them back into the wall. So, and then finally what we'll do is we'll grab this. So I'm not sure, we want to got a bevel on there we might want to pour a mirror on. I'll do is I'll just come in L, delete vertices, and then what I'll do is add modifier, generate mirror on the Y, turn off the X. And then what I can do is I can go into eddy mode A. And now I can move in. And as I move that one, obviously the other one is going to move. Now you can also see that we need to move these as well. So all I'm going to do is come to this one, I'm going to grab, these two are different actually, So all I'm going to do is just pull it out. I'm not going to mess around with a mirror, I'm just going to press S and X, pull it out, bring this one into place. And then S and X pull it out like so. Now one thing is that this one is a little bit out. As we can see, this one's near enough in the center. This one seems to be a little bit out. So I'm just going to grab these two and just pull them this way. Tad, Just a tad like. So double tap the and there we go. All right, that's looking pretty nice. Now we've got the tops going up to there. What we'll do now is the other side, so if we come around to this side, this back side, and what I'm going to do is I'm going to put these on here now. And then we'll go round to the other side because that has different windows on. Just to make it a little bit more difficult. I don't know why did that, but I think actually looks quite nice. First of all, let's come in and grab all of these again, all of these here like so we'll grab the top and these ones here. The other thing you can do is you can also press alt D. What alt D does, it's not actually a duplicate. It's actually more like it's just a copy. But what it does is it saves a lot on optimization. One of them is called a duplicate basically, and the other one is called a linked duplicate. Now because I've linked this duplicate, if I come in to, let's say this one and I grab the top of it, press G. You will notice now, because this is a linked duplicate, it means anything I do on this one will be also duplicated to this one. So there is that to bear in mind. But it does actually cut down on how many draw calls and optimization on blender. I recommend if you can use it when you can. And the reason why we bring that up now is, by the way, is because there's so many things in blender that We need to show you, you know, to get you up to speed, we can't bombard you with everything from the beginning. So I'm trying to kind of drip feed everything in as we move along. All right, so what I'm going to do is I'm just going to delete all of these because I missed some out. And then I'm going to re select them. And then we're going to press all D. So delete what we're going to do is we're going to grab basal on all of these, maybe even these side parts as well. So we'll grab all of these. This side part, this side, this side, this side, and then all of this as well. We're going to grab all of these. We'll also grab all of these parts as well. So a lot of parts here. And then what we're going to do is we're going to press Alt Enter. Move it over. And then said 90. From there we can press control. And one that will take us round to the rear. And then I can bring it over here. Now we can see that we need to line it up with this, which means that these parts, are they going to fit in there? Let's have a look. So we'll just pull them back now, pull them into place where they need to go, hold in ship. Let's pull them out just a little bit so they can go into place like so. And that's looking pretty good. I think I've missed one here. As you can see, that's no problem. We can put that one in. I'm just if we're far enough out so we can see this is a little bit far out. So let's put it in. Let's go over the top actually. And now we can see the difference between those. Actually, that's looking pretty good, I think. I'm happy with that. Let's double tap the and have a look at that. All right? Everything's good, except obviously we need this here old again. Bring it over and then let's obviously mirror it on. This time it will also be on the X object, mirror on the X like so. And let's put that in place. And there we go. And again, we don't want to make sure everything's like just exactly the same. That's not what we're actually wanting to do now. The other thing is I want to put these also in the middle. So what I'm going to do is hopefully if I grab one of these, press L, Can I bring it over? Yeah, you can see it's moving over there. That's one of the things that we need to be careful of when we're doing this because these need to be more in the middle. So what I'm going to do is I'm going to press Shift D, bring it over like so. And you can see it's also gone over there like so. And we don't really want that. So I'm then going to press Selection. And now it's actually going to break that from there. Then I'm just going to delete these out of the way. And now I can put this one back in. So control all transforms, right click to origin to geometry. Let's put it back into place. Round about in the center. So control one again, it needs to be round about there. Shifty roundabout there, something like that. Is that in the middle? That's more in the middle. Then what I'll do with this is just pull it out a little bit, get it into place. And then same for this one. I'll stretch it out and X pull it out. And then what I'll do is I'll grab this and this, press Shift D, bring it over. And then shift D and bring this one over. Now, are they going to fit into that? I think they need to be a little bit thinner. Let's grab all of these press and X on individual origins and X, bring them in a little bit, so now they are fitting in very nicely. All right, from there, then let's take one of these Windows. Let's press Alt D again, and then Zed 90, control one. And then let's put this in the center of here. Let's pull it back into place. And then from there we can just press old. So there we go, double tap the, and there is the back of our actual coffeehouse or cafe or whatever you want it to be. Now we need a sign on here. We'll leave that though till later. And what we're going to do now on the next lesson, is we're going to move around to this side. Now we do have a couple of different windows in this part, so we need to fix those. And we also have a little bit of a balcony in here. Try to make every place as different as possible whenever you're building anything like this. Try and make sure that every single face in the build is covered by something or something interesting is happening there. Just make sure you try and do that. And also make sure that you know, all of the windows and things are not all going to be the same. It's not going to look a very interesting scene. All right, so on the next lesson then, we'll start creating these new windows. And this balcony, interesting to create this balcony. It's a little bit different than what we've done before, so that will be interesting, al right everyone. I'll see you on the next one. Thanks a lot. Bye bye. 38. Balcony Modeling Detailing with Face Normals: Welcome back to everyone's Blenderful, the Environment Artists Guide, and this is where we left off. All right, so the first thing I want to do is I want to bring, I think all of this round. So these ones here. This one here. Let's bring these round as well. And I think this one and this one. And I'm also thinking that I will bring all of this round as well. So all of these like so, so basically I've just missed out these two. These are the only ones. So what I'm going to do is press, I can press Alt D as well. We can do it that way. We can bring them round. We can press Rzed 90. Again, we want to make sure that we're on a medium point. So zed 90, like so. And then what we'll do is press control three to go to the back. And let's put those into place like so. All right, let's drag them so they're in there nice and neatly. So pull them back and there we go. All right, that's looking pretty good. Now what we want to do is we want to think about these windows here, because these are going to be a little bit different from these ones down below. So let's actually make a start on that. So what we'll do first is we'll work on our actual balcony. So all I'm going to do first of all, I think I'll select this one shift A selected. And then what I'm going to do is I'm in, I think I'll bring in a cube. So let's bring in a cube. Let's pull it up to where we want it. Let's make it a little bit bigger like, so let's press S and's d, just to bring it down. And then let's press and X and just square it up a little bit. Just trying to, first of all, get this to the kind of scale that I actually want it. So something like that. I want it to sit right on top of here. But of course when I bring in my window, window, it's going to be probably a little bit thinner from these ones. Yeah, it's going to be a little bit thinner from these. I'm just actually going to grab this one shift, R z 90, control three. And let's just put it in place so you can see it's going to be a little bit thinner. So this is way, way too thin at the moment. So let's press S and Y and bring it out pumping like there. Let's also just put this window back in place a minute so I can see how much depth I need to have. You can see as well the depth is not there, so let's pull it out a little bit more so S and Y. And let's also then go in, grab this face and pull it out to where I want it. So I'm thinking something that far out. Maybe we need to have our guy. He needs to be able to really stand on here. So let's have a look. See if I can put him in place. So I'm going to press control three. Put him into place, standing on here like so. And then what I'm going to do is move him out and then R, Z -90 Spin him round and there you go. Now he can actually come out and he could stand on here if he wanted to. And that's exactly what we're actually trying to do. All right, so we've got that, let's now I think, is that out far enough? I think when I've got my post here, maybe not. So we'll bring out just a tad further like so. And now I'm going to do is I'm going to bevel this off, so I'm going to come in, I'm going to first of all, reset the transformations. So all transforms, right? Clicks, origins, geometry, grab each of these edges. Control B. And you can see at the moment this is kind of what we had on here. But we don't really want this on here now. Unfortunately, I don't actually know how to save this out. I don't know how to save these out. I've tried, I don't think you can. So what I'm going to do is I'm just going to mess around with these and get them to how I want them. So I want a nice kind of bend. Let's put this down a little bit. A nice bend in there. And then this one, I think needs going back a little bit. And then let's bring this one up. And then we also want another one on. There we go. And then I can put this one on and bend it out, pull it over, and I think, let's pull this one out a little bit. Something like that maybe is looking pretty nice. I've just got to make sure that my posts are going to be okay going into these, which I think they will. If I've got one post here, one post here, I think I need to just round off this a little bit more. So I'm going to bring this up and round. And then this one here is the one that I want to just round off a little bit. Not quite that much. Something like that. All right, that's looking pretty nice. Now from here I need to o C create a hand rail. So what we're going to do is we're going to come in, grab this one. Control select. Control select. Control select. And then I can press shift D and I can bring this up then to where I want it. Always when you're thinking about hand rails are the belly board is near enough, always where the belly board is just below it. Let's squish it in a little bit. And there we go. That will be a beautiful hand rail. And then obviously it needs to be much, much thinner than this, so that's still a little bit too wide. So something like that I think makes a lot more sense. And then what we'll do is we'll split this off. So P selection, split that off. Control all transforms right click orogen geometry. And then let's generate a solidify, make sure even thickness is on. And then we can actually pull it out like so. And you can see now that's pretty good. Now we're not going to mess around with this anymore. What we're going to do the moment is bring in the post. So I'm going to press shift S Kurt to selected shift. And then what we're going to bring in is a cube. I'm going to make the cube much, much smaller. And then what I'm going to do is just put this into place. So I'm going to want my cube just into here, maybe just there. Something like that. And then from there what I can do is I can grab it, pull it up into where I actually want it. Now you can see this is the issue here. That this obviously is not thick enough and it's not going back far enough. So that's why I left it. So if now bring it down. So bring it down, pull it back in. And you can see now it's not actually pulling in. So what we need to do is we need to go the other way, like so. And now we can actually start bringing this in. As you can see now, is that going to be bringing it in enough? I don't think so actually. So what I'm going to do is I'm just going to go back and instead of doing that, what I'm going to do is I'm going to select this. So I think it's time actually, we talked about normals. So if I come up to here, come down face orientation, you can see most of my mesh is blue. Anything that's red basically means that the normals are facing the wrong way. So we have an inside and an outside of a face. Now generally, if I took this through to a Games Engine, anything in red would just be seen through. And the reason is because any Games Engine wants to actually only render out one face. And the reason is because obviously it limits the amount of processing power that's needed if you're rendering out double faces all the time, you can imagine how much that adds up. It's basically like doubling up a seam, so we don't want to do that. So in three D modeling we have outside and an inside, and generally the red is the wrong way. Now on this though, we can come in and you'll notice if I grab all of this and then to change them round, I can press Shift, Come down and you'll see Recalculate Normals, turn it round and now you'll see that actually turns it round the other way. Now from there I can actually bring it in, for instance, like this, or I can bring it down or out or whatever. That then will make it easier to do that. The other thing is, on this one, on this occasion, it's not actually going to work. Although it doesn't work, you've got an explanation of why we have an inside and an outside and how to turn them around. Generally, you can come into something like this, for instance. So these you can press tab, press a press shift and it'll blender or do the work for you or spin them all around. Now we are going to actually come in, change all the normals round at the end. They always do that at the end because then you can do them all together, saving on time. And if you want to do them individually, you can just press Shift and then that will spin them around as well. All right, so now that's explained, let's go back to this then. Take off the face orientation. And what I want to do is I want to bring this in. So you can see I want to bring it in maybe to there, just so it's in front. If you press a little dot, one of this post, now you can see this post is probably a little bit too big. So let's bring it in. Let's pull that out, then let's bring it in even more. And now we need to bring it in a little bit more. Now, We can probably get away with turning this down, holding the shift burn just a little bit. Now you can see that's all starting to come together. And you can see we've also got the same as this bottom part. And that's exactly what we're going for now. One of the things is this is probably still a little bit too thick sensed. Let's bring it down a little bit. All right. So I'm pretty happy with how that looks. Now I want to do is think where my other post is going to do. Go to do that, all I'm going to do is just press control A or transforms right clicks origin through the decursor. Add in a modifier and we're going to generate a mirror, put it over the other side, turn off the X. And then all I'm going to do now is press tab a, Shift D. And then we're just going to bring in another post now where I'm going to put this other post. Probably something around here. I just want to make sure that it's going to fit no edges. I don't want any edges coming out. Now I can see one problem, that these posts are probably a little bit too thick for this. Let's make them a little bit thinner. Ol shift click, going all the way around. Alt shift click. And then what that means is now I can OltS just on the thinness of the scale, which is what I actually want. Something like that is looking pretty good. Now what I want to do is fix this post. I can see probably going to have to come out round to there. And now you can see that post is fitting in much, much nicer. Now, I'm going to need one more post here. I think so shifted. Let's bring in another post like so let's pull it over, let's make sure it can go into place. Let's pull it back like so, and there we go. Just making sure everything is fin you can see it's a little bit out on the back here. I don't really want that. So can I pull it forward a little bit like so pull it this way a little bit like so. And there we go. Now that's looking perfect. And now what we'd want is maybe one or two posts. So shift D, let's bring in another post. And then maybe we just need one more post and then that should be okay. And that's looking pretty good. All right, so let's apply our mirror in object mode control. And then let's come to my post. And then all I'm going to do is press shift D control three. And I'm just going to move that then into the center up here. All right, so there we go. There is that part. Now, we're not done yet. We want to do a little bit more with this. And on the next lesson, what we'll do is we'll just make it a little bit more or it's a little bit not net enough right now. Plus we need to give it some support. I mean, it's never just gonna hang there like that. And then finally we can get this back door done. And then near enough, this is most of the coffee shop finished. And then we can work on the roof and finally the outside up here. Alright, everyone, hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 39. Decorating Balconies Using the Mirror Modifier: Welcome microphone to blend, fall the environment artists guide. And this is where we left it off. All right, so first of all, let's come in and do the front off here. So what I'm going to do is just grab this. I'll first of all press control. Layol transforms, set origin to geometry, grab this one. Press the eye button then. And then what I can do is I can pull this out now. So press pull it out a little bit like so. Now let's think about the top of it. So what I'm going to do with the top, I'm going to do the same thing with eye. And then what I'm going to do is just pull it up, just making sure that everything is still fitting in there. As you can see, you can see on this one, we're a little bit too far out. This also needs to probably be pulled back a little bit. So what I'm going to do is just pull it back tad, and then I'm going to grab these and this and pull those back as well. Just making sure that everything's fitting in. So now we need to do this part here. So what I'm going to do, I've got my solidify on. I'm going to press control to apply that. And then what we're going to do is press control, left click, right click. And finally now I can press control B, pull it out, scroll my mouse wheel back, so there's just one there, left click. And then what I can do is I can press and pull those up a little bit, making it a little bit more annoyed, as you can see. All right, so now let's put a middle section in here, or two sections in because we've got one in the middle. So let's put something like that. So shift, let's bring in a cube. Let's pull it over properly with the X. Let's press and then let's put it into place. So we'll put it right in the center of these. I'm going to press then and y pull it in, it's just in there. And then what I'll do is I've got the outside and the inside, they look great. It's just the top and the bottom. So I'm going to bring the top down. Bring the bottom up. And then all I'm going to do now is level that off. If I come grab the, this one and then press control should be able to, if I bring it up, bevel it off like so it's using basically the same as what we did with this. It's using this one here on here and you can see just how nice effect it actually gets. Let's press control three. Let's make sure it's in the center. And then all I can do once it's in the center is write, click the Origin to Geometry, Adding a modifier. Bring in a mirror, put it on the Y. Turn off the X. Right click, Origins three D cursor and there we go. There we go. It's in now. Now we can see that this one here is a little bit out. So what I'm gonna do is going, it's gonna come in L move it over just so it's more centered. And there we go. Alright, that's looking good now, what do we need to do now? We need the actual, this door on the back. I'm just going to move my guy at the way now because I know, actually, no, I'm not. I'm going to get this to be the right scale first. So and's Ed, let's pull it up to something like that. I think I'm happy with that. It's just this bit needs to be a little bit thinner. I think I'm going to use this as a base. So what I'm going to do is I'm going to come in to this control three said squish it down a little bit. Let's put it up just so it's just under there. And then with these two parts here, let's pull them up so they're under the stonework now. So under there. And then we can see that they go down to there. We can see that it drops all the way down to here. We're not going to need this bomb section on here at all. So let's just press shift H. And what we can do now is we can actually get rid of all of this, including maybe as well this part here. So I'm just going to come in, we'll have to select everything, you know? What I'll do is I'll just press L, L and L, P selection. Separate it out, and then I should be able to delete this off. Now, the other thing is, at the moment, if I press all tage and bring everything back, I am I happy with how wide these are? I don't think so. I think they need to be a little bit thinner. So what I'm going to do is I'm going to delete this one. So L delete vertices and I'm also going to come jaws to the back of here and select it. Control plus. Control plus. Control plus. And you can see I'm not selecting the inside of there so that one didn't work. So what I'm going to do in steadies, I'm going to come to face select, make sure I've got it onto wireframe. And I'm just then going to come down and select all of those. Now I'm going to take it off wireframe. And you'll see that now if for press delete faces. Now I've deleted that off. And the reason I'm doing that, of course, is because I want to mirror this over. It's a little bit too big. I need to make it a little bit thinner. So what I'm going to do is I'm going to grab this, L pull it over to here, grab this, pull it over to here. And then what I'm going to do is now grab this part here so I can come in, grab this part. Shift cursor selected tab control L transforms right click. So origins three D cursor. Add modifier, generate a mirror, put it on the Y. Turn off the X, and there we go. Now we've got a little bit of a thinner door. And the other thing is now I want to build out the window. So at this point I definitely can move my gun out the way. I can also join all of this up. It's got a miron. So let's actually apply that. So control, Let's press H to hide it again, Nothing on there. H to hide, nothing on here and nothing on here. Olah, Bring it all back. And now, from there, I can actually Sure. Be able to join it altogether. Control J. Let's join it altogether. Let's just make sure that the, the bevels aren't on yet. So what I'm going to do is right click, shade, auto, smooth. And then what I'm going to do is add modifier generate in a bevel. I'm going to turn the bevel down to not 0.3 And there we go there. Is that done now with the bevel on? And when we come back to it, we can add in our material. Let's hide that other way. And now we're going to do is we're going to bring in a plane. So let's bring in a plane, rotate it around Y 90. Let's bring it into where we want it, so we can see if I press control three, I want it coming right to the top of here. I want to make it a little bit wider on the Y. So S and Y come in then, and let's grab the bottom of it, and let's pull it all the way down. So here now on this bit, I actually want to be have a foot on here and then the window up there. So all I'm going to do is I'm just going to press control. Bring it down and I'll have a foot coming from there. So in other words, a bit of wood coming off of here. Now the rest of this I actually want to be my window. All I'm going to do is I'm going to pull this out to here. I'm then going to press control left click, right click. Grab it again, Extrude it out again. And there we go. That's the start of it. And now I can do is I can separate this from this part. So if I press Y, separate out control three. Now I want to do is, first of all, let's bring it in first. If I grab it, press the Born. So then I can press Y, and then what I can do is I can separate this. So I'm just going to press shift H just to separate it out. And then control left click, right click, control. Let's bring in some edge loops, maybe four edge loops, something like that. Could even get away with five, totally. Up to you where many you want. I think I'm going to go with left click, right click, and then Lt, bring it back. Finally then what we can do is we can come in, grab all of these points, press the button to bring them in, and then all I'm going to do is selection and separate those. Now it's just exactly the same thing as what we've been doing. As you can see, now what I'm going to do is just pull them back. So I just want to separate these out now. I'm going to hide my windows out of the way just so I can see what I'm doing. All I'm going to do now is come to these parts. I'm going to press the button and then mesh. And we're going to split faces by edges. So I'm hoping that we split all these up. That's all split of. All right. Now let's grab all of these, these four going around here. And what we're going to do is we're going to press to pull them out and X pull them out. And then we can hide those out the way. And then I can press A on these ones and pull those out as well. Now you can see, actually we have a little bit of a problem there because I've just hit those after student out. So what I'm going to do is just select all of these to make it a little bit easier. I'm just selecting more with L P selection. And now I can come back to these and hopefully this will work. Now A pulled them out like so. And then my windows now just pull these forward. Not that my windows. I'm going to hide the wall. Where's my windows gone? Let's press controls head. There's my windows. All right. Let's pull them into place now. All the way back maybe to here. Something like that. All right, we're looking good so far. Now let's come to these and these. Let's join them together with control J. Control then all transforms, right clicks at origin to geometry. Adding a modifier, not point naught three. There we go. That's pretty good. Now we need to basically join all of these together. They've already got bevels on and things like that. I think, I think we can join them all together. We've just got this Bob bit to do, so let's actually do the bottom piece first, and we'll do that on the next lesson. Before we go, let's actually just flatten these off. So I'm just going to grab this one. And this one I'm going to right click and I'm just going to shade flat like so. And then they look tons better, Al right, on the next lesson then we should get this finished. In fact, we should get all of this actually finished by the next lesson. And then that means then we can make a start on our actual roof. Al right everyone, so hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 40. Resolving 3D Balcony Symmetry Challenges: Welcome back everyone to Blender for the Environment Artists Guide, and this is where we left off. All right, so now let's do the supports under here. And these supports need to be quite chunky because this is quite a heavy thing. So what we're going to do is press Shift Day. Going to bring in a cube. And I need to press Tap Shift day. Let's bring in a cube, let's bring it down. And then what I'm going to do is I'm going to put it a little bit over this side. So now what I'm going to do is I'm going to make it a little bit thinner and let's make it a little bit thinner. So, and then let's pull it out just so just in front of the, and then let's pull it out to where we actually want it. So if it comes out, let's say roundabout here, I think it would be absolutely fine from there. Then what I think we should do is just level this edge off and then extrude a part that comes out here. And I think that'll make a good ornate support. So if I press control, so even if it's like that, I think that still looks pretty nice. But if you want to, instead of doing that, obviously you can go control B instead of that. Just put it on suplise and then we'll make it like that, or we can use the custom one that we already created, which actually I think is better. All right, so now what we can do is we can come in, we can grab this plane here, We can press Shift D, We can make it a little bit smaller like so. And from there then what we can do is press and pull it down. And there we go. One support really, really easy to do. Now let's press control. All transforms, right click, set origin to geometry, not geometry, sorry. Let's set the origin to three D cursor, add modifier and bring in a mirror. Let's put it on the Y, turn off the X, and there we go. Finally let's apply the mirror. Let's join it all together. So let's join into this control J. And there we go, they're all leveled off. Right click, shade, auto, smooth. And there we go. There is our actual balcony finish. So now what we want to do is we want to bring in our materials. So let's actually check then, this one here, once this loads up really, really easy, it's all pretty much stone. So what we'll do is we'll come in and we'll press control L on this one. So control L, link materials and then come back to this A to grab everything, smart UV project. Click okay. And there we go. As simple as that for that part. Now with the door, that's a little bit different. So all we want to do is we want to link materials from here. This time these are already done, so that's absolutely fine. We can see we've got a mirror on there as well. Let's just apply that. So that's done as well. So control. And then what I can do is then come back to my door. I can join it to my windows as well, so grab my windows first. Grab my door Second, press control J. Just so we keep that bevel on there. All right, press G just to make sure it's all joined like so. And now finally we can come over and press control L and we'll link materials like so. Now let's grab our door once more. Come over to materials minus our stone. And there we go. Now let's come in A to grab everything. Smart UVP J click. Okay. Now all the wood is going the right way, as you can see. Finally now let's come into our glass. Pretty much the same thing. Might actually even be able to get away with pressing. And let's see if we can, if it comes down to copy paste default from before. Let's apply this then. And there we go. It actually did that as well. That's really handy. Now all we need to do is just move these around. Of course, let's come in, let's press dot to zoom to it. And then what we'll do is we'll grab one of these. In fact, that's the one problem we will have. As you can see, none of them are selected. I'm just going to grab them all. Makes it way, way easier. Come over to the left hand side, press A, make sure they're all selected. And now we can come in and move them. Every time we click on one, it's going to be selected. And that's the easiest way to do this. Okay, let's move these down and like so. All right, there we go. All done, okay, so now let's go back to modeling and we should be able to join all of this together. Now, I'm just going to see if we've got anything on there that we don't. So we've got a bevel, we can put these up as well. By the way, we've got a bevel on here, a bevel on here, and a bevel on here, so they're all fine. So what I can do is I can join all of this press control J, join it all together and there we go. Now last of all, I did forget we do need something to hold these into place. We can't have them just going into the wall. What we'll do is we'll come in, press shift day, and we'll just make a quick cube. Do we make it more or we could do that if we wanted to. Let's grab it first, press and X, bring it in. Let's put it into place where it's going to go, press the Born. Just in something like there's put it into the middle. And that's looking about right now can we do what we've talked about? So grab both of these prayers control. B. Maybe I have something like that. I think that looks pretty nice. All right. Control or transforms right click, Set origin to geometry. Maybe actually set origin to three D cursor quickly, then we can mirror it over the other side. So why like so? And you can see, yeah, it's not quite in the right place, is it? Maybe this is also not in the right place. That I'm not sure about that. I think this part here is a little bit out from this part here. We can see here, this is here. What I'm going to do is I'm going to press Shift S Ursa Selected. Now this may be, let's have a look. Press control three. This looks now in the center, but we can see that our door is not in the center. What I'm going to do is first of all, come in and I'm going to hide all of this out of the way because I can then grab my door and everything on there. So I'm going to hide this out the way and then just grab my door with a. And then what I can do is I can press Shift and Selection to cursor keep offset like. So now it's going to move everything forward, I know that. But what I want to do now is pull it up into place. So I'm going to pull it back, pull it up into place just so it's supported like so now I just need to see is if I press control three, we can see now that these are still not in the right way. So I need to just check now where this is. So you can see now this is where this one is, this is where this one is. If I come back to this, I can write clicks origin three, cursor. And now hopefully they are in the right place. Now all I need to do is just make sure that these parts, so all of this is in the right place. And you can see it's not at the moment. Now I want to make sure that I can grab all of this. The easiest way to do that is to come over to Little triangle, click the plus button, and then what I want to do is just to quickly assign a group to these to make sure that I can actually select them. So if I select a sign like so now, this group, if I deselect it or select it, I can actually come in now and select them. Why am I doing that? Because if I press Alt tag, everything comes back. I've got to go and re select everything again. And I don't really want to do that. Double tap the A now come over, click select. And there you go. Easy as that, to select them. Now let's pull this up into place like so. And there we go. Now everything is leveled up and that's exactly what we want. Now what we can do is we can come in, grab these, grab my balcony, press control J. Join it all together, and let's just make sure we've got a bevel on there, which we have. I'm just looking why this is not beveled off. It's probably because it needs all the transforms. Resetting. I think it's over. Look, is it beveled off? Let's just have a quick look. Yes, it doesn't actually, all of the bevel is gone. So let me just check now, what's going on there? Why has all the bevels gone? All of the bevels have gone off there. This bevel is not working properly. Let's minus that off. Adding a modifier. Bring in a bevel. Let's have a look at the mesh. Yes, the bevels not working properly on all of this. All I want to do is come down to geometry. Clamp overlap of naught point n naught three. Put that on, and there we go. Now the bevels actually working and maybe, maybe it's a little bit too high, so naught point naught naught two. Let's turn it down. And there we go, a thing that's looking much better. And finally now we can join this with this. So control J, and finally now that gets actually beveled off as well. All right, so everything is done there. I'm just checking my bevels, making sure it's all okay and that's looking pretty good. Let's put it on material mode and make sure that it's looking nice, which it is. And finally, now finally we can press Shift D and bring it over, or we can delete it and press Old D. Old D. Enter and bring it over. Press control three. Let's see where we're going to put this. Somewhere like there. Let's move our guy out the way. There we go. All right, now let's press old D on this one. We'll bring that down, then we'll spin it around. So as 90 we'll bring it out. We'll press control three. Then all we want to do is just line it up with this. Line it up in the middle like so. And then let's pull it into place. And then bring it down a little bit. And then all I'll do is press control three and old the again and bring it out and put it into place like double tap the A. And there we go. All right. I think then on the next one we will separate these out, these floors here. We'll actually put the material on these and then we'll start on this part of the roof. I think probably the easiest thing on this is if we actually make the roof first and then actually put the bits round it. I think that's going to be much, much easier. All right everyone. So I hope you enjoyed that. I hope you're really, really learning tons and tons. Don't forget to always save out your work at the end of every lesson, and I'll see on the next one. Thanks a lot. Bye bye. 41. Creating Stone Frame Supports for Victorian Roofs in Blender: Welcome back everyone. To blend forward, the environment, artists guide, and this is where we left off. All right, so what I think we should do now then is make a start on our actual roof. And what we need to do on a roof, you can't just have a roof basically on top of here. You really need to do or put something on top of there. Now the other thing is you don't want to create something where it's going to be all the way around like this. You want to create this kind of block. So a block going across here, the same block going across the back of here, and then another block into weaving into this part here. From there then you would probably put the roof on top of there. And then you would have some posts or something on either side of here just to make it as part of this actual building. All right, so let's just get rid of that. And then what we'll do is we'll put this back onto our movement tool. And then what I'll do is I'll come first of all to this block here. I'll press shift desk us to selected. And then what I'll do is I'll bring in a cube. Now you can see I'm still not open my blender again and it's still the same size, so just in case you're n is just make it a little bit smaller. All right, so let's press S and y and pull this out into the size that we want it. And what we want to do with this is we want it to be slightly bigger than these corner bits. So if I pull it up and put it on top of there, so you can see now it's slightly over. It needs to be a little bit further over though, to actually encompass these as well. So I'm going to pull it out to roundabout there. And then finally what I'm going to do is I'm going to bring it back now. So I just need to see how far this block in the middle is out. Because you can see it's a huge chunk, this piece here. It also needs to be a little bit wider as well. So let's do that. So press L to grab it all S and y, and pull it out a little bit, a little bit more than that, just so it's coming over that as you can see. So something like that. And now you can see just how big that actually needs to be. Now I think this is a little bit too chunky. I'm thinking if I could pull it back a little bit and then pull this bit back a little bit, maybe it's going to fit in a little bit better. Let me just see if I can pull this back a little bit. So what I'm going to do is I'm going to grab this one and this one and just pull them back a little bit. And then what I'm going to do, I'm going to come to this, grab this face in edit mode, and then I can pull it back very slightly. And I think that's a little bit better than where it was. All right, so now that's done and what we need to do is we need to make this kind of all net. So what I'm going to do is I'm going to I think bring in, I'll pull it up a little tiny bit higher like so. And then what I'll do is I'll bring in a couple of edge loops. So first of all though, control our left click, right click, and then control B. That's the way I always like to do it. Now from, you know, I learned this probably about a couple of years ago. So much easier to work with bevel in actually. Alright, So I brought my Bevel in with control B. I'm just going to make sure this is on super lips 'cause I don't really want it on my custom at the moment. And then from there what I'm going to do is now I can pull this out. So I'm going to come to this one and this one. And then what I'm going to do is I'm just going to press and y and just pull them out. Just a little bit like that so it's got a little bit of an angle. And then finally now we need to reset all of the transform. So control A all transforms right click, set origin to geometry. And now what I need to do is I need to bring a edge loop over. So I press control or left click, right click, control B then, and let's be level those out. What that'll do is it'll keep them straight. In other words, I'll show you one other way that most people do it. So control are two, left click, right click. And now you can see they'll pull it out, so S and Y, and they'll pull them out like so the problem there is that you've got, you can see they're actually at an angle. So rather than do that, another reason why we use pebbles instead. So left click, right click is because when I press control B, it's going to keep them based on the one that I've already actually put in the center. So from here now, now we can actually pull this out if we want to. So what I can actually do, and in fact, I'll bring them. Yeah, Maybe they're okay there. I think they'll actually be okay. So what I'll do is we'll just come in now, grab this face and all we're going to do is pull it back. So pull it back like so. And just make enough room so we can put some kind of points going along here like so. The other thing is as well, we might as well put a pillar in here while we're here. So all I'll do is I'll press Shift a Cube. Bring in my cube. And then all I'm going to do is I'm going to place it on top of here. So finish in this part of, if I bring it to there, press the S button. And then what I'll do is I'll bring this down a little bit, bring it down, and then what we'll do is we can do this number of Y ways. You can either press and S and pull it out, or you can just press, pull it up. And I feel this has a little bit more control doing it this way. So if I come in now Ol shift and click and then enter alton. I feel like we have more control doing it that way. Than what we have in the other ways. You can also offset even. And from there you don't have to press controls head even. You can press alternates and you can bring it back hold in the S button like so. So we're learning new techniques as we go along and I'm trying to add to things as we carry on through the course. So you can see all the way through the course, you're going to be learning new things because we'll just ramp up that complexity and not even just complexity, just better ways of doing things or easier ways or quicker ways or more professional ways. All right, so now we've got that. Let's think about this part then in the middle. So what I'm going to do is we're going to bring in another cube. So let's bring in a cube, let's put it on there. And then what I want to do is I want to press the S button and bring it down like so. And of course they're not going to look exactly the same as the original as well. Just remember that I wouldn't want them to anyway because, you know, it's based on fancy, it's not based on, you know, something realism that we're actually copying. So what we're going to do is just bring it out just to there. And then what I'm going to do is I'm going to come in, press control or trans trite. Click urgent geometry, grab the center of it, press the eye button. And then what we're going to do from there is just bring it out. So to bring it out like so now let's bring it over to this side. So roundabout here and whatever gap you have coming from in between them, try to have the same gap on the left and right hand side. What we're going to do now then is go to add modifier and we're going to generate an array. And we're going to make the array go along the y axis. So let's pull it along this way, like so. And again, we want to make it around about the same gap, so you can see round about the same. And let's see if we press control three to go round to the back. And let's turn that up and hopefully it'll go nearly where we want it. Now you can see it's a little tiny, tiny bit out. Now what you can do there, you can either drag this back or you can move it to the left hand side. Either way. So I'm going to draw, drag it back, jaws to tad, not that one. So let's get this one on. Drag it back just a little bit like so. Just to get kind of even, maybe even one more, I think. There we go. And that looks about right now. All right. So that looks about right. That's looking really nice. And now what we need to do is we need to put this over the other side. But before we do that, we might as well actually bring in some textures and things like that, because then that'll make it easier. Now there is something else you can do. What you can also do is you can grab all three of these. And you'll notice at the moment we've got a array on. And what you can do is you can come to object convert and convert to mesh. And what that'll do is it'll apply all the arrays on. Now this is really, really handy if you've got a ton of arrays down here. And you don't want to apply them all on individually. Or if you're not sure whichever parts you know you've selected. Some of them might have modifiers on, some not. And we'll go a little bit more into this as we go on. But using object convert and mesh is a much, actually better way than applying your modifiers. I also put that under as well a shortcut key generally. But obviously I can't do that in this because no one would be able to see what I'm actually doing. Okay, so let's do what we've been doing all the time before. So we'll come into this one first. We'll press A, we'll press Smart UV Project, click okay. Then we'll come to this one, we'll press a, we'll press Smart UV Project. Click okay. And finally, then this one, Smart UV Project, and click okay. Now what we'll do is we'll come to this one first. Add in a modifier. So we'll generate a bevel, we'll put it down to naught point, naught naught three. I think it'll be something like that. Looks absolutely fine. Grab these two, then select this one. Press control L, and we're going to link or copy modifiers like so. All right, so that's that done. Now what we need is our stone. So if I grab this one last, so shifts like this one last control L link materials and there we go. There is our stone work in there and looking really, really nice. Okay, so now what I need to do is I need to join these two together. So if I join these two together with control J, then what I can do is now I can bring it over to the other side. So rather than mirror it over something like that, because it's not gonna be exact or anything, I might as well just press Shift D, bring it over, and then what I'll do is spin it round, so sad, 180. Let's spin it round and let's get it into some sort of place. So we can see we've got a lot of gaps on this side, which is really nice. We can pull this back if we want to, or we can leave it there. I think actually it looks good there. And now what we need to do is just bring in this stone. Now this stone might as well be mirrored over this part. So if I come in, grab this, press shift S cursor selected, grab this one. Right click, set origin 23d, cursor. And then what I can do is add in the modifier, bring in a mirror and put it on the Y. Turn off the X. And there we go. Now what I can do is I can go over the top. I can press Shift D and then just drag it over like so. And then let's just make sure that they're sat on there very, very nicely, which they are. And from there then, I'm just going to press control A, Apply my mirror, and then I'll grab both of these sets. Press the tab button, press A to grab everything. Is that one not grabbed? Nope, that's still got a mirror on, so let's apply the mirror on this one. And then press Tab. And then you Smart UV Project. Click Okay just to make them look a little bit different 'cause we don't want to look in the same 'cause we can see them. We can't see this one and this one, so it makes no difference. All right, on the next one, then all we want to do is want to put another one going across here. And then finally we can actually make a start on our actual roof. Let's save it out. And I'll see on the next one. Everyone, thanks a lot. Bye bye. 42. Decorative Roof Supports with Blender's Curve Tool: Welcome back everyone to the blender for the environment artists guide, and this is where we left it out. All right, so let's now shift our focus to this part here. So again, all I'll do is I'll keep the cursor there. No point moving that. And then what I'll do is I'll press shift A, bring in a cube. And let's bring it over to this side. Now we want it to copy, so we want it to basically copy this, but be a little bit thinner than what this one is. So all I'm going to do is I'm just going to put it into here, so making sure that it fits in there very nicely. I've also got to make sure that it's kind of going to come back to my roof, so into here basically. So all I'm going to do to do that is just grab this back face and pull it back into there. Now again, back faces and things like that, they're all great. If you're building this scene you should really be getting rid of them. But if you're going to be putting them into your asset manager or something like that, probably better off keeping them. So get rid of them if you're just keeping the scene and if not asset manager keep them because then you can use them in other scenes and you might want to, you know, see that back or rotate them around. All right, so let's come in and pull this over this side like so. And then what I think I'll do is I think actually I'll keep, maybe drop the height down, tiny bit, like so. And then what I'll do is I'll press control left click, right click. And then control B, pull it out. And then all I'm going to do is press, in fact, yes, I'll need to bring this one in. So I'm going to press and X, let's bring it in. You can see here I need to bring in a bevel, so control le, left click, right click. Control B. Pull it out to where I want it, somewhere around there, thinks good. And then grab this face in, face select, and then press and pull it back a little bit. Now we might as well use this. We've already created it. So what I'll do is I'll just come in for this one. Press D, bring it over, press the button to separate it, come back to it. Control late or transforms right click, set origin to geometry, spin it around then with odds and 90. And then all we're going to do is press one and bring it into place now. No, it's probably not going to fit the same, so I might need to make it a little bit smaller. So let's press the little dot born on the number pad because I'm losing where it actually is and let's pull it back into place like so actually we might need to just make it a tiny, tiny bit smaller like so. And that's looking pretty nice. All right, so now what we can do is we can do pretty much the same thing as what we did on the other one. We can array it over the other side. So add modifier, generate array, and then all I'm going to do is I think it is, no it's not the X. Let's turn the X down. Let's pull the y up like so. And let's then increase the count going all the way over. I'm thinking probably need a bigger gap in here. I can either bring it back. Let's actually put this onto object mode. We still can't see anything, so let's put this on as well. And now we can see where the lines are. So you can see one line here, one line here. What I tend to do in that situation is I'll just extend it. So I've brought it down one and then I'll just extend it out like so holding the shift button, and now we've got the even side and there's hardly any difference in between them. All right, let's put it back onto material then. And then what I want to do is just make sure that they're pulled back enough, which I think they are. And finally now all I can do is I can grab this one here. Press control all transforms. And then what I can do is I can join it to now. So press control J, and finally then in fact, no, I can't do that. I've still got my bevel on and I've still got my ray. I need to apply my ray first. So control. And now I can actually press control J. Join it altogether. Now of course we do need to unwrap this part. So I'm going to press L Smart UV Project. Click Okay. And there we go. All right, so that's that one. And now what I can do is I can bring that now to the other side. So all I'm going to do is press Shift D, bring it over. And what I want to do is I want it to rotate around the middle. At the moment it's not going to be cause the orientation is over here. So control all transforms and set origin to geometry. And now press ours head 180 and then we can rotate and gain in place. Now if I come out, I can see that this is how far this one is back. So let's try and put that one round about the same. So if I pull it back to round about there and there we go, double tap the A, and there we go, it looks fantastic. The top up there. All right, so now what we're going to do is we're going to introduce something new, which is going to be our actual curve. So what I'm going to do is going to bring in a nice sloping curve along here. Now to do that, the easiest way is to bring in a curve, not a piece of mesh. So why? Because then when we're bringing a curve, it's non destructive workflow. Again, it means that you can mess around with it until you've got it absolutely perfect. Which really, really like that sort of three D modeling. So let's come in and what we'll do is, because we want to get right in the center of here, we'll come in and just grab the top of here. So shift S, Custer selected like so. And then what we're going to do is going to press shift and bring in the curve. So I always like paths and the reason is if you use a bezier curve, you'll see it comes in already bent like this. The good thing about bezier curves is that you will see if I press it, we've got a lot of handles on here, so it's really, really great when we're dealing with things like pipes, taps, things like this. It's really handy. You'll see me use bezier curves a lot when we're actually creating ornate things. So ornate, you know, style, you know, the coffee shop hanging, coffee shop sign and things like that, then it's a good idea to use the bezier. But for something like this roof, which I'll show you in a minute, it's much better off to actually use the path. You'll see when I bring the path in and I click on each one of these, there are no handles to mess around with, which in one way is good and another way it's not good. All right, so what we're going to do in then, we're going to spin this round, so Rz and 90, and we've got one right in the center here. Now the good thing about these is you can also as well, let's say we want to get rid of these two, so delete Virtus, get rid of those. Leave those three. What I can do now is because my orientation is in the center, we can also bring in a mirror. So generate bring in a mirror and put that on that side. And now when I mess around with these shift space bar, you can see it also does it that side which makes this really handy. Now, I always recommend when you're doing things like this, especially things like this actually, that let's also put clipping on. Actually it's way, way easier if you have something to work with. So what you always do is you come down to where the little tab is here. This is our curves tab. And then what you want to do is you want to go down to where it says geometry. And under geometry, we have one that says extrude. Now we can bring the depth out and make it fatter like a pipe or something. But that's not what we want to do with this. What we want to do is we want to just extrude it, get the thickness of our actual, you know, this part that's going to come around here. And then what we want to do is we're going to go and add in another modifier. And this time it's going to be a solidify from there. Then what I want to do is I want to press Tab right click, and I want to shade flat. That makes it much, much easier to see. Let's put it onto object mode. And from there then I can actually bring out the thickness of this actual roof to something that I'm happy to actually work with. So I think something like this is going to be, it's going to need to be much, much thicker because it's going to be going against these things here. So let's first of all though, put it against those. So what I want to do is I want to bring it down first, like so, and I want to bring this one down. And you can see that these two here are not clipped. Well, they are clipped, but not really. So what I want to do is turn off my clipping, pull them out. And then what I want to do is put clipping on and pull them in and let go. And I was hoping that they would do a better job than that, but clearly I'm going to have to fix that part. So what I'm going to do is I'm going to grab all of these. I'm going to pull them up, that's where I actually want them. I can join those as well. By the way, I'm just seeing I thought they had actually clip. So what I'm going to do is I'm just going I'll leave it there, but I'm going to split it. And then what I'll do is I'll mirror it after I think and pull them together. Or we can do this? Yeah. Or we can do this as one. I thought actually we would they would actually merge together on there. But apparently, apparently they're not going to do that. So what we'll do is instead of that, we'll bring in another path. So shift, let's bring in a path, we're not wasting any time really. Z nine, put the path there. And then all we're going to do now is we're going to grab this path and this path, press control L. And then what we're going to do is copy modifiers like so. And I'm hoping we did it their own way. Ran, so this one and then this one. So control l, copy modifiers and I'm hoping that that will be okay. Now let's come in to this one here. Let's go down and look at extrude. And the extrude is not 0.143 so control C, just to copy it. Come back then to this one, and hopefully when I put this in to extrude control V, it should look the same, okay? Right click, shade flat and there we go, It's the same. All right. The reason why I did that then is because I'm gonna have to break right in the middle. And we don't really want that and the reason is because it might not actually come together well. So we don't want that. Let's just do it at the same time. So what I'm going to do is instead of being all fancy and using a mirror and things like that, I'm actually now going to work just on this one. If I come in and bring these down to roundabout here and then what I'll do is I'll press Enter and Y and pull those out like so. And if they're not pulling out, by the way, just make sure you're on medium point. And then finally what we'll do is we'll grab this one. This one, this one and this one. And lets them pull those down into place. Now we can see straight away, one, this is not thick enough, and two, it needs to go back a lot further. So what I'm going to do is now I'm going to pull it back into like so. And then what I'm going to do is I'm going to bring the solidify. I think it's the solidify. Yes, it's the solidify out a little bit. Bring them back in like so. And there we go. Now that's coming along really nicely. All right. Now you can see here, it's a little bit too high, so let's pull it down a little bit. And then what we can do is we can start now bringing these three down. Let's bring these three down a little bit. So, and then finally what I'll do is I'm going to add an edge, not an edge loop a point in here and here. So the way we're going to do that is grab this one, grab this one. This one and this one. Right click and subdivide. And there we go. And what we can do now with these is we can grab both of these. Press essen y and now we can start to pull those in to shape this that way that we want it. Now I want to pull this up because I want it to be a little bit more annoy than what it was. And I think now we're finally starting to get somewhere. So this one and this one, and y bring them in. And I think that's the kind of scale that I'm going to want. The only thing yeah, I think actually that's looking pretty nice. You'll notice as well, I'm kind of not following this roof really. I'm just using it as a scale to give me an idea of how tall it needs to be. Let's pull this down a little bit more, and then let's pull these two down a little bit more. And there we go. I think that's going to be about right, because I don't want a beautiful window on here as well. All right, so that's looking good. So what we'll do then on the next lesson, is we'll actually start creating our actual roof that's going to follow this. And I'm hoping I should be able to use this curve to actually do that. So we'll see if that works out. But it should do. I think it will. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 43. Integrating Roof Tiles with Geometry Nodes and Curve Modifiers: Welcome back everyone to Blender for the Environment Artists Guide, and this is where we left art. All right, so what I want to do now, first of all, I'm going to take this curve that we have here. I'm going to press shifty. I'm going to move it over to here like so. And then what I'm going to do, I first of all, I'll take off my mirror. I don't need that on. I'm going to also take off solidify, I don't need that on. And finally, I'm going to put down the extrude to zero as well, leaving me just my curve again. All right, next of all, then let's bring in a new geometry node. And the one we're going to bring in is going to be the roof. So let's come over to our asset manager. Let's open that up, let it load up, and then let's come in and put the materials up. Come down to where our geomet nodes are. And you'll also notice in the beginning I didn't actually add in the chain geomet node. I completely forgot about the chain, so I've added that in there now. But when you come to your own course, you will have already added that in there. Okay, so let's bring in our roof. So I'm going to zoom out a little bit and then what I'm going to do is I'm going to pull in my roof like so. And then what I'm going to do is I'm going to rotate this round. First of all, zed 180, let's rotate it round. Let's also put it on object mode because I find, especially with something like this, is much easier to work with. And the other thing I want to do is I want to rotate this down now. I don't want to rotate it. I could rotate it like this, for instance, but I don't really want to do that. What I want to do is go over to my geometry node. Now again, you can see on here, we've got all of these options. This is the one that we're looking for. So I can rotate it up or down. So I'm just going to rotate it so it's a little bit flatter. So now the important thing, what to do with the jut node is make it probably a little bit smaller. First of all, just a tiny bit. And then what we'll do then from there is we'll come down and see where it says bottom bending. Let's turn that all the way down, so we don't want that on. What we want to do is create some really, really big kind of tiles on this. So what I'm going to do then, I'm going to come to my tile length, I'm going to increase that. I'm going to increase my tile width like so. And then we've got some bigger chunky ones. Now what we want to do is we want to come down and I'm looking at random tile size. We'll come to that in a bit. What I first of all want to do though is look for, let's have a look. I'm looking for where is it the gap between them? So tile width, here we are. Let's turn this down. But you can see this is the actual random one. Let's treat and turn it down here. You can see that's not actually turning the gap down. So where is the gap? So the one we're going to turn down is going to be randomized width if we turn this down, if we put this on not 0.99 we can see now we get a slight break in between each of these and that is what we want to get. Now the thing is I want these a little bit more uniform. So what I want to do is tie length randomize, let's just turn that down. And now we can see they're a little bit more uniform. That's exactly what I'm looking for. And what else I'm looking for is probably going to be, let's have a look, let's turn it up a slight bit, so just a very slight bit like. So let's also look at the width. So I'm going to turn this one down at a little bit, a little bit more holding the shift bottom like so. And I'm thinking we're nearly actually there with this. Let's have a look at the length. Let's turn that down a bit just to make them a little bit more square. And yeah, I think that's actually looking pretty good now. The thing is, as you can see, we're going to need a lot more. So what I'm going to do first of all, is I'm just going to go over the top. I'm going to then just put it into place like so. And we can see here, if we make it a little bit bigger, they're actually going to fit into place. The one thing we haven't done is count horizontal and count vertical. So let's turn this up. Let's have a look, actually, is that the one we want? Count horizontal. Yes, there we go. Count horizontal is the one we want. Let's go over the top, then put it into place, and we can see we're a little bit out there. So count horizontal, turn it down, and there we go. Now we can actually get those into place, fitted in there. All right, so I'm also thinking that I want my tiles to basically come as well and fit into there. So I've just got to make sure when I've got rid of this roof that they're going to fit in there. First of all though, let's come in and actually see if I can move them along this curve. So what I'm going to do is I'm going to press Circ control A all transforms right clicks at origin to geometry. And now what I'm going to do is I'm going to need to spin it around. So R hundred and 80 spin it around. Let's now make it a little bit smaller so it fits again. I didn't know it would do this actually, So I'm just going to make it a little bit small with S G to move it back in place. Make it smaller again like so. And let's put it into place, and then let's press S and make it a little bit bigger. And hopefully then it's going to realistically fit into there. Something like that. All right, so now what I'm going to do is I'm going to first of all bring it over here because I know it's about the right size. And then what I'm going to do is drag it hopefully along this curve, so I'm going to set my rotation to zero. Like so. And then I'm going to come down and set my roof angle, as you can see, to zero like so. And that is going to make it flat, but I don't want it too flat, so I'm just going to put on one. And there we go, that's what I want. Now let's see if we can actually use this along this curve. So what I'm going to do is I'm going to add in another modifier. So let's put this up adding modifier. And the one we want is a deform. And we want to deform on a curve like so. The curve object is going to be this curve here, like so. And you can see now what this actually has done from there. Then we should be able to move our curve down. You can see now if I move it down to there and pull it over, hopefully this for them will start to follow there. Now what we have to be careful of here that we don't end up with any breaking. We don't actually want breaking. So what I'm going to do is just pull it up a little bit and making sure that it doesn't actually break like so you can see it's nearly following that perfectly, all right. If I grab now my roof and my curve, I should be able to bring them over and put them into place and see how they're going to fit. If I put them into place along here, as you can see, you can see that we're going to have to probably bring in a few more tiles. I'm also, at this point, going to get rid of my roof. So what I'm going to do is I'm going to come in, grab this part here, this part here, this part, and this part. And what I'm going to do is I'm going to press Y to split it off first. And then I'll press, I'll press P. Actually, let's separate it off completely. And then what we can do is we can hide it out the way H. Hide it out the way. Now we can see if this is going to fit in place. I come in now put this into place like you can see I'm just moving it. And now you can see our actual tiles are fitting into place. Now all I can do is I can come in now, grab both of these, press shift space bar. And then what I can do is I can move them up slightly and put them into place like so. Now finally what I want to do is, as I said, I want to make sure that my tiles, I'm going to come to the sides here. So this part here needs a little bit of a top on it. But before we do that, let's actually increase the vertical count. So if I increase this by one, you'll see it goes up there, goes up there. And now what we can do is we can actually pull this across. So if I press shift space bar again, I should be able to move this across. So let's see if I can, and there we go, can move it across like so. And now we can actually get it fitting in place. Now, that is a lot to take in. I understand that. And it's not so easy. It's going to take a bit of practice. You're probably going to want to go back and watch that again, because first time I did this, oh, it was a nightmare, to be honest. All right, let's come in then and grab the middle one. And we're going to pull that down like, so get it into place, we're going to have a top on here anyway. But now everything is in place, so all we did, basically, first of all, is we got the geometry node to the actual size that we wanted it, we've got the towels to the look that we actually wanted. And from there then what we did is we brought in a curve or copied this curve in this case. And from there then, what I did was I think what I'll do is I'll just grab both of these just to show you, just so you understand. So shifty, let's bring them over from there then. What it did was very carefully brought in my roof. So if I bring my roof out, you can see that it follows that curve going all the way along like so. And it will follow it going all the way along like so you can see I've got to pull it over here, sometimes that happens. But you can see I've lined it up with the curve, I've put on a modifier. So modifier, this curve, the group is going to be, so the curve object is going to be this. And from there then you can bring it over once you've brought it over, then onto your curve, you can then go into your curve then and actually mess around with it. So if I'm moving this up, you can see the actual roof also starts to move up, so you can put it in a really, really nice shape. Just be careful that you don't go too far with this. As you can see, sometimes you'll end up with brakes if you go too far. All right, with that, explain then what I'm going to do is just delete this one out the way. And what we'll do then on the next lesson is we'll bring up this part because it needs to come up to where this roof is, up to round about here. And then what we'll do is we've got our front on here and we'll put the front on the back so you can see it comes really, really nicely into here. Once we've got this on the other side, then we can squeeze this short, this actual tiles on here, and put a top on our building. And it's gonna look near enough, finished with the roof. Alright everyone, So I hope you enjoyed that. And I'll see on the next one. Wait a minute before I go. Actually you can see the flashing on here. I'm jaws gonna pull those out a little bit. I'm just going to have a quick check of my building to make sure none of them are like that. I'm going to also safeguard my work and I'll see on the next on everyone. Thanks a lot. Bye bye. 44. Overcoming Mesh Bugs in Roof Tile Overlays: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left it off. All right, so what I want to do first of all, is I'm going to come in and I'm going to apply that actual learning curve. Because I think everything on here looks absolutely right. I don't think I need to do anything else actually, you know what? Before we do that, let's actually put a top on here. So we'll come in and we'll make a nice top for this part of here. So I'll do is I'll come into this part here, I'll grab this top. So just this part, not these two edges here. I'll press Shift. And then what I'll do is I'll pull this up a little bit like so press the button so and selection. And you know what, Let's also going over to modeling because it's getting a bit hard to see there. And then I'll come back to it like so. And then from there will press this control all transforms, right? Clicks the origin to geometry. And now let's pull it up. So what I'm going to do is come in, I'm going to press the button to pull it up like so I'm going to press L to select it all and go over the top. And what I wanted to do is I definitely want it to fit within this part. So what I'm going to do is I'm going to press S not with proportion edited on and Y, squeeze it in a little bit like so. And then let's pull it out so it actually fits. So S and X, let's pull it out like so. And there we go. That's starting to look very, very nice. Let's pull it down a little bit into place, and then what we'll do is we'll bring it up just one tad like so. And then what I'm going to do now is extrude it out this way and pull it up. So I might need to go this way a little bit, as you can see. So what I'll do is I'll grab this part here. Basically what I want though is just these two edges. Let's come in actually and grab these two edges, this edge and this edge. E, enter and Y, pull them out like so. And then what we'll do is we'll grab the whole thing. These, these and these, and then and pull them up like so. And there we go. Dad's looking pretty good, All right? I'm happy with that. The only thing I'm not happy with is the fact that they're a little bit too close to this. It's overlapping a little bit. So let's pull it over slightly this way. Pull it over this way very slightly, just so it fits in there. Double tap the A. Just having a look now. Yeah, I might need to make it a little bit thinner, no problem. So we'll just grab the whole thing. And Y make it a little bit thinner like, so double tap the A and now you can see it's fitting in perfectly. All right? I'm happy with that. Now all I need to do is I need to grab this one. Now before I bring it over to the other side, I will tell you something else about curves. You can see at the moment we have all of these vertices on here. If I actually put this into x ray, you can see or wire frame, sorry, you can see all of these verts. The moment I start though, turning these down, you can see we can get rid of all these. We really, really don't need that many. What you want to do is you just want to give enough to make sure that you've actually got a nice curve. So round about five or six is normally about right. Now What we'll do is now we've got that, is we'll bring it over to the other side. So I'm going to press Shift D, bring it over to the other side like so let's slot it into place. So we can see this one's halfway in here, go over the top. And this one is also halfway now. And we can see we have a problem with the actual roof in that there's too many actual tiles. Now what we can do from there is we can come over to our geometry node, reopen it. Let's turn down then the horizontal count. So turn it down one, and then let's move this into place now. So I'm just going to come out, move it over into place and maybe I can get away with getting rid of one more. So let's bring it down. There we go. It pops out, put it into place, holding shift button. And there we go. You can see it's right right at the edge. And that is perfectly what we want. And now, if we need to make it any bigger than we can do, but you can see now perfectly in the edge, perfectly going under everything is done well for that Now. Then the one thing that we want to do now is let's think about bringing in material. We could bring in the material now if we want to, but I don't think we want to do that. And this one final check of it just to make sure I'm happy with it, and I think I am. The other thing is we can have a randomized shape as well. So you can randomize the shape which will pull them out in randomized areas. As you can see, some of these tiles are pulled up. Adding a little bit more to the realism. Once we've done that, then let's come over object convert to mesh. And you can see now we apply our geometry node. And we apply our actual bend as well on there. From there then I can get rid of this. We don't need that. And now what I can do is I can put this over the other side. But before doing that, I might as well at least add in a material. So let's come in and just make sure that things like this one, for instance, you can see that we've got a problem in here. The other thing is sorry, let's go let's go back. Before we did that, the subdivisions. We really don't want this on 18. Let's put it on something like two. We can probably get away with that. And you can see even when we put it on two, it's still okay. So yeah, let's not put it on 18. It's adding way, way too many polygons to that before, you know, before we do anything. So let's come in now object convert and mesh. And now let's press Tab. And you can see now just how much bare that looks with way, way too many polygons there. Let's get rid of this curve now. And now we'll do is we'll go over to our asset manager and we're looking for material. And this time we're looking for roof. And we're looking for this roof here. So this kind of black roof. And what I'm going to do is just put this on material mode like, so let it load up and then I'm just going to drop that onto my roof and have a look what that actually looks like. So you can see we've already got this material on. Let's come over to our material. Let's minus this one off. Minus this one off. And drop this on, and have a look what that looks like. All right, so that's looking pretty good already. Let's see what it looks like when we go into rendered view. And there we go. Don't even need to do anything to it. I won't even actually unwrap this because I can see it's already looking pretty nice. Now we can see for some reason we've got a lot of issues with these parts. Not sure why that is, but we'll have a look at that in a minute and see if that gets fixed. There's no material on it. I think it's just bugged or something. Let's put it back on. Let's come on to file and save. Save that out. And now what we can do from here is we can fix these parts. So let's do these and just make sure it isn't anything serious. So what we'll do is we'll grab both of these. I'm going to press Object, come down to convert, and mesh. As I told you, we're going to apply the curve, the solidify everything, and we're going to do it to both at the same time. So that's why we're doing this. There we go. And then now what we can do is we can come in and as you can see, they're looking pretty nice. We need a bevel on these as well. So what I'm going to do is I'll come to this one first. In fact, we're doing both at the same time. So both of these control or transforms, right click, set origin geometry, add in a modifier and we'll bring in a bevel. So a bevel on there, naught point naught, naught, three like so. And then what we'll do now is we'll bring in a stone. So if I grab this one, grab this one, press control L, and we're going to copy link materials. And now I want to do is I want to grab this one, then this one control L, I'm going to copy modifiers so that one has the bevel on as well. And then finally, we'll come to this one smart UV project, click okay, and then come to this one smart UV project, click okay, And there we go. Now that's looking. Now the thing is we've actually got the part behind here. And this might be why the renders look so bad, because this was actually on here. Now what I want to do first of all is just come in, press tab on this. And I want to first of all actually delete. Delete this face and this face. So delete faces. And then what I want to do is I'm also going to delete this face here. So delete faces. And now I'm going to come round this side and I'm going to press control er, and bring in an edge loop. Now at the moment you can see it's not bringing in any edge loop on here. So control, you can see no edge loop is being put in there. So what I'm going to do instead is I'll just press three on the number pad. I'll press K to bring my knife tool. And then what I'll do is I'll press to make sure it follows that line going straight over. So then what I'm going to do is I'm going to press again and I'll do exactly the same thing around here, pressing Enter. Now I want to do is I want to push this back into place. So let's pull it back into place, round about here. And from there then, what I can do is now I come into edge select. And I can make this edge a little bit smaller with S and Y, So pull it in. And then this edge and Y, pull it in. And there we go, That's fit in really, really nicely. Now the next thing then is let's unwrap this. So you unwrap, and let's now give it this material. So control and L and link materials like so. Now then let's grab this and pull it all the way to the back. So shift D, let's write clicks at origin to geometry. Pull it all the way over to the back. And there we go. We're really getting somewhere now. Okay, let's put it a little bit further over like so now finally we've got our roof. Let's put this roof over the other side as well. So we've got this right in the center here. So let's sur, just press control A, all transforms right click set origins, three decursor, add modifier, generate, bring in a mirror. Let's put it on the Y. Turn off the x, double tap the a, and there we go. All right, so now let's come round and actually have a look at our rendered view. So let's put it on rendered view. And here we go. Now I'm still not sure of why these parts are on here. We can see on here, this is not rendering out correctly. It's maybe it's because it's, Let me just try turning this off and see if that fixes it doesn't seem to fix it. Let's go to Material, turn that off and see if that fixes it doesn't seem to fix it. What I'm going to do is I'm just going to press Shift and see if I can recalculate the normals and see if that fixes it. I've had this happen before, by the way. I'm not sure what causes it. But sometimes when I've actually got something like this, the easiest way to deal with it is just actually either to remake it, which I don't really want to do, or duplicate it, or something like that. I think it might have a mirror behind here. Something's definitely going wrong with it. So what we'll do on the next lesson is first of all, we'll go back quickly because we don't want it looking like that before we actually fix this. So you can see this one here. We've done the wall as well. All right, so what we'll do is on the next lesson, we'll go forward again. I won't actually do that. Let's see if we can go forward. Nope, I don't think we can. So what I'll do on the next lesson is I'll get this fixed. I don't know what this bug is, but I will show you actually how to fix it just in case you come across that in your own work. All right everyone. So hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 45. Modeling an Oval Window for Victorian Buildings: Welcome back everyone to Blender for the Environment Artists Guide. And I did find what the issue was on this. For some reason it had got a mirror on there, I'd left the mirror, and that was what the problem was. So if we come in and you will see I'll put this on render view. If I come to this, the easiest way to check this, by the way, in to get rid of any points is I'll show you first of all, the one technique which you can use, but you shot, you should do it the other way. So what I'll do is I'll come in, grab one of these, and then press Delete vertices. And you can see now that cleans it up because there's some vertices on top of each other. Now the easiest way to do this is just to grab everything with a coming over to mesh, clean up and merge by distance. And that's then going to fix it because what it's going to do is it's going to take any vertices that are touching each other and actually merge them together. So that's the easiest way to do it. Let's also then come to this one, press A, and then what we'll do is we'll come to Mesh. Cleanup, Merge by distance, and there we go, fix those two parts. Now what I'll do is I'll come in and redo this roof again. So all I'm going to do is right click the origin three cursor and then let's come in, add in a modifier and bring in a mirror. So generate a mirror, put it over on the Y, turn off the X, and let's actually apply that with control. A double tap the eight, and now we should be right where we should have ended before. All right, We can see though that we've got this block here. It needs putting over the other side. But you can see before doing that, just how nice that building actually looks now. And it's the main bit of the building is nearly complete, we just have to do the front of it. But you can see how quickly, actually, and easy we did that. It's only took a few short lessons to actually create that. And of course, now we can get that finished in the front of it. But it looks really, really beautiful as you can see. All right everyone, So now let's go back to material mode. And what I'm going to do is I'm going to grab this part here. I'm going to press control or transforms right clicks at origin three decursor. Add in another modifier, generate. And we want to bring in a mirror. And I'm gonna put it on the Y, turn off the X. And then what I'm going to do is straightaway apply that mirror like so. And there we go. That's that part done. Now, before I forget, we actually want to put a window, so a beautiful window on here, for instance. And we'll just make this a little bit easy. What we'll do is we'll press shift day and we'll bring in a cylinder. Now the cylinder at the moment is on 20. I think that will be absolutely fine. The other thing is I'll go over to modeling. And what I'll do it from here 'cause it'll make it way, way easier. And now what I want to do is I just want to press Tab. I want to write, click Shade, auto, Smooth, just to make sure I've got that nice smooth edge that I'm looking for. Let's spin it round then. So L Y 90. Let's press S and X and squish it in. Let's get it then to the scale that we want it. So first of all, let's press the S button. Let's bring it down. Then let's press S and's D. Let's press S, And there you go. Now you can see really, really easy to get that in and it really, really fits the part. All right, then from here then let's pull it out. And then what I want to do now is I'm going to show you another little trick that you can actually use. So first of all, yeah, I'll show you the little trick first. So let's go into Edit Preferences, And the one you want to put on is something called Loop Tools. So Loop Tools bring that one in. And then what you want to do is you can now come in, grab this face and this face. And then what you're going to do is press the eye button to bring them in like so, something like that. Right click and you'll have a new one that says loopholes here. And all you want to do is come to bridge and there you go. You can see how easy it is to actually do that. Now generally I wouldn't actually do this like this because you've still got other parts to put in here. But I think on this part it was a good chance to actually show you that. So control left click, right click to add an edge loop to fill that in. And then all I'm going to do is split this off now. So why to split it off now from here what I'm going to do is I'm going to bring in another insert. So I to bring in an insert like so. And then what I'm going to do now, I'm going to press Y again. Or actually let's press selection. Separate that out. And then from here, let's come now. And what we want to do now is bring in a knife tool. So we're going to bring in, or I'll do it a different way. I'll show a different way as well. So I'm going to press three to go into front view. I'm going to grab this vert here. This vert here, press the J button, and that then is going to create a line for us. Now this one here, and this one here, press the J button, and that then is going to create a line for us there. Now from here then, let's create our window pane. So I'm going to grab all four of these. Press the eye button twice if you have to, to bring in then the glass that you want. And then from here then, all I want to do is I need to now split this window off. So selection, split it off. And now it should be left if press H with just this part here. Now with this part here. We want to split off all of these parts. So what I'm going to do is I'm going to come in and I'll do it the easy way. Control this one here, control select. And then all you're going to do is press Y and hide it out the way. You're then going to come the same way here with this one. Instead of coming up to mesh and, you know, splitting faces by edges, I'm just going to show you the other way. So it's a little bit longer. Sometimes though, you'll need to use it that way. Why? And hate to split them. And then all you're going to do now, you can see that all of these are joining. Now what I want to do is I just want to select a mesh, split faces by edges. And then we can press Ol tag. Now all of these, if I grab this one for instance, should be split. If I grab this one should be a split and that is what we're actually looking for. All right, so now what we can do is we can come in and we can think about if I come to this part here, I can pull this out. But before I do that, I definitely want to split it on these points here. So what I'm going to do is I'm going to come and put in a seam, right click and mark seam. And then what I can do is I can come in with L and L over this side, Y, and then they're split off. And then from there I can press L, L, L and L. And then I can pull them out, pull them out, and this will be my first bit of wood. This bit will be stone, and then the inner bit will also be wood. So now if I come to the inner bit and press A, I'm going to pull those out with like I'm wondering if I press A, I'm actually, before I pull it out, what I'm going to do is I'm just going to press A and I'm going to pull this back a little bit. So back to here. And then I'm going to press and pull it out to where I want it. And then finally I'm just going to go back to this part. Now. This one on here, press the L button, and I'm going to press and X and pull it out a little bit. And you can see here, I need to select it allectually. Let's select them all. I want to pull them out just so it's gone to the back of there. Now, I could also come in and do it the other way, but S and X, let's pull them back, pull them into place. And then S and X. So there we go. Now that's all fitting into place. Finally, then let's press tab tage. Bring back our windows and just make sure that they sat where you want them to, so we've got all that space this time. Stick them on there and let's sit just there. I think that's looking absolutely fine. All right, so now let's come in and we can probably join them all together. Yeah, we'll join them all together, We'll make it easier. So let's join them all together. Control J. So press G just to make sure it's all joined. Control or transforms. Right Clip set origin to geometry. Let's come in and add in a modifier. And we'll bring in a bevel nought point N naught three like so. And there we go. Now we see wood split. Wood split along here. So it's looking really, really nice. Now let's come in and what we'll do is we'll grab this and we'll grab this control and we're going to link materials. Let's now come into material view. Let's look at the materials once it loads up, and there we go. Let's now come over to our materials. Now we've got this all needs unwrapping, so let's press a not this one down here, by the way. We don't want to do that, so just make sure we've got this one selected. Smart UV project. Click Okay. All right. So the stone is absolutely fine. We can hide that out of the way. Now these two pieces need to be wood. So what I'm going to do is I'm going to grab my window. So just the windows glass. Not click a sign. Hide them out the way. Now let's come to all the rest of it. Light, wood, click a sign. Now we can see on this that we do have the same problems with what we had before. And I've showed you actually how to straighten those up, and I've showed you the free thing as well to use UV squares to actually straighten up as well. So what I'm going to do now, I'm going to come over to my UV map and any that are like this, you can see them. Then I'm just going to press L on them like so I'm also going to do it on these because I don't know which one is the front and the rear ones are. And then I'm going to press this Alt and straighten them all up. Now you can see we do have a problem on one of them. Let's have a look if that's one that can be seen. So what I'm going to do, I'm going to go to mesh now and have a look, it's this one here so I can grab this one. As you can see it is this one. And then all I can do, press Smart UV Project. Click okay. And then finally can just grab, maybe, let's see, can grab them Ale and then grab this one L Alt like so. And now straighten all that one up as you can see. Now you can see we do have a problem though, in the fact that there are different size on the mesh now. So you can see this one's a lot higher resolution or lower resolution than this one. We don't want that. So what I'm going to do now is come over to the left hand side A and then UV. And what we can do now is Average island scale. Let's click that on, and now you'll see they go back to all being the average island, so based on the size, it will make them all the same size as you can see. Now they're all based around the same way. All right, that's looking pretty good. So what we'll do then on the next lesson is then we'll actually come in and get these windows looking right. And then from there we'll actually just need to do the top of this building. Alright everyone, so hope you enjoyed that. I'll see on the next one. Thanks a lot. Bye bye. 46. Texturing and 3D Modeling Street Signs: We welcome back everyone to Blend For the Environment Artists Guide, And this is where we left off. All right, so let's come in and what we'll do is we'll sort out our windows. So I'm going to press voltage, bring back everything. Let's bring in each of these windows. Now luckily for us, you can see that we've only got four ear, so it's really easy to deal with. But what we can see is we've got circles on here as well. Making it really, really easy to put these into place as well. So what I'm going to do is I'm just gonna grab one of them and we're, you're just going to put it into place like, so grab the next one L put it into place. And then put this one into place round about here. And then put this one into place. Run about here. All right. Now if a press tab, let's pull it back into where we're going to put it, so you're just about there, making sure it's in front of there that's looking really nice. And I think, yeah, you might want to, you know, make something that comes kind of out here. If you really want to do that, that might be a good idea. But for now, let's have a look where it looks like a rendered view and that looks perfect. All right, so now we just need to just have one more check round. So I think we need definitely a green wall down here. Definitely a green wall on here. And we also need a little sign in here. So I think we'll actually work on the sign. We might as well do that as well. So what we'll do though first is come back to modeling. I'll just make sure you can see here as well. These walls are the gray box, they're still gray box. The walls, these are still gray box. So let's fix the walls first. So what I'm going to do is again, I will come into this one, press the Y button, come to this one Y, this one Y. And then work my way around. As I said, I like splitting up these walls. So these two are going to be Y. I'm going to also get rid of the bottom, so delete faces. And then you should be left with just inside of there. You can also see that we've got an inner part here. We really don't want that either, so delete faces and then the top part, we don't need that either, so delete faces. And we should end up then with an eight empty kind of husk. And that's exactly what we want. All right, so now I want to do is we want these to be the same material as this. So all I'm going to do is just grab, grab these, grab both of these. Grab this one. In fact, I can just click the down arrow now, I think. And put it onto gray wall, wall gray. And then I can just come into each of them individually. You wrap and then you wrap. And the same for these as well. And the same for this one here. So now with these two, I'm not sure why they split, but I might as well merge them together. Let's just grab them both. First of all, let's press shift H just to grab them both, and let's come in. They've got an edge loop in here, we don't actually need that edge loop, so we might as well actually get rid of that. Easiest way to do that is mesh, clean up, merge by distance. And then what I can do is I can just come in, come down, press delete, and dissolve edges. So now from there I can come in, I can press on the wrap like so. And then with this one, what I can do is I can add in a new one, a material, and we're going to put green. And more green is what we want. Then all I'm going to do is click a sign on that one and click a sign on the bottom one. And just make sure now if I go back, so if I press tab Old Tate, bring back everything. Double tap the you can see here, it's not been assigned on this one. A sign, here we go. And then just make sure it's green going all the way around. Perfect. That looks really, really nice. Now let's think about our little street sign. So I'll bring down my guy and put him on the ground plane. So I have press one, just make sure he's on the ground plane. And then what I'll do is I'll bring him out over here. And you can see sometimes this sun is really nice over here, but sometimes we need one over here as well. So depending on where I'm working on, I'll bring it over, press ours, 180, spin it around, and now you can see we've got a little bit of sunshine on there. And that, for me, makes it a little bit easier to work with. All right, so what I'm going to do is I'm going to grab my guy, press shift Urs selected. And then what I'm going to do is I'm going to press shift and I think I'll bring in a plane. Let's spin the plane round then, so our x 90. Let's spin it round. Let's bring it up then to the size that we want it. So I'm going to press to bring it down and then and X and pull it out. Now I'm thinking that's probably still a little bit too big. So press the S one, and that then will be more the right size from there. Then we want an inside and we want the outside of this. So what I'm going to do is I think we'll do the inside first. What I'll do is I'll first of all press the eye button. So I'm going to press Tab. In fact, we'll reset a transformation. So all transforms, right click, original geometry, and now the inside will do that first. Bring it in where you want it like. So then what we'll do now is the outside, if I come in, grab the outside like so. And then what I'm going to do is press control, shift and B. And bring that in. Now let's see if I can come operate on custom and then turn up the amount of segments. Will it actually work and no, it's not working. So let's do this a different way then. What I'm going to do is I think the easiest way to do this is probably to bring this out first. So what I'm going to do is I'm going to bring this out with, so I'm going to extrude it out like so. And then what I'll do is I think I will get rid of this bit here. So this middle bit here I'm going to get rid of. Yeah, we'll do it that way and then we'll join it together. So we're going to come in and delete this front bit here. So I'm going to press Delete and Faces, and you should end up with something like that. And then what we can do now, we should be able to come round now and add in that bevel because there's nothing stopping us now. So control B, bring it in like so. And we can see that if I bring them in just a little bit like that, that's looking a bit bare. Albeit I don't actually like the shape of this for these. So what I'm going to do is just put it back and then what I'm going to do is bring down this like so. And I think now that's looking much, much nicer now for the inside we might as well do that at the same time. So what I'm going to do is I'm going to grab the inside of these parts, so just the inner corners. And we're going to do the same thing, but we're going to make them round. So control B, bring them in like so, and instead of them being like that, we're just going to bring up this shape and make them nice and round like, so looking really good right now. What we want to do is we want to bring this forward. So this sign part, we want to just bring it forward like so. And there we go. Now I'm thinking if I bring that forward, we can see we're losing the back of that. But I think we don't need to worry about it. I think what we can do is just work on the front. We don't need to have a back on this, in other words. So let's bring it forward a little bit like so. And finally, now let's come in and what we'll do is old shift click, grab all that way, going all the way around there. Old shift click, grab this one, going all the way around there. And then right click. And we're going to bridge edge loops. So bridge edge loops. And there we go. A beautiful sign really, really easily to me. Now let's bring in some materials and beverly it off. So what I'm going to do is press control late or transforms right clicks the origin to geometry. And now we've took a little bit of time core in that as well. We can use that in our other street signs so it's not like it's wasted time or anything. Right click, shade, auto, smooth. And now let's bring in, I think on this one we'll use green, green metal. I'm thinking for the actual street sign. So let me just yeah, I think we'll just use green metal and then the street sign. All right. Let's bring in then the green metal first. So again, back to our asset manager. Let's look then for our metal metal is here and the one we want is the green metal. So I'm just going to zoom into this with the little dot Bob. I'm going to drag and drop it on there. And then what I'm going to do is now press Tab Smart UV Project. Click Okay. And now finally, let's bevel it off before we go any further. So add modifier generate bevel, not 0.3 like so, and now just this bit on the inside. So I'm just going to come in face select. And what I want to drop on there is another material. So click the plus and what we're looking for is going to be, let's have a look. Signs, there we go. Let's drop signs on there. So let's click a sign. And finally then let's press three or one. Control one, there we go. Control one on the number part. Let's press U, and where is it project from View? There we go. Now let's go over to your UV editing. Here is our little sign, it's gonna fit in there perfectly. And the one we want to put it on is probably going to be this one here, Park Avenue. So let's grab it. Let's press, put it in place. Let's press a little dot one to zoom in way, way too big at the moment. Let's press S scaly up like so. And finally then let's press and X And just move it a little bit to the side so it draws lines up like so. And finally then and X, and just pull it out until we get it into a nice nice place. Now we can see a little bit further on this side than this side. So what I'm going to do is just press and X holding the shift button just to get them into place a little bit more like so. And then and X and pull them out a little bit like so. And that then, for me, is looking very nice, very happy with that. All right, so let's press control one. Let's press G then, just to put it into the place where we want it, which is going to be somewhere around here. And then all we need to do is pull it back. You can see him in rendered view. Yeah, I don't really want to be in there doing that. Let's put it back into place. Little dot board, see where we've got it. And I think we can pull it out there. And that is that part done. Now let's bring our little guy to the front. We basically have everything done on this building except now the actual front part where all the chairs and things like that are. So on the next lesson, then we'll make a start on creating those things. Al right everyone, let's go and save out our work. Let's put ourselves back on modeling. Ready to begin? Let's press the little dot, Born to zoom to our guy. And then hopefully in the next few short lessons, we should have actually have our first building done dusted. Alright everyone, hope you enjoyed that. I hope you really enjoyed the course and I'll see on the next one. Thanks lot. Bye bye. 47. Crafting 3D Chair Assets for Victorian Scenes: Welcome back everyone to Blender for the Environment Artists Guide. And this where we left off. All right, first of all, let's bring in our sun and turn it around again, just so we have a little bit more light on there. So ours 180, Let's turn it round. And there we go. Now let's start with our chairs. I think that'll be a good place to start. So what I'm going to do is grab my guy shift S Ursa selected shift. And what we'll do is we'll bring in a cube. We'll press S then. And all I want to do, really when you think about a chair, have a look at a chair next to you. And you'll see that the chair is roughly around this part of the leg, So where someone's going to sit down, it's normally a little tiny bit higher than there. So if I put it there S sad. Bring it up a little bit, something like that. That looks about the right height, former chair, and we can lower it down a little bit. Sometimes some chairs are a little bit, you know, like a settee, Something where the actual bend is at the back of the kneecap. All right, So what we'll do then is press S and Y, pull it out. And then S and X and pull it out this way a little bit. And that looks about the right size for a chair. You can imagine him sitting down. How much room is are going to be there that looks about the right height essence. Then let's squish it in just a little bit more. So now let's shape this chair, the front of the chair. I want to be a bit more rounded off than the back of the chair, as is the case. So let's press control. All transforms, right? Set origin to geometry. Let's then come to the front of the chair. So I'm going to grab these two edges here and here. And what I'm going to do then is just be level those off. So I'm going to press control B and bevel those off like, so I might want them a little bit more rounded. So if I do want that, I can change the actual width so I can bring the width up like to there and then bring down this bevel to here. And we have a lot of control over it. As you can see, I'm thinking that's looking pretty nice. Now let's come to the back of the chair, control B, pull it out and all we want to do is just round off the bag just a little bit like so. All right, from there then what I want to do is now I want to bring the top of the chair, so I'm going to come in, grab the top, this face here, press the eye button. And then what I'm going to do is just bring it up now with E. So extrude it up and we should end up with something like this. Right click, shade, auto, smooth. And we can see already this is looking pretty nice. Okay, so now let's think about the bottom of the chest. What I'm going to do with the bottom is I'll come to just in the bottom here. I'm going to press the eye button like so. And then what I'm going to do now, I'm going to press the eye button once more like so. And then I've got two edge loops in here from here. Then I'm going to press old shift and click, going this way round, so I'm going all that way round and then E and just pull it out. Now remember this chair, I want to basically make sure that anything you ran, you can use in your other projects and things like that. So we want to make sure that although it's just a very simple chair, it's done to a relatively good level of design. So what I want to do now is I want to bring in the bottom of the chair. So the way I'm going to do that is I think we'll use a curve again. So what we'll do is we'll press Shift S, Ursa selected. Let's put it on object mode as well, so we can actually see a little bit easier what we're doing. And then what we'll do is we'll bring in a curve. So shift, let's bring in a curve. And again, I'm going to bring in a path. I'm going to spin it round. So I said 90. I'm going to make it much, much smaller. So let's bring it all the way in and let's pull it down a little bit. And I think from here we can actually work with this. Basically what we're going to do is we want to make a round bit that's going to come down on each side and put it to the actual floor. Now on this, all we need to do is just come over. We don't need to bring any solidify in or anything like that because we're not going to have it kind of, you know, a hard edge or anything, it is going to be round it. So all we can do is we can come down to where it says depth and turn up the depth of this. Now I want to do it with the curve because they have a lot of control now over how I'm going to, you know, create this chair. What I'm also going to do is I'm also gonna turn down the resolutions. We don't need them so high, maybe even four we could get away with. Let's just see were I can get away with. Now let's go round to the back. So if I press three, we can see now on the number pad we've gone round to the back. And let's pull down these two parts first. So if I pull these two parts down, the need to be roundabout here. Now what I'm going to do is pull these two parts out so and y, pull them out a little bit like so. And finally, let's add in a few more edge loops. So I'm going to grab all three of these right click subdivide and they go simple as that. Really, really easy to actually do that. Now we need to do is we just need to pull these up a little bit and put them in place like so. And finally then we just need to make sure that the legs on here are going to look nice. At the moment, I feel like they're a little bit too far out, so we just need to bring them in. So I'm going to press three again on the number pad, and X, sorry. And Y, bring them in like so. And I think now they're looking better. And now finally let's pull them out like so let's grab all of them, Pull them to the front. Then yours under there. There we go. Now, do we want the any thicker? So let's have a look at the thickness now of these chairs. I think they're a little bit too thin, but because we've actually done it in a non destructive way, it means we can also pull them out like so and make them a little bit thicker if we need to. So a little bit thicker. So I'm thinking, yeah, that's looking pretty good now. As well as that, what we can also do is we can grab this press shift and bring it to the back. And then press R 180. Spin it round and put it on the back of the chair like so. So now we've got our front and the back. Let's just have a quick look at what that looks like. You can see already that's looking pretty nice, pretty ornate for what we're actually looking for. And also now we can actually grab the back of this, press Shift D and bring it up. Rotate it, so R and Y rotate it round like so. And let's just see if we can put it into place. Now what I'm going to do with the back is I'm going to make it much, much thinner. At the moment, it's a depth of this. Let's pull that depth down then. So make it a little bit thinner like so. And also let's make sure that it's going to fit in place. So if I grab this one and this one for instance, press S and Y. I can bring it in like so. And you can see now we can get it all fitted in really nice. The other thing you can do with something like this, because it is a curvus press, alternates and what you can do is you can make the back of it a little bit thicker like so. And I think that then is looking really nice now. What else do we need to do? We need some little points that are going to come up here. I'm simply going to use just a cylinder for that. I don't think I need to use anything else. So what I'll do is I'll press Shift S, cursor selected, and then what I'll do is press Tab. Let's bring in a mesh. We'll bring in a cylinder and we'll put this on something like 16 because we don't need a lot of vertices on this. Let's press right click and shade auto, smooth. Let's press S then and bring it down. And then all I'm going to do is just put this into place. Now of course, it needs to match the thickness of these parts here. So first of all, I'm just going to make sure that it's matching the thickness. So something like this. And then let's just pull it up. Let's then come in, grab the top of it, pull it all the way up. And then all we're going to do is pull it all the way back into place. Let's just get it into place where it's going to go. There we go. Now last of all, let's make sure that we can make it a little bit more neat as well. What we can do is we can press control. Bring in a few edge loops. So I would say five, left click, right click. And this edge loop is the one that we want. This one here, old ship click. And then let's bring in proportion edit in and put it on something like maybe Sharp might do it. Let's see if Sharp will do it. So there we go, Easy as that. Now what we need to do is just bring one either side. So all I'm going to do is I'm just going to press shift D. I'm going to move it to the side, so making sure that it's in the right place. Something like that. I need to pull it up a little bit more as you can see. Also, I'm just wondering if I want to bend it like round here or something, I might do that as well. So all I'm going to do is I'm going to press and X and just rotate it just a little bit round, pull it over, so I think that's perfect. And then all I can do is I can grab the top now, make sure I'm onto normal, so it's following that line up and then just pull it up into place without proportion. It's in on, pull it up. And then finally let's pull it back a little bit just so it fits in there really nicely. All right, that chair is looking really nice, but obviously we need it on the other side. So let's press control. Lal transforms right click, Origins three D cursor. Let's add in then a mirror. So let's bring in a mirror. Let's put it on the Y. Let's turn off the X. There we go. A chair done. Simple as that. All right, finally, then let's come and grab the whole thing. I'm just making sure that I'm happy with these. Do I want these bits a little bit thinner coming down? Let's actually test that. So if I grab both of these alter nests, let's pull them in. Does it look bare like that, or are they a little bit too thick? Maybe they're a little bit too thick. So let's come in and turn them down. 0.29 Yeah, not 0.159 I'm going to copy that control C. Come to my other one, control V, and there we go. Yeah, they look perfect. All right, now I'll do is I'll use the box select with select everything. So object, come up to where it says convert mesh. And then we can press control J, Join everything together, right click, shade, auto, smooth, and there is a really, really nice chair. All right, really, really happy with how that looks. All we need to do then on the next lesson is we'll come in and we'll bring in some metal. For this, some metal material, I think we hadn't used it before. We'll bring in a blue metal. And then from there, what we can do is we can make a start on our actual table. We can get that in. And then finally we can start building out this wall. All right everyone. So I hope you enjoyed that. Let's save out our project, and I'll see you on the next one. Thanks a lot. Bye bye. 48. Designing a Victorian Coffee Table in Blender: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left the art. All right, so let's make a start on our table. So the first thing we'll do is we will bring in a cylinder. So shift a cylinder, let's put it on something like 24 because we don't want any, you know, rough edges around there or anything like that. Let's right click then and shade auto, smooth. And you can see now it's really smooth going around. And we'll actually show you if you bring in something like a cylinder again, let's put this on something like ten for instance. Right click, shade, auto, smooth. And you'll see now nothing really happens. And that's because it's really hard for blend to smooth this off when we have so little vertices to work with. Now we can of course, come in and turn this up and smooth it off, but you'll see that we still end up with this kind of blocky look going round. So that's why we have to be careful when we choose between how many polygons or vertices we're going to have in a cylinder and how round we actually want the object. We could actually make this really, really like super smooth, but it's the price of adding tons and tons of vertices. All right, so now we've done that. Let's come in, make this a little bit smaller. Said make it a little bit thinner and now we want to good size for a table. Obviously it's a coffee shop, so they tend to be a little bit smaller. So something like this. All we want to make sure is that they can put their tea and coffee or whatever they're doing on there. And that it's the right height for them. So you can see here, if my guy sat down here, this would be probably a little bit too small. So let's make it a little bit big. Earth bigger. Let's press this in Z then. And make it a little bit thinner as it would be made of metal. And you don't want a real big block of metal actually. So we'll do it like this. Next of all, then what we'll do is we'll make the inside of it. So all I'm gonna do is I'm gonna come face, let grab this top face. This bottom face. I'm going to press the eye button to bring it in. And then what I'm gonna do is I'm gonna ride click. And I'm going to bring in a bridge. So I'm going to bridge those. And finally then I'm going to press controller left click, right click. And then press, just to add in a top. This of course, is going to be the glass. Or let's pull it up a little bit, so now you can see it's looking really, really nice already. Now, of course, we can come in and make this as ate as we want to, but I don't really want to do that. What I want to do now is just put some legs on there because I want it to be a simple, simple table. By the way, all the things you're going to be learning throughout this course will enable you to make this whatever you want it to be. You'll learn so much information. So let's press Shift S Ursa selected. And then what we're going to do now is we'll bring in another. I think we'll bring in a path again, so curve, bring in a path. Let's rotate it round so Y 90. Let's press the bottom. And then what we want to do is we can press one now and go into the front view. I'm going to, at this stage just grab my guy, grab my table, grab my chair and grab my path. And press shift H just to hide everything else out of the way. And then we can actually work on this. All right, with this then we don't want it so random, we do want it to be a little bit more square on the square look. So all I'm going to do is gonna hit Extrude, pull it out a little bit, get the size that I want or something like that. And then what I'm going to do is come in adding a generate, bring in a solidify, right click, shade flat and then let's pull the thickness out a little bit. So something like this I think will be absolutely fine. And from there we can actually press one and go in side view and I can actually pull this down, so. All right, so let's get this into the right space where we want it. So first of all, I'm going to touch the top one. I'm going to bring it out, then I'm going to bring the bottom one. It's still on normal. This, I don't really want that, so I'm going to put it on global. Let's pull it up like so, now it's nice and flat. Let's also pull this one up as well, because then that'll make it a little bit more of an ornate look as you can see. And finally, then we want to bring out this bottom one. So I want to bring out the bottom one. And generally, you don't want it going past the edge of the table. Generally it comes kind of two thirds of the way up if you look at a table, especially one like this. So if we bring it out, you can see that's round about two thirds of the way up. And then obviously we need to make sure that it's supported. So something like that is looking pretty nice. Now, the other thing is we need some kind of ends on here as well. So what I'm going to do is I'm just going to grab this center one. So if I've not got center one, let's make one. So you can see I've grabbed these two. Right click subdivide and now I've got a center one. Now of course when you do that, it does skew around the rest of the things. So I'm going to pull them out a little bit, including this. So let's pull them all out like so. And the reason we want to pull them all out as well is because this center line, we want a little bit of a gap going down here. Now from there, what I can do is I can start shaping this to the way that I want. So something like that. And I can also bring this out and flatten this down a little bit now. So you can see we can flatten this down like so. And then I can come in, grab all three of these and just pull them out. Maybe not this one, So just these two here. Let's see if I can do it. Pull them out. Is that going to look good? No, I don't think so. I'm going to pull them all out actually. Including this one here. So let's pull them all across. All right. Last of all then, I need to make sure that this is flat on the ground. You can see at the moment it's actually turned up. Do we actually want it turned up or do we actually want it being flat to the ground? Probably flat to the ground. The other thing is, is this too thick at the moment? If it is, we can come in and we can press Alt on and we can squeeze that down. As you can see, let's put that down now. Let's come in and do the same thing on here, then al, let's squeeze that down. Let's make sure then this is actually into the top. So you can see here. I need to pull it up, I need to pull it out a little bit, and then I need to pull this one up and just get it so it's sat into that glass. And finally then I can bring them both down now. And there you go. Now you can see just sat in there. Now these ones on here are also, I think, a little bit thick. So what I'm going to do is I'm going to grab all of these. I'm going to press alternates and just bring them in then, just a little bit like so. And you should end up with something that looks a little bit like this. Now of course we can see as well, we've got way too many polygons going up there. So I'm going to come over, turn this down, and then put it on something like maybe five. I think five should do it. And I think that is looking pretty nice Now to test this out before we actually use it, what we can do is we can just come in and just rotate it on this cursor here. So what I'm going to do is I'm going to press control all transforms and you can see we messed up there. Maybe I'm not going to do that. I'm going to press control. Not do that yet. Right clicks at origin 23d, cursor and then what I can do is I can just press shift D and then R z 90. And that then is going to put it right next to it, as you can see. And now we can get an idea what this is going to look like. And from here, I think that's looking pretty nice actually. So what I'm going to do now is just press shift again. Red 90, shift D. Where is it? I put that one in the wrong place. There we go, shift D and then red 90, and there we go. All right, let's have a look round there and let's make sure. Now I can see that this is a little bit out, but I've got an idea of what this looks like, and I also know why it's a little bit out. And I'll fix that in just 1 second. All right, so that's looking good. I'm happy with how that look. So what I'm going to do now is just get rid of these like so. And then I'm going to actually apply everything. So I'm going to grab my actual object object, convert mesh and then all I'm going to do is control or transforms. Right click, set origin to geometry. Set origin to three cursor. That should hopefully be the center of there, which will be great. Now add in a modifier, Generate, bring in a mirror. And now you can see the line up perfectly. And from there then, what we can do is we can press shift D, right? Clk, drop in place, R z 90. And you can see they're still not lining up for whatever reason. And I think it's because this is putting us a little bit out where that is. So I'm going to delete that a minute and just have a look what's actually going on here. Come back to these, get rid of them. A mirror. And then I'm going to come to my table. Let's have a look. See if it's in the center. So I'm going to grab the center of here. Press Shift S, cursor selected. And yes, it is in the center. I'm just wondering why this seems to be a little bit out. I'm going to grab it again and instead what I'm going to do, I'm going to try something else. Now I'm going to press a little sideways V and put that on three D cursor. Now if I press shift D now and Enter, and then press R and Z. It should rotate around there and then it should rotate and all become even. So I'm just looking. Yes, I can see why that is. Now it's actually, we're not putting them next to each other as you can see. Because it needs to be a halfway point in there. So what I'm going to do is I'm going to press zed 90 and then I'm going to move it halfway in. And then I'm going to come back to this one shift 180. So, and then finally with this one shift 180. So there we go. Now we've actually got it. What we need to do is just pull this one out a little bit. I'm going to pull this one out just so it's all in place. So now we can see that we've still got some issues with how it's working on there. I'm not very happy with how this is actually. So what I'm going to do is I'm actually going to come in, I'm going to leak this off. And instead of doing it like that, I'm going to do it a different way. So what I'm going to do is I'm going to hit this one halfway there. Shift S, cursor selected, and then press Tab. And then what I'm going to do is right clicks at origin three D cursor, bring in a mirror, so I'll bring in a mirror. That then is going to put it perfectly on there. And now I should be able to press Shifty and then R z 90. And there we go. Alright, that's done perfectly. A lot of problems there. I shouldn't have had that many problems with that, but it was causing a few areas. Now what I'll do is I'll come in and join them. I won't join them all together. I'll come into object convert mesh and then control J and then right click and shade auto, smooth. Finally we got there. All right, last of all then let's lift the table up a little bit because obviously it's going through the glass. And then on the next one, then we can get our materials in and finally we've got this chair and tables done from there. Then we can just create now our wall that's gonna go round our cafe and then we're actually done with it. Alright everyone, So I hope you enjoyed that. Sorry about the little problems we had there and I'll see on the next one. Thanks lot. Bye bye. 49. Modeling a Victorian Cafe's Concrete Entrance: Welcome back everyone to Blend for the Environment Artist Guide. And this is where we left off. All right, let's now bring everything back. So let's bring everything back. Let's then join these up. So I'm going to join this and this up, control J. This is going to be my table, of course. And then what I'm going to do is I'm going to grab my chair, make sure that's all joined up. Alright, from there then, what we want to do is want to bring in some new material. So I'm going to go to my asset manager, even if we just have to be careful that we not keep creating more and more material. So let that load up the asset manager. I'm sure we haven't brought the glass in, but let's just have a lot. Is it press dot to zoom in. I think we've already got the blue metal. So if I come over to this side click a little down now, we should have blue. Let's put in blue. And you can see here we've got not got any blue metal, which is good. I'm also looking as you can see here, we've got roof shot one and we've got a lot of materials in here. I just don't want to double up any of these materials. That's the thing I'm worried about. So what I'm going to do is I'm going to bring in, I'm going to test this actually. So let's see if we bring in a black metal. So I'm just going to bring in black metal like so. And now we can see that we should only have one black metal. So let's have a look. Yeah, and black metals come in and that's fine. That's what I wanted. I don't want it to be black metal one or something and end up with thousands of materials in here. I do want it to, you know, be cohesive. All right, so let's instead of the black metal, we'll bring in the blue metal. So this one here, blue metal. Let's bring that one in. Drop that on there. Let's also bring it into our table. Drop that on there. Let's click the plus button. And what we're going to do now is go over to glass. And the one we want is this glass here. So this beautiful glass here. Let's drop that on. And then we're going to come to the center of this. So these two center parts. We're going to click a sign. Wait a minute, where's the metal gone? Oh, I put it on the wrong one. Let's go to the table. Let's click the plus, dropping the metal and there we go. All right, let's click a sign. And there we go. Now let's have a quick look at the Renderview of that. It should look really nice. There we go. We can actually see in there as well. That's looking really good. Last of all though, what we need to do is of course unwrap these. So the moment I click a smart UV project, click okay. You'll see now that it looks so much better. It's got some edging on there and everything. The glass looks bare and it just looks really nice. Now let's come to this one, same thing. Smart UV click, okay. And there we go. Now they are looking really good. All right, so that's good. Let's go back now to modeling. And then what we'll do is we'll just put these in over here for now. So we're just going to drop these where someone's going to sit. So let's bring them over here. Let's also change where our actual orientation is coming from with a little sideways V. Let's put it on individual origins. That then is going to make it much easier. Now let's, we're going to have the a little bit away from the walls or something around there. Let's build out this bit here, this bit coming over here. So what I'm going to do is I'm going to grab a plane. First, I'll press Shift. Let's bring in a plane. Now the thing is we want the plane to come into the center here. I'm going to grab this shift S. Kirsta selected. Let's bring in a plane. Let's press S and bring it out. And what I want to do now is work out the scaling of this. So we can see that the wall should be, if I pull this this way, it should be coming round about here. So it should be coming from kind of here. So kind of here. A little bit further in maybe. So S and X pull it a little bit further in because we are going to have a top for our wall as well. And let's put it down to where it's going to come down to. If I press one, I can see I want it really, really just just below that ground plane. So just below that red line there. And then from there, what I can do is now I can press Tab. And I also want a center point in here, so if I press control, left click, right click. And then what I want to do is level this out now. So I want to turn my guy round, so R Z -90 And I want him to be able to walk through here. So you can see walking through here, how big do we need it? We probably, if we come back to this press control, scroll it down, so it's just one. And I'm thinking probably the size of the actual steps here. Probably something like that, I think is fine. And then from there, what we can do is we can now come into the back off here. So I need the back off here like so all three of these. And pull them all the way back, just so they're actually in that point there. From here, what we're going to do is use this for our wall. Shift select. Shift select, shift select. And then all I'm going to do is press shift Enter. Don't do anything else, so you've just duplicated it, and then E and Z and just pull it up to where you actually want it. I'm thinking something like that will be the wall. And then on top of there we can have the little part that comes on. Now, I'm going to do, now I've got that. It's press L. Delete that other way with delete vertices and you should be left with something like this. Now from here what you can do is press control A all transforms right click, set origin to geometry, add in a solidify and let's put even thickness on. Pull it out then. And you can see now why we did it that way, because now we also have control over the thickness of the actual wall. In other words, I can actually pull this back to here wherever I want, my wall, increase my thickness. There we go. Now you can see that's why we did that as well as that. What we can also do now is put the top on this wall. So how I'm going to do that is I'm just going to turn the little computer off. And then what I'm going to do is I'm going to bring this up, so I'm going to press Shift, duplicate it, pull it up. And then what I'm going to do is press Sens head, pull it down like so. And now I'm going to have a top for my wall. If I put my little computer on now, we'll see we've got that. Put the little computer on here and we'll see, we've got that. Now what I can do is I can increase the thickness of this, come back to this one, increase the thickness. And there we go. We've got the edging now of the actual wall going round and it's all nice and even and that's exactly what we want. All right. So I'm happy with that. What I'm wondering though is if this is probably, yeah, I think actually we can get away with a post on there. They're just going to be a little bit thin. I'm just wondering if I want to make the post on here a little bit fatter. I think what I'm going to do is just increase this a little bit and increase the offset back down. So something around there. And I think now posts can go on there a bit easier. Then what I'm going to do now, I'm going to actually copy where it is. If I grab this one, you can see the offset. No, 0.3 605 copy. Come back to this one, control V. There we go. Now they're lining up much better. I think that is enough to work with actually now we just need to increase the thickness. If increase the thickness. So I'm just looking here. I think I need to pull this back still a little bit. So then last of all, we want an edge on here. What I want to do is if I turn this off again, what I want to do is I want to come in to each of these and press and X and just bring them in. So I want to bring them in on Medium Point and X bring them in a little bit and now turn it back on. And now they actually go over there. Last of all, do I want them so thick? Are they a little bit too thick? I think they are. All I'm going to do is press and if I can, so let's press, make them a little bit thinner and just make sure then they're still sat on top of the wall. Which they are. There we go. All right, so that is looking pretty good. Now what we'll do is we'll think about adding in our post before we do anything else. So what I'll do is I'll press shift A, bring in a cube. I'm going to save out my work as well, just so I don't lose what I've actually done. And then what I'll do is I'll bring it over here and I'll put it into place so we can see probably going to fit on top of there, like so something like that. And actually, I think that's looking pretty good already. Now, let's move it this way a little bit so we don't need it exact or anything like that. I think I'll make it a little bit smaller, pull it into place. Now what we want to do is measure the height. So the height up here, we could, yeah, let's have a look at the height. Actually, let's bring it up a little bit. I think something like that is a good height. And then we've got enough room to have 1 bar going across here and 1 bar a little bit lower down. So let's put a top on this part. So what I'll do to put a top on it is I'll press E Jaws to extrude it up to the thickness that I want it. And then what I'll do is I'll come in with Face Select, Alt Shift and click, and then Enter AlternS and pull it out to where I want it. So I think something like that actually is going to be about right. Make sure offset even is on. And then finally what we can do is we can pull this up. So if I grab the middle, I can pull it up like so. And I'm thinking that's looking about right. One thing, I think it's a little bit too thick at the moment, so what I'm going to do is I'm just going to shrink it down to like there, pull it up a little bit and then come to the, underneath, grab the bottom and just pull it into place. And I think actually pull it over just to where the start of this wall is down here. That is looking a little bit bad. And I think that's the right height as well. All right, from there then, I'm going to bring it over to here. So if I press shift, bring it over, Put it into the center or go over the top. We can see it needs to be in the center. So run about there. There we go. All right, so on the next one then what we'll do is we'll get the fence, the metal fence done. We'll get that into place, and then we'll actually have a look at what this is going to look like. But I think it's really, really starting to come along now, especially when we turn on our render and you'll see it's near enough done. All right everyone. So I hope you enjoyed that. I hope you're really learning a lot and finding new ways to actually do things because we're using pretty much professional modeling techniques here to do things. Cutting out a lot of the hassle that you might going to have, and really, really optimizing the way that we build structures. All right everyone, I hope you enjoyed that. See on the next one. Thanks a lot. 50. Adding Victorian Fence Posts to Cafe Scenes: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left off. Now I want to get the center of this point. So what I'm going to do is I'm, that's not quite the center. So what I'll do is I'll actually come to these two posts or this post, we'll use this post shift to selected. And then we can make our actual fence from this. So if I press shift now I can bring in a cube. And then from there I can make my cube smaller and put it into the place where I want it. So let's move it along. Let's put it down here. And the first thing I want to do is I want to make my cube a little bit bigger, so it's looking as though it's actually going and being held into something. And's let's pull it down into place from there. Then what I can do is I can bring it in, grab the top of it. Let's press the button. Bring it in slightly. Let's press E. And then from there we can press so, all right, from that then we can press I once more. Bring it in, and then we can go all the way to the top now to where you want it. So let's bring it all the way up like so. And now let's bring it out. So we're going to press to bring it out and then to the top. And then, and let's have a point on it like so. And you can see already that is looking pretty nice. Now, I would say try and get your little spiky bit like level with this. So if you press control plus control, plus you will have selected it going all the way down there. From there, then you can press one. And what you can do then is just bring it up kind of level with the bottom of here. All right, so now what I want to do is we want to bring in a piece that's going to go across here to the other end. So all I'm going to do, I think I'll press control along here. Scroll it up once, twice, left click, right click. And then all I'm going to do, I think is move this one up. So I'll press control. Move this one up to here. And then I think I'll leave this one down here. Then what I'm going to do is I'm going to grab both of these. Soul shift click, Lt shift click and press control B, bring those out like so. And then enter alternates and pull those out, giving us a kind of thing like this. And then from there what we can do is we can come to offset even on. So now what we can do is we can come to the first one. I'm coming in base Alt shift and click shift S and cursor selected. And then I can press Tab shift A, bring in another cube. Make the cube much, much smaller, just so it goes past that point. And then what I can do is I can put it to this side before operating this side just to make things a little easier. And I'll show you why that is. I'm also going to come and get rid of this front and this bag delete basis. Now I can, I can put this in place. L put it in place and then come to this part here. If it comes to edges, old shift click and now we're going to do is just pull it all the way over. And the reason I did that, by the way, is because now I have control of how thick I want this to be. In other words, if I want to make this thinner, I can come in with Alt Shift and click or just select it all alters. And now you can see I can scale it really, really easily. Not that I need to scale it. I think it's actually a little bit too thick actually. So I'm just going to scale it back a little bit like so. And you can see just how easy that was. Now we've got rid of the two ends, because we don't have to go in here clicking on the ends and things like that. And now what I want to do is I want to copy this. So I'm just going to press shift once of Great, All selected. And bring it down and just drop it into place like so. All right, is that in the right place or do I need to bring it down a little bit? Nope, it looks about right. So now what I can do is I can come in to this part here, control or transforms rightly set origin to geometry, add in a modifier, and the one I want to bring in is an array. And then all I'm going to do is move it down. Click it up a few times and see where it actually takes us. How many do we need in? I think that's way, way too many. Actually, what I'll do is turn it down and then move it up a little bit. Hold in the shift button to where we actually want it. And I think something like that actually looks pretty nice. All right, so now we've got that. What we can do is now we can grab both of these. We can press Shift D, enter R, z 90. Spin it around seven to go over the top. And then all I'm going to do is bring it into the center, so roughly the center of here. Pull it over. And then just make sure that that is in the wall, which it is now, because I've got Ray on, I can actually mess around with these. I can pull them out if I want to, or spread them out. But first of all, obviously we need to make these bits a little bit bigger. So what I'm going to do then, I'm going to press and Y, and you'll see the pull from here, which is really handy because the origin is from here. And Y pull them over into my wall. And now with this, if I press three, do I want them a little bit closer to the wall? Well, I've got that option now. I can actually use this and pull them a little bit like so. Double tap, the and there we go. All right. Really, really nicely done. That really, really easy to do. So now let's actually come in and bring in some materials. So what we'll do is we can see that we've got bricks on here, we've got our blue metal on here, and we've got our stone on here as well. So I think this one here, if I come to material, it's going to be stone flags. So let's come in and first of all, we'll add in stone flags. So what I'll do is I'll come in and look for stone and we want stone flags like so. And then what I'm going to do is we're going to put this on material mode just for now. Let it load up and then we'll actually unwrap this. Oh, there we go. Let's come in, then grab it all. Smart UV Project. Click Okay. So there's our stone. Let's actually join these two up as well, because it will make it easier. So if I join both of these with control J, join them both up, and now I can unwrap them all at the same time. Whoops, let's not do that. Let's just grab both of these smart UV project. Click Okay. So that's just for the stone. Now we've done that. Now what I want to do is come to the actual bricks. Now the bricks are going to be a little bit more of a problem. So what I want to do is I want to first of all want to press shift H, and I want to make sure that I've got no bottoms on here. So I'm going to delete the bottom. Delete and faces. And now it's going to be much easier if we add in a seam. So what I'm going to do is I'm going to put one seam here and one seam probably here. Right click and mark a seam. And then what I'm also going to do is I'm going to come to the top. So old shift click should go all the way around. Olshft, click right click, mark a seam from here. Then what I'm going to do is now I'm going to come in with L and L, I'm going to click unwrap, like so. Now what's happened there is because we've marked seams, now we can see it's unwrapped really nicely. If we go to our UV editing, you'll see just how nicely they've unwrapped, and now it's time to make sure that they're the right scale for bricks. So in other words, let's press Oltge. Bring back everything. What we want to do is we want to get it to be round about this scale or something that looks about right? So what I'm going to do is now I'm going to click the plus down arrow brick. And then what we'll do is we'll grab both of these and click a sign. Now we can see they're going the wrong way. They're way too big. So what we're going to do now over to the UV map are 90 and then get them to be the right size. Let's have a look. Something like this looks pretty nice. I think that's going to be a good size. Let's press tab. Yeah, I think that's going to be a good size for them. So all I'll do then from there is I want to line these up to make sure the grout is where it's said. So underneath here and at the bottom. So to do that we're just going to press and y and pull them up and get that grout to be in the right way. I'm going to pull it up a little bit higher and then I'm going to press and Y and holding the shift born on jaws, going to put them or click them into place. The most important one here is probably going to be the bottom. So if I now can bring it down, so S and y, let's pull it up. So now you can see that part is pulled up. And I think this part under here needs to go a little bit higher if we can. Can we actually move them up? Let's move it up to think. We're going to have to make them a little bit, a little bit longer. S and Y, bring it down to there. All right? Perfect. Now you can see they're lining up absolutely Perfect. Same on this one, lining up, perfect. Okay, so now we've got that. Let's come in then and do our metal so we can come in to these two. They're not mirrored or anything, so these two here. And what I can do is I can press control J. Join them all up. Press control all transforms, right click that origin to geometry. And now I can actually press a unwrap. Unwrap them. And then what I can do is I can just grab this chair, press control L, and link materials like so. All right, let's actually have a look at those. I haven't wrapped properly. Have a look at them. A. Yeah. For some reason I click the wrap. Not smart UV project. There we go. That looks better. Al right, perfect. Now let's come into these parts then. What I'll do is I want to apply my actual array. And the reason is I want these to look different. If I don't apply it, they're all going to look exactly the same. So all I'll do is grab both of them. Come to object, convert to mesh. Join them both up. Control J, press the tab, press A also, let's reset all the transforms as well. Right click the origin geometry. And then what we'll do is we'll press tab A. Make sure I've grabbed everything. Smart UV Project. Click okay. And from there then I can grab this one control l link materials and there we are. Jobs a good one. Now let's come to these parts. Now these parts are going to be a little bit different because these are the actual walls are going to be sat on some kind of blocks on here. So we do need to create these a little bit different, so we need to think about how we're going to do that. And I recommend probably bringing in edge loops before we actually apply or solidify. So before we do that though, this bottom one here is going to be absolutely fine. All we need to do with that is apply the modifier. So control. And now we need to come in and unwrap it. Now you can see we really don't need them and top on here, so all I'm gonna do is just press shift H. And just before we finish, we're just going to delete these tops and bottoms. And we're also going to delete this one in the inside. So delete faces and you should be left with something like that. And on the next one then we can actually get these finished off. All right everyone. So hope you're enjoying it and I'll see on the next one. Thanks a lot. Bye bye. 51. Crafting Stone Tiles with Blender for Victorian Walkways: Welcome back if we want to blend for the environment, artists. Beginner's Guide, and this is where we left off. All right, so now what we want to do is the brick. So what I'm going to do is I'm going to press Alt H first, and I'm just going to bring that back. And what I'm going to do is I'm going to mark a seam just on this edge here, like, so let's mark a seam in there. So mark Sam. Then what I'm going to do is I'm going to press L, and let's try unwrapping that. And then what we'll do is we'll grab this and these brick posts and press control L, and we'll link materials. And then finally what we'll do is we'll come over to our materials and just take off the stone flags. And what I'm also want to do, I also want to get the same kind of scale as these. What I'm going to do is I'm just going to press tab, I'm going to come in then 90. And then what I'm going to do is I'm going to grab this one and these bricks. And I'm just going to check out the scale you can see here. Now this is the kind scale that we want. It's a little bit hard to see. Let's grab all of these. First of all, let's pull them over. And what I tend to do is at tend to do this by I. But if you can't do that, just try and get them to be the same sort of scale. As you can see, that's looking round about the same scale as these. And that is what I suggest you do, G, Y, let's pull it down just so it's going to go into the floor. So, something around there. I think it's going to be absolutely fine. Now you can see we've got a little bit of a gap on here. So what I'm going to do is I'm going to press En's ad and just pull it out a little bit, just so it's got rid of that gap. And now let's have a look around here and see what we're actually working with. And I think that is looking pretty nice. You can see where they join, which is here. All of this has come together really nice. But this sides not level with this. So I'm going to fix that next. So all I'm going to do is I'm going to come in with this one and this one in face select. So this one and this one. And then all I'm going to do is press and y and just move it up a little bit just so it's more level as you can see. Now that's looking tons stones better. And from a distance you won't even be able to know that they're not actually the same. All right, so that's looking really great. Now what I want to do is I've done that. So now I want to work on is these parts here. So I'm just going to press shift H again. And I think the easiest way to do this is actually to go into modeling. And then from there what we'll do is we can work on this. So what I'm going to do is at the moment I'm going to come over to my modifier, turn off the little, I call it computer, but it's actually a monitor I think. And then what we'll do is we'll add in some edge loops. So I'll also, before doing that, let's press Saltage. Bring back everything. And now I can see exactly where I want these edge loops. So what I'm going to do is going to press control. Bring up my edge loop here, because this then is going to be one kind of one of these slabs. And then what I want to do is control R, bring it up to something like here. And then control, let's bring in maybe maybe four slabs on there, so four along there. And then let's bring in another one. So control bring it over to here and then this side, let's even get away with either three or four. So four in there, left click, right click, drop those in place. All right, so now we can do is we can turn this back on. And from there, what I can do now is I can actually apply that. So control apply that. Let's put it on object mode. And what you should see now is if a press tab, we've got all of these placed really nicely. Now you'll also see that we do have a problem in the corner here. Now this sometimes happens where these have kind of been out of place. We need to actually fix that. Now if we go over the top, we can see that we kind of need to move these up. Move these all up over there. So what I'm going to do is I'm going to come in with Alt shift click. Alt shift click going around all of this one control control control plus seven to go over the top. And now what I should be able to do is pull that back. And you can see now if I pull it back in place, you can see we can actually line that up perfect against there. And we can see that we've draw a line going down here as well. And that's exactly what we want. So I think now that is actually going to work out for us. Now if I pull it really far over here, you can see there is actually a join there. And that's the other problem we've got. So what we actually want to do as well is we want to join these actual edges here. So we want to join them and then we can have this block here. All right, I know it seems a little bit messy, but sometimes this can happen. So what we'll do is we'll grab this one. And this one, right click, come down and what you can do is merge sorry at center. And then we can do the same thing with this one and this one. Now if you can't see the, just go underneath and you'll be able to see it. So this one and this one, right click, merge at center. All right, so now they're merged now we should be able to split all of these up now. So what I'm going to do is I'm going to come round to here. Shlift, click, shift, click, and just go down the male like. So. Then all I'm going to do, I'm going to go down this one as well. Old shift, click, shift click, shift click, shift click. And then just make sure this corner which is probably missing has also got one on shift. Click on there, right click, mark, seam. All right, so we should end up with something like this where every seam is marked like this. And now I want to do is I just want to go in and make sure if I select this one, this one, this one for instance, this one. And this one basically should be able to split them up. Now if I press Y and then H, I can hide them out the way. And now what we can do is we can fill in these faces, so you can see, Let's fill in these faces first. So let's press a, come over to mesh. And then what we're going to do is go down to where it says clean up, fill holes. And there we go, they're all filled in. Okay, So now let's do the same with the others. So I'm going to press a alternH, select everything, mesh and clean up and fill holes. Now what should happen is if I press control all transforms, which you'll get rid of my mirror and then right click, I actually want to put it back here. Oh, did we? Actually, yeah, we applied the mirror. Okay, we applied the mirror. We ain't got to worry about that. So they're exactly the same. Now, I need to mirror it across the other side. Again, resolved. So all I'm gonna do is I'm gonna come in, I'm going to delete that one out of the way, delete votes. And then I've got these left. Now from here where I can do is that I can add a modifier. Let's bring in a bevel, let's put it on naught point naught three, like so. And then you should end up with something like this. All right, so now let's think about ones. I need to move a little bit because at the moment as you can see, some of them need to be a little bit smaller, some a little bit bigger. There's not much randomness to them, is my point. So what I'm going to do is I'm going to come into this one, let's say I'm going to come in and actually grab it with edge select. Make sure you grab it with edge select. And then what I'm going to do is I'm going to press and X and make it a little bit smaller. And move it up to place like, so let's put it in place. Same with this one then I'm going to move this one over and put it in place. And what I'm trying to do is get them just to be a little bit more random as you can see. Put that one in place, let's move this one over. And also, I don't want any halfway points where these are going to be sat on S and X. Put it in place like so. And then this one we should be able to make a little bit bigger. So S and X, let's make this one a little bit bigger like so. All right, now you can see that all of these are sat on top of them, None are in the halfway points. That's what we don't want. All right, let's do this one then. So L, S, and Y this time, move it over so and Y, like so. And then what I'll do with this one is I'll make it a bit bigger, so I'm going to put it in the middle. And Y, let's make it a little bit bigger like so. And now they're looking perfectly fine and they're all randomized. Now the next thing I want to do is to show you how do we randomize them even more. So what I can do is I can come in and grab them all. Come up to mesh. Come over to where it says Transform. Come down to randomize. And you'll end up with a mess like this. Now we don't want to mess like that. What we want to do is drop down the amount now. So if I click this down to all the way down to nut 0.1 you'll see we end up with something like that where they're a bit more uneven and that is what we're looking for now. Tend to put this on 0.5 just for the first one. And you'll see now they're slightly, slightly uneven as you can see because we don't want them too crazy. And then finally what I want to do is now I'll come into one of them, let's say this one. And what I'll do is I'll put my proportional editing on. And I'll come down and put it on random. And then what I'll do is I'll press one. And all I'm going to do is just bring this one up and you'll see if I bring this out all the way you can see now what it does. It doesn't do it because we've got connected only one. Now you'll see if I bring this up that we can actually make these very, very uneven. Same for this side, then if I come to this side, I'll come in and I'll pull it up or down, whichever one. And let's do the same with this one over here is the last one. Like so. And there we go. Now that's looking much, much better. All right, so now then we've pretty much got all of these done. All we need to do now is bring in our material, of course, and we also need to mirror on the other side. That's the other thing we need to do. So first of all, let's put our material on. We should see this mirrored on the other side. Which is fine. No, it's not. So now we'll mirror it all over the other side. A minute. Let's first of all come in, Where is my? Oh yeah. Well, it's not mirrored, it's actually just put on this. All I'll do is press L, delete vertices. All right, let's work on this one then. We'll come to this one first. We'll press, we'll press Smart UV Project. Click Okay. And the one we're looking for is the same material as these parts here. It's all I'm gonna do. Select this one, select this one. Press control L link materials. And then I'm going to come back to these ones and I'm just going to minus off my bricks for now. And finally then let's come in Smart UV Project. Click Okay. All right, and there you go. As easy as that. Now, before we put it over the other side, let's just have a quick look at what this is going to look like. So let's put it on rendered view. There we go. Looks really, really nice. The one thing I would say is maybe you want to come in and make these a little bit more spiky. Let's actually do that before we finish. All I'll do is I'll just come in and grab each of the tops of these. Now easy way to do that is you can just press one, put wire frame on. And then all you want to do is just B and just go down to the top of them like so. And then what we can do is we can put it back onto object mode. And from here then make sure that you're on individual origins, press the S, but without proportional editing on. And then you should be able to bring them in and make them a little bit more spiky. All right, one final test then let's have a look at what that looks like. And there we go. Now you can see they look so much better. Let's do them out a little bit as well. See what the whole thing looks like, and it's really, really starting to come together. If you want to have a better view as well, just turn off these two interlocking circles. And there you go. And you should be very proud if you've got to this point here looks anything like this. Now, we just need to make sure we do the top of the building. And then pretty much you're going to mirror this over there and it's pretty much done. All right everyone. So let's say that our work, I'll put it onto object mode, ready for the next lesson, and I'll see on the next one. Thanks lot. Bye bye. 52. Texturing Techniques for Victorian Fencing: Welcome back. You want to blender for the Environment Artists Guide, and this is where we left off. All right, then what I'm going to do is put my interlocking links on. And then what we'll do is we'll actually come in and we will put these tables and chairs out first. So what I'm going to do, I'm going to grab this table, sorry, this chair, press shift D, move it over, spin it round, so R 180 and then R and Z. And just turn it around and put it into place like that. And then what I'll do is I'll bring all three of these over, press shift D, just drop them over here. Let's move them out a little bit. So I'm going to move more out a little bit. Move this one back and Z. And then move this one to the side as well. And make them all look a little bit different from each other. Let's pull that one out a little bit as well. Okay, so now what we want to do is you want to grab this step on here, shift as selected. And what we really want to do now is join all of these together, but without applying everything. So we don't really want to apply. Bevels are okay, it's any array. So I'm just looking now if I've got any array on or anything like that and actually it doesn't look right. One thing though, I have missed. I've got a bevel on here. No bevels on here. So what I'm going to do is I'm just going to grab all of these parts. So all of these and the inside like, so I'm going to press control G, then control or transforms. And then right click, set origin to three decursor over here. And finally then add in a bevel, let's put it on naught point naught naught three like so. And there we go. Now let's have a quick look at that before finishing. And we should have a bevel going on here for double tap, the A. So I'm looking for my bevel along here. And that's looking just about perfect. I just want to see if it's on there. Yes it is. That's looking really nice. All right, so lastly then we want to also grab this. These. Then what I want to do is I want to right click and set origin 23d cursor. Now I'm going to do, let's do this part first. So we're going to add in a modifier and go to mirror, that's going to mirror over the other side, like so. Just making sure everything's fitting in there. And finally then this one add modifier, a mirror. Put that over the other side as well. Now from here what I want to do is I want to apply my mirrors. So control A, come to this one as well. Control. And then for this one then what I want to do is I want to come in. So let's come to this one. This part first. So these first and all I'm going to do, you can see that they're all joined together. Sometimes that happens, it's annoying how you can't have anything where it doesn't actually have them all selected or joins them together. For instance, I don't want to join them together all the time. It would make it easy if we didn't have that. So what I'm going to do is I'm just going to come into these like, so all I'm going to do with these ones is go over to my UV map, make sure materials is on, and we're just going to slide them over just to make them different from these ones. In other words, if I grab the press a slide them over like so. Now they're going to look different from these. Same with the bricks. Then let's hide these out the way we'll come to our bricks and what I'm going to do is just select all of my bricks. So then all I'm going to do now, we'll grab, I think, yeah, let's have a look at which ones we need. Unfortunately, we'll have to do them separate. I'll grab these two first, and all I'm going to do is press A and Y, not Y and X and X, and move them over, and then they'll make them look different to these ones. Then what we're going to do is come down to the bottom one. And we're going to press exactly the same thing, so and X. Let's see if we can move those over like so. And there we go, alternate bring back everything. Now the one thing we don't need to do is mess around, you know, with the fence or anything like that. No one's going to see the little tiny details look the same over there. We just want to move around the other things, all right. All good there, I'm thinking as well. Let's do the tops off here while we're here. So we'll just come in L and L, and then move them over. And there we go, We're just about done. Okay, Back over then to modeling. And the last thing then, not actually the last thing we have one more thing to do after the rooftop and that is the sign. We're going to leave the sign to less last because that is actually the most fun part of the built. So what we'll do now is just create this bit that's going to go along here. So I'm going to come in and I'm going to grab, I think also we can see here, I did forget on this. We have a bevel, but we need to shade auto smooth. Same on this one. Shade auto smooth. What I'm going to do is I'm going to grab both of these. I'm going to press Shift S, curs selected, and then I'm going to bring in a cube. So bring in a cube, let's bring it up, put it on top. And then what I'm going to do is I'm going to work out if that's actually too big, which I think it is. So we'll press S and then we'll press S and's head. And then what we'll do is we'll press and X and we'll bring it all the way to the end. So all the way to the end of here. So I don't really want it poking in there. I would assume it's just sat away from it. So S and X old the shift be like. So and then what I'm going to do is I'm going to extrude it out. So I'm going to come in. With face select, grab this face, press the button, pull it up. So then what I'm going to do is I'm going to reset the transformations. So control R all transformations. And then what we're going to do is Alt shift and click. So we're just going to grab this part round and we're going to press to extrude Enter, and then alternates. And then we can pull that out. I'm thinking that I'll probably pull it out that width arm on the top of here, Maybe that's too wide, so alternS bring it back in a little bit like so. And then what I'm going to do is I'm going to come and grab these two ends. I'm going to press and X and pull those out. If they're not pulling out, make sure medium point is on and X pull them out. Now from here, what I'm going to do is I'm going to bring them up now. So I'm going to grab this one. This one. This one. This one and this one. So all of it basically, I'm going to pull them up like so. And then from there what I'm going to do is just bring them in now and y bring it in like so. And there we go, something like that. I think it's looking really nice Now finally, let's just put a top on here. Real simple top, all do is shift a, bring in a cube, bring it up, bring it to the end. And then we'll put it on this end here. So I'm going to press S and's Ed, bring it down. Put it in place. Do I need it to be a little bit smaller? I don't actually think so. I think that looks I'll make it a little bit smaller, something like that. Let's put it in place and then what we'll do is now we'll bring it out. So I'm going to press, grab the top of it, Enter, bring it out. And then E, bring it up into place. Something like that. And then finally, let's bevel off these edges. So this edge and this edge press control and bevel it off. Now you can see they're not beveling off correctly. And that's just because I need to reset all my transforms. Try that again, and there we go. Let's bring in more bevels. So I've brought in three. Maybe we'll put it on a few more, so maybe five. And the reason is for that I want it to shade auto, smooth off nicely. And there we go. There is the top of that. That was really easy to do. So now what we can do is we can grab all of these. Press control J, join them all together. Control all transforms, right click, set, origins, geometry. Join it up with this one. Then pressing control L, link materials and control L. And we'll also copy modifiers. Now let's go over to our materials panel and what we'll do is, well, material shader, we'll come to this one, then we'll grab it all. We'll press Smart UV Project. Click Okay. And there we go. There is our building. Now all we need to do is put it on the actual sign or the coffee shop sign. It could be could, once I've showed you how to do a sign, it could be any sign really that you want to put on there. It could be a restaurant sign. It could be a tavern. I don't know what you want it to be, where you can see. Now this is what it's looking like. So on the next lesson, what we're going to do is we're going to build out our signpost. And then after that, the next lessons will basically be dedicated to rendering cycles EV and camera and turntables, just in case you want to set up a camera and turntable. Now once we've been through those lessons, what we'll do is we'll go through and set up a compositor in our own scene. So in my own scene. And then from there what we can do is we can render it out and then we'll restart on the other buildings. It's just so we have a nice base to start from when we start rendering this out. And not only that, you might want to render out your building, you know, and give you that bit of push to carry on with the scene and build out the rest of the buildings. All right everyone. So I hope you really enjoyed that. I hope you've enjoyed it so far. And the next couple of lessons, we should have this cafe actually finished. Alright, thanks a lot. Bye bye. 53. Dynamic Subdivision for Creating Cafe Signs: Welcome everyone to Blender for the Environment Artists Guide. And this is where we left off. So first of all, let's come in and put this on Material Mode. And from there, what we'll do is we can bring, where is my cursor? My cursor is all the way up there. Let's just shift right click and put it here. And then what I can do is I compress shift date and we're going to bring in a cylinder. Now to start with this, then there's going to be pretty heavy duty, but let's put it on something like 16. And I know it seems a bit low for what we're doing, but you will see there's method to madness because we're actually going to be subdividing this with a modifier just to show you how to use that. So what I'm going to do is I'm going to press R Y 90. I'm going to press the S button. And then what I'm going to do is I'm going to bring it in and X bring it in. And finally then I'm going to press S and's Ed and squish it down. So something like this is kind of what we're looking for. And I think at the moment it's probably still a little bit wide. So SX, bring it in a little bit more and then what I'm going to do is I'm just going to put it around here. So it's going to go, if I put it in here, that's roughly the height. It's going to go somewhere around there. And then it's probably going to go this far out. Now you can see just how big it's going to be. Is that too small or too big? I would say it's probably needs to be a little, tiny bit bigger. Something like that, I think is absolutely fine. Okay. Next of all then what we want to do is we want to come in and bring in a insert. So what I'm going to do is I'm going to grab this and press to bring in an insert like so. Then what I'm going to do is I'm going to now reset my transformation control A all transforms right click, Let's set origin to geometry. And finally then let's bring this back. So I'm going to press to bring it back like so. Then what we're going to do is we're going to come round to each of these. So I'm going to press Old shift click on each of these, what I'm going to do is press the eye button and bring them in, holding the shift button like so finally then what I'm going to do is I'm going to extrude these out. So if I press now, I can extrude them out like so. Now let's reset all the transforms again. Right click the origins geometry and let's come in and add in a subdivision surface modifier. And you'll see once we bring that in, this is what actually happens. Now you can see at the moment it looks a little bit of a mess. And this always happens when you first bring in your subdivision surface modifier. But what it actually does is if I press Tab, you won't be able to see anything. But if I think put it on wire frame, you should be able to see what it's actually done. So what it's done is it's kind of subdivided or mess up. If I increase this again to two, you can see has it actually done that. Yes, it does. It does show that. So that's good. It just increases. Now, the subdivisions, now you can't see the subdivisions in there. If though I come over and put this back on, you should be able to see what the actual topology of the mesh actually looks like. You can also see if I turn this down, that's what it's going to look like. So what I'm going to do is I'm going to turn it onto two. There's also one other thing you need to know. If you put this on simple, it will subdivide it without actually, you know, bending the actual mesh and trying to round everything off. So let's put it onto that though, because that's what we actually want. And then what I'm going to do now is thinking the easiest way to do this is probably to remake these parts again. So what I'm going to do is I'm just going to come in, I've got them already selected, so all I'm going to do is I'm going to press control plus. And then what I'm going to do is I'm going to delete faces. That then should leave me those gaps in there. Now I want to select all of these faces. Now going around there, I might do it a different way instead. Instead of doing that, I'm just thinking what we'll do is we'll pull them all the way back to nearly where they actually start. So you can see where they actually come out. Pull them all the way back to there. And then what you're going to do is you're gonna pull them out. So pull them out so far and then press again and you'll pull them out a little bit further. And now you'll see they come out much, much more solid and much more the way we want them as well. We need to fix the sides going around, so I'm going to press Control left click. Bring it out. And you can see now we've got a nice nice straight rounded edge. Controlar, bring this one out, then to over here, and a nice nice straight rounded edge on there. As you can see, let's right click and shade auto, smooth. And now we can see just what we've got. It's really, really coming together now. Now I'm going to do is the inside. So all I'm going to do is control bring in an edge loop going all the way around here as you can see. Pull it out nearly to the edges, you can see like. So I'm just going to now turn off my little monitor and what I'm going to do is I'm going to press control Er again. And bring it all the way down to here like so. And now if I turn it on, you can see that's what we've done and there we go. That is looking really nice now. I think I'm happy with how far that's gone back. The one thing I want to do is just bring in this part here. So what I'm going to do is, or we can actually pull it out a little bit and make it a little bit rounded on the back. I think that's going to be the best way. So what I'm going to do is I'm going to press the Born to bring it in like so. And then what I'm going to do is I just want to make sure that none of these are crossing over. So let's not cross those over. Let's pull it out then, like so. And there we go. It's nice, rounded off at the back. And I think that looks really, really cool. Okay, so now what we need to think of is the coffee mug. So what I'm going to do for that, I'll press shift S Ursa selected shift, and what we'll bring in this time is a UV sphere like so. And I just want to take half of this and use that from my bottom of my coffee mug. So what I'm going to do is I'm going to come in, I'm going to, I think I'll go over the top. I'll press the Z button to bring in my wire frame like so. And then I'm just going to select one of the faces. And then I'm going to press B and select all of the faces up to that point. You should just be able to see them going up to that point. And also then I'm going to come in, select, select those. And those right click Delete and Faces, and we should be left with something like that. Now that is two coffee mugs really. So what I want to do now is just delete one of these lines. So I'm going to come in with face, select all shift, and click the faces, select the top face and the le vertices, and that's what we should end up with. That's looking pretty cool. Now let's come in and make this a little bit smaller. So a long going to do is press S. Let's bring it in to where we want it. Let's also press and X and squish it in. And now let's make this into an actual coffee mug. So I'm going to bring it in. First of all, I'll put a nice round band on it, so right click, shade, auto, smooth. Let's first of all, yeah, let's first of all give it some actual depth. So all I'm going to do is I'm going to press control or transforms, right click, set origin to geometry, add modifier, generate, solidify. And yeah, I think that should be enough. Maybe a add more so maybe something like that. Alright, let's apply that straight away with even thickness on then let's come in and make a little band around here. So all I'm going to do is a Shift and click control B. Turn these down, these segments down. And then already select and press Enter AlternS, bring it out a little bit like so. And there we go. That's that part done. We want to actually have some liquid in there. What I'll do is I'll press control going around here. And then all I'm going to do now, I'm actually going to isolate this out just to make it a little bit easier for me. So shift H and then I can come in and I can see I can join this and this. I'm going to grab all the way from here. Control select, Control select, press the button and fill that in. And there we go. Now let's make these little things that come up here. So all I'm going to do is shift, bring in a cube, press the button press and X and Y. Let's put one there. Work out where they're going to go so I can bring everything back now with ol tag. Let's pull it up to here. Something round about there. Let's bring in some edge loops. Six edge loops. Then what I'll do is I'll route, bring this over. So I'm going to turn this on, let's put it on smooth, press one or three on the number pad. Let's bring it all the way in like, so there we go. Now we need three of these, so I'm going to press Shift D12 shifty. And three, there's that. Then finally what we want to do is we want a little bit of a handle here. And I think that then I'll finish this off. A little bit of handle, let's just bring in a curve. So we'll bring in a path. And then I'll just spin this round 90, make it much smaller. Let's put it in place. So all I'm going to do is I'm just going to rotate it round by 90 x 90. Let's put it there from here. Then I can either make it a square handle, which I think will maybe fit better with the, with the sign. Or we can come in and make it Where is it? Depth. Depth. We can make it a round one. Let's try the round one first. So let's see how that's going to go in. So all I'm going to do is just grab this. I've still got proportional editing on, as you can see, you might be able to get away with having that on or I might be able to. Let's put it in to place like so. Let's bring this one round in. Let's bring it down, let's bring it up and let's pull this one out a little bit. All right, that's looking good. Let's turn proportional editing off. And then what I can do is bring this right where I want it, which will be round about there. Let's pull this out, pull it up a little bit. There we go. That is looking really nice. I don't think I'm going to make it square. I could turn down the radius all the way down. Turn it up a little bit. A double tap, the but I honestly think that's looking good enough as it is now. We've got a little bit of practice there with our curves as well. And what we're going to do on the next one is actually create some ornate features on the top of the hear, which are going to make it really, really stand out. All right. So I'm happy with that. Let's save out our work. And then on the next one what we'll do is we'll get this ornate feature and the curves on there and things like that. All right everyone. So hope you enjoyed that. I'll see on the next one. Thanks a lot. Bye bye. 54. Crafting Sign Supports with Curve Draw in Blender: Welcome back everyone to Blend The Fall, The Environment Artists Guide, And this is where we left off. All right, now we've got this, we're happy with this. I don't think we need to do anything else with it. One thing I'm just wondering whether now I think we'll leave you lather. I don't think we'll mark any seems or anything. So what we'll do is we'll just box select it all, come up to object. And what we're gonna do is we're going to convert to mesh like so. And now what we can do is we can press control J and join it altogether. And finally, right click, shade, auto, smooth. And there we go. Now because we've done that, we can move this around to wherever we want it. So I think I'm going to bring it in just a little bit like so now let's think about this ornate piece that's going to be going on top of here. So what I'll do is it's going to be made of metal. That's the first thing to decide, because from there you can actually decide what sort of shape it's actually going to be. So let's first of all bring in a piece of metal. So I'm going to press shift and bring in a cube. And then what I'll do is I'll make my cube much, much smaller. And I'll bring it in and it's going to be at the top of here, basically. So it's going to be at the top of here, like so. Now, best of all, I might as well come in to this part. Grab the center of here, press shift S, cursor selected back to my cube, then shift S, and this time selection to cursor. And then why can is from there can bring you essensed, make it the size that I want. It, it's going to have to be pretty robust because it is, after all, carrying a sign for many, many years, we do need to take that into account. Now I'm going to do is grab this part here. Pull it out to wherever I want it. And then I'm just going to think, make it a little tiny bit thicker like so now I'll come in and just bevel off these edges. Now again, before you use the bevel, it's always important to really reset your transforms. And then you should be able to come in and bevel it off, round it off like so. And there we go, right click, shade, auto, smooth, and there is our bevel on there. Now we do have the option of pulling this out if needed, I think let's try and line it up first. So we're going to, I think we'll probably bring in the chain first because then we'll have an idea of where we want to put this. So let's do that now before we do anything else. So what we'll do is we'll come over to our asset manager and what I'm going to do is I'm going to come in and bring in my chain. So I'm just going to put these up, come to my geometry node, and this is the one that I'm going to bring in. So I'm just going to drop it here. It doesn't really matter where you drop it. Let's then go back to modeling. Now what I can do is come out and I can reset my chain. First of all, in fact, you know what? I'm not going to reset my chain. What I'm going to do is I'm going to bring in a curve, curve path. Because I do know that if I bring in a path, it's going to make it way, way easier or Y 90. Delete my chain, I don't need that anymore. Come to my curve. And then what I want to do is now go in and add in a geometry node, a little spanner, add modifier geometry node. And the one we want is going to be the chain. So this one here, click it on, and you will end up with something like this. Now let's, first of all, before we do anything for reset all the transforms, right click, set origin geometry and then the next thing we want to do is of course make it smaller. We don't need so many of these. I'm going to just get rid of let's say three of these. Select three of these delete vertices. And we should end up with something like this from here. Then we can actually use this to create more chain if needed. Now what I'm going to do is I'm going to reset the origin origin geometry. And let's put it into place roughly where we want, somewhere around there. You can see at the moment it's still a little bit too big this chain. But before I do that, I want to show you the options now on the right hand side, you can see at the moment the resolution is three. This just decides how much resolution is going around it. If I turn this up, you'll see it now becomes much more rounded. The next one then is the chain link distance. If we want these closer together or further apart, we can do that. But we have to remember that we just need to change the chain stretch to make them all fit together. And I think something like that is going to look bare, because I feel like it just resonates a little bit bare with the actual scene or the coffee shop we're trying to do from there. Then I'm going to Melvis to make these a little bit smaller, so I'm going to bring them in, make them a little bit smaller like so. And I'm also as well going to change the thickness of the chain. So here we can see we've also got chain radius, so we can change that to make them bigger. Or we've got chain not chain radius, chain thickness, we can make them a little bit more chunky and from there then we can change this stretch even more like so. Okay, so they look about right. I'm still thinking maybe, maybe they're a little bit too big still. What I'm going to do now is rotate it around. So ours edge 90, put it into place where I want it. What I want to do is put it like the halfway point, so I want it around there. And what I also want to do is come right to the outside because I want to make sure that it looks as though it's actually being hung properly. And from there then, what I'm going to do now is I'm going to press three on the number pad, and then I'm going to come in and I'm going to grab this top one. So just this top one I'm going to press and Z. And what I can do is I can actually pop it onto the next one. So you can see there ping. And there we go perfectly now, one this way and one going this way. We don't want this chain to be going the other way, but you can see just how easily that is to use. That is why we use geometry nodes. It just makes everything much easier. It's obviously non destructive as well on top of that. And you can see nondestructive workflows is definitely the way that we should be working. All right, let's press shift D, and then what we'll do is we'll bring it over to this side. And I'm just going to look at this one and this one and place my chain roundabout in the same place. It doesn't need to be perfect, but I think I can move it a little bit over and now it's about in the middle. All right, from there then we need to decide, double tap the is that where you want your chain? Is this coming out enough? Are you happy with that? Do you want to move this back a little bit? I think looking at this, we should move this all back just a little bit. So just a little bit this way like, so double tap the and there we go. All right, so now we've got everything in place. We can do our supports in a bit. But the main thing is now we want to bring in another ornate piece. So what I'm going to do is I'm going to first of all bring in a bezier curve. So I'm going to press shift a curve bezier. Now we can actually use this, and I'll show you how to use this now if I press R z 90 and then Y 90, and we can put it like that to start with, I think that will be the best way. And then what we'll do is we're going to come in and actually delete this as well. So I'm just going to put it like that just to show you. Now if I come in, I can actually move this around. I can use the little handles, especially if I press three. So I'm in this view, I can move them around, I can shorten them up. And it's just a real joy to work with something like this because you can really, really get some nice ornate things going on in there. But there is a better way of using this if I press Tab. And what I'm going to do, bring in a plane shift, Let's bring in a plane, let's spin it around, so R Y 90. Let's press the S button. And then what we'll do now is we'll just set this into place. All I'm going to do now is just basically try and make something that's ornate and it's going to fit or sign, and it's also going to fit around these parts. I'm going to come back to my Bezier curve, press the tab, press A and then press delete vertices. Now you will notice it's disappeared over on the right hand side though. The Bezier curve is still there. And what we can do now, because we've done that, is if we press three to go straight on view, we can actually come out now and draw in, there's your curves like so. So it makes it really, really easy. Just make sure that you have surface on. So make sure surface is on. Then delete it again. So delete vertices. And now what it'll do, it'll actually draw on top of our actual surface of our plane, which is exactly what we want. Now what I'm going to do is I'm just going to delete that out the way again. So delete vertices, press three. And what I'm going to do now is try and draw something in that's going to look really nice. So I'm going to start from here, draw it going around here. And don't worry if it's not perfect, it doesn't need to be perfect. And then come down to here and follow this around. And then at the end, let's lift it up, and then let's curve it in something like that. All right, so now we've got something roughly that we can actually work with. We can actually come in now and delete our plane. Delete your plane out. The way you can see here is a little bit of a mess. Sometimes this happens. And what we're going to do is we're just going to come in before we do anything else and just delete though. So we're going to delete vertices so and then more going to come in. I'm going to press shift H and all I want to do is just make sure that this is straight. You can see at the moment it's very, very unstraight. I'm going to delete this one. This one and this one. Press delete vertices. And there we go. Now it's straightened it up. And from there then we can also come in and add in more subdivisions. So subdivide and subdivide. And there we go. Now you can see that it's perfectly straight, and we can see that we just need to pull it out over there. Now from here, what I want to do is I want to come over. I want to, first of all, bring on our extrude. Let's extrude it out very small, maybe even a little bit less than that. Something like this. And then what we'll do is we'll come adding to modify it and we're going to generate a solidify right click. And what we're going to do in fact we'll tab right click and we'll come down and shade flat. We'll also come in back to our curve, turn this down something like six or seven like so. Then what we'll do now is we'll come back to our solidify even thickness on and let's turn it up a little bit. So al right, that is what we've got to work with. I think actually on this we'll turn it up a little bit higher 'cause it's looking a little bit too low resolution. And on the next one now, what we'll do is we'll get this all fixed. You can see we've got many, many issues with it. But I'm going to show you how to actually get it all looking really, really beautiful. Alright everyone. So hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 55. Manipulating Bezier Curves for Elegant Cafe Signage: Welcome back everyone to Blender Poll the Environment Artists Guide. And this where we left off. All right, if we press lag now, just to bring everything back, not that one lag, bring everything back three, and then we have a really, really good view of what we're doing here. Now what I'm going to do is I tend to start with the top of it. So what I'm going to do is I'm just going to pull this back. Now remember the middle part of it is what actually moves it, and this part is what actually kind of shapes it, if you like. So I'm going to try and pull all of this back into the place where I want it. It's coming all the way back to this wall. When I first do this, by the way, because we're in the side view where I've put it, I tend to make big sweeping movements. I also tend to put on smooth on here. Now I can come in, I can press and I can really pull this out and get it into the place that I want it before worrying about getting the curves and everything. I'm going to put it into place so I can see as well. Probably going to have to move all of this to make it look a little bit nicer. All right? Something like that. To start with, I'm thinking I need to come in and bring up my solidify just a little bit to make it a little bit thicker is a little bit too thin on at the moment. Now I'm going to do is I'm just going to come into this one, I'm going to delete it out of the way. So delete vertices and now I'm going to come into this handle, so you can see this handle here. And pull it out and try it is out the handle. So have a look and try and get it to actually stop. Yeah, I'm going to take off portion editing, There we go. And stretch it out again like so. And then we can actually pick that up and start putting it into place. Now you will see with Bezier curves especially, they are harder to live with certainly the paths for sure, but if you actually get the hang of it. So in other words, if you get the hang of these handles, for instance, they are actually very nice to work with because you have a lot more control with them. It's just figuring out how these pesky handles actually work. So you can see on this one here, it looks a mess until I actually straighten it out. We can see on this one as well. I just need to come in and straighten it all out like so. And it does take practice, guys. It does take practice for sure. So don't worry if you're not getting it straight away. Once we've got this one, let's bend it in a little. Let's come in with this one. Bend it in a little, make it nice and round there. And then you can see this one is a little bit out, so let's bend it round. So, all right, the other thing you can also do is let's say you grab both of these. What you can also do is come up to control points and you can actually smooth them out. That also really, really helps as well. Now let's figure what we're going to do with this. I'm going to pull this one out, so I'm going to pull it down into place like so I would also pull this one into place like, so I'm going to grab this one and this one pull it up. Then what do we have? Boxlect, all of this. And I'm going to pull them across. So I'm going to pull them across slightly, just to put them in front of that wall there. Then finally, I don't want it obviously going in here. I want to do something where I actually make it come in front. Now I don't have actually a control there. What I want to do is grab both of these right click subdivide. Now from here what I can do is I can pull it out, so I can bring it out. And then what I can do is I can bring this handle up a little bit, bring it back, let's have a look. And bring it this way. And then I'm just wondering if I can bring this one up so you can see here I'm working my way along and then I'm going to come back to here. This one here, we can see we definitely need to bend it, but not that much. So we need to bend it and then bring it in, or bring it out, like let's pull it up. And hopefully now, yes, I should be able to bend it a little bit better than where it was. Something like that, I think looks good. And I'm actually happy with how this one's turning out. I think this looks really, really cool. It's just I need to figure out a way just to make it look nice like this and this, actually, that's looking good. I'm actually happy with how this is coming along. All right, let's go press three. Always be in the side view. It just makes things much easier, so. All right, I think I'm happy with that. I actually like this more than my other one, even though my other one was flat. I think this one actually looks a little bit better, Might look a little bit modern. That's the only thing I'm worried about. Three. In other words, what I might need to do is just have it where it comes just to here instead of having it. So modern. That, bring it in like so. And then let's have a look. Does he look too modern? That's the question. I'm going to come in and just delete this vertice and then let's have this flat. You can also as well press Ss and's ad and flatten it all out like so. I think as well I'll put another vertice in here. This one, this one right click, subdivide That then is going to give me ability to flatten this off. And I can actually pull this up, not just that one. Pull both of these up just a little bit, just to flatten those off as you can see along here, because that's why I actually want to do three again. Let's come in then and let's see if we can actually flatten this off. So then move it down like so. And then let's drop this one down like so. And this one down, So All right, that's looking good. And now what I need to do is just make sure that this bit I'm just wondering whether yeah, like this more of a slope. A beautiful slope. Like. So let's press G, slope it out a little bit more. All right, that is looking good. I'm happy with that. Hopefully you've got yours right as well. Remember, it's going to take a little bit of time to get the hang of this, it's not easy to do. Finally, then the last thing I want to show you, if you come to this end, make sure you've got proportionality on press the old S, not just. And what you can do is you should be able to press S. Let's just take that half a minute Ts and there we go. All right, let's put it onto proportional editing alternS. You can see now I can actually bring it in and make it much, much smaller on there. Can do the same thing with this as well. Alterns, let's make it thinner. And then what I tend to do is once I've actually done this, I will actually apply all of this. I'll press Tab Object Convert Mesh. And then what I'll do is I'll come to the front of here, this one here. And I'll press S and scale this in. As you can see, we can scale that in. You can do the same one with this as well. So let's start scaling it in. So there we go. Now that's looking really nice. We can write click shade, auto smooth. There we go. There is our first ornate part on our actual sign. Now from here, we need just a couple of pieces more. All I'm going to do is shift a cube, bring that in, make it a little bit smaller, and y, make it a little bit thinner. Pull it up then to where it's going to go. Because it needs to hold this part of the sign on there and we can see, maybe I'm a little bit too much on here. Maybe I need to pull this out. We can do that as well, no problem. And Y bring it in a little bit more. And then all I'll do is I'll grab the bottom of it and pull it down without proportion editing on like so. And then what I'll do is I'll bevel off these edges as well just to make it look very nice. In fact, should I won't do that. What I'll do is instead is I'll come to this part o shifting click going around this side portion, editing on three. And then what I want to do is pull this out a little bit, so if I press, I can grab the whole thing and just pull it out so it's just sat on there nicely like, so. All right, perfect. Now, the last bit is I want to grab this. I want to pull it down, shift all the way down to here. I'm basically using this then to support the sign. So what I'm going to do is pull this down again without portion of everything down to there. And then let's pull it out a little bit and make it a little bit thicker like So maybe we should go down to the actual stone. It looks a bit bit more secure. Down to the back a little bit. There we go. All right. Yeah, that's looking good. All right, so on the next lesson then, we should have this finished. And from there we're going to actually be going into, as I say, rendering cycles and V. And then I'm going to show you as well how to set up a camera turn table on the lesson after that. And from there then what we're going to do is then we're going to set up our own composite in here. So we're going to get the render set up just so you can take a nice clean image, if you want to, of the scene that you've already got. And then we can start on the next buildings. Alright everyone, so hope you enjoyed that and I'll see on the next one. Thanks lot. Bye bye. 56. Applying Materials for Realistic Cafe Signs: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left, they are. All right. So let's grab these three. First of all, and what we're going to do is we're going to go over to material and we'll click the down arrow. And these are definitely going to be black metal. So black metal, it's only going to go on one of them. So all I need to do now is press control L and link materials. Let's put this on materials while we're here. And then what we'll also do is once that loads up, we'll unwrap them and then we'll see what those look like. Let's wait for Blender to work this out. Then we'll press Tab Smart UV Project. Click Okay. There we go. And then we'll come to this part and we'll grab this one control link materials. And then what we'll do is with this one, is we'll press tab A Smart UV project. Click okay and there's that one. Now with the chain, we want something called light metal on here. So we'll have to go over to our asset manager. And then what we're going to do, we'll come to our chain. Click New new, sorry. Minus that off. I'm just wondering. Yeah, we'll probably press dot and just drop it on there. Let's come to materials Metal and we're looking for metal light, there we go. This one here, drop it on there. And there we go. And then we can just grab this one, grab this one. Control L link materials. So all right, we've got this so far. Now let's go back over to modeling. It does make it easier. Then what we can do now is we can have our blue metal, metal blue, and metal black. So I think this part of the signs all going to be metal blue, this part is going to be metal black. And then we'll have metal green on these little parts here. Not sure actually. I've got metal green. Let's sell up metal. So we've got blue metal, green metal. So we've got everything there that we need. So that's one good thing. So then what we'll do is we'll come to here and we'll add in black metal first. In fact, no we won't. We'll add in blue metal. Blue metal. There we go. Blue metal. Let's press tab a smart UV project. Okay. And there we go. Now let's come to this part here. This part. This part. This part. This part and this part, like so. And then I'm going to click plus down arrow, black metal, click a sign. Now finally these parts here. Now these parts here are going to be a bit of a pain because I wasn't thinking about it before. Let's see if I can. Let's think about how the easiest way to do this is going to be to hide this out. They hide this one out the way press seven to go over the top. I think also I'm going to to go over the top. I think also I'm going to hide that the way. Hide this out the way. Hide the chains out of the way. Go over the top now. And there we go. I've got access now. So I can see what I'm doing. Perfect. That is what I want. Now what I'm going to do is I'm going to come back to this and I'm going to put it onto wire frame. And then what I'm going to do is I'm going to press B and just come in and select all of those lights. So then from there what I can do is put it on object mode. And now you can see I've got all of those selects. Now I can press Control Control. And go all the way back to where I want it, which is round about here. Click the little Do plus button, down arrow, and we want this to be green, so green metal. Click a sign. Let's look at what that looks like. Tap and there we go. Really, really easy to do that as you can see. All right, so we've got blue metal, we've got our green metal, we've got our black, Let's press L tates, then bring back our chain. And finally, now if you're putting this in your asset manager, you want to join all of this together for sure. So to join it all together just means that you're going to have to come in with object and then you're going to have to come in to convert and mesh like so. And then we can join all of these up. Control J, Join the more. Look now for this bit here we want to actually pour bevel on. So we're going to join all of this up together first. Just make sure we don't know what's on there. There could be something on there. So we'll convert it to mesh. And then what we'll do is press control J, right click, shade, auto, smooth. And from there then what we can do is adding a modifier Generate and a bevel. And there we go, we got a slight bevel on there which makes it look tons, tons better. Now, we don't really want to put a bevel on this part here, on this one, On this one, we want to actually apply that bevel. So I'm going to press control and apply that bevel and then join it to this control J. Join everything together. And there we go. Everything's joined together. And now you should be able to just come over, rename it to coffee shop sign. Right, Click it. And you're going to market as assets for, in your asset library. All right, so that's looking really nice. Okay, so now let's actually have a look at what all this looks like, so we'll have a quick render of what that looks like and whoa, it looks really nice. What you can also do as well, you can also come over to your sky texture and let's just change the sun rotation down to 180. Let's have a look at that. Looks like and yeah, you can see it's looking really nice. Let's also turn the sun intensity down to No 0.3 We just have a look all the way around at what we've actually achieved. All right everyone. So we're going to cut this lesson short and on the next lesson we'll be looking at how to render out in EV and cycles ready for the next stage. Alright everyone, So save out your work and I'll see on the next one. Thanks a lot. Bye bye. 57. Basics of CYCLES and EEVEE Rendering for Victorian Scenes: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left it off. Now what we're going to do is I'm going to introduce you to rendering in cycles and EV. And when we come back on the next lesson, we'll just be setting up our actual options in the way that I thinks best. But it's really, really handy if you already have a background on how to set things up, whether you're rendering out in EV or cycles. You might really want to know because we're going to be mainly using cycles because it's going to be giving us a much, much better actual render straight off the bat. Alright everyone. So I'll play that for you now and I'll see on the next lesson. Thanks a lot. Bye bye. Welcome everyone to the V in Cycles part of the course. And this is a full guide on both the V and the cycles renderer. So the first one we're going to approach is the actual EV. And you can see at the moment I have a scene set up like this and I'll be using this to go through the various options and after which you can give it a try yourself. So the first thing at the moment is we're on actual Shading object mode and we want to be on the EV renderer. So I'm going to click that on now. You will notice at the moment I have a son and I have a real light over here as well for the other demonstration. So first of all, let's come to this actual object here. And what I want to do is I want to first of all go over to the right hand side where the render options are and you'll see this is actually on V. Now the first thing I want to discuss is not the sampling, we'll come back to that in a minute. It's actually the ambient occlusion. If we turn our ambient occlusion on, you will see that we're able then to actually make much, much bear shadows within our actual scene. So for instance, this actual E here, if I turn it off, you'll see that all of those shadows disappear. And if I turn it on, enhances the shadows. We're also able to go in as well and we're able to come over to where the distances and turn that down zero, and you'll see that makes them all disappear. And as we turn it up, we end up with more and more actual shadows on there up to a certain point as you can see. But you can see now turning it off and on makes a real difference to how your scenes are actually going to look. So basically what I'm discussing here is the set up of V and then we're actually going to go over and actually render that out. Now let's move on to the next part of this demonstration, and what we're going to talk about now is the actual samples. So if I come up and open this menu up, you can see at the moment that we have render on 64 samples and the Viewport on 16. Now not only does this give you a better quality of image, but also the main reason is that we can actually get a lot more definition on these actual shadows. You can see if I zoom in here, these shadows are kind of pixelated. But if I come in and let's say put this to 300, you will see now it makes a real difference in how the shadows look. It makes them much more realistic and much better when you actually come to render this. So now we're actually going to discuss the other powerful thing with V, which is screen space reflections. So at the moment, if I turn that on and I come to my ground plane here, let's actually mess around with the actual roughness. If I turn this down, you can see we end up with loads of reflection on here. If I come then over and turn off screen space reflections, you can see that all of those reflections don't actually reflect on this ground plane anymore. So this is why this is so powerful, especially if you're doing things like really, really shiny objects or metal you really want on screen space reflections. Now let's just go back to my ground plane now and just turn it back down on the actual roughness, or let's turn it up a little bit like so. And then we've got some reflections, and let's move over to the next part. So we can see at the moment we have this light, but it doesn't look very good at the moment. We can see it has got a bluish tinge reflection to it. But if we come back over to V now, and what we can do is we can actually turn on bloom. And now you can see that we've got some really, really nice light, and also the reflections enhanced as well. We can also open up the bloom. And the best thing about the bloom is we can actually control how much this is going to actually bloom, how much fogginess is going to have to it. You can see the range that we can put on there as well. And you can also see that we can turn up this intensity all from within the actual V options. There are a load of options within V, and to go through all of them, honestly would be like doing another course. But what I want to show you is just one more thing, within V, which is where we have shadows. If we open this up, we will see that these shadows actually come with their own resolution map. And at the moment they're on 512, the higher turn this up, the better the actual shadows are going to be. So if I put both of these on 4,096 you will see now that when I actually come to render this out, these shadows are going to look even better. They even look bare in the actual viewport. So now all I've done is brought an actual camera in place. And I just want to show you one more thing before we hit that Render button. If we come back to our monkey and we click on our light, so let's click on our lights here. You can also come over to the right hand side and you'll have something that says Shadows. Just open that up and click on Contact Shadows. And you will see now just how much nicer, especially around these eyelids, how that looks. So you can see the difference in how that looks. So all these things together, including the ambient occlusion, the bloom and the screen space reflections can make for a really, really nice render. Now it's important to remember though that EV is designed as a real time renderer. So something like in a game like Real Engine or Unity, that is where a real time renderer will be used. Whereas Cycle, on the other hand, is not actually meant for that. It's meant for getting really, really high quality images or animations. It's not meant for actual real time. So now what we can do is we can actually go over and hit that render button. So it's just render image and with V it's not like cycles where it builds up and up and up and then it actually you actually get your final render. It actually is just there. So 1 minute, it's not, the next minute is now, depending on how many samples you actually ask V to actually render out is how long it's actually going to take. So you can see at the moment this has took around 3 seconds. And this is another reason why you might want to use V because it's very, very fast at rendering things out. So let's close this down now and let's move on over to our cycles render engine. Now the first thing to note is when I actually turn this over to cycles, it's going to be much higher demand on your actual system, especially when we're in the viewport view. You'll also notice as well that it's pretty grainy at the moment and this is because we just need to turn on the viewport de noising, although this requires a lot of performance from your machine. But you can see straight off the bat that this is looking really, really nice already. The only thing is whenever we turn around, because it's not a real time render it, it's going to take a little bit of work to get to a certain level of samples that you might be happy with. Now the other thing is at the moment you can see the cycles. We also have a device, and this is basically telling Blender what device to use so it can be your CPU or your GPU. I do recommend that you use your GPU rather than CPU if available because your GPU is much better at handling rendering. So now, before we go into any of the options in the cycles render engine, what we first need to do is come over to Edit, go down to Preferences, and what we first need to do is go up to where it says system. And from there we can actually change the options for cycles. So what I'm going to do is I'm going to come over to where it says optics X. You might not be able to actually click this on, it might be down to Cuba. This optics X is the Cycles X render engine. So we do have a new version of Cycles in blender for onwards and it's called Cycles X, as well as coming in with a host of different features which will increase the quality of your renders. It's also much, much faster than the old cycles. Now if these options are actually graded out for you, that means that you just haven't got a graphics cord that actually supports it. I do know that Cuda, I think is anything from Invidia second series, and the optic X is anything from the high end of the second series and certainly on the third series of Envidia. I'm not sure about the other graphics cards, so you just have to pick whichever one you can, the highest one you can. And unfortunately if you can't pick any, then you'll just have to have the basic cycles. Now all you need to do to enable that is again just put it on optics x and take both for these on. I'd like to take both of these on just in case Blender can use both of them together to speed up performance. Once you've got those ticked on, all you've got your Cuba ticked on, then what you can do is close that down and then you can come over to where it says CPU and put it onto GPU compute. And you'll see just how much faster that actually is. If I now move around, you can see how fast this actually speeds up. And that is because we're now using our GPU. All right, so now let's go through a few of the options. So you will see under light paths, we've got a lot of options here now. All of these options will change the way that your scene actually looks like. We won't go through these, but these are where all of the light options will actually be, from the transparency to the glossiness of the actual scene. So you're free to mess around with these. Just be aware the higher you put these, the more performance is actually going to take. Now the other thing you need to know is that sometimes when we're dealing with certain shaders within Blender, they won't be able to be rendered out in V. And it's normally down to the ray tracing power of cycles that will actually be able to render them out. A lot of the times when we're dealing with something that has a transparency in it, for instance, or something that has displacement and it's built through the actual shader. So it's a material built through the shader. You will have to actually use blender cycles. So now what we're going to do is I'm going to come down and just go through the performance options because performance on actual cycles is very important. Now depending on if you're using your CPU or your GPU is how important it is to get the right tile size. The higher the tile size it is, the better it is for your graphics card. The lower the tile size, the better it is for your CPU or your computer processor. So whichever one you're using to render out whether it be your CPU or GPU, just take these into account. So again, CPU, lower tile size, so something like 64 and Gpu, higher tile size, something like 2048. The next thing we want to look at is this used spatial splits and you can see what it says, longer build times faster render. So just make sure that you tick this on, because what we're also going to tick on is persistent data. Once we've ticked these two on, what it basically means is it's going to take longer to actually build out the scene than it is to render it. If you don't tick this on, it's going to take a certain length for each one to do. Finally, the next thing we want to discuss now we've gone through that, is the actual color management, and you will have this within V as well. I've just saved it two cycles. Now if you use in blender full, you will have a view transform that says Gx. And this is the new actual view transform. This one is supposed to be the most realistic, if you're using older versions of blender. We'll have something called Fil mix, but I recommend with the new one using GX. Now you've also got a look which you can actually change, which is really handy, especially if you're doing stylized scenes. And you can change this look to something like very high contrast, or you can change it anything in between. So you can have base contrast or let's actually, let's put it back on GX. Let's put it on something like a medium. Where's medium? So medium, high contrast. And you can see, now this scene is looking really, really nice. Now, you can also see a few other problems with blender cycles. One of them being, we don't actually have any ambient occlusion, we don't actually have any bloom. So although everything looks better in blender cycles, not only are you going to lose all that straight off the bat, but also you have to then come in and set it up in the composite. So this is why you really need to think when you're rendering out a scene, whether you want to render it out in V or cycles. Ev is much, much faster and everything is there straight off the get go. Cycles is much, much slower, needs a lot more performance from your machine. And on the back end, we also have to go into the compositor to get a really, really nice image Now before we finish and actually render this out. It's also very important with blender cycles how many samples you're actually going to work with. So you can see here where it says Render, not the viewpoint on where the render one is. You want to set this pretty low to start with. It is set as default of 4,096 I recommend saying this at 200. What'll happen is then it's got a noise threshold on there. It'll hit near that 200, and then the noise threshold will kick in and basically denoise your actual image. In other words, get rid of all those fireflies and things like that. Now if we come up and what we're going to do before hitting the render born, I also recommend if you're working in cycles that you put this onto wire frame because then it's going to save on performance and it's not going to be rendering it out in the Viewport as well as trying to rendering it in the actual render. Let's put this on wire frame. What we're going to do then is come over to render render image. And here we go. Now you can see it's very different from how V works. You can see it builds up, builds up, builds up. You can see on here the samples going up. And then you'll see it actually finishes. And we can see it took 12 seconds, which is around six times longer than what V took. But you can see it's a really, really beautiful image. There's just no ambient occlusion or contact shadows and things like that on here. That's the difference, everyone. Now the final thing before I finishes, I want to show you just one more thing that's important, that you can do with both V or blender cycles. And if I come to my camera and all I want to do is just hit camera to view. And I just want to put my actual camera in this position just so I can see the background here. And then all I'm going to do is I'm just going to come down to where it says Film. Open that up and you will see one that you've got here that says transparent. And this is how you create an image with a transparent background. If I now go to render out my image, you can see now it comes with a transparent background. You can also see, because we've got that persistent data on now, it's a little bit faster than what it was before, and it's just under 8 seconds instead of 12.5 seconds. Alright everyone, So I hope you enjoyed that. I hope you learned a lot from it. We will go into a lot more detail about this as we're working through the course, whether we're working in V or blender cycles. And we will be discussing as well, of course, the composite in blender cycles. Thanks everyone. Cheers. 58. Camera Setup and Turntable Animation for Victorian Environments: Welcome back everyone to Blender for the Environment Artists Guide, And this is where we left it off. All right, so what we're going to do now is we're just going to turn this onto Material. And what we're going to do is we're going to, first of all, come up to Edit Preferences. And what we want to go is to system. We want to make sure that we've got our both of these. T we want to make sure Tik X is ticked on. And once that's done, let's close that down from there then. I'm just going to make sure it's on cycles. I'm going to make sure I'm on GPU. I'm also going to make sure denoising is on on them both and then I'm going to come right down to the bottom. We're performances. I'm going to make sure first of all, use tiling. I'm using my GPU, so let's set it at 20:48 use spatial splits, let's tick that on. And then what we're going to do is we're going to keep persistent data. All right, then from there then what we're going to do is we're going to now set up a camera and let's have our first render. So what I'm going to do is I'm going to press shift Day, bringing a camera camera like so. And then what I'm going to do is press control Olt and zero now, Don't worry if you're not following along because now I'm going to play you the next actual tutorial which is going to be based on camera and turntable. So when you come back after that, you should really know how to set up your camera. And from there then we're going to start taking our first renders of our actual scene. We're not going to be creating a turntable just for this building, we'll probably do that later on. But for now, it's good knowledge if you want to learn it. All right everyone, So I'll see on the next lesson, and then we'll take our first render. Thanks a lot. Bye bye. Welcome everyone to our camera setup complete guide. And as you can see here, we've got a fairly, fairly large scene. And we actually need to bring a camera in to actually render it. So what I'm first of all going to do to bring a camera in, I'm going to press Shift A. And within our primitive menu, you will see one that says Camera. Now, normally the camera will always come in whereabouts you've actually got your cursor. So if I delete that camera out the way now, shift right click and put my cursor over here, Press Shift A, bring in my camera and you'll see there it is now. Rather than go into my camera, so to go to our camera, we're going to press zero on the number pad. That then is going to zoom into our camera. And from there then we're able to actually come over and open this little panel here. To do that, we just press the end button to open it. And then what we can do is we can click this camera to view, and you'll notice that it goes fairly red around the outside of the camera. And from there then we're able to scroll our mouse we allow, and put our camera where we actually want it. We can also hold control shift, middle mouse. And what you can actually do then is really, really get a nice smooth zoom in and zoom out of our actual camera as well. So all of the basic functions of moving around the actual viewport work exactly the same way with the camera, as long as we've got camera to view turned on. Now what if I told you though, there's an easier way of actually doing this as well. So all I'm going to do is I'm just going to delete my camera out the way. And then what I'm going to do is I'm going to press shift A and I'm going to bring in another camera. I'm going to position myself in the viewport of where I want my camera roughly to be. And instead of zooming to the camera with zero, what I'm going to do is I'm going to press control Alt and zero. And then what it's going to do is it's going to put the camera in the middle of the viewport for me. And from there I normally zoom in 23 times. And then what I do is I click camera to view on. And now I'm able to position my camera where I actually want it, which is a little bit easier than actually going to the camera and moving it into plate. Now from here, I want to discuss a few of the camera options that you can actually do with the camera as well. So all we need to do with the camera selected, so just make sure that your actual camera is selected so you can see mine is selected there. Press zero on the number pad to zoom back into your camera and get the view that you're looking for. Let's press camera to View, Although you don't need to take this on to do these options. And if we come down to the right hand side, now we have one that is the actual camera. Now if we're going over to the right hand side you, we'll see we have a type called perspective. And if I click this little down, you'll see that I also have orthographic on here as well. And panoramic. Now, we're not really going to discuss panoramic 'cause that is really taking it up a notch when it comes to actually rendering. So we're going to keep this pretty simple for now. So we do have perspective and orthographic. And basically perspective, it's basically as though you're viewing this yourself. An orthographic, to keep it simple, basically means it has no depth to the actual scene that you're actually trying to render. Now, as well as that, we can actually, at the moment, zoom in and zoom out with our actual mouse. But I recommend, instead of doing that, just change the focal length slightly and then that we'll be able to zoom you're in and zoom you're out and get probably a better perspective on what you're actually rendering. We also want to talk about the shift X and Y. If you want to move your camera left and right, that what you can do is you can come up to item and instead of moving this around left and right with your actual mouse, what we can actually do now is move the location of our camera like so. And I find this sometimes a little bit easier to use, especially when we're going on the z axis. Rather than moving my mouse, we shift and middle mouse, I find it a little bit easier because it will be more exact. In other words, if I actually take off the camera to view, you will see if I come to my camera now and I go to the item and I'm moving this up, you'll see it moves out perfectly. All right, so going back now, let's go back to the camera and let's now discuss our clip start and the clip end. Basically, if you want to have a lot of things outside of the scene and you don't want to actually have those rendered, what you can do is you can actually change the clip end. This is the most important one, and let's put it to something like 20. And what you'll see is everything disappears. Now if I start turning that up, you will see that the camera clipping actually starts to increase, which then shows you the actual buildings of our scene. And if I turn it up so far, what I can do is I can actually start rendering the entire scene. But anything in the background here won't be actually rendered. So it's extremely handy when you've got a load of assets over here, you've got a scene, and you don't actually want to render those parts. Okay, So the next thing we want to discuss is actually coming in and naming our cameras because if we have multiple cameras in a scene and we want to take different renders of them, let's say we're doing shots and we want one shot to be coming out of this corridor somewhere. We another shot going around the roof or something like that. It's important to know how to actually change the view to render these parts. So what I'm first of all going to do is I'm going to come to my camera, make sure it's selected. Go over to the right hand side where all my collections are. Press the little dot button, which is on your number pad, and that then will take me to my camera. Now let's add another camera after this, but the first thing I want to do is just rename this camera to Camera Long Shot. And then what we're going to do now is bring in another camera. So I'm going to press shift, bring in a camera. It's going to come over there and let's say I want the shot to be down here. So going down through this alleyway like so. I'm going to press control Alt and zero to bring my camera there. And then going to draw zoom in a little bit. Go to view, I'm going to camera to view. And then what I'm going to do is just set my camera up where I actually want it. Next of all I'm going to put it close up. So camera up shots like so. And now I'm going to turn this off. So now we have two cameras in the scene, one short range and one long range. And at the moment you can see the local camera over here, it's set. If I click on this two long range, the moment I click on this and press zero, you will see it takes me to my long range camera. Now if I click on it again and click to short range, it will take me to my short range camera or any other cameras, you can have as many cameras you want in the scene. Now, what about rendering? So if I set this to camera short range and I've got my camera here, the moment I go to render out image, you will see that it won't be rendering out the camera short range image. What it will be doing is rendering out the camera long range image. Why is that? That's because we also need to change the camera in the actual scene. So you can see here we have camera long range and if we click this, we also have camera short range. And now basically I can render out this actual short range like so. So they've come to render, render image, let it start up and there we go, now it starts rendering out this actual part of the scene. Now the thing is you've got to remember that when you've got loads of cameras in your scene, this part here controls the viewport. So where you're looking in the viewport, which camera actually looking through. And this part here controls the actual render, so just be sure to switch them over. And just be sure also to rename your cameras when you've got lots of cameras in your scene. Now finally, the next thing we want to discuss is how to actually make a quick turntable. And the reason we're doing that is because many, many times people want a turntable of where they're actually going to be going around the scene or their actual assets. The way we're going to do that is first of all, make sure your asset or your scene is in the center of the viewport so you can see where these crossing lines are. And then all you want to do is press shift S and you want to put cursor to world origin that. Then we'll set you cursor to the center. And what I'm going to do from there is I'm going to press shift and I'm going to bring in an actual curve, and the one I'm going to bring in is a circle. From there, then I'm going to press the S button and just pull the circle out to where I actually want it. And now what I want to do is I want to tie my camera to my actual circle. Because I'm going to use my circle to actually animate the camera. So the way I'm going to do that is I'm going to grab my camera, grab my circle press control. And then I'm going to go down to where it says follow path. And you will notice now you've got a little bit of a line where the actual camera is to the actual circle. Now it's important wherever you want your camera to start. So you can see at the moment this is on actual zero. So we want our camera probably to start somewhere around here. So the first thing I'm going to do. Is grab, adjust my circle and rotate it round, so sad. Rotate it around. And then my camera is going to start roughly over here. But what I need to do first of all is move the camera to this point here rather than it rotating away from the actual circle. So the way I'm going to do that is just press tab on my circle to go into edit mode. And then I'm going to grab this little point here, because this is where the camera is attached to, it will always be attached to a point on here. And then I'm going to press Shift S, and then cursors are selected. Next one I'm going to do is press Tab. And then I'm going to go to my camera, and what I'm going to do is press Shift S and Selection to cursor keypop. Set that then is going to put my camera there. Now you will see if I press the Space part now because it is following this path, my camera actually shoots around there like so, before it begins again at frame 200 or 800 or whatever you set it to. So let's now set this back at zero, and the camera should be exactly where to put it. And now what we need to do is if we press zero, you can see it's not actually looking at the building or anything like that. So the next thing we need to do is make sure this camera is looking at our actual scene. So the way we're going to do that is pressure shift day. And you're going to bring in an empty and plain axis. And at the moment you can see I've put this in the wrong place because it came where my cursor was. So what I want to do is delete that. And then what I want to do is press shift S and cursor to world origin shift, bring in an empty plane axis, like so. And the reason we're using a plane axis is because it won't be rendered out at all within the render, but it is something which our camera can actually follow. So now I've got my plane axis in there. I recommend that you pull it out. So keep pulling out so it's pretty big like so. And then what we're going to do is we're going to come to our camera. Come down to where it says constraints just above the camera image add constraint. And the one you want is track two. And then all you want to do is click this little pipette here. Click on your actual empty, and now you'll see that your camera is pointing at the actual empty. Now still, this isn't very good because we have a problem in the cameras looking completely in the wrong direction. But if you zoom out enough, what you can actually do is you can select your empty and you can pull it up like so. You can select your circle then. And you can also lift it up like so. So you can actually really start to mess around with this and get that perfect viewpoint, what you're looking for, something like this. And then all I'm going to do is I'm just going to press the S board to expand the circle. Pull it out, and now you'll see we've got the perfect place where we need it. Just need to pull it up a little bit more, maybe. Let's pull up the empty a little bit. There we go. Now if we press space bar, you can see that we've got a term table. One more thing before we actually finish this. We obviously need to control how fast, how fast the actual camera is going around the circle. All we need to do to do that is we will select our circle. So if I come out and select my circle, go over then to the right hand side where you've got your circle options. And then what you want to do is come down to where it says Path Animation. And then you can turn this down or up to whatever you like. So let's put this on 800, let's put the evaluation time on 800. And then if I go to my camera now press the zero, but press Space Bar. You can see now that we have a render which is going to last 0-800 frames. Or we can change this to 600, let's say 600, 600 like so. And there we go. Now it's gone to 600 frames. Then when it gets to 600 here, it'll just carry on over the 800 because we obviously have 800 frames here. So last of all, just change the amount of frames to match the amount of frames in your path animation. And what will happen is it will get to 600 and that then should restart the camera. So you can see there's no break in it. It just actually carries on in a circle or a turntable around your scene or asset. All right everyone. So I hope that's a lot of information for you. I hope it made sense, and I hope it gave you a good rundown of how cameras actually work. Thanks a lot. See on the next one. Cheers. 59. First Render and Compositor Setup for Enhanced Visuals: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left off. So the first thing I'm going to do is just set my camera up into a nice position. So I'm going to press the end button jaws to open up this panel over here. And then I'm going to go to view Camera to view. And I'm Js going to zoom it out now. Alton shift, middle mouse just to say op, a nice, really, really nice image for us. Once I've done that, I'm going to turn it off. Forget about my camera now. I don't need to worry about it. And then I'm just going to go over to the right hand side and just make sure that my samples are on something low. Now when I'm rendering out, I tend to do this, I'll put it on 200 just to get an idea of what everything looks like. Then I'll go to 500, then 1,000 and then something like four K if I want to really, really high resolution image. Now the other thing is we've also got a light source in here, so we need to actually probably think about coming in and just hiding that from the rendered view. So if I click on my light source and come over to the right hand side and I can hide it out in rendered view like so. Now I'm going to do it, I'm actually going to put it onto wire frame. It's important if you're ever rendering something, don't have it in the viewport where you've even got it on materials. Certainly don't have it when you've go on render. So let's not have it on, you know, rendered view. And then going to hit Render, that's probably going to crash your system. So best of all, put it on wireframe view and then going over save out your work before you do anything, just so nothing crashes. And then go to render and render image. And now let's see what we end up with now. At the moment you can see it's still saying 4,096 There's no roof on here, there's all of these problems in here. And that is why I actually do render out on 200 before doing anything else because you end up with a lot of issues like this. All right? But we can stop it at any time anyway. So what I can do is can come over, close that down, and stop it Now what I can do is I can come over now and set my samples. 2500 no, to 200, sorry. And then what I can do is now and come over to my gray box. The other thing is, before we actually do this as well, we're better off putting this into its own actual scene. So what I'm going to do is I'm just going to move my guy out of the way. I'm going to hide my son out of the way. I'm going to put it back on object mode just so I can see what I'm doing. And then what I'm going to do is I'm going to grab all of this box, grab it all. You're going to press M. And then what you're going to do is you're going to put it in its own collection. So we'll put it down as coffee shop. So now when I click okay, everything has been put in there. From there, then I can actually start closing these up. So collection is going to be my human. I've got my Boolean, I've got my gray box. I've got my coffee shop. We've closed that up. And now you can see everything is nice and neat. Now with the gray box, the only thing that we want on is the ground plane. So what I'm going to do is I'm going to grab this ground plane, turn it on, and then I'm going to grab my ground plane and put it in its own collection. M, put it in its own collection. And let's call it ground. So enter twice, and there we go. Now from here, what I can do is I can close up all of the gray box so I can come in, turn all of these on a minute and then close that up and then turn this off. And more importantly, make sure it's off when we come to render. Now what we'll do is we'll do a quick render again and see if we've only got a coffee shop and a bit of a ground plane. Now, before we do that with the ground plane, when we've not got anything on here, what I always recommend to do is come to your ground plane, come over to where it says gray box. And what you want to do is just change this material. So I'm going to minus this off like, so click new and I'll just call it ground ground plane. So then what I'm going to do is I'm going to set this a little dark, so turn up the metallic and then also turn down the roughness a little bit, so we end up with this effect. And it just makes everything look much, much nicer just when you render it out, because you have a real good idea then of how shadows are going to look. For instance, I can see now that my shadows for this render, they're not gonna look really great where it's like down here somewhere. So what I'm gonna do is I'm gonna come over to my world and I'm going to grab my sun rotation and just start rotating it around a little bit more like that. Makes it much more interesting or even the other way you can go. But I'm just going to rotate it around a little bit more like so. And now you can see that's much, much more interesting. Now again, we'll go to wire frame. We'll save out our work, so file and save, and then we're going to go to render and render image. There we go. We've still not got our roof on, so we need to check why that is. So let me just come back and I'll check where that is. So I'm going to close that down. The roof is there. It just means that it's not being for whatever reason rendered out. So let's press the little dot born. Let's see. It's because for some reason this is ticked off. So let's tick that on. And now that's fixed. Nothing too bad there. So that's good. And then what we'll do now is we'll go wireframe again. And then we'll go to render and render image. Hopefully, that roof is there. There we go, the roof is there now. Now all we need to do is wait now for it to get to 200. It's going to be a very fast render. But with this render, what we're going to do next is actually start going into our composite to get that all set up, ready to go for whenever you want to render things out as well. Obviously, we've got the rest of the course to do, but I generally do this around this stage just so then they have a really good idea of what everything's going to look like. So it's rendered out now as you can see. So all I can do now is close that down if you want to save our image, it's just here. I don't recommend you do it though, because it's going to look so much better once have showed you what we're going to be doing with it. So let's now close that down. And then what we're going to do now is we're going to go into our compositor. Now, I recommend when you first go into your compositor that you get everything set up. So in other words, the window set up first before you do anything now. And then we'll show you some other things. So let's come in. First of all, we can see the compositor. Let's just click Use Nodes, and now we have our actual rendered scene and an output. So we have basically the rendered layers and an output. What I want to first of all do though, is press, because I don't want this panel over here, I don't need it. And then what I want to do is come down and drop this down into here like so. And then from there what I want to do is I want to move this over as well. So I'm going to come up where my little arrow is over here, pull it over like so. And then come to the little down arrow down here. And pull it down like so. And then what I'm going to do is now I'm going to move this over. So I'm going to move this over like so. And we should end up with something like this. Tons and tons of room. Now, what about this side? On this side, what I want to do is I want to come in to where it says Image Editor. And the one that I want is the rendered view. So let's click the little down arrow, R E Render Result. And there we go. Now this is sell perfectly for what you want to do. It's got rid of all the floor for all the bump that you don't really need and it's sell perfectly. The one problem we have is we can't really do anything from this. We can only alter the image. And the reason is if we go back over to modeling and we come over to this button here, you will see this is the view layers. And it's also the rendered layers. We need a little bit more things. So what we want to put this on is we definitely going to want to come down and we're going to want to add a gloss. So I'm going to come down and you will see that we've got glossy here. Let's add a gloss. So this is basically how glossy the metal is. We want to control how that looks like. We want to also control the transmission, not the transmission, sorry. We want to also control the emission because we're going to have lights in the scene and we've got some lights in the background here behind the glass. We also want to control the environment. And finally, the main important one we want to control is the ambient occlusion. So let's also tick that on. Now what we're going to do is we're going to go over back to render and render the image. And now you'll see once this renders out at 200, then we can actually go into the compositor and start working there. Because we're going to have all of these options available for us now. We'll wait for it to finish. And there we go. It's finished now. Let's close that down. Come to our compositing, and here we are. Here we've got all of these options now that we can actually work with, like I said. All right, so now let's first of all think about our AO. So this is the first one that I always work on, the AO. Now when you plug the AO, which is ambient occlusion, it just means all the shadows, all the contact shadows and things like that. When I first plug this in, you will notice something in that, it's really, really pretty grainy and we don't really want that actually. This doesn't look that bad, but you can see some grain round here. The first thing you want to do is put in a D noise. So search noise, so shift noise, drop that in, let it load up, and then you'll see all of these disappears and just how much cleaner it is. Now the thing is, with the noise, it does have a cost and it will take a long time to actually work out what it's doing. Generally what I'll do is I'll put my noise down here and then what I'll do is I'll bring in a color ramp shift day. Let's bring in a color color ramp, drop that in now. From here I'll just drop my noise into my color ramp. What this enables us to do now is have a lot of control over how it's going to look in real time. For instance, if I come in and I put my black. If I move my black up to maybe something just below here, you can see the change that's actually happening within the scene. Now if I come to my gray and bring this down on my white, I can bring my white down here. I can also bring in another one by hitting control, pressing control, the left clicking on the bar. And then you'll have the ability to bring in another one. Which then we can also refine this a little bit. As you can see, I'm going to bring it up to roundabout here now you can see we've got a lot more darkness on our green. We've got some really, really nice shadows in there. And now if we plug in this noise, you'll see it also gets all cleaned up. Now that is the first one we need to do. A little bit more than that, but we're going to focus on that on the next lesson. But you can see already just how much nicer this actually looks. And when we start plugging our actual imaging and you start seeing the difference in the shadows and things, it's going to blow your mind really, because it's taking it to such a much more professional level than even what you actually created. Alright everyone, so I'll see on the next one. Thanks a lot. Bye bye. 60. Integrating AO, Glare, and Gloss in Renders: Welcome. Con to blend the fold the environment artists guide, and this is where we left the art. Now what I want to do is I want to basically plug in my image, so my main image to my actual my ambient occlusion. So let's just move this over here. And the way we're going to do that is we're going to go for a color. So I think it's called mixed color. Mixed color, there we go, This one here. And then what I'm going to do is I'm going to come down and put this onto multiply. So put that on multiply. And then what we can do is we can plug in our ambient occlusion down at the bottom, and then we can plug in our image at the top, like so. Finally then what we can do is we can plug all of these in, wait and see the magic, and there we go. Now, not too great right now, but that's because we need to bring down this. The further we bring down this, the more or less ambient occlusion it's going to be adding in, wait for it to load up, and now you can see it's starting to look really, really nice. And it's really brought out that realism, let's put this on something like no 0.55 and you'll see then it looks pretty nice. Now again, from here as well, if you unplug your noise, unplug your noise, you're now able to work more or less, as you can see in real time with these things. I'm not going to really mess around with this much because I'm pretty happy with how this looks. Plus remember, we've got a whole seam to build out here, so we go in and mess with these right at the end. But we do want a nice image to take home with, you know, part way through the course to keep us engaged, to keep us focused on making more of these buildings. Alright, so what I want to do now is we're going to discuss the actual emission. So let's do the emission first. So for the emission, what I'm going to do is, again, I tend to bring things over here. I tend to plug them back in. So I'm going to plug this back in. And then what I'm going to do is I'm going to leave myself some room so the emission is this one here. And what I'm going to do first of all is bring in a glare. Bring in a glare like so drop it there and then the emission is going to go in here. And then we're just going to plug in the glare to our image on compositing and you'll see that is what happens. And that's what we expect to happen because basically it's just took everything in the image that has emission and that's the only thing you're going to be working on now, which makes it really, really handy to use. Now from here then instead of streaks, let's put this on fog glow. And let's also then come in and turn up the mix to one like so. And let's turn down the threshold to zero like so. And let's also put the size of the up to nine. Now you can see already now we've got a lot more glow there going off. And that's exactly what we're looking for. Now bear in mind the emission coming out of these things isn't going to be that high. It's more to do with the street lamps and things like that and it's more to just show you what you can actually do. We don't want it to be that high. Now, the other thing is we could plug in, sorry, five press shift day, bring in a RGB curves. So RGB curves, drop that in there. And then what I can do now is have a lot more control over how this looks. As you can see. Now, we don't really want to make this really bright, so I'm just going to set this down here for now because I really don't want to mess around with this too much while I've really not got any light in there. We just want it set up ready. Let's move this across over here. And what I want to do now is bring in a U and saturation. So over press shift, hey, search, I'm going to bring in a U saturation like so. And what this can do is this can change the color. So if I come back and I just put this on really bright like. So I can also change the hue, let it load up like so not that I want to change the hue, I don't want to do that. But what I do want to do is desaturate a little bit. So I can actually turn this right down to like a gray white color. I do want to desaturate that yellow a little bit, so I'm going to put it on not 0.8 like so. And that then is going to be about right now. Of course we can't, there's no point in doing all of this if we can't join everything together. So we really, we want to join our image and our ambient occlusion up with our actual glare. With the glare, because we can't have an image like this, it doesn't look very good at all. So what we're going to do is we're going to bring in another mixed color. So I'm going to copy this one shift, and then we're going to drop this in here. Now, my glare needs to go in the bottom one, so we need to go in the bottom one. So grab it, drop it in the bottom one. And then from there then what we want to do is we want to put this not a multiply but on Ad. So let's come down, put it on Ad, because when you're doing glare, you want to add it to the image. You're not trying to multiply something. Let's put this then on. Not 0.6 like so. And then finally what we'll do is we'll plug in our image or ambient occlusion and let's get it more plugged in, let it load up. There's a lot more going off now, so it's going to take a bit longer. And now you can see exactly how that started to pop out, all of that, you know. That glow from the windows and we can turn it up or down. Just remember, because we've got denoising, it's actually going to make a little bit difference on there. So I'm going to set this to 0.6 and leave it like that. All right, so finally then to set up, well we've got our gloss and we've got our environment. I think we'll do our gloss first so that is N of the metal and things like that on the scene. So let's actually do that first. Let's bring our gloss and if we plug in our gloss, you'll see this is what the actual gloss looks like. So you can see really, really high gloss around these metal parts and a little bit of bouncing light from the other parts. But you can see where the gloss really is, it's always on the metal. And what I want to do now, because I plugged that in, I'm just going to bring in, first of all the noise. So I'll bring in a D Noise just to plug it into something. So. Noise And I'll drop that in there, then I'll drop my gloss in where it says Image. Plug it into here. And now it should be really, really nice and smooth. Let's move that down there a little bit. Now you can see it's looking pretty nice already from here. Then what I want to do is I want to bring in a RGB curve. Let's bring in RGB curve. So search RGB curves, This one here, drop that in with a gloss. Now what we'll have is a lot of control. Now if I just take this out of the noise, drop it into my gloss, and now we can see if I bring this up, how much control I've got over that gloss now, making that Mel really, really shiny if I need it. Now what I'm going to do with my glosses, I'm just going to bring it down, something like that. And finally then I'm just going to replug this noise in now, so the noise back into rage, let it load up, and there we go. Now you can see these little shiny points on all of these. Now this is what we're actually looking for to control. All right, so now what we want to do is we want to plug that in. I'm just thinking though, before we plug that into something, we just want to fix the environment as well. So I'm going to pull this over here, so I'm going to pull this one over here like so. And then what I'm going to do is I'm going to grab shift select and just drop these all down here. And then from there then I want my environment. So with my environment, I'm thinking, let's bring in a RGB curves first. So what we'll do is shift a search, RGB, bring in a curves. And then what I'm going to do in my environment, I'm going to plug that in where it says image. And then from there I'm going to plug it straight in two here, over here. And now you'll see here's the environment. We have some control over that. Now if I come in and bring this down, you can see what we can do with that. So we can make it darker, we can make it lighter. We can even change the color if we actually want to. I'm just going to put it round about here, something like that. And I think that's going to look absolutely fine. Now from here then, we want to come in and go to where the ad is. We've got our multiply, we've got our ad over here. So here's our ad. Then what I want to do is I want to add in another ad. So I'm going to press Shift D, Bring D over there. And this one I'm going to also keep on, not 0.6 Now I'm going to grab my environment. We've got Gloss and we've got our environment. This one here, basically environment at the moment is going all the way over to this. We don't want that. I'm going to plug it and drop it into the bottom of here. And then finally, I should be able to now drop this into the top of there. And then I should be able to drop these into here like so. And hopefully, if everything goes right, everything should work. And now we should have a bit of gloss on there as well. Like we can see a bit of gloss on here really nice. Finally, then, we just need to plug in the environment. And the way we're going to plug in the environment is going to be with a multiply. So again, I'm just going to grab this one shift D, I'm going to drop this here. And then what I'm going to do is I need the ad coming from here, because it's in front of the environment. So I'm going to put it in front, I'm going to put this very, very low down. Then not point naught, 0.042 like so. And finally then I'm going to plug in my environment, which is this one here. Now when we finish this, we are going to frame everything so you can see everything. Make it all nice and neat, so let's drop that in there. And then finally, let's plug everything in, so let it all load up. And there we go. Now let's see if we turn this up, and there we go. We can change our environment from behind. And that's exactly what we want. Let's press control zed, put it back where it is now. A few other things we won't be doing that though on this lesson. We'll leave it till the next lesson. We've got things like sharpen, we've got things like, you know, in saturation and brightness, all of that good stuff, which we also need to add in before we do anything else. But what we're going to do on the next lesson is first of all, we're going to start framing all this at the moment. It's, it's not framed. We don't really know what anything is. We can't really see from this distance what anything is. So it's a good idea to frame all of this stuff and then you can work from there. All right everyone. So I'm going to save out my work now. Save it out, and I'll see you on the next one. Thanks a lot. Bye bye. 61. Enhancing Renders with Compositor for Antialiasing and Contrast: We welcome back. Everyone's blender for the environment, artists kind, and this is where we left it off. All right, so let's come to our first one. We're going to grab select, left select. And then we're going to press to open up that panel again. And we've got something called Node Wrangler here. Now if you don't have Node Wrangler on, it is in built blender, Add on. It's one of the best in blender. Actually, I don't know why they don't have it. So it's just on automatically, but it isn't. So let's come over to Edit Preferences. Let's go over to Add Ons, and we're going to put in Node. And here it is, the Node Wrangler. So make sure that it's turned on before you do anything and then we can close that down from there. Then what you can do is you can come over to the Node Wrangler and you can see now you've got loads and loads of things that you can select, the one we're looking for, frame selected. And now we can come over to our node, and then you can see it's got a frame and we're going to call this gloss. It will give it the name. And what we can also do is we can open up the properties, make it a little bit bigger so we can see what we're doing. And also change the color of it gloss. Let's keep it on white because that to me is what gloss is. Now the next one we're going to do is image. So I'm just going to grab this one. I'm going to hit the Node Wrangler and I'm going to then come to frame selected. And then what I'm going to do is no call it image, let's make it a little bit bigger as well. And what I'm also going to do then, I want this to be the main one. So what I'm going to do is put this on a color and we'll put it on a red. All right, so now we've got over here, this is the environment. So let's put that on green. That's kind of makes sense to me. Node Wrangler frame selected. Let's come on node, and we'll put this on environment. An environment, so let's make it a different color, so we'll have it a green. Let's also then make the environment a little bit bigger like so. And now let's come over to our next one which is going to be, this is the emission. So I'm going to grab all these three frame selected node emission. And emission to me will always be yellow. So let's put it on yellow, so let's also make that bit bigger. So then finally this one here, which is our ambient occlusion. So I'm going to bring this down to here. I'm also going to move all of these down here. You can actually grab the frame and you can move more with the frame which makes it really handy. Let's grab all of these. Node Wrangler Frame selected. Let's call this, this is going to be a Ambient or AO. We'll just call it AO for now. And what I'll do is I'll put a color, not sure, it should be black, really? I don't think it's a good idea to print it on black. Actually, Yeah, let's put it on black. And then what we'll do is we'll just bring out the size Al. Right, there we go. So that is all of those. Now let's just put this down here. Now let's carry on. We can do even more with this and then every time we render it, we're going to have these render results. So first of all, let's put in a, let's find a way to sharpen the image up a little. So filter, let's drop a filter in there. And the one we want is going to be box sharpen. So now we can see once it actually starts activating, once it goes up to here, you'll see exactly what it does. There we go. It's sharpen up the image way, way too much, of course. So we need to pull that down. I tend to just put it on something very low, so not a 0.1 depending on how high the render samples are. This will change how the scene is going to look. You can see if you go too far, you end up with a lot of sharp points and things like that on there. We don't really want that. Next of all, we want the overall color of the image. How bright is the overall image between the dark spots and the light spots? For that, we're going to use an RGB curve. So RGB curve, drop that in, and then all I'm going to do is very, very slightly move this because it will have a big impact on the actual scene. Now the other thing is it's really hard to actually see what we're doing at this stage in real time. So what you might want to do is just think about wear your images, just plug your image into here. And then what will happen is it'll just take away everything. And now when I come to change this, for instance, so if it come to change this, it's going to be a lot more in real time. Now we have got a box sharpen, which means it's going to actually take a little bit of time to put that on what I tend to do. Instead of that, I'll leave my box shopping there and just plug it straight into RGB. And now I should be able to change this much, much quicker. Well, I change this much quicker. Yeah. It's still going through all of this, so I've just plugged it. I need to go basically from my image. So Yeah, we'll do that. We'll go from image to box sharpen to. Image down here. All right, there we go. Now we can see it's quicker. Don't worry. Once we've done this, we'll plug everything back in and I'll show you how to plug them in. All I've done now is just gone straight from my image on my Rendolair. So you can see image here straight plugged in to my box sharpen box sharpen Goes into the RGB curves, we make this then a little bit lighter or a little bit darker like so. And there we go. All right, from there, then we need an anti helicine. So shift a anti helicine, this one here. And the reason we're using this is we don't really like all of these kind of blocky bits going around the edges and things. So what we're going to do is we're going to put this on No, 0.24 0.653 and let's put this on one. And there you go. You can see now it's smoothed off those parts a little bit. All right? If you want to change that and mess around with that as well, do that to your arts content. It's actually quite hard to get that exactly where you want it. So now let's think about our U and saturation. So what we're going to do is we're going to press Shift a search hue and saturation. And this then will enable us to actually control the colors within the scene. So for instance, if we bring up this saturation pretty high, you will see that all of the colors either get washed out or become really bright. Anything that we do past this point, so past this point here where the box sharpens, the very minor changes. Very minor changes. You don't want to go completely overboard with it. So what I'm going to do is I'm going to put this on, sorry, 1.05 and just bring out the colors, just that, a little bit more. From there, I'm going to turn the value up to 1.2 and then you'll see like it brings it out, makes everything a little bit brighter. All right, now we want brightness and contrast. So let's move this over, shift A, brightness and contrast. Let's drop that in. And from there then we'll just turn this up very slightly, so the brightness up not 0.1 very slightly. And the contrast, we're going to turn that down minus not 0.1 hit the er, burn, and there we go now, barely, barely visible that we're doing things here. As I said, if you turn this way up, you can see it makes a huge difference. If you turn this way down again, you can see it makes tiny, tiny bit of difference. It's also adding a little bit of fog. Tiny, tiny bit, making it a little bit hazy as well as to see which I actually like. All right, so now we're going to go over to color bars. My favorite node, what you can do with this node is absolutely amazing. So search color and then we're going to go to color balance. I like this node because we can really set the tone for the actual image. In other words, if I want this to be really blue, you can see we can go really crazy. Really warm things that are really set that image. Now the important thing with this is we don't go too far with it. So what I'm going to do is just set this first one just a little bit over there. And then the second one, I'm going to make a little bit of warm so I'm adding a little bit of warmth to the scene. And finally, the third one, I'm also going to add a little bit more warmth to the scene. Now you can see if I just plug this directly into here, now you will be able to see the color difference. It's very slight, so press control Z, very much, a little bit warmer. Control, shift ad cooler, warmer. And the idea is to make people feel warm, especially in a scene like this towards it. If you're doing a scene, this is like a stylized scene, so you want people to be warm more or less if you're doing something like if you ever played World of Warcraft and you know the Lich King is in a very cold place called Ice Crown. And you really want to then make it really, really cold. So depending on what you're doing, let's say you're doing the blacksmiths for instance. You might want a bit of cold and a bit of warmth in there as well. Just depending on what you're doing. Basically, the more evil the place is, the more cold it's going to be. And the more warm and happy like, you know, the shyer, our Lord of the Rings, the more warmth you're just gonna want to need it. And they do do that, by the way. So, color grading, you know, within the moving industry especially, is used all of the time. So, you know, in the Shire things weren't as green as what they appeared, it's because of a color grade going on top of a bit, and then obviously it was made warmer as well on top of that. So that's what we're trying to do here. Now what we're going to do is we've got this one here, so we've got our image here that we need to plug back in. We're going to plug in our image back into here. If I come in and unplug this, I'm just going to then plug it back into my image like so. And then my image is all going to be plugged in. Everything's plugged in down here as you can see. And finally then we're just going to plug this back into the box Sharping, Hopefully, hey, presto, it should come up and there is our final image and what a difference it makes. I will now show you how we can, let's say plug this in. This is my original image. Let's plug this in and I'll show you the difference. There is the first render, if I press control and Z, let it load up and you'll see the second render more or less night and day. There's the difference in the image. All right. So really, really nice. The one thing I'm a little worried about is these windows here, there might be a little bit too close to the wall. I think they are going into the wall and each gone. Pull them out a little bit. We'll do that on the next lesson. We'll pull them out, make sure the render is okay from there, and then we'll move on to the next part. All right everyone. Let's save that our work before we do anything so we don't lose that. And I'll see you on the next one. And I hope you're really enjoyed it so far. Please bear with the course, carry on creating your own models because you're going to learn a ton more yet in how we create different things. And I'll see you on the next one. Thanks a lot. Bye bye. 62. Beginning Bookstore Building Modeling: Welcome microphone to Blender for the Environment Artists Guide. And this is where we left it off. Now the thing is, I just want to say is that after we've done the composition, which we've just done, it's really, really all about the modeling now that's all it's really about. Modeling as much as we can, getting as much as that in there and rendering out now is all basically set up. It's just moving the camera around basically. So pretty much everything now is from modeling. You're going to learn so much in this next part. And let's go over to our modeling now. And well, first of all I want to do is just make sure these windows, so if I press Tab, let's come to this window. I just want to make sure they're not too close to that wall. So what I'm going to do is I'm just gonna grab all four of them. I'm going to pull them out a little bit like so. And what I'm going to do is just hit that render born once more. So put it on wire frame. Let's go to render, surrender it out. I just want to see if those windows are going to look any better now. I don't want them looking white like they did behind there because that tells me then I might need to go in and actually change, you know, the windows to make them a little bit more blue. Because at the moment they are a little bit white. So let it finish up, and there we go. That is the image, and they still look a little bit white. Which tells me in the future I'm just going to have to come in and make those actual windows a little bit more blue so, but we'll do that as we work through the actual course. All right, let's close that down. And what we'll do now is we'll come to our shader, and this is what we've got. Now let's come in and just put our gray box on. I think the one we probably want to do next is I'm thinking that we could either start work on something a little bit different, like the bookshop over here. It's very, very different to, you know, creating this. Or we could start work on something completely new. I think what we're going to do is we'll start work on the bookshop, and then from there we can work on this Subway or something like that, something vastly different. All right, so what we'll do is, first of all, we'll come in. We've got our Brock Gray box at the moment. Where is it? Coffee shop. We've still got that on there. Is the coffee shop on there? Let me just have a look. Yeah, there's nothing in there now as you can see. So that's good. So what we want to do is we want to come down. We want to close our ground plane, close our subway, close our butcher's shop, close our perfume shop, and then we just left with this. Now I also think it would be a good idea at this point to coffee shop as well and just kind of work from this. All right, so that's everything. Close everything up. I always find it needed to work with. And let's make a start on our bookstore Now, the one thing I did forget to bring in is my human. So where is my human? Let's put him on. Where has he gone? There he is. He's over here. Let's bring him into place. Now the thing with the books story is we do want to step up. So we want to actually have a step up and then going into an actual door. So I'll think something like two steps will be absolutely fine, so maybe something like that. So what I'll do is first of all is work out where my steps are going to be. So let's press shift S Cs to Selected. And then what we'll do is we'll make the actual steps. So I'm going to press shift A, bring in a cube. Let's bring it down like so. And let's put it round about where it's going to go. So something like this. And then let's make it a little bit wider. So S and X make it a little bit wider like so. And then what I did want to do is I want to put it down to the floor. So I'm going to put it down to the floor. And I've seen where he's going to be. So what I'm going to do then is come in and bring it up a little bit like so, to where his legs are. And then finally I want to split this in half. So control left click, right click. And now let's pull this out. I'm not too concerned if these are the same length of the moment. All I'm going to do is put that into place like so. And from there what I want to do is, and the reason I've done that is because this is actually going to be in slightly inside here because we're going to have a little bit of a walkway where people can walk in. Which means there's probably probably needs to be a little bit wider than where it is at the moment. Let's make it a little bit wider because actually there's going to be a few things on the side. And then what we can start doing now is getting the post in, get the other post in, and just start building out this part from there. Then we can start building it round like here, and then putting in the bay window over here. All right, so now let's bring in our first post then. So what I'm going to do is I'm going to press shift A, bring in a cube. Let's bring in the cube and put it over here. Now this actual building is a little bit more ornate, I would say, than the last one. Let's press, It's a little bit more finicky, I would say it suits a books place a lot more. Let's come in, grab the top of this, let's pull it down just to get something in there, I guess. And then what we'll do is we'll pull it up a little bit like that. I think that'll make a good start. And then once we've done this, we'll see if we need to make it a little bit bigger or smaller, because at the moment this is about the right size, I think. Let's press I, then bring it in a little bit, then what we'll do is we'll press E. Like so. And then we're going to press like so. And finally then let's press and bring it up just about here, right? Let's bring this in first. So what I'm going to do, I want to bend this in, and I want to bend it in a really nice way. So what I'm going to do is press control. Bring in three edge loops. So left click, right click, grab this middle edge loop. Put proportion editing on. And the one we want I think is going to be root. Let's just try root. I'm going to bring it in. And you can see now that's the one I'm looking for. If you bring it in slightly, you see now we've got a really, really nice slope on there that's looking really cool. Now what we're going to do is come back to the top, then press bring it up. And then from there I'm going to grab all of this Alt shift and click and then enter alternates, but I want to turn off proportion editing first, so alterns and now I can bring it out like so make sure offset even is on And there we go. That looks a good first step to our actual bookshop. Now from there what I'll do is I'll grab this and I'm going to pull it all the way up. So I'm going to press, pull it up to where I want it, which will be somewhere like here. And remember that this also needs a top on it. So I'll need to pull it down a little bit, because my top really wants to come around here. So what I'm going to do then is press enter, pull it out, and then and pull it up into where I need it. So something like that I think is going to look good. And now all I'm going to do, I need to work out like where is my door going to go and where is this part? So I can see my roof here, but I can obviously change my roof and where is it going to end? So if I bring this post, now if I press old, it means that when I come in and change the post if I need to, then I also am going to change this post here as well. All right, from there then, what I want to do now is set out where my door is going to be. So I can see straightway. Probably this step needs moving a little bit more this way. I'm going to move my guy a little bit more this way. And let's start first of all with, with this main bit that's going to go up here. So the top part of it, it's going to be a little bit more complex as the said than the other bit that we've just created. What I'm going to do is now I'm going to grab both of these. Press shift cursor selected press shift a mesh cube. Bring it in. And then what I'm going to do is put this into place where I want it, so I'm going to make it a little bit smaller. And then what I'm going to do is pull it out and x pull it out. And then what I want to do is just fit it. Just fit it just above there like so. Now from there then what I want to do is I want to give this an insert. So I'm going to press tab control left click, right click. And then control B and pull that out, scrolling the mouse wheel back like so. And then from there then I want to pull it inside, so I'm going to press E once I've grabbed this one. So pull it back a little bit like so. All right, now let's work on the actual top bit of this. So I'm thinking the easiest way to do this is to come to the top here, let's pull it back a little bit. What we'll do is we'll lead in another edge loop. So control left click, Bring it out to around there. And then what we'll do is we'll pull it up. Now if we come to this one dose, this top bit here, I'm going to press and pull it up. So in fact, we'll pull it up a little, tiny bit. Now, the other thing is, at the moment, this is not pulled out far enough. So we're going to pull it out a little bit further. And then what I'm going to do now is I'm going to pull it up again. So pull it up again. And we can see we're running out a little bit of space here. That's fine. Don't worry about that. Let's come in now with edge select, grab this edge and we're just going to pull it back like so. And then finally we'll give a top on it. So let's come in, grab the top, press E, and put a top on it like so. And you can see much more ornate than the other one was the other building, so let's put it onto object mode. You can really see what I've actually done there. Now we need to make sure that these parts here are large enough to accommodate this. You can see at the moment they' re not. So all I'm going to do is come into this one and I'm going to pull up the top. And of course, when I pull up this top, the other top will also pull up because we've pressed old D to actually duplicate it. All right, They're basically linked like we know. All right, from there I'm not going to add in, I'm going to write click and shade auto, smooth. But I'm not going to add in any bevels or anything like that yet. What I first of all want to do before doing any of that is just get this door in place. Once I've got that door in place, you can kind of work from off of that. I know it seems such a small part to work from, but honestly, once you get something kind of in place, I find I can work from that and basically lay out the rest of the building. If I haven't got that in place, I find it really, really hard to work on something now before we end. The reason as well why I actually kept this, so why I pressed old is because I can see that this is probably probably going to need to come out a little bit more. So what I'm going to do is I'm gonna come in Alt shift click, Alt shift click. And then I'm going to press alternates and just bring them out a little bit more like so. And now I can see they're a little bit thicker and I think they look much, much better. All right everyone. So let's save out our work. So let's save, and I'll see on the next one. Thanks a lot. Bye bye. 63. Decorative Pillar Techniques for Victorian Entrances: Welcome back and on to Blender for the Environment Artists Guide, and this is where we left off. All right, I think what we should do now is we should start bringing in this part here to get this part in, and then we can actually realize how far this is going to come out and where it's going to come to. So I think we'll do that first. So what I'll do is I will, first of all, I want a bigger version of this post. I'm thinking it needs to be a little bit wider than the one that we've got at the moment. So what I'll do is I'll create another one of these. I'm just wondering if I can use this to actually create the outside post, so I think I can. So what I'll do is I'll press shift and what I'll do is I'll bring this out. So what I can do is I can grab the top and the bottom, So if I come underneath, I can't actually see underneath yet. And I don't really want to Yeah, I can I can hide my floor. So let's just hide my floor. Let's come in and we'll grab the top. So this one and the bottom delete faces. And then I can press A. And what I can do now is press Test. And it should pull it out like so, making it a little bit bigger, like so. And I'm just wondering if that's how I actually envisioned it. No, it's not. It's not how we envisioned it at all. So what I'll do is I think, you know what, Let's just start this one again. So all we'll do is we'll come in with this one. So shift, click, shift D, bring it over. So let's press P, then selection, And then we'll split it off. Control l transforms right click, set origin to geometry. Okay, now we can start with this. Now let's make this a little bit bigger to start with. S will make it a little bit bigger. And then what we'll do is we'll bring it in again. So it'll make it very similar to this, albeit a little bit different. So I'll shift click and let's press because then we'll make it a little bit easier. Because what we can do now is we can just press the button to bring it in. So let's press and then I like so. And then, and we've also got on our bevel as well, which is making it a little bit easier for us. Let's bring it up to there. Let's then press Enter, Bring it out. And then what we can do is we can press and bring it up. And then finally I, and then bring it up as a pole. So if I press now, I can bring it up to where we actually need it, which is going to be round about the same as here. So do want to keep kind of the same height as this one here. So all I'm going to do is press serve three on the number pad. And then I can bring it up to, you can see it's level with this roughly enter, bring it out and finally bring it up like, so jaws to the top of there, so it kind of matches there. And I think that's looking pretty good. And now we'll make it a little bit, or on this part, just looking here, is this thick enough? This part I think it is. I think it's going to be better straight as well. I think that looks actually better than what I had it before. And now I'll do is I'll press control left click. And we'll add that there like so face slick. Then grab this face, press the eye button and then all I'm going to do is press and pull it out like so. Okay. Happy with that. Now let's make the underside of here. What I'll do is I'll first of all press shift S curse to select just so I grab that there. Shift. Then let's bring in a cube. Let's pull the cube up, let's make it a little bit smaller, this cube. So it just goes back into there. And finally then I'm just going to bring my cube forward so it sits in here, just under past here, jawed in there. And then what I'm going to do is come to face, select this bottom face. And then what I'm going to do is I'm going to pull it up like so roundabout to there. Then press E, just to extrude it down. And then what I'm going to do is I'm going to press E again. Then let's have a look how far that's going to go down. Somewhere down to probably around there. And then what I'm going to do is just pull that back a little bit. I'm just wondering if, yeah, let's try pulling that back. There we go. That's exactly what I'm looking for. Now what I want to do is I want to come grab the bottom of here, pull it out like so. And finally then we're going to level this off. If I press tab control all transforms and then come back into it, control B, and then increase them a few. I've got it on here six, but I want to put it onto super lips. That is what I'm looking for. Something like that. You can see it's looking really, really, or neat and really nice. Right click, shade, auto, smooth, and there we go. All right, so last of all, I'm wondering whether I need to have this a little bit thicker. I'm happy with that. You know what, I think I'm going to keep that as it is. I think I'm going to be happy with that. Now, let's think about this part in here. First of all, I'm going to come in bringing a plane. Bringing a plane. Let's spin the plane round so Y 90. Let's press three on the number pad. And what we'll do is we'll get this then in place. I'm going to sit it round about there. I'm going to make it a little bit bigger. So bring it out just so it's. I'm thinking just above these bottom ones here. Something like that. I think is going to be a nice panel. And then what I can do now is again, control all transforms and then come in and I'll grab the face of it, press the eye button, bring it in. So now let's split all these off. So I'll grab this one and this one, press Y to split them off. This one and this one press to split them off. And then I'll grab them all. And what I'm going to do is pull them out. So I'm going to press to pull them out to there. And then finally this fit will make my panel. I'll grab this phase, press the eye button press, and then again and finally, just make sure you're on a medium point. And now you can press the S and bring it in like so. And that's looking pretty nice. Now, is that panel a little bit too far? I actually think on these, it's going to look absolutely fine now to actually bring this all together, then let's bring in another cube. So I'm going to bring in a cube, I'm going to pull it to where I actually want it. And we want it come in round about there, the top of it. So the bottom needs to come up. So if I press three, we can see the bottom is going to come up just into the floor round about there. And now we just need to kind of fit it all together, which is the most fiddly bit. So if I press L, let's pull it out on and y into place wherever it's going to go. Now we can see that it's good where this is. So this part here, if I pull it back, you can see now this part's good. But we need to pull it down now and just have it going up to there. So I'm going to pull it down into place. So it's going to go into there. And then what I'm going to do is bring in an edge loop, I think. So I'll press control. I have it going this way. And then I'm going to bring it out to where I need it, which will be there. And now finally I can press and pull this bit up into place like so. And I think I've got that bit into place now What I'll do is I'll bevel it off as well, so I'll grab this hedge, press control B, pull them all the way back. So we've just got, you know, one kind of bevel there like so. And then from there then what we can do is we can pull this up again and we can make it pretty ornate, which is what we're actually going for if I press like so. And then pull it up, and then finally I can pull this bit out. So if I press now and pull it out a little bit, and there we go, that's looking pretty nice and it's all fitting really nicely together. Now let's think about this top bit as well. So what I tend to do is, first of all, I'll make sure that all of these, so control select them all, are going all the way back to something like that. Just so we're not using as much UV space. We can delete the backs as well if you want to. And then what I'm going to do now is grab it all. So L shift D, Let's bring it up onto the top of here. Now, of course, I don't want to use this the same as this one. I don't want to do that. What I want to do is just make a top for them. So what I'm going to do is just grab this top and I'm going to press selection. And then I can come to this one and you can see that it's still joined with this one. So all I'm going to do is L delete vertices. Now I can come to this top bomb and then what I can do is I can grab it, press the borne, and I can pull it down to whereabouts I want it to go. So something like that is where I want it to go. We obviously just need to make it a little bit more ornate now. So what I'm going to do to do that is I'll press control and have it going this way. Pull it up like so. And then what I'll do now is I will bring in another edge loop. Actually control left click maybe to there and then come in, grab this face. I'm going to press pull it back like so. And then what I'll do is I'll just be level off this one here. So control B, bevel it off and there we go, that's looking nice as well. So you can see by building this way, we're starting to, you know, really, really build it up. You can also see that because I've already done this now, I've already got this one that can come here and I've got these that can go around this side as well, so really, really easy to start building it up. I've also now got an area that I can actually work with, which is going to be here, which I can use as my actual wall here. So what I'm going to do before finishing shift desks, selected shift, let's bring in a plane. And then R, Y 90, bring it up. And then all I'm going to do with this plane is put it in place. So I'm going to press the S button, put it into place like so and then and's Ed and pull it up, make sure that it's in place. And make sure that you're happy with how far back it goes. Double tap the and let's finally save out our work. So now we can see this is how far this needs to come out. So we'll bring that out on the next lesson to where it needs to be. Now bear in mind that this is going to have a balcony. So there's going to be a balcony in here as well. Because on this building we're actually ramping up the complexity of it. And we're actually making it more intricate. The other building, the coffee shop, was basically stick windows on the side. This one, we want to ramp up that difficulty. And we're going to keep ramping it up until we get to the perfume shop. Which is going to be really, really difficult because as you've seen, it's got a round bit on it as well, which makes it just that, a little bit harder. All right then. So on the next lesson we'll get these parts in, We'll get this part in, and then we'll work on this door here because we've nearly got everything there that we need to use for that. Al right everyone, so I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 64. Framework Modeling for Structural Integrity: Welcome back everyone to Blend for the Environment Artists Guide. And this is where we left off. All right, now let's work on this bit first before we actually do anything else. So I'm just going to use just a single post now to do that. I'll just come in and start with this because it is in the right place anyway. So all I'm going to do is just press Shift Enter Selection, and just split that off away from it. So now I should be able to grab, if I can't grab it, just add the post and then you should be able to grab it. Control transforms, and now I should be able to come in and bring this up. So first of all though, let's shrink it down. Let's press tab then. And in fact, no, we won't. We'll press Tab first. We'll extrude it out to where we want it, so maybe something like that. Now you can see this is going to be way, way too thick at the moment, and hence why I want to press Alt H and bring back everything including my floor. And now I can come into my post. And then again, Alt shift click, going all the way around. And then press AlternS and bring it in to where I want it. So something much, much thinner like this. Let's then bring it up to where it wants to come up. So I'm thinking somewhere it needs to come up to something just around here, like so. And then what I'll do is I'll press controller left click and bring up another one. And then from there what we'll do is we'll press Lt Shift and click. And then we'll press Enter and then AlternS and bring it out like so. And we'll also make sure that offset even is on. And there we go. That's looking pretty nice. And now finally we'll have a couple of like these things on here. So what I'll do is I'll press control R two, left click, right click, control B, level them out, and then Enter, and then alternates and bring those out not as wide as those. So something like that I think will look perfect. All right, that's that bit. Now what we can do is we can start filling out this bit over here. So what I can do is I can press Shift D. I'm going to bring it all the way over to this side. You can press old D as well if you want to, or you can use your asset manager if you've got the parts in there. We don't need to worry about this bit on the inside, because on the inside here it's going to be the butcher's shop, of course. So I can pull it out a little bit further like so. And then what I'll do is I'll grab another one, so shift D and then pull it out to here, so it's roundabout in the middle. And then what we can do now, we can grab this part now, we'll just press Alt D on this one just in case I want to change this one. So I want to bring it roundly, Z -90 Let's press control three on the number pad and let's put it into place like so. And y, let's squish it up a little bit, put it into place, and let's also then pull it back. So there we go. That's pretty nice. Now let's surpress shift D, pull it over into place like, So there we go, a thing that's looking pretty good all the way around. Now let's think about bringing them over this way as well. What we'll do is we'll put them on top of here. Old or shift again. This one if it's not got your orientation there, better off just deleting the one you created. And then right click and set origin to geometry. And then we can press Alt D and bring it over, put it into place. And then a D and bring it over and put it into place so you can see how quickly and easily once you've got them, it is to build those out. Now for these, let's now go in. Before we do anything, let's bring this one in first and put this one along here, so all I'm going to do is old D, R, Z -90 Spin it round, Maybe we can get away with going over the top. So I'll just press seven, go over the top, put it into place where it wants to go. So I'm going to put it roughly, so we've got the same amount each side, and then and Y, and then pull it in and then fit it in like so. So there's very little UV wasted space. And I'm just looking now, does this want to come out a little bit? I think it does to somewhere like there. There we go. All right. So now what I want to do is I want to basically bevel all these off, get the materials on there. Get the materials on this part here as well. So just this block, especially here. So it's just going on here. It's going to have some bricks on this part here, sorry, on this part here, I think, and some wall on the other parts. So let's actually do that now. What we'll do is we'll put it on material so we can see what we're doing. Now, because I'm a bit silly, and I did forget that. It's always better to actually not put these in yet. So we're going to have to just rewind a little bit because what I've actually done is Old D. Now if I come in, I'll just delete these. So I recommend we do the same. So let's just delete these off, all of these ones that were correctly created. So let's delete them off like so. And now what I should be able to do is come into the. And press control all transforms. And you can see there we've got two measures that are basically the same. And I think that these ones here, so what I'm going to do is you can see I've got a bevel on there, not one on there. So let's delete that off, and then I'll just put that one back. I'm just going to see if I can reset the transforms on this one. Yes, I can. So now I should be able to reset the transforms. And this one, yes I can, I can reset is this one as well. Control all transforms. So now I should be able to grab them all and I should be able to reset all the transform. So control all transforms, write clicks at origin geometry. And what happened there is just so you know, because we pressed old and we did it a duplication that way because we didn't actually come in and, you know, bevel, them put on the materials and things like that. It made it really, really hard work for what we're actually doing next. So basically before old, what we want to make sure is that we've beveled it and we've got the actual materials on. So let's do that now before we do anything else. So let's grab this one here. And you can see I've got a bevel on there at 0.3 This one, this one has, so let's grab this one and this one. Press control L, and let's copy modifiers. Let's just make sure that they're on. So you can see now we've got our bevels on this one here, you can see hasn't got one on, so I'm just going to grab this one and this one control L copy modifiers and then let's come to these now. So no bevel, no bevel, and no bevel. Let's copy this. So control L copy modifiers. And there we go, finally them. Before we do anything else, let's come in and bring in our material and unwrap them. So I'm going to grab this one smart UV project. Click okay, let's put it back onto material. And then what we're going to do now is bring in the material and it's the blue painted, blue painted wood. Let's bring that in. And now what I can do is from now I can actually grab both of these or all three of these. Tab U, Smart UV Project. Click okay. Like so. And now I can do the same thing on these. So I'm just going to grab this one tab, Smart UV Project. Click Okay. And you might wonder why I'm actually unwrapping them separately. And it's because if I unwrap them all together, it's going to use up more UV space. So that's why I'm wrapping them separate because it's easier than going in then to UV map and scaling them all up. So what I'm going to do is smart UV project click okay, And the same for this one, so smart UV Project click okay. And now from here I can just grab them all like, so grab this one, control L and we're going to link materials. And there we go. Now if I come in and I put this onto my rendered view, you should be able to see now this is what we've got and it's looking beautiful. Now what we can do is we can go back to material, and now if you want to, you can Alt D on these parts. Now what I'm going to do is I think I'll grab both of these. I'm going to shift Alt D if you want to, or even use your asset manager if you want to do that as well. Now you've got them because you can add them in there and then shift and that's drop them in the middle as well. So, there we go. Now let's think about this one here. I'm going to have to grab both of these again. I'm going to press Shift D. I'm going to drag them over into place wherever I want them. I'm going to also put an object mode. I do find it easier to work just to line them up a little bit better than what they are. Line them up with this one here. So, and then finally, let's bring in this part now, shift D, R -90 Let's put it in then into place. I'm going to pull it back into place. You can see it's way, way too big at the moment. Let's pull it out. And then what we'll do is press and Y and pull it into place like so. And there we go. Now let's come to this one here. I'm going to press shift D and then R 90 or R Z -90 Let's press control and three to go into that view. And let's pull this one into place, make it a little bit thinner and y like so. And then I can finally pull this one back into place wherever I want it, which will be get somewhere around there. And then finally shift, bring it over there. All right, so that's pretty much built out. Now I want to do is think about our walls. So I do want to split those up. I'm going to do that before finishing this. So I'm going to come in, grab this wall selection. Grab this wall selection. And then what I'm going to do is I'm going to split this wall off. So you can see we've got this wall, This is split off, but I also want this split off. If yours is not split off down, just do what I'm doing on the top one. So control, bring in an edge loop and just bring it down to the post. Do the same on here. And then what you can do is you can come in with face select, grab this one selection. Grab this one selection. And now all of those are split up. Now, I don't want to put any materials on this one. And the reason is because I'm still going to be booleing this one in, so I've just got to leave that one. So on the next lesson then, what we'll do is we'll get our wall material on here, brick material on here. And then we should start be able to build this out. But it's looking really, really nice and really starting to come together now. All right everyone. Let's save it out before we continue, and I'll see you on the next one. Thanks a lot. Bye bye. 65. Applying Consistent Brick Patterns for Authentic Walls: Welcome back everyone to Blender for the Environment Artists Guide. And that's where we left off. Now let's come to this one, and what I want to do is I want to change this to my brick. So if I put in brick like so let's change it to that. Let's then come to this one and we'll put this one as wall like so, so wall gray. Let's put that one on. And I think for now that's all I'm going to need. So all I'm going to do now is come to, this is going to be bricks. So we might as well give it bricks or grab this and this, grab this one. Press control l link materials and then what I'll do is I'll grab this one and this one control link materials. Now what I want to do is I want to come to this, I want to go over to my UV and of course I want to make sure that these bricks are the same as what I've already been using. So what I'm going to do is just pull this down a minute and I want to put those up like so. And this one. And this one. Now, the one I want on its coffee shop. And I want to place that on, because I'm going to use that then to basically make sure that these are scaled the same way. So let my coffee shop load up, and here's my coffee shop. And what I want to do is I want to base it on these bricks here. So you can see these bricks here. If I come to this part here, you can see this is the sort of scale that we're actually looking at. Now, let's see if we can get these to be the right scale. So all I'm going to do is I'm going to grab this one. I'm going to come to the UV. So press tab A. Let's first of all spin it round. So A over the other side, R 90. Let's spin it round. And then what we should be able to do, I'm hoping is if I come grab this part, press shift D like. So bring it all the way over here. And now I've actually got that piece to work with. So now I can actually have a look and make sure that these are okay. Now I can see that these are a little bit stretched or they do look like that to me. So all I'm going to do is press control, lay all transforms, right. Click, Set Origin Geometry tab, Unwrap, and now let's spin it around, so R 90 and then let's make it much smaller on the UV and let's get them to be around about the same size as these. You can see the steel a little bit big. So if I make it a little bit smaller, keep going. Sorry. Pull it out a little bit, and there we go. Now they look about the right size as those. They don't need to be perfect, but they do need to be relatively, you know, same as the right size. Now if I come in and delete those out the way, and what I can do now is I can grab this one and this one. And then what I'm going to do is press tab wrap like so. And from there then what I can do is I can now get these to be the right size. So you can see at the moment they're all coming in kind of the wrong size. Now what I would normally do is bring them all together and unwrap them all together, and then go up to UV. And what I'm going to do is average island scale. But on this occasion I don't really want to do that, so all I'm going to do, I'm going to do it basically by y. You can see pretty much this one they need to be if I unwrap these now, so on wrap you can see now if I bring this in, spin it round to 190 and now I can bring it in more and more and more and make sure that they're the right size. You can see I can also then come in G, Y and then just place those into where they're going to be. So we've got that little bit there and a little bit on top that's perfect. That want, maybe you can see that we need a little bit of this grout on there. So all I'll do is press tab S and Y and just shrink it back a little bit. And then you can see now we've got that little bit of grout, a little bit of bricks poking through there. Don't really want those, so very finesse. Let's pull it down. Something like that. Still got a little bit of difference. So S and y pull it out and it is a little bit fiddly. But you'd be surprised. It looks so much better if you get it right. And once you get it right, it's done. So there we go. That's looking so much bare. And on this one I haven't really got to worry about this one so much because we are going to come in and bring in billion. And you'll notice as well that I don't even need to really worry about lining these up. We will line them up a little bit better once we've brought our billion in. Now let's come to our other wall. This one's really easy. We can grab all of these press tab press and unwrap. And then just make them a little bit bigger, like so. Because the thing or smaller, let's make them a little bit smaller. Because the thing is about the walls is they've got no brick texture or anything like that, which makes it really, really easy to work with. Now we've done that. What I think we should do now is actually work on bringing this part out. So let's go back to modeling. And then what I'll do is I'll hide my coffee shop out the way. So let's hide that out the way. And now we can come to this bit. So what I want to do is I want to pull this out enough so that it comes down. So the easiest way to do that is just to grab the bottom of it. To grab the bottom, press the born and pull it down like so, into the floor. And then we can see how far we need to pull it out. So this is going to have to come out now. Probably to weigh this point on this is. And then from there what we can do is we can actually build this across. Now put in our window, that's going to come out here and all that other good stuff. Now we've got that in though, let's come back now. To this part here. Because what I want to do is I want to make a start on this actual door. And now I should have enough actual parts in here to actually do that. So what I'm going to do is I'll come and put the post in first. So I'm going to sit my post on this bottom step and have another step going up. Again, we're increasing that intricacy of the actual built. So let's come to our steps. Let's make sure we've got our step selected. So select your steps, shift as custom selected. And then let's also put an object mode. And then what I'm going to do is I'm going to press Shift A, bring in a cube. So let's bring in a cube like so. And again, what I want to do is I want it to be sat just on top of this. Now, I'm not sure where it's going to go yet, but what I want it to definitely do is be sat on top of my step. So something like that and then bring it into here. And I think also it needs to be much, much smaller. I'm thinking, actually, yeah, maybe thinner. Let's make it thinner. So and X, let's make it a little bit thinner. Pull it into place somewhere like there. And then what I'll do is I'll come around the back, put on my ghost or x ray. And then I should be able to come in and grab that face and pull it all the way back. So if I turn it off now, I've still got it grabbed just into the wall like so. All right, so we've got this so far that's looking good. And now I want to do is want to make sure that this is actually sat on this top step. So the way that I'm going to do it is I'm just going to grab all of this press and X and just sit it onto that top step. Because then it's going to be a bit easier to understand how it's going to go now. You can see this is way, way too thin at the moment. So what we need to do now is come in to this bottom step like so grabbing this side and this side, then all I'm going to do is press Enter and X and pull those out like so. And this then is going to sit right on top of there. Now the thing is, what we need to be careful of here now is that we've measured it out properly. So is our guy going to be able to walk into this shop, or is it going to look a little bit too thin? I'm going to say at the moment it's probably a little bit too thin. So what I'm going to do is I'm going to grab my steps and X pull it out, grab my post, pull it out to there. And then finally, let's pull out this bottom step so we can grab both of these like so S and X and let's pull them out. And don't worry if we get this wrong, because we can just recreate our steps again. Anyway, that's no problem. It's a simple cube at the end of the day. All right, from there then let's now think about these actual steps. So what I'm going to do is I'm going to bring this down, so I'm going to grab the top of it, bring it down roughly to roundabout there. Then I'm going to press and pull it up. And then finally what I'll do is I'll pull this bit back now. So if I come in, grab this top, pull it back like so. And now let's think about bring in just a couple of, you know, intricacies to this part here. So I'm going to press control two, left click, right click. And then control B and pull it out like so. And then from there then I'm just going to reset the transforms now. So tab control lay or transforms, right click the origin geometry and now come into these parts. So I'm just going to grab this one and this one press the eye button to bring them in hold in shift, and then pull them both out like so. And that's looking absolutely fine. And now let's bring them all the way up into here, so then we'll see how far they need to be out or in. So I think they're a little bit too far out at the moment. So if I come in now and I'll grab the top, top of the press the bond, bring it in very slightly. And then press and bring it all the way up to the top. And you can see this is how far it stuck out. So this needs to go back a little bit. So all I'm going to do is press Tab. I'm going to pull it back then into there. So it's just going under there like so. And now what I can do is I can pull these steps back as well. Because at the moment, I think these are a little bit too far out. So if I pull this bag into place now, can he stand on there? You know what, I'm going to actually, I think it's going to stand on there, This is going to be disappeared. So I think I'm going to pull it back just so it's just in there past that point, and I think that's perfect. So now we've got the right dimensions for here. What I want to do is now just add one more. Little bit of intricacy here. So control law, bring it up and I want it, Jaws to be roundabout there. Control B and then alternates like we've been doing all the way along. Let's have a look at that. Let's put offset even on and then alternates, bring it in a little bit, so it gives it that little bit of a bevel there. All right. Now, on the next one, then what we'll do is we'll actually bring in bevel, we'll start being bullying. We'll start bullying this in I think as well. Before we finish, I'm just looking, is that out wide enough? I think I'll make this come out a little bit more, just a little bit more of an edge on there. So all I'm going to do is just grab in this one and this one, and then next, pull it out, holding the shift just a little bit more. There we go, that looks better. Alright, so on the next one I was saying, what we'll do is we'll bring in then our Boolean. We'll bring our Boolean round to here. We'll get this set back. And then we can actually start creating this door in here, let's say. That will work and I'll see on the next. And everyone, all right, thanks a lot. Bye bye. 66. Modeling a Detailed Victorian Bookstore Door: Welcome back everyone. To blend for the Environment Artists Guide. Now let's bring in our door. Now with this door, what I'm going to start with actually is a cylinder. And the cylinder I'm going to leave, in fact, I'll put this on 20, I think it'll be easier to manage. And then what we'll do is we'll rotate it round, so R x 90. Rotate it around, make it a little bit smaller. Because obviously it needs to come at the side near enough where these posts are, In other words, this bit here. So this bit, as you can see here, is the bit where the actual door end is going to come. So I need it before there. So I'm going to press S just in front of there. And what that means is then I can actually put a post going around here, so maybe even a little bit smaller or something like that. Next of all, I want to put it where I actually want it. So it's a little bit hard to judge at the moment. If I press one to go into front of view, you can see this is roughly where it's going to go. I think what I'm going to do certainly is press essence Ad and just squish it down. So this door then is going to be this kind of shape and that's going to look good. I think from here what we should do is we should make it, first of all, a little bit thinner because I find it easier to work with that. Pull it out then. And then what I'm going to do is I'm going to come in and delete the front and the back. So shift select each one, delete faces like so. And then I'm going to come to the side. And just where this point is going down, I'm going to come in, Control select. Control selects. And I can see it's basically going to split this in half, delete faces. And from there now I should be able to come in and grab each one of these. So this one and this one. And then if I press sorry, one on the number pad, now I should be able to pull this down. So if I press E and Z, I should be able to pull it down to there. And that's making my actual door. Now from there we can see our guy, if we grab and putting more in the center. Now it's a nice door. Now we should be able to walk in there. But what I'm actually going to use this door for as well, before actually, you know, creating the door is to actually create my Boolean as well to our far back of one. So what I definitely want to make sure is that if I press one, that this for press tab, these two bottom parts are coming down further than my actual step. Because I want to make sure that I've got my step going all the way back here. And I'll show you exactly what I mean with that. So first of all, I'm going to make it so it just comes down, just below this step. Then I'm going to press just to fill that face in. And we should end up with something like this. And now let's fill the rest of it in. Alt shift click and then Alt shift click and, and then what I'm going to do is press Tab, and then and Y, and let's pull it back like so. And then let's pull it into place. So I'm going to go that far back, I think, but we're probably not going to go that far back with our door. But we've still got the bolling in place just in case we need to do that now. The other thing is, yeah, I think this actually be okay. It's just the height I'm concerned with because the door obviously is in there. I think what I'm going to do is make it a little bit higher, so I'm going to pull it up to there. And then what that means is they'll have to come down now and grab this face. So three, grab the face and let's pull it down once again like so let's get into the perfect place. So that's looking about right now. Let's press control A all transforms right clicks at origin geometry. Now let's come to this wall and we'll do the same thing. So control all transforms, right clicks at origin geometry. And now let's come in add modifier, and we want to generate a Boolean. And the Boolean of course, is going to be this one here. So once you've clicked that, you should see a little yellow outline going around. That's perfect. So let's come in and press control A. And now what I can do is I can come in and I can hide this out the way. I don't actually want to delete it out the way. And the reason is I don't want to delete it out the way is because I can use it for my door. As we build further, what I'm going to do now is come to this wall, I'm going to grab it going all the way around. So Alt Shift and click like so. And then what I can do is press E and Y and just pull it back then wherever I want it to go, because it's made a hole as far as I need it anyway. So that's absolutely fine. Now let's press tab Ltg. Bring back the actual door. And from here now let's actually create the door. So what I'm going to do, the easiest way to do this is first of all, create the pot that's going to go around the door, so in other words, the wooden frame to it. So what I'm going to do is just grab the front of it, press Shift D and duplicate it. And then I can come to the back of it, L delete and vertices. And now I've got my door first of all. Then let's press control. All transforms, right? Clicks at origins geometry. Let's then press one. And then what I'm going to do now is create this bottom section of the door first. So I'm going to come in and press one. I'm going to press Tab. I'm going to press and bring it in like so. And now we've got a bottom section and we've got this bit going around. So that's looking pretty fine. Now I'm going to do is press P selection. Split it off like we've done before many times. And now we have to think about how we're actually going to create this door. So I think I'm going to create some windows in here, so in this bit here. So I think I'll focus on that bit first. So all I'm going to do to do that is I'll come in first of all. Grab. I use my knife actually it'll be easier. So if I press K, I'm going to come in to round about here. And then pull it across, make sure it's straight by pressing A just to make sure it's straight. And then press Enter, and there's the first bit. Now from here, what I want to do is I want to split this off. So I want to come in, grab this bottom face, and press P selection. Split it off. Now let's focus on the top part of the door. So if I press Tab, what I can do is I can come in, press K, grab this top bit A, right in the center. Bring it down, Enter. And there we go. Now we're actually getting somewhere with our actual door. So what I'm going to do from here then is I'm going to grab both of these faces. I'm going to come in there and press and bring them in. So like so I'm going to make them a little bit chunkier. And then what I'm going to do is now I'm going to press, in fact, yell, I'll split these off as well. So Selection. Come to them again, so select them, grab them both with a and then I again. And there we go. Now you can see that we've got a nice kind of rim going around here. And we've got one going around here as well. So that's perfect. I'm thinking yet. That's okay. Now let's come to this bit. You can see how I'm basically breaking down my door, and it does make it really, really easy doing it that way. Now this door, it's going to be, it doesn't really need a middle section. And the reason is it's going to open one way or the other, albeit is a big door, it's still not going to open in the middle, so we don't really need a middle on there. So what I'm going to do from there then is I'm going to come to this section controlar, bring in one edge loop, left click, right click. I'll put that there. And then what do is I'll come to the bottom control, bring it down like so. And then from there then what I can do now is separate this part off. So if I grab this part selection, separate it off, come back to it. And now I can do is bring in some edge loop. So control, let's bring in some edge loops. Left click, right click. So now what have you just done there? It looks an absolute mess. I hope we managed to follow along. But you will see if I come in now, it's going to make perfect sense. So let's come to the outer part of the door first. And what we'll do is we'll just split off. So I'll want to split off this, this and of course the center. So right click, mark scene from there. Then what I can do is I can come in with L, L, and Y. Split those off, and then let's split this one off. So L, Y, now let's grab them all. So A to grab them all. Pull them out with so extrude and there we go. That's the first bit. Now this is basically like, this won't open, this is the door jar, what holds the door in. So from here then I can press control A, all transforms right click, shade, auto, smooth. And then let's come in, bring in a modifier and we'll bring in a bevel naught point naught naught three, like so. And there we go. That's the first part. Now let's think about the top part of the door, which is like this wooden part going out of it. Again, I'm going to split this probably down the middle. I'll split it down the middle. So I'm going to grab this here and I'm going to grab this one. This one. This one. This one. This one and this one. I'm going to right click and I'm going to mark a seam from there. Then I'm going to grab this one and this one, right click. Now let's split it off. If I come in, I can grab this one, I can grab this one again. If you're not sure which ones you split off, always go Y and H and hide them out of the way. Then this one and this one Y and heat hide them out the way. And then this one Y and you know, everything is split off. Now from there, then let's press oltatee. Bring back everything to grab everything. And then let's pull those out into place. So randabout there. And then from there I can do the same thing as what I did to this one. So control all transforms right click. So origins, geometry, shift, select this one. Then control L, and we're going to copy modifiers. And there we go, that's the next part of the door. Now let's come to the last part of the window. And these are going to be glass, obviously. So we want to split those off. So let's split them off, let's pull them out a little bit. So something like that. And then let's hide those out the way. Now let's come in and add in these parts here. So I want to split them here, here, and here, and here. Here, and then here, here, and here. Right click mark scene. Now let's split them off. So all I'm going to do is just going to come in now with L, and L, and L and L, Y. Split them off. And then I'm going to press A. Pulled them out like so. And finally, now let's press Sir. Control all transforms, right click origin to geometry. And now let's join them with this. So control L link copy modifiers. And let's now finally come back to these windows. So all tach, grab both of these windows and let's just pull them back a little bit like so really, really easily as you can see. And now what you can see is we've got this bit and this bit left. These are going to be wooden parts going down, but you can see just how easy it is now to build this actual door and how easy it will be to put it into place and build around it. All right everyone. So let's save that out and the more we do this, the better you're going to get it. And honestly, if you messed up the coffee shop, your actual bookstore is going to look better. And if you mess up the bookstore, you can guarantee your butchers is going to look better. Because the way we're working along these, we're breaking them down intersections and you'll get better with everyone that you do. So don't give up. Don't give up. Just keep going with it, even if it's a mess, you can come back to them later. Just carry on building these things as we get more intricate. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 67. Crafting an Entrance Archway for Victorian Libraries: We'll come back to Blender for the Environment Artists Guide, and this is where we left it off. All right, so let's work more on our door then and get that actually finished. So the first thing I'm going to do is grab these two parts, and then I'm going to press a and all I'm going to do is just extrude them past this actual window frame there. Then what we'll do is we'll come to this part here and all we're going to do is first of all, make sure the split up so I'm going to come to each other one. So shift select each other one, press the Y button A to select them all. And then pull them out like so, holding the shift bone, just making sure that they're further back than the front and the bottom. All right, so this is pretty much the door done. So what we need to do now is I can join it all together and then level it off. So let's join all of these parts. You can see here, we've already leveled these parts South, we've already leveled this part off. So all I can do is I can grab it all and then grab these parts last. So grab this part. Last, press the G button just to make sure it's all coming with it, which it's not. So I'll grab the window, grab this, grab this part last G again, and I will grab these parts. So let's press again. There we go. Grab them all. Alright, this part last then let's press control J. Join it all together. Right click and let's shade auto Smoove. And we should end up with something like that. The devil, for some reason has been taken off, and that's because we selected it last, which was the wrong way round. So I'll select this part last, press control J, and there we go. Now right click. Let's shade auto, smoove. And there is our beautiful door. Alright, let's press control. Or transforms, right clicks the origin to geometry. And now it'll do is we'll just heading over to our material. And then what I want to do is I want to bring in, I think we'll bring in dark wood on this one. So let's do that first. I'll come on over to material. We'll bring in some dark wood, so let's search for it. So dark wood. Let's also come in and unwrap everything. So I'm going to press tab A to select it all Smart UV project. Click okay. And then the one that I want to change is obviously this window here. So all I'm going to do is click plus down arrow and we'll look for glass. And it's the one that says glass lit windows. Let's click that on. And then finally come in, select these two faces. Click a sign, and there we go. And all we need to do now is unwrap these. So I'm just going to head on over and not just make sure I've gone both selected, so both selected head and over and now to UV editing. And then all I'm going to do is grab one of them, press and I'm just going to move it there slightly. Grab the other one L, and then and move it over this side, slightly like so. And there we go. Let's have a look at that. And I'm still not happy with that bit, so what I'll do is I'll grab them both and Y and bring them down a little bit. And there we go there looking much better. A little bit of dirt on top of there, and that's looking absolutely fine. All right. So now, last thing to do is this part here, this is going to be painted green. So let's click the down arrow, look for green. And what we're looking for is wood painted green. So that's the one we need. We've got it at the moment on blue this and I think blue painted. Yeah, We definitely don't want it blue. I think we've done the the cafe blue. So a little mistake on my part. What I'm going to do is I'm going to, first of all, I'll unwrap this part. This part's unwrapped, I think. Let me just have a look, make sure it's unwrapped. Yes, it is. The one thing that we do need to do is I need to grab these. So L, L, L, and L, and either straighten them up the way I showed you, or Alt to actually straighten them. And there we go. And now what I can do is I can come back to modeling now and I can come to these parts. Now I need to bring in another material. I think because I don't think I've got this on here. So I actually will go to Asset Manager and we'll go to our wood. So where is our wood? Here it is, and this is the one we want, Green painted wood. So let's zoom out. Let's come to this one. Press the little dot ban on the number pad, and then just drag and drop it on there. And there we go. That is the wood that we actually want. We also want the wood on here as well. So all I'm going to do is click on this one, click the down arrow, Click green, tight, green, green painted wood. And then what we're going to do is we should have all these selected already. Just click a sign, and there we go. That's exactly what we're looking for. All right, so I'm just wondering about this bottom. Do I actually want this bottom to be green as well? Maybe with the bottom. So maybe with this bottom. Because generally generally the bottom of it would open with the door. So it might go into this jar like so, but it would probably be made of this wood. So just click a sign with the wood like so. And I think that's actually looking better now. All right, so now let's come in and just grab each of these. So I'm going to grab all of these, like so quick and easy to fix anyway, even though I made that mistake. Let's grab all of these like, so finally grab this one, press control L, and we're going to link materials like so. And there we go. And now it's looking tons, tons bare. All right, So now what I can do is I can take my door back. To here. So something round about there, maybe. I think that looks actually fine. Maybe needs to be pulled out a little bit. We'll find that out in a minute. At the moment, you can see I double tap the, we've got a nice, you know, arch going around there. And what we need to do now is bring in this next one. Now we do need these to be kind up here. So these parts need to be kind of up here. You can see is walking in there. And I need one on each side, which means that we might need to move this a little bit, but that's fine, we'll actually do some work on that. And then finally, we'll put actually a part in here, get this other side on. And then we should be nearly finished with this doorway, which means we can move on round to the other side. So let's go back to modeling, and then what I'll do is I'll come to this one. I'm going to move it over a little bit. So let's move it over just to the inside of there so you can see it meets here. And then what I'll do is before doing anything else, I've got my center point here. So all I'm going to do then is bring in, in fact, I will use this, so I'm going to use this part here. So we'll use that. I think it'll make it a little bit easier. So select this one. Control Sl, Control select. Control select. Maybe not this one here, just here like so. And then I'll do, we'll press Shift D and bring this out. Then what I'm going to do is press P selection. Tab, select it again. Control or transforms, right click, set origin to geometry. Finally, then let's press A. We're going into edit mode, and then and y and pull this out like so. And now we need to do is give this some depth. And the easiest way to do that, as you know, is come in to add modifier, generate, and a solidify. And then what I'm going to do is even thickness. Now we can see on this one that it's not working properly. And the reason that's not working properly is because the normals won't be facing the right way. So again, it's either down to transformations or normals. They're normally the main things. That means that any modifier won't work or any UV's for that matter. Pretty much anything in blend. If it's not working properly, make sure that you've checked your transformations and your normals. So what I'm going to do is I'm going to come over to this little down scale here. And then I'm going to put face orientation on. And here we can see our problem. So if I come in and press tab A to grab everything, press Shift, you can see now it turns around and it's all really, really nice. Let's go in then and just turn that off. And then what I can do is now I can pull this out a little bit this way, I think. And let's pull it back into place. We're gonna pull it back into place into here. Just into the wall. And I just want to make sure that wherever I'm putting it, you can see that it's right into the wall there. We really, really don't want. That's all we're going to do is turn the offset, bring it in a little bit like so. And then what I'll do is I'll make it a little bit thicker, going this way. Something holding the shift. But so now you can see we do have a little bit of a problem here in the fact that, first of all, this is going back further than this, and I don't really want that. So what it means is I need to pull this back a little bit. So let's pull this back before we do anything. So let's pull it back into the wall like so. And there we go. Now we can see that it's in there. So you can see this part here is actually in there. We've got a little bit more room for maneuver if we need to pull it out a little bit, which I think we will. So now we can also see the next problem we've got is they're not actually into the wall, so this isn't coming down. There's a number of ways of fixing this, but you could fix it. Why? You've actually got this solidify on. I'll grab both of these. I'm going to press E and Z, pulled them down like so. And then what I'm going to do is press and X and pull them out. So now we can see that they're not quite bending, So just make sure that the bending nicely following this along. And there we go. That's looking pretty nice now. Now what I can do is I can use this and I can come in and first of all, let's actually give it some colors. I'm going to press Tab Smart UV Project. Click Okay. The one thing that I need to do is also level this off. There's a bevel should be on here. So what I'll do is I'll grab this, grab this one, control L, link materials control L. And then we'll copy modifiers as well. And that should level that off. Now what we can do is we can add in the mirror onto this one, a mirror from here. Add modifier, generate mirror, let's put it on the Y. And let's also make that the orientation is where the cursor is. So right click, set origin 23d, cursor. And now we just need to turn off the Y. So turn off the Y, and there we go. Now you can see it's really starting to come together. Now we need to do is fix this part here. So all I'm going to do is grab my steps. I'm going to press and X and pull them in like so. And they should, by the time I've finished, just fit there. And I just need to pull this one out now. So I've already got the selector which is really handy. So all I'll do is press S and X. Pull those out, pass there. All right. Looking really good. Now what we need to do is we need to think about how far this step is going to go back. So that's one thing that we do need to think about. So if I come round, I should be able to then grab the backs of these steps. So I'm going to grab this one in face select. So this one, this one and this one. And then come round here and grab this one. And I'm just going to see where they come back to now. So if I pull these back, they're coming right down to the bottom of that door. Now let's just make sure that everything's come along which it has, so everything's looking good there. And then what I can do is now I can see that they'll need probably pulling out a little bit or we'll need something in place here. What I tend to do with something like this is I'll just put a stone slab over the top, maybe. So yeah, I'll put a stone slab going over here and then over the front. And I'll show you how we do that on the next lesson. Alright everyone. So I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 68. Adding Texture Details to Enhance Entrance Realism: Welcome back everyone to Blender for the Environment Artists Guide, And this is where we left off. All right, so now let's do a little bit of work on here. So let's come in and what we'll do is we'll grab this, we'll press Shift D. And then what I'll do is I'll press P selection and just split that off. Now I'm going to do is I'm just going to work on this part first, so I'll just hide this part of the way because I can't select it the moment. And what I'll do is I'll come into it and I'm just going to pull it out slightly. So if I grab this edge, I'm going to pull it out very slightly. And now if I press salt, I should be able to get into there. All right, so we've got the top slab now. We do need it going this side. So what I need to do is I need to put an edge loop going down there. So I'm going to press control, er, left click, and just bring it to the back of this part here like so. And there we go. And now we'll do the bottom part as well. So if I come to the bottom part, all I'm going to do then is I'll probably need another edge loop, so the stone slab comes up to here. So yeah, let's do that. Let's bring in control our left click and bring it along. So I'm going to bring it holding shift right to the front of there, like so. And now what I'm going to do is I'm gonna come in and grab this face, this face, this face, this face, and this face. I'm going to press Shift D, and then I'm going to press Selection. And finally, what I'm going to do then is I'm going to grab this one if I can, which I can't. Again, sometimes you can grab it. If you put it in wire frame, you might be able to grab it that way. You can see I can grab a little bit more there. And there we go, I've grabbed it, let's put it back in object mode. And then what we'll do is we'll grab this edge now. And we're just going to pull it out like so. So grab these three. Pull them out like so. All right, so now we need to do is we now to fix these. So what I'm going to do is I'm gonna join them together. So I'll want this one and this one. So just these two top ones control J, Join them together. And then you can also press the little question mark. And what that'll do is that I'll isolate everything. Once you press it again, it'll bring back everything. Sometimes I like using that rather than shift H and lth so or hiding it even. So this is just isolating it with the little question mark. Sometimes it makes it much easier. All right, from here then let me bring in some stone slabs. So I'm going to press control two. Yeah, maybe four. Left click. Right click, like so. And then I'll work on this one now. Now you can see at the moment on this one, we definitely want to get rid of this edge here. But it's going to be a little bit hard to get rid of that. Because if I come in dissolve, let's see if dissolve works first. So dissolve edges, Yes it has, it's worked. And then I can do it. So I can go over the top. I can hide this part out of the way, because you can also hide things as well, even though you're isolating him. So if I press H, I can hide that out of the way. And then what I'll do is I'll come in with my knife, come down, press the B to straighten that up. And then just cut a part there. And same for this, so click Enter like so. Now let's press controller, Bring in maybe two stone slabs like so. And then alternate H and it'll just bring back that part. And that's exactly what we want. Now what I want to do is I want to actually split these off. So the easiest way is just to grab these two first. Grab this one and this one, Y H. This one. This one, y h. This one. This one. Not this one. This one. This one. This one. Y and H. And now we can grab this one and this one, and then Y, because we know everything's split off now. So AlternH. And the good way to test this actually, is if you grab them all. Now come up to where it says Individual Origins, Press the S button, you'll see that they're all, you know, split up. All right, so that's good. Now I want to do is I want to extrude them up. So I'm going to press, extrude them up like so. And get a nice stone slab that might be a little bit too thin. Let's bring them up a little bit more like so. And then what I'll do is I'm going to press the little question mark and bring back everything. So a little question mark and there we go. That's what we're looking like at the moment. They're looking pretty good. The one thing I would say with these bottom ones is maybe I want to pull them out a little bit more. So if I grab them here and here and come around this side and try and get in here. So shift and shift, and then all I'm going to do is press and X and just pull them out. Now if they don't pull out, you need to be on medium point. So and X pull them out just very slightly, just so they overhang there. So all right, this is looking good so far. Now what I can do is I can press control all transforms, right click, set origin geometry, and then add, modify it. And we're going to bring in a bevel naught point, naught naught three. And now what we need to do is first of all bring these up to make them a little bit uneven. So all I'm going to do to do that is I'll come into this one, I'll put proportional editing on, put it onto a random, and then all I'm going to do is pull it up like so, and extend that out all the way. And now you can see it. Just pull some of them up and keep some of them down like so now they're looking a bit uneven. And now I'll just come to the back ones and do the same thing there like so. And then finally what I'll do is I'll come in and select everything with a and just give them a slight randomize on there. So transform come down to where it says randomize and then let's put it on nought point nut five like so. And there we go. So have a look at that. That's looking pretty nice. I like that how that's come along. Double tap the. And finally, now let's come in and unwrap them. So I'll select them again. Tab U, Smart UV Project. Click Okay. And the one we want, let's have a look. We want the stone, so let's have a look. We've got stone, stone flags. This is the one we want. Let's select those on there. Let's put it on material mode, and let's have a good look at what we've done. And there we go. There is our door. Now we can see that this one here, this is not finished. So let's actually finish that. I'm also thinking about the top, so I'll put a top on here as well. Let's actually do that first. I'm going to grab this, I'm going to press Shift S, us to Selected. And then Shift, we'll bring in a Cube. Let's pull it up now into place. Press the S button, make it a little bit smaller, pull it into place, so just under this part here. And then all I'm going to do is press S and X, pull it out. And I want to make sure that it's first of all, behind these pillars. And then what I'll do is I'll pull it up a little bit, so I'll grab the underneath, pull it up. And then control our left click, right click. Pull it along a little bit. You can see here, it's not quite working. So what I'll do is I'll go back control left click, and then I'll just pull it along a little bit like so finally, then grab my bottom face and I'm just going to pull that down like so. And there we go. All right. All looking good. Let's then grab them both. And instead of I could press control here, but what I tend to do as I said, is go to object convert mesh. And then what I'll do is now you can see as well for some reason we have bricks on there. We don't really want that. So what we'll do is we'll come in now minus that off. And what I'll do is I'll go to green and painted wood. And there we go. And then what we'll do is we'll also come in and add in a modifier. So generate a bevel, we'll put this at naught point naught three as we've done with everything. Then we'll press control or transforms, right click, set origin to geometry. And finally, let's press control L, copy materials and control L and copy modifiers. And then finally, we'll press tab A to grab everything smart UV project. Click okay. Now this is all looking good on that. But we do have one more problem in that this inner wall isn't looking right. So we need to fix that. We've got a black part here as well. Don't know how that's happened. But what I'm going to do is I'm gonna come in now to this inner wall. I'm probably going to separate it now. We can also see that I didn't bring out that tile enough. I don't know why. But what I'm gonna do is I'm going to go in, I'm going to grab this tile then and I'm going to put it against the wall without portion and on take that off, I'm going to put this against the wall like so. And then what I'm gonna do now is just pull this out. So just basically tidying up a little bit. So let's pull it out into there. Not so far that it's overlapping and then what we'll do is we'll come now to this one. So I'm going to hopefully grab the inner part of here like so. And if I can't grab it, I'll just put this on and then grab the inside like so. And then what I'm going to do is just pull it out like so. And that's another easy way of actually doing that. Double tap the A. Okay, that's looking good. Now let's just hide our guy out the way a bit. So let's press H. Hide them out the way. And then what I want to do now is select this, going all the way around here, like so. And then I'm going to press Y and just split it off. And then and unwrap. Let's unwrap that. And now we can go to the UV editing, and all I've got to do is shrink this in now to be the same size as these bricks here. So if I press S, you can see we can get them roughly so roughly to the same size as these bricks on the outside. They're looking about right. And there you go. You can see whoa. That looks really, really nice now. All right, so that's that bit. Now what we'll do then, we'll go to modeling. We'll double tap the, and what we'll do is we'll save it out. So save it out, and on the next lesson now what we'll do is we'll actually finally start work on this part here, so we can start working our way round. We've already got this block here, so I can just start, keep working my way round. This is the hardest part, of course, this part of the building, this front, especially especially how this part goes back, especially up near the top here. It's pretty complex stuff. I think what we'll do is we'll work our way round. First, create this actual window, and then I'm just looking how far this needs to come across because I think at the moment this needs to come. Yeah, I'm thinking that this part will come out and then this part is going to go back straight down. So this is Yeah, I think we'll sort that out first. So I'll show you exactly what I mean. All right. It's easy to show you rather than explain it. Thanks everyone and I'll see on the next one. Thank you. Bye bye. 69. Brick Detailing for Entrance Steps: Welcome back everyone to Blend the Fall, The Environment Artists Guide, and this is where we left off. All right, so now let's think about this part here. So as we go round, it's going to go round and it's going to follow this wall straight down there. However, this is not just gonna end here. So the first thing I want to do is just come into this part, grab this face and just pull it back into the wall there. So this is going to be going along here and it's going to have a post in here. I'm going to straighten all this up. Don't worry. Then what I'm gonna do is I'm gonna put an edge loop along here now. So I'm going to press controller, bring in an edge loop. And then what we're going to do is we're going to realize that the bottom off here is going to have a post coming over, which means that this piece here is not going to be there. We're basically going to build out apart from here. So what I'm going to do is I'm going to come in, I'm going to grab this piece, this piece. And this piece, you can see it goes all the way back. And this bottom piece as well, I'm going to press Delete and faces like so. And then what I'm going to do is I think I'm going to bring in an edge loop. So control. And I'm going to bring it all the way up to roughly where this starts. You can see here's where it starts. And now what I can do is I can fill in this part and this part. So shift, select them, press the F, but, and we should end up with something like this. Now of course, we can see that this is not looking right. We need to bring in this part and this part, we need to bring them down. Now generally when I'm doing this, I don't worry about, you know, how it's going to all go together. So in other words, I'm not going to try and fill anything in. I'm going to put these walls in separate anyway, so I'm just going to press and Z and bring it down as you can see. And then finally just come in face select and bring it out. All that I'm doing here really is just getting it set out to the way that I actually want it so we can see now it's got a beautiful kind of look to this now how it's actually all going to work. And that is what I'm looking for. Not only that though, it gives me the dimensions to put the balcony in and put the window in. And that's what's important to me. Now, the one thing we did forget before going on is this part here. We need to actually come in and give this some, you know, bricks or something like that. What I'm going to do is I'm going to press the question mark and isolate it out again. I'm going to come round to them, to the back. I really don't need the back, and I also don't need this bottom. So I'm just going to select all of these. Now if you put it in your Asset Manager, maybe you want to keep these bottoms. That's completely up to you elite and faces. It just makes it a little bit easier to actually unwrap these. Now the tops of these, obviously you're not really going to be able to see them, but you don't want a see through gap behind them. Because you might actually be able to see through the steps and that's not something we want. So what I'm going to do is I'm going to control slick going all the way around the outside first, so all the way around here. So I'm going to right click then and I'm going to mark a seam. And then what I'm going to do is come all the way around here. Here, right click then and mark a seam from there. Then I'm just going to split off this middle part, so L and then y, split it off. And now finally, let's do the same thing of this one. So control select, control select, right click, mark seam. And then finally we'll come in and we'll just separate this off. So if I press L on this, I can press Y, and then it's all separated off. Now let's come in and bring in some material. So I'm going to grab it all. Smart UV Project. Click Okay. And then let's come in with materials, and we're looking for brick. So just type in brick, this is the one that we want. And now we can go over, first of all, press tab question mark to bring back everything. And now we just need to make sure that it's all lining up with these bricks here. So I'm going to go over to UV editing. Here we are. Let's press the little dot button, and then what I'll do is press tab 90. Spin it round first of all, and then press the S button, make it smaller like so. And I'm just wondering, these bricks, they look a little bit long actually. So all I'm going to do first control all transforms, right? Clicks at origin geometry. And now let's try unwrapping those again. So smart UV project. Click okay, or 90. And then let's bring it in, so the S one. And now you can see there, looking much, much better, the size that we want it. Now, the size I'm going to bring it to is going to be roundabout there. And again, I want to make sure that, you know, the tops and bottoms of these are right size. So in other words, if I press S and Y, let's deal with the bottom one first. So S and Y like so and then and Y a little bit more. And then and y, Let's pull it up very slowly, like so. Now we can see they're looking good, except this one. Let's come into this one now. Long in the press is, let's have a look. Y a little bit smaller, maybe too big. That one now there, think roundabout there and then and y there. I think that's about right. All right, so that's looking pretty good. Now you can see all of that is level except this one. Let's deal with that again and y, let's move it up a bit. Like, so. And there we go. All right, that's looking perfect now. So now finally we can actually work our way over. So let's first of all go to modeling. And what we'll do then is we'll get in this top bit first. So I'm going to grab this post here, I'm going to press Shift D, bring it over to the other side, and let's drop it in place somewhere like that. And then what I'm going to do is I'm going to use these parts next. Come to these parts and I'll bring those over. So let's bring this over. I'm just making sure that this is in the corner. You can see here. It's not really in the corner of this part, which means I have a choice to make. I either move this down, so I could move these down, for instance. Let's see if we should move these down. So I'm just looking at this, Where is it coming out to? Or we could move it over. It's not in there properly, as you can see. So actually, I think the best way to do this is to grab this one. This one. This one. This one. This top one. This bottom one. And then this panel. And if I press Gene out, does it all come with it? Yes, it does. Which means now I can pull it back into place a little bit and get that this part, especially in that corner, that's what I'm looking for. Making sure if I double tap the A, that the wall then is just there. I can also pull this wall back if needed, which is really, really handy as you can see. Because it means now I can line it up with this wall as well. So double tap the A, then there we go. And now what we can do is we can grab this post and press shift D. And I can bring it over and place it on top of there, like so. And then what I can do is I can bring it over and out to here. So shift D, let's bring it over to here. So just make sure that it's actually, you know, poking out of this edge here. Let's bring it over a little bit more like so. And then what I can do now is I can come and put this one on. So I'm going to press Shift D, bring it over and this one I'll have to re wrap because I am going to be stretching it out a little bit. I could either do that or delete that one and grab this one instead. So shift D, let's pull it into place like so. And then what we'll do is we'll pull it out. So I'm going to press and X pull it out, get it into place like so. And finally a U smart UV project. Click Okay. And that's that one done. All right, so I think then what we'll do now is we'll actually bring back this part. So I'll decide where I'm going to bring it back from. I think I'll bring it back from roundabout here and then the floor. Then we're going to have another part on here so maybe level with this. So what I'll do is I'll come to this part now. I'm going to press control and it should follow it going all the way along. So what I'm going to do is I'm going to bring it back from, let's say round about there. And then what I'm going to do is I'm going to press control again. Bring in another edge loop. And this time I'll want it just just level with the top of here. So left click, right click. And now finally I want to bring in another edge loop going up this way. So I'm going to press, yeah, I'm thinking probably easier actually with this now if we get rid of that back bit, because we're not going to need it in there. So let's come in, grab this back. Where is it? Have we got a back on this? We actually got a back bit and that's what we'll do instead. We'll grab all of these, and then we're going to just press Y just to separate it out. And now if I turn this off, I should be able to just work on this part. So if I press control left click, right click. And now I'm going to do is then we're going to level them out just to the edges of here. So control B, because it will give it a little bit of depth hold the shift board. Now you can see we're a little bit out on there. We're nearly to the edge as well. So we can see now where the edges are. So I've got this much thickness of the wall. It's kind of an illusion. You know, there's not much thickness on that wall, but we need something there to just give that illusion. So what I'm now going to do, I think I'll bring them in a little bit actually. So I'm going to press S and X, bring them in to somewhere like that. Now this one's fine, you can see, but this one needs bringing in a little bit. So what I'm going to do is I'm just gonna grab this one and I'm going to grab this one and bring it in. And then from there then it's obvious I'm gonna need to bring this in a little bit as well. Now, again, don't worry so much about, you know, whether everything lines up right now, it's not that important. What I need to do though is just make sure that I bring these back. So where's mine, Gist? There it is. And make sure that these line up with this post. So I'm just going to come around here and making sure that all of those you can see here, it's not quite in. So I'm going to pull them back a little bit more like so. And then why can pull this wall back a little bit more like so. And you can see as long as you're fiddling around with it, you can get everything to line up really nice. And now that is in there really, really nice. Now what I can do is I can come in and I can grab this face and I'm going to pull it back. And then you'll see I can have to pull this over a little bit more. So I'm going to do is I'm going to pull this all the way back now. So I'm going to press, pull it back all the way to there like so. And now finally let's come in and just grab this post and just make sure that it's in place covering this actual wall on the inside. So this wall on here. All right, that's looking pretty good. And now that means we can actually start work on the next lesson. I think we'll actually start on this balcony and maybe even start on the roof. Start heading up to the roof mainly though. Let's come out and save it out. All right everyone. So I hope you enjoyed that. I hope you're having a lot of fun creating this. I know I am. And I'll see you on the next one. Thanks a lot. Bye. Bye. 70. Wall Detailing with Wooden Panels: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left the art. All right, so what I'm going to do first, I'm going to grab just this part in here. So this part in here. I'm going to press Shift cursor selected, just to give me something to actually work with on my center point. And then what I'm going to do is I'm going to bring in a plane. So let's bring in a plane, let's make it a little bit thinner so, and y make it a little bit thinner. And then what I'm going to do is pull it out and X, let's pull it out into place or wherever we want it. And then finally from there, then let's pull it down so we're going to have it all the way down roughly to there'. Then press tab control, bring in maybe, let's have a look how many you've brought in. So left click, right click, seven edge loop. So just put it to seven. And then what we're going to do is we're going to put proportional editing on and grab it. And I want to make a kind of either, I would say it's one of these, so let's try the sphere first. If I press one, I can go to front view, and then what I can do is I can pull it out and bring it in. Now it's definitely probably not going to be that one. So I'm just going to press control. Let's try the other ones. Let's try root, Not that one either. Let's try in verse, see if it's that one. Yeah. And that one's probably more or less if it won't go the way that you want it, just come in and very, very gently just put it on smooth. And instead of doing it, that what you can do is you can just pull it up and then just bring it in. In fact, I know what the reason is, it's not working because I've got all of these selectors. So let's just select the center one. And now let's try. There we go. There we go. That's exactly what we want. Something like that, to make it nice and round it off. All right, now on the original, I actually add these, coming out a little bit more. But actually I think this is probably gonna look a little bit nicer than that. So I'm going to grab it now with L. And then what I'm going to do is press and pull that up like so now we will need a center point on this bottom. So all I'm going to do, I'm gonna pull it up roughly to roundabout there. And then I'm going to put another post that's going to come kind of on the top of here. So is this up far enough? We will see when we get the next posting, we'll actually see. So what I'm going to do is I'm just going to press shift, in fact, I've got it to the center, so all I can do is press shift, bring in the cube. Let's pull the cube a little bit smaller. So pull it up a little bit like so. And then what I'm going to do is pull it out and X pull it out. And we want this to basically be near enough to the edges of here. We are going to make it a little bit smaller. And from there what I want to do is I want to make sure that it's covering all of this, so it's going to be quite a big block. So in other words, and y. So if I grab this and Y pull it out just so it's in front of the so, so just probably a little bit more actually. So let's bring it out. And this is a question of trying to get everything fitting in. So fitting in, so it's really nice. Let's take proportion editing off. Don't need that. All right, finally then let's bring it up so it's sat on top of the. So now what we'll do is I think I can bring this up a little bit more. Maybe maybe bend it in a little bit as well. So I will do that. So I'll come back to here and it might come in and old shift click, ol shift click. And just bend it up a little bit more. Old shift click, old shift click. And bend it up just to make sure. So old shift click, old shift click, bend it up, then it's going to fit into place very nicely. Old shift click, bring it up. Something like that. So a look at that. Yeah, and I think that's actually going to look pretty nice. The one problem I've got is, is the back of here, I think actually I'll put a piece that's going to go around the back there in the middle. Yeah, let's think about doing that now. All I'll do is I'll just bring in an edge loop control lot. Bring in an edge loop, bring it forward a little bit like so. And then all I want to do is I want to grab this one. This one and the inside of here. Then this one and the inside of here. Now if you're going to put this in the asset manager, just make sure to put a plane behind here. I think it'll be cleaner. Ansad, pull them up like so. And there we go. We'll fill that in and we'll see what that actually looks like. Let's get some materials in now. So what I'll do is I'll grab them both. Press control or transoms. Right clicks the origins geometry. And then what we'll do is press Tab, Smart UV Project. Click Okay, Tab again. And then we'll grab this one control L, and we'll link materials control L. And we'll also copy modifiers and that is what it should look like. Let's have a quick look then at the rendered view. So we're just going to have it on render view now. Yeah, and I think that's going to look absolutely fine. All right. I'm happy with that. Now what we need to do is we need to make sure that we've got a post on the inside of here without overlapping over here. So what I'm going to do is I'm going to grab this one. I'm going to press shift and I'm going to bring it back into place. Not like that. I'm going to put it onto other, shade it back into place like so. And we can see that it's kind of overlapping there. We don't want that. So what we're going to do is pull it out, make sure that it's not overlapping. And we're also going to make sure that it's probably dropped down into the floor. Actually, won't drop it down the floor because what we'll do is we'll use this wood that's going to go across here. All right, that's looking good, like that. Now what I want to do is I want to put that over the other side. Just make sure it's not overlapping over here. So we're going to press shift, bring it over to the other side and put it in place, so into the wall like. So make sure that no part is poking out. So we don't want that poking out, we want it right there like so. And then what we can do is we can grab this part now and we can pull this back. So shift, let's grab it and let's pull it back into place like so we see, you can see it's coming down to there. And it might actually just with this bag bit, just drop it down a little bit just so we've got a little bit more wood there like. So that's looking very nice. I'm happy with that. Of course, as we're going along with this, we can alter things and change them, you know, on the fly a little bit. Which I think is always a good idea. But I think for this part now, what we'll do is we'll actually steal the idea of this. So I'm going to grab this one. This one and this one. First of all though, let's change the materials. So I'm gonna grab all these press control L, I'm going to link materials like so just change them to green. And then what I'll do is I'll grab these three. I'm going to press Shift, bring them over R z 90. And I'm also going to right click and set origin to geometry just to make sure it's in there. And then I'm going to pull them up to here. So I'm going to press one. I'm going to bring them up into the place where I want them, which is going to be right along here. So let's put them into place. So pull them out, and now it's a question of, don't be scared about making these a little bit smaller if you need to. We need a window going in here, so we just need to work out where we're going to put these. But if you need to make them a little bit smaller, especially these parts just so they fit in, because you're probably going to want a few more of these. So if I put this here, you can see if I bring in another one, another one. There's not going to be room for four on there. So I'm just going to press S, bring it down. And then what I'm going to do is instead of just shifting them across, I'll just bring in an array. An array. And then let's move it over. Not that way. So let's put that one on zero, let's put it on Y. And the other way I'm just going to put it an array over to the center. And what I want to do is make sure there's a tiny, tiny gap along here so you can see I can click it one and that is way, way too high. If I click it back, it's -9.7 Let's -0.98 let's try that. And then -0.99 and finally, let's try -0.995 Let's try that. And we're nearly there, Nearly there, you can see a little tiny sliver. So let's try -0.997 And there we go. That's what I'm looking for. That little tiny gap, there is what I'm looking for. All right, so now we might need to do that again, because we might need to make these a little bit smaller. Let's try 234. And you can see we need to make them a little, tiny bit smaller. So what I'm going to do then is come in and I'll grab them all. So I'm going to press S, bring them in a little bit like so bring them over a little bit and then I'll just see if they fit now. So double tap the, you can see it doesn't quite fit in here. So let's bring them over a sliver. Double tap the and now you can see they're fitting into place from here. Then I can grab them all. I can pull them down a little bit into place so they fit along here. I can grab this one. Press S and X and pull that one out. And don't worry about the bottom here, this is going to be planks of wood anywhere along here. And then finally I can bring this part down into place there. And then press S and X and pull that one out. And finally, then let's just grab this one. So make sure you've grabbed it all. U, Smart UV Project. Click okay. Grab this one, then. Tab, Smart UV Project, click okay. And there we go. Now we can actually put in a beautiful window along here and go in around here like so. And I'm just wondering if I want to stretch these out, but if this window will be a little bit too big for my liking, what I'll do is I'll pull this up a little bit, grab these, and then what I'm going to do is press sens head, pull them up into place. Like actually if I grab this top part now, just put it on the very top of there. There we go. That's the way that I want it. This is a nice window size now. Okay. On the next one then, we'll actually get this balcony in, because we need a floor on here. We'll get in our panels that are going to come across here. And I think then we can make a start on our actual window, then this window, and finally we'll actually make start, I think on this actual roof. All right everyone. Let's say that our work, and I'll see on the next one. Thanks a lot. Bye bye. 71. Large Window Frame Modeling for Victorian Libraries: Welcome back everyone to blend the fourth empa, an artist's guide. And this is where we left off. All right, let's fix then, first of all, these parts in here. So what I'm going to do is I'm going to actually come in, I'm going to grab the top of here, so I'm going to press selection. And then what I'm going to do is I'm going to grab this one, and this one, and this one. I'm going to press selection. And now I want to do is I want to grab this whole thing here. And the reason I want to split these off is it's going to make it easier not only to work with them, but also to boole in this one off. So if I press P selection on this one here, you can see it comes down to this part here. Now what I want to do is I want to hide those out the way. So if I come in, press the tab button, and I'll select this one. This one where I eat, let's hide those out the way and see what we're left with. So we're left with this. And you can see that this is part of here. You can see that this side is this side here. So they're okay. It's just this part here. This is what I mean. So what I want to do is if I now select this, I can actually press Delete and Faces. And delete that out of the way, leaving me with this empty horse kind of inside. Now if I press Tire, press Alt tag, I can bring back everything. And from there then I can actually work out the size of my window. Now the other thing is also I'm not particularly happy without this part look. So you can see it's kind of Ben. Yeah, let's fix that's all we'll do is we'll just delete that out of the way. I'll bring in then a plane, so shift date, let's bring in a plane plane or come here r and x and 90. Spin it around, press one to go into front view. And then all I'm going to do is just get my plane to be the right scale. So I want it to be above these, of course. And then I want it to go back. So I'm going to put it into play. Going back into my wall. So how far back do we want it still in the wood there? I want it going a little bit further back. I don't want it going past this point as you can see. So I'm just going to make sure that it's coming out a little bit more like so. And then what I'll do is I'll bring it out, so S and X pull it out just so it's going in that bit there. And there we go, a thing that's going to look good. And now I can actually work with this part. So what I'm going to do is I'm going to, first of all, I think I'll create my window first. I think that's going to be the easiest way. Now, I do want my window to follow the contours of this. So what I'm going to do is I'm going to come to this part, I'm going to grab all of these, So this from here to here. So control select. And then what I'm going to do is I'm just going to press Shift, Duplicate it. So shift duplicate it. And then what I'll do is I'll pull it down. And from there then what I'll do is I'll press one again. And I'm going to press E and then Z, and pull it down like so. And then all you can do is you can just press S and Z to straighten that out. So and Z a couple of times and you'll see that it actually straightens it out that bottom for you. Now we've got our actual window in. What we need to do now is create a Boolean. First of all, what I'll do is I'll use this as my Booleion. So I'm going to press P selection, Grabmbolian control or transforms, right click, set origin geometry. Let's go into object mode because it's going to give us a better visual on it as well. Let's also hide these parts out the way now. So just this side I'm going to hide out the way, these parts. And from there then I'll also hide these parts out the way as well. And then all I'm going to do is just grab this part and L and then just pull it out. So pull it back like so. And now finally we'll come to this part here, make sure your transformations are reset. So all transforms right. Click Rogen geometry, add in a modifier and we're going to generate a Boolean. And the Boolean of course, is going to be this. And sometimes sometimes it won't actually work. Now to see if it's actually worked, just press control A and then hide this one out the way. So let's hide that out of the way. And you can see here, it's not worked. Sometimes though, when you go into it, you will see you've actually got your Boolean there. It just doesn't look like it worked. Now there's another way as well. What you can do is instead of having it on the exact, put it on fast. And you will see now that it actually seems to work much, much better. And now you can just press control. And there we go from there. Then what I can do is I can pull this out now, and there is my actual Boolean. Now what I want to do is I actually want to actually fill this part in. Because this boolean is actually going to be like the coffee shop with the background in it. This is actually going to be a bookstore. So all we're going to do then is we're going to come in and we're going to press Lt, shifting, click, going all the way round here, like so. And then all I'm going to do is press F to fill that in. Finally, then let's bring it in. So we're going to grab this face again. Press the eye button, and you can see we've got major, major problems in here. And this is probably because we've got so many, you know, different parts in here, all of these edge loops and things like that. So let's actually think about how we can actually fix that. So we need to be able to bring this in basically. So the way that we could do it is I'm thinking, let's first of all pull it out a little bit so you can see there it actually does pull out, which makes it actually handy for us. So if I pull it out, I can pull it out to here. And then what I can do is I can bring in some edge loops. So controller bring in maybe four edge loops like so. And from there then what I can actually do, I can come to the back of it. Put proportional editing on and should, if I'm careful, be able to then pull it in like so and we've still got that same actual shape now if we turn off proportional editing now and then pull it in again. So pull it in, you'll end up with something like this. And then you can right click and shade auto, smooth. And there we go, we've got the same actual idea as what we had before but doing it basically a different way. Now the other thing is if it's too lumpy around this edge, all you can do is you can come in and you can grab the inside. So control. And then once you've grabbed it and you can bevel it off a couple of times like so, you will end up with a bit of a mess in there because we've got some crossover on here, but we want to really fix that. So I know it's a little bit fiddly, but let's come in and actually fix that. So all I'm going to do, I'm going to come in, grab this one and this one, right click, and then merge at center. And then I'm going to come to the next one. So if we come up here, this one and this one. Instead of pressing right click, Merge, just press Shift, we'll do exactly the same thing. And then this one, and this one shift. And it's basically just repeating that process that you did before. So shift and there we go. Now we've got a beautiful backdrop to it. Let's turn that off. And that's another way of getting things done. All right, so now let's come to our actual window. Now if I'm starting a window, what I want to do is the same as what I normally do. I want to plane. Not a plane. I actually want this to be separated from everything. So I'm just going to grab this one and this one and press Pat Selection. And then just grab the back of it and press Delete. And now I can actually start pressing OltaHe, bring back everything. And now this is going to be my actual window. Now, we do have one problem here, in that this needs to be a tiny, tiny bit bigger just to cover this. So let's make a tiny, tiny bit bigger light so, and then we can make it bigger as we go along. But it's better to just start with a tiny bit bigger. So what I'm gonna do now is I'm gonna come in, I'm going to first of all, reset all my transforms like so set origin to geometry. And then what I'm going to do now is I'm going to come in, grab all this, press the Y button, press I again, and bring it in like so. And this is going to be obviously the outskirts of my actual window. From there then I want to make this then into my actual window. So what I'm going to do is come in and I think I'll split this off. This, I think that's going to be much, much easier to split that off. So let's come in and press the P. We'll do it that way. We'll press P selection and split that off. And now let's create this into a window. And with this window, I want it a little bit different to the other windows have been creating. So all I'm going to do, I'm going to just pull it forward. I'm going to press one. Then on the number pad, I'm going to press Tab. And what I'm going to do is I think I'll first of all bring in one kind of edge loop. And to do that I'll have to use my knife. So I'm going to put my knife round about here. Press eight to make sure it's going straight over to the other side. Press the Enter button, and now I can bring in some more. So let's bring in two. Left click, right click like so. Now let's think about creating the parts that are going to be fill the window. I'm going to do this a little bit different, so instead what I'm going to do is I'm just going to grab all of these like so, so old shift click. And then all I'm going to do is press control B. And I'm actually going to Pevl those off like so from there then I've already got them all. Nearly what I want to do is come in Fa select and just de select these faces. And then all I'm going to do is I'm going to split these off from my window. So I'm going to press P selection. Split them off then, because it's a, a smaller window, I just want to bring these all out now. You'll see what I'll mean in a minute. First of all, let's grab these tab to select everything, and then E pull them out like so. And finally then what I'll do is I'll just grab each of these. Now you can grab each one of these, but what you can also have a fast selection, but it'll probably select the back ones as well because it's going to be based on normal. So I'm not actually going to use that. I'm just going to select them like so. And from there then, all I'm going to do is press E and pull them out. And there we go. And I think that's looking pretty nice. All right, so now we've got our windows, we've got this part here, let's pull this part out now. So let's pull this into place like so. And from there then, what I can do is now split this off. So same as we've done before with all of the other windows. Let's split it off. Right click, mark a seam. Let's then come in, grab the top L, the bottom L, Y, A to grab everything, and then pull it out like so. And there you go, you can see a really, really nice window and it's looking a little bit different. All right, so on the next lesson what we'll do is we'll actually get this into place. We'll actually get this actually fixed as well. So the background to it, how's that actually going to work? Make sure that actually works. And then finally, we'll get some materials on here and then we can actually start making a start on the underside of here and this part here just to bring it kind of all together. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 72. Polishing the Library Extension for Enhanced Realism: Welcome back. Every on to blend for the environment artist guide, and this is where we left it off. Alright, we've got our bevel in and everything like that. Let's put this back on material. And then what I want to do is now copy the wood. So let this load up. And all I'm going to do is I'm going to join all of this together. First of all, in fact, should I join it altogether? I think what I'll do is I'll first of all bring in the materials. So I'm going to grab this, I'm going to go to my materials and instead of green painted wood, I'm going to click the little down glass lit windows or on that on there. And then the rest of it is fine. So now what I can do is I can come in. I can, I think, yes, we'll just grab this one and this one. For now, press control J, and then what we'll do is press Tab and U, and Smart UV Project. Click Okay. So that's the window part, hopefully done. We'll check that in a minute. And now if I come to my Windows, let's come in and what I'll do is I'll unwrap this one first. So if I go to UV editing, I'll press dot just to zoom in. And then what I'll do is I'll press U and unwrap. I'll press S and make it a little bit smaller. And what I want to do is I want to get this into the right size that I want it, so like so a little bit of dirt around it from there. Then what I can do is I can press U, copy, copy, default. And then I can grab all of these. Now I'm hoping these ones already will unwrap as well. Normally when you paste in it, if it's got the same number of sides, it would normally copy it. Just be careful about that. So what I'll do is I'll press a copy paste default. And there we go. Hopefully they've all unwrapped. Okay. As you can see. Now what we've got to do is just go over to the left hand side. You'll see a little black dot there. Just make sure if you press A, everything is selected. And then from there, what we can do is we can come in now and move these around. So as we've done many times before now, we just need to move these around a little bit, making them look a little bit different, like so, like so. And it does take a little bit of time, but it's really worth it. Now, any like this one here I recommend, don't have a big black splotch in there. We don't really want that, just put them somewhere else. So even there is okay. Even there is okay. And we just want them looking very different. And again, if they're looking, you know, kind of similar, just like this one and this one, as you can see, we've put them in the same place, just make sure they're looking different. This one and this one looking the same. Then it's just important that we take a little bit of time just to make them, if they look like that, just press the S board and bring it in to make them look a little bit different. Okay, and then let's put this one over here. And then, and then bring that one in. And then let's pull it down here. And then bring it in like so. And yours, making sure I'm going to spin this one round as well. So r 90 so you can spin them round as well. And then r 90, just the ones just to make sure that they're all looking different. And then finally, let's put that one there and you can see now they're all looking very different. Now we've got them are we can join them all to this one. Press control J. Join them all together. And then press G. And there you go. There is your actual window. Now let's put the window into place. So let's go to front view. Let's come to modeling again, and let's put it into place. So let's press dot and zoom in, and let's get it right into place where it's going to go. So you can see back, back, back forward, forward, forward and to there. Something like that. And I'm just looking at how much room I've got. You can see fairly amount of room from there, this part of wood to the actual wall. So that's looking fine. Now let's come into this wall and what I'm first of all going to do is I'm going to reset the transformation. So control l transforms right clicks at origin, geometry, tab, then a to grab everything and unwrap. And what I want to do now is grab this one here. So control L grab my wall link materials. And there we go, That's the materials. And now let's hide this out the way. So hide this out the way. And now we're going to come is to this part here. So select it, come in to make it a little bit easier for ourselves. So Alt Shift and click Ol Shift click, going all the way around. Right click, and we're going to mark a seam. And from there then all I'm going to do is grab this part in here. So L press one to make sure that we're straight on, on the number pad. And then, and we're going to Project from View. Where is it Project from View? And then we go and we're going to click plus. Now what I want to see is if I've actually got the material for this, so what I want to do is want to put in backdrop. I think it's on the backdrop. Avelook backdrop. Nope, it's not on the backdrop. Let's go to asset manager and overlook which one it is. So we'll come down and what we're looking for is our backdrops. So we have bedrooms, living room shops and shops two, I think it's under shops one. Let's just see if we've got shops one on there, so shops one, we have got that on there. Let's go now to UV editing and just make sure that this is going to be assigned to there and as soon as that opens up you can see so definitely not shops one, so it's going to be probably shops two. So let's click the little down arrow. Where is it? Yeah, here it is. Can I click it? There we go. Shops to. All right, there we go. That's the one that we want. Okay. So the one that we want then is going to be either this one or this one. I would say I'm probably going to go, I'm just checking on my actual reference. I'm thinking it's probably going to be this one, actually. All right, so let's grab this with a, let's move it over then let's make it a little bit smaller then so it fits in. So let's press and get it all the way in from there. Then what we can do is we can move it up, y and then and y, and just stretch it out a little bit like so. And there we go. Now let's press salt and bring back our window. And finally let's have a look. See what this actually looks like in our rendered view. It's going to take a little bit of time. We've got a lot more things in the scene now. There we go. That's looking pretty nice. Okay. I'm happy with that. We actually look like we've got a piece of wall down there as well. Let's move it around, let it load up. I also think, yeah, that's looking perfect. I'm happy with how this looks. This is exactly how I wanted it to look. All right, so let's go back to modeling now. That's that part done. We're now moving along pretty fast. Let this load up and there we go. Now let's get some more wooden parts in here just to bring this out a little bit. So what I'm going to do is I'm going to use my cursor in the center. I'm going to press shift A, bringing a cube. From there, I'm going to make my cube a little bit smaller. I'm going to pull it all the way back to here. All the way back. Pull it down a little bit, making sure it's coming out of the wall, like so pull it over to this side then. And then what I'm going to do is pull it all the way out. So I'm going to pull it out a little bit, grab the back of it and pull it up to here. So All right, that's looking good. Now let's bring in another one. So what I'm going to do is I'm going to press L, shifting D, bring it over and I want it round about there. And then shift and D, bring it over it. Is it going to fit? It's gonna fit just you can see, but it's sticking out of here. Which we don't want that at all. So what I want to do is I want to press L, L, and can I then pull them up into place? And you can see that we're struggling a little bit, which means probably better off grabbing the top of here and lifting it up a little bit. So if I press right click, set origin to geometry, now what I should be able to do is lift it up a little bit. Now we should be able to grab these tab. This one's already fine. It's just this one now. And bring it up. There we go. All right, that's looking good. Now let's press control. Lay or transforms right click origin to three decursor. Come to your modifiers, ad modifier and we're going to generate a mirror. And there we go, that's over the other side. Now let's have a look what that's going to look like. Yeah, I think that's going to look good. So then what we can do is now we can grab all of these. Apply our mirror control. Tab U, Smart UV Project. Click okay. And finally then Tab, grab this here. It's got the bevel on and it's got the material on we need. So control L, link materials. Control L, and we're going to link or copy modifiers. Al right, there we go. That's looking pretty good. Now for the last bit we want, obviously our banister coming over here. That we'll do on the next lesson. But for now, we'll come in and bring in our geometry notes. So we're going to look for geometry notes, which if we close that up, they're on here. This is the one we want, Our planks. Let's bring in our planks. We're just going to sit it there for now. And then what I'll do is I'll come back to modeling, let it load up. It's going to be a little bit slower now because we're working with a lot more parts. I think actually on the next lesson we're going to go through performance and optimization. Just so your, your actual models aren't being slowed down too much. I was going to wait till we built this model, but I think it's important that we actually go through that on the next lesson. So we'll do that on the next one. Now let's bring this into place. So we're going to bring it in two places. Like you can see there's pretty big planks at the moment. So what I'm going to do is shrink them down. I'm going to pull it out then to where I actually want it. So something like this is where I want it. And then what I'm going to do is obviously increase the amount of them. So if I come down, first of all, I'll turn down my resolution to maybe three, maybe even two I can get away with. And then what I'll do is I'll bring up my count. So let's increase the count all the way up to here. And then and X, let's pull it out a little bit more just so no and X not can actually x. There we go. There we go, pull it into the side like so. And then what I'll do is I'm thinking, should I make them a little bit thinner? Let's first of all deal with the width. With, we'll bring them in a little bit like so. And then what I'll do is width random, so I'm going to bring them out like so. And then S and X pull it in. And then we can see that's looking much, much nicer now. And then finally the length. We don't need to do that, and we'll just bend them out a little bit like so. And there we go. They're going to look a little bit uneven. Maybe that's a little bit too much, maybe a little bit too much. So let's pull it back a little bit. So, and I think that's perfect. All right, now we need to bring in the material. So the material is, let's have a look. If I click this, we should have a few different types of wood. We've got dark wood, we've got light wood. Let's do it the same color as the door, so that'll be dark wood. Let's bring in dark wood like so. And there we go, That looks cool. All right, on the next lesson then, what we're gonna do is we're going to go through performance and optimization. And I'll see here after that one. Thanks lot. Everyone, make sure you save out your coal files first. Alright, thanks lot. Bye bye. 73. Performance Optimization for Blender Scenes: Welcome back everyone to Blender for the Environment Artists Guide. And now I'm going to do is I'm going to play you a quick tutorial about performance and optimization in Blender. It's really, really important when we're actually creating really large scenes like this. So I'm going to play that for you now and I'll see you after that. I recommend everybody, by the way, watches this one. It's really important. I learned a lot of new things when I was putting that together as well. All right. I'll see you on the next lesson, everyone. Thanks a lot. Bye bye. Welcome everyone to our performance and optimization guide. And a lot of times when you're dealing with really, really complex scenes or even simple scenes, if you've got a low end machine, you will come across things like or out of memory or blender actually crashing. And there are lots and lots of ways we can actually deal with that. And I think it's important for all of you guys to actually know what things we can actually do to stop this happening. We probably won't able to get rid of it altogether. There'll still be times when Blender crashes, but we can do a lot to actually increase that performance to get our scenes where we want them to be and more importantly, render out beautiful images. So the first thing we're going to discuss is Ram. And now if you look down at the boat inside here, you will see one that says memory and you will see one that says Ram. Now the most important thing is that first of all, you understand now to bring these on. So what we're going to do is we're going to go up to Preferences, we're going to go down then to Interface, and under interface you'll have a Status Bar. And you can actually click all of these on. So we've got system memory and video memory, and these are some of the most important things. So let's just close that down a minute and let's actually go through these. So basically you can see here that down the we've got how many triangles we've got in the scene, and how many objects. These directly correlate most of the time, to how much performance your computer will need to actually run this blender scene. So the more faces, which are polygons you have in your scene, the more performance you're going to need. Same thing goes for the amount of objects. If you've got a ton of objects in your scene, then it's going to come at the cost of actual performance. So now let's move on to the actual Ram, which is how much Ram your actual computer actually has. And I recommend a minimum, a bare minimum. You need 8 gigabytes of Ram to run Blender. And it comes down to the more, the better the performance from your machine. So I would say aim for 16 gigabytes. Now also we have something that's also very important, which is called V Ram. And this is normally the Ram that comes with your actual graphics card. And basically, the higher this is on the graphics card, the much smoother time you're going to have. So where I tend to see problems myself is with the actual memory on your computer. If it's too low, you have problems in the viewport. And where I see the problems arise with the V Ram is normally when you actually come to render out complex scenes. The next thing we can do to actually limit the amount of performance needed is actually put everything in a nice neat order in collections and make sure everything's just named correctly. What we can do from there, then we can close certain parts of our scene down, which means that we can either render them out a little bit at a time and then lay them on top of each other. Or especially in the viewport. What we can actually do is close parts that we're not working on at the time, especially in large scenes. And then this then again, will limit the actual performance. Also it comes down to your CPU as well, your CPU, the better it is, you know, the better time you're going to have with all of this. Let's now say we've got all of that sorted and we're still having some problems. Let's now go into a few of the options that we can actually mess around with. So what we're going to do is we're going to go to Edit, go down to Preferences, and the first thing I want you to look at is system. And on the system, just make sure that you've got this set to whichever you can so it can be cuter optics, X or one of these. Just make sure it's not none. And then once you've got the one selected which you want to use, just make sure both of these are ticked on and blender them will take advantage of those. Also, make sure that you haven't got undue step set at 250 or something. This has a huge actual impact on performance. So if you're really, really struggling, I recommend turning these undue steps down to five or ten. But the problem obviously is that you're not going to be able to press control head and go back very far if it's set too low. So I recommend all of these things I'm actually showing you. Try and play a memorandum with bit till you've got, you know, that kind of perfect set up and then you shouldn't have or you should have less problems in the future. All of these other things we can mess around with as well. I don't recommend these unless you're absolutely, really struggling. I think you should keep these, what they're set to. This is the only one and this Tikton is the only one, as far as I would go on here messing around with those. All right, so let's close that down. And let's now come over to the right hand side. And you can see here at the moment if a scroll up, a non blender render engine cycles. And it's important to know that to have an easier time, it's much, much easier to put this onto V, which is basically a real time render engine like Unreal or Unity or something like that. And that then makes it much easier if I come to render this or click on my render view to actually move around the scene while it's actually being rendered. The thing is if you're on V as well, there also are some things that you can actually turn off to increase performance again. But normally with EV, unless you've got a very low end machine, you shouldn't have any problems. If you are having problems however, just make sure that viewport denoising is actually turned off. This is one of the heaviest things actually denoising both on blender and cycles that actually really increase that performance needed. So you can turn the viewport denoising off. You can also turn the ambient occlusion of and you can also turn the blue off and especially screen space reflections, make sure that is also turned off. Now pretty much everything in EV you shouldn't need to mess around with anything else. Once you've turned these off, you should have a much easier time. Now, let's move on over then to cycles, which is a little bit different. So if we come over to cycles, you will see even my machine, it's quite a high end machine, or it was maybe two years ago or something. Sometimes struggle, especially with large scenes like this with a lot of textures and a lot of sand and things like that. So if you look over here at the moment I actually have in my Viewport denoids on. The first thing I recommend doing is turning this off. This then will increase performance, no end. So once you've turned that off, it's going to take a little bit of time to actually apply that as you can see here. And then you can also turn the noise off in the redeve, but I don't recommend that because then you're going to end up with a very grainy render, and that's maybe something that you don't want. Now, you can see already that I'm really, really struggling here, even with the noise turned off because this is quite a large scene, it's got a lot of displacement on there. So I'm just showing you just how pixelated that is and just how long we need to wait. So what am I going to do now while I actually fix a few things? I'm just going to put this onto material mode. And that leads me on to my next point. So when you're working in blender, it's important, even though it looks really, really nice to be working in blender cycles, it actually comes at a huge cost. You can see already working in material mode over here is actually really, really helping me navigate around my scene. Now if you're struggling even more, what you can do is you can come and put this just on object mode and then you shouldn't actually have any problems whatsoever. It's also important to note before you click this render bond, so the render image board, make sure that you're on wireframe. And the reason is because you don't want to be rendering out the scene, you know, in cycles on Viewport shaded and then render it out again. That is more than likely going to lead to a crash. So what I always do before I actually hit that render board is put it on wire frame. This is the lowest amount that blender needs to use in the actual viewport. Now it's also important to remember that everything comes at a cost that you put into blender. This could be things like geometrdes, particle systems, simulations. Some of them have larger costs than others, but everything down to the smallest object has some kind of cost. So when you've got a scene that's just crashing all the time, it's generally down to something that's quite a large cost on performance. Now, the other thing to note is when you're actually bringing in textures to your scene, it's important to know. So if we go to this one, for instance, and we go to our shading panel, this is quite a complex shader. The more complex the shaders are, the much higher performance it's going to need. The other thing is, when you're actually bringing in textures, be very careful that you're not bringing in really, really large textures. So I recommend four K be the maximum. But honestly, if you can stick to two K textures or one K textures or much better, it's going to make a much easier time for you making large scenes. This is why a lot of game companies, especially mobile, use only like 512 or one K textures so they can handle the performance and keep that optimization pretty high. The other thing is about textures, if you're using seamless textures, that is better than using something that you've gone out and you've painted in substance painter. So it's just much easier to use seamless textures because they can be used over and over again and limit that performance. Also make sure on the right hand side, if you come up to this Lal arrow, you can see that light in our seen lights and seen will make sure they are turned off as well because they will also cost you performance. And last of all, before we move on to the cycles part of it. If you come over to your actual world, if you're using a HDRI within, we're not on this one, we're using a sky texture. If you're using a HDRI, that's also going to come at a cost of performance and it's quite a large cost in comparison, something like the sky texture. So if you can make sure that you're using something like the sky texture, as you can see, it's just one node here. And I know it's very nice to use HDRI, but if you need to control optimization, try and learn how to use the sky texture instead. All right, so finally then moving over then to our cycles, we can see, first of all that the device I'm using is my GPU. It's always fair to use your GPU over your CPU. It will make it much, much faster because it's relying on a lot of V Ram from your actual graphics card. And as we discussed moving down, we can also turn off the D Noise. This is one of the best things you can do to actually increase performance. The next thing usually you can do is you can come down to where it says light paths and all of these come at a cost as well. The lower you set these, the better it's going to be. I recommend messing around with these. Last so last of all, after you've done everything else, this is why I would be clicking off or turning down especially care sticks. They are also quite high on the performance. Last of all, let me show you one of the best things you can also do, which is if we've got a rendered mode, we're on actually cycles. We turned on Noise Again, you can see how nice this actual sand looks, but it comes at a huge cost. So just remember this comes at a huge cost. Now if I come over and down and just scroll down here, we have one that says simplify. Click that on, and then what you'll have access to is all of these options here. Now one of the main things we can do here is the texture limit and the maximum subdivisions. The maximum subdivisions, if you go over that subdivisions in your modifiers, you can actually reduce that or override that over here and simplify and turn them down to one or something. That then will reduce the polygon count right across your scene, wherever it's over six or five or whatever. You set this to increase in performance. And one of the last things we can do is we can turn down this text limit. If I turn down the text limit something like 256, you'll see after a while what it'll do is it'll turn down all of those textures right across your scene down to 256. So even if they're four K or eight K, if you turn this on, you can turn them all down and then you'll see, look how greeny now this actual sand looks. Look how bleary these looks. And the reason is because we've turned down our texture limits all the way down to 256. The other thing is if you haven't problems rendering out your seam, you can also come in and turn them down in the actual render as well, which really significantly helps with crashes cuter out of memory and things like that. All right, the last thing then we can do is, especially when we come to actually rendering now, is you can see here that if you hover over here, it says use compact deviate structures. It uses less Ram but renders slower. So if you are having problems with crashing, I recommend turning this one on. And if you go to the next one, you'll see it for hover over this it says special type BV H, optimized for curves. It uses more Ram but renders faster. Turn that one of also turn persistent data off if you need to as well. Because what it means is that blender is caching all of that data of the scene to save on, basically having to redo it all. So if you turn this off, what it's going to do is a fresh start every time. And it's not saving so much in the memory. I don't actually know whether this one is bad to turn on and off again. I would ever play around with it. Now, something that is a little bit more sophisticated, so we're not going to go into it here. But you do have the option that you might want to look into of baking out your scene. So in other words, you can actually bake all of your scene out onto a UV map for all the lighting and all the textures and things like that. But mainly for lighting to make sure when you come to render it, everything is already rendered out. And then all it's going to do is render out the objects, all the textures, and without the lighting. So that then makes it much, much easier on your machine to have a fast render without crashes. Last of all, what I want to say is if you're building large scenes within Blender, try and use the shader panel more than actually bringing in actual textures. That also is going to save you a lot of performance and optimize things really nicely. The only problem you're going to have, obviously, is if you're sending things out into Unreal or Unity or another Games engine, you obviously won't be able to use those materials, so you will need textures for those. So this primarily is based on rendering and building large scenes within Blender. Alright everyone. So I hope you found that handy. I know if I was just starting out, I'd really want to know this stuff because it would have made my life so much easier in the beginning. Alright everyone, Thanks a lot. Cheers. 74. Adding Final Details to Library Balconies: We'll come back around to Blender for the Environment Artists Guide, and this is where we left off. All right, so now let's first of all think about, let's hide this out of the way. And then what we'll do is we'll actually come in and fix these parts. So I'm just going to come in a to grab them all. Smart UV project. Click Okay. And then we're gonna grab this wall, press control L, and we're just going to link materials like so. All right, from there then, what I think we should do now is we should actually work on this banister here. Also, we've got this floor. Let's make sure that's not actually there. So yeah, we can see through there. That looks perfect. So let's come in. Now what I'll do is I'm thinking, is that in the center? Probably not going to be in the center. So what I'll do is I'll grab this part here. I'll press Shift S Cyst selected, hopefully. Yeah, it's going to put it right over there. So let's press Origin to Geometry, Shift S Ursa selected. And now hopefully that's going to be in the center from there. Then let's press shift date. Let's bring in a cube. Let's bring the cube down. Then over to here. Let's press the Born to make it a little bit smaller. Pull it down into place. Now I want it just in front of this part here, so Jawt in front of that as you can see. And then all I'm going to do is pull it out so and X, let's pull it all the way out. And what I want to make sure that it's also in or behind these actual posts. So we can see these posts here. They might need pulling down a little bit. You can see they're not quite on there, so let's grab them both and pull them down, jaws to Tad. Let's pull them down just in place. And I'm also thinking that this also can now be pulled down, jaws to Tad holding shift. And there we go. All right, now let's come in with this part. So what I'm going to do is I'm going to first of all come to the top of here. I'm going to pull it down like so. And then what I'm gonna do is I'm going to press and pull it up. And finally then I'm just going to pull this bit back a little bit. So if I grab the top of this part here, I can then pull it back just a little bit like so. And from there then I can put my wooden slats going across here and then put a top on it. So let's first of all bring in our wooden slats. And also I recommend on this, we'll actually unwrap this part first, so Smart UV Project. Click Okay. And then all I'll do is I'll grab this one. Control L, link materials control L, and I'll also copy modifiers. Let's just make sure that the modifier has gone on just to make sure I had one on which it has, let's put it back on the material and now let's come back and bring in another part. So all I'm going to do, I'm just checking if I double tap the just to make sure that's all going in fine, Which it is. Let's press shift A then and we'll bring in a cube. We'll make my cube smaller first and then get to the right scale. So wherever I want it, so I'm going to bring it over. I'm going to drop it then into place where it's going to go. So roughly around here. Let's pull it back. Let's also then press and Y and bring it into place. And let's pull it over. And what I'm going to do for this actually is grab my man shift S and selection to cursor keep offset. And then I'm going to put it down into place like so. And the reason I want my guy here is I just want to make sure this banister is going to be in place. And we haven't got a door or anything like that on here. And honestly, I think they just built this bit after, so they just didn't want anything there. I don't know why they built it like that. So if anybody picks up on that, I know about that. Maybe they fell in from the top or maybe they come up from a trap door in the bottom. Not really sure, but this is the way that I built it. All right, so now let's come in and what we'll do is we'll grab the top of here, so the top of here, pull it up a little bit. And again, what I want to make sure is when I actually, the guy comes to the balcony, it should always be around this sort of height here. So it means I need to come in and pull this up a little bit more. And this is going to be round about the right height as you can see. Also, this size of this looks quite nice as well, which means now we can come in, add in the modifier, and we'll generate an array. And then what we'll do is we'll move the array out like so. And then click up the count, and then press control, sorry. One. So press one. We can also close this out the way. I'll just press N just to close that, it's a little bit in the way. Let's turn it down to nine. Let's also put this on to object Moas. At the moment I'm struggling to see. So you can see this one should really be over here. So what I'll do is I'll just pull it over, holding the shift bond very slightly, so roughly where that one is. So you can see now we've got the same gap each side. And that's looking pretty fine from there. Then let's put a top on here. So I'm going to press Shift A, bring in a cube. Bring it over, then press the S one. So again, because this is non destructive, if it is a little bit tall, we can make it a little bit smaller once it's got this top on. So I'm just going to pull that into place, sit it on top of there. And then all I'm going to do is press and X and pull it all the way out, making sure that it's into the post. You can see it's a little bit too far back. So what I can do is I can come round the back, grab this back here, and then pull it into place. So from there then what I'll do is I'll bring it down a little bit like so I'll bring it down and then what I'll do is I'll pull the front of it out. So let's pull the front of it out here. So. Grab the top of it now, press the button like so. Again to bring it back. And then finally what I'll do is I'll just bring it, this part back now. So bring this part back like so. And now that's looking just about how I actually want it. All right. So now I'm happy with the height of this. I think it's a little bit too high, so I'm just going to pull it down to there. And I think now that's looking pretty good. All right, so now let's apply this modifier. So hove and over control, Let's then grab this one and this one and all I'm going to do is press control L. And I'm going to link materials control L. And I'm also going to copy modifiers. Let's put it back on material now. And then let's grab this one tab Smart UV Project. Click Okay. And then these tab Smart UV Project. And click okay. And there we go, double tap the A. And this is what we should be left with now. We've pretty much, if we put on our endeviw, finish with this now. So let it load up and you can see how nice that actually looks. Everything's come together pretty much how we wanted it. So now let's work, I think on our roof. So this first part of the roof, because I think it's a little bit of a break from making windows and things like this and jaws gonna hover around and I'm just looking on the outside of this wall. Maybe maybe we should fix those first with our window. Yeah, we'll do that first. So let's come on in and what I'll do is I'll grab this one. So this one and this one. And I also want to come around and grab this one and this one. And you can see this goes all the way out to here. That's not, do I actually want to use that? I think it will actually, I'll press Y just to split them off or actually to select them like so. So now we've got these two parts here. Let's press A on them. Let's press Delete and Limited Dissolve. And just get rid of any parts that we don't want. Something like that, I think's fine. And then what I'll do is I'll unwrap them. So you unwrap because they're just a plane basically. And then we can grab this wall here, control lel, and we'll just link materials. And there we go. Now they should look so much better, which it actually does. All right, so now we need to think about our actual roof on here. So I think with the roof on here, I do want it slanting in a little bit, so we have to take that into account. Lots of things to take into account with this roof, but it's very interesting to actually create it. So what I'm going to do is I'm gonna come in, I'm going to grab this part here. So this should be hopefully the center here. Press shift desk, Custer selected. And then what we'll do is we'll first of all bring in now a cube. I'll put it on object mode as well, because I feel that's much easier to build this out with shift A. Let's bring in a cube, make the cube a little bit smaller, like so. And then all I'm going to do is I'm going to pull it out to here. I'm going to rotate it round R Y, rotate it around. The first thing I want to make sure is that I've got it coming all the way out to here. So it's going to be in front of here, and then my roof's going to hang over, which means that this bit might need to be a little bit shrunk in. Let's see, first of all, what we're going to do with this R and Y. Pull it out like so. And where's it going to go now? So if I press one, I can then press and put it to where it's going to go. So I'm thinking probably roundabout there, so you can see just how far this is out now. So what I'm going to do is I'm going to grab this now, I'm going to come to normal. And then what I'm going to do is I'm going to pull it out like so, to where I actually want it. So I'm thinking something like that. And then I also want to bend it as well. So if I press controller, bring in a few edge loops. Left click, right click. And now she'll be able to out shift and click. And you can see the problem is here. When I out shift click, it actually moves like where the normal is, sometimes that happens. What I tend to do when that happens is I'll just come in with proportioning. Instead of using these, I'm just going to press and bring it out a little bit like so. And then you can see I can actually bend this in to how I actually want it. We want it bending in slightly. Maybe we'll just change this and put it on sphere and bring it in. There we go. That's perfect. That's how I want it. Something like that. Now from there we can see that we want to maybe pull these down just a little bit so I can grab this one on the face. Take off proportional editing, and we should be able to just pull it down a little bit past there. From there, then what I'm going to do is I'm just going to shrink this in S and X, pull it in right to the edge of there. And then finally what I'm going to do is I'm going to move this up, let's move it up into the front. So we want it into like, so then what we can do is finally, is it in front enough? Let's have a look. Yes, it is. Then finally, what we can do is we can come now to the bottom of this. So I can grab this bottom. Let's put it onto Global. And then let's pull it out into place underneath there. So now the problem is, of course we need to grab them both. Let's press and Y, and X. X, there we go. Pull in place too far and X, bring it back your in place. Double tap the. And I'm thinking that I need to move this just a little bit further forward. Just a little bit further forward, yes, that is what I want. All right, so we've got the first part of this. You can see it's coming along really, really nicely. Don't worry about the top of here. We are going to move it a little bit over, so we're going to get another one in. Move them a little bit over to get this perfectly what we want. And we'll also, before we finish, shade auto, smooth. And now we can see exactly where we want this part as well and where we want the actual roof. I hear about everyone, so this part is going to be quite difficult, it's going to be quite technical. We're going to save that our work before doing anything else. But trust me, by the end, you will have learned a lot and it'll be really, really worth it. Alright everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 75. Detailed Roof Modeling for Victorian Libraries: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we're left off. All right, I think the first thing we should do is right click and set origin to our three D cursor adding a modifier. And let's bring in a mirror. So let's bring in the mirror, let's press it on the Y. It's not working. As I said, control all transforms. Right? Click the origin three de cursor and now you'll see it actually works. So let's just turn off the y. And we should end up with something like this, which is near enough about perfect for what I want. Now what I want to do is I want to create a top for this first before doing anything. So I'm going to press Shift. Let's bring in a cube. And we'll bring that up to here. We want to bring it over there just to make sure that it's actually in front of there. And then what I want to do is make sure that it's wide enough to cover both of these parts. I'm going to press Esen's Ed. First of all, put it up to round about there. Let's pull it down a little bit. And then what I'm going to do is just going to go in with face leg, Alt shift click and then alter n S and just pull it out a little bit, just making sure that it's going over those parts. Finally then let's just bring it in as well. So we'll press, I bring it in just so it's covering these parts as well. And then what we can do is we can press, pull it up to something like here. Bring in a few edge loops. So control maybe five, left click, right click. Grab this center edge loop then. And then what we'll do is we'll put it on proportional lead. And maybe let's try root, see if that works. And x, let's bring it in. So I think something like that is going to be about right for what I'm looking for. And then let's press on the top of it, bring it up, and then and X bring it in, but without proportion editing on this time. So S and X bring it in like yeah, and I think that's what I'm actually looking for. Maybe it's a little bit too big. I think also this bottom bit has come out a little bit old. Shifting click and then S and X pull it out like so. And then what I'm going to do is now I'll grab all of this. So control plus going all the way down to maybe this part. Press S and's head, squish it down a little bit and then pull it down. There we go. I think that looks perfect what I'm looking for. All right, let's right click and shade auto, smooth. Let's also make sure because at the moment I feel it's going out way too far past these. So I'm just going to press and Y and bring it in and then pull it into place. So jawed in front of there like so now we can think about I'm thinking these are still touching a little bit and I don't think I actually want them touching. So what I'm going to do is I think I'll come to the top of each of these, the mirrors on. So I should be able to come in and just grab that top face. If I press Tab, grab that top face. And then I should be able to press and X and bring them in just very, very slightly like so. So I'll bring them in and then what I'll do is I'll pull them up, Jased a little bit, just so they're going in there. And then finally as well, I'll also come in and just bring this bit here back a little bit as well, just to kind of smooth them out a little bit like so. And now I can see just smooth them out, they get a little bit thinner as they go up. All right, let's turn off our x ray, double tap the eight and just make sure that you're actually happy with that, which I am. And I think now we can have a little bit of fun. So if we come into the bottom off here, what I'll do is I'll bring in a few edge loops. So let's bring in, let's say five, left click, right click. And then what I'll do is I'll pull this up a little bit, pull these two up a little bit like so. And then we go have that nice sloping appearance on there. And then I'll also come in and I'll grab, in fact, I'll reset the transformations first. So control or transforms right click, origin geometry. And then what we'll do is we'll come from here to here. I'll press the eye button, bring it in a little bit, and then I'll press and pull it out a little bit. And then I'll come to this top on and do pretty much the same thing there. So I'm going to grab this one and this one, press the eye button, bring it in. Now I'm thinking I need to reset the transformations on this because it hasn't come in the way you wanted. So controls, head tab control or transforms right click origin to geometry, press the eyeball and now you can see it's coming in so much bear and now you can just pull it out a little bit like so. All right, so now you can see that we do have a problem with this part here. Let's deal with that now. So I'm just going to grab the front of here, just this part here. I'm going to press P selection and separate that out. And then I'm going to come back to it Control A or transforms right clicks at origin geometry. And now I want to do is bring in some actual edge loops into here. Now if I press control art, you can see I can't bring in an edge loop. And the reason is because the top of here, so if I come in and just press that little question mark to isolate it, it won't let me do it because it's a triangle. So what I need to do first is just come in with my knife to press a, just to get a nice straight line going across enter. And now I'll be able to bring in some edge loops like so, which will make it easier if I now press tab. And the question mark to bring it across. So you can see now I've got something to actually war with. So first of all, I'll grab the bottom one. I've selected it because I know I can select it through there and X and pull it out into place, and then and X out into place. What I want to do is follow that line going all the way up there like so, especially this one, S and X. And there we go. Now you can see we do have a problem in that this now is not level. You can see that if I press one, it is level. It actually is. You just looked a little bit out. Okay, that's great. Let's grab the top of it then. And we should be able to pull that into place like so. All right, let's see what that looks like then. And there we go. We can see we need to pull it forward to pull it forward to where you want it round about there. And now what we can do is we can actually start working on the bits that are going to go up here. So first of all, I'm going to want to round bit a thing that's going to go into here. So what I'll do is I'll press Shift. I'll bring in a cube and Z, make it a little bit smaller, and then and X pull it out. And the next thing I want to do is I want to shrink it down because you can see it sticking through there. But instead of pressing and it let's just come to the back of it, grab the back and pull it into place like so. Just make sure it's not poking through the other side. Now I can do with this, I can press controller, bring in maybe three edge loops, left click, right click. And then all I'm going to do now is bring up the middle part. Bring it up, and then bring up each of these sides. Bring these up and it's going to make a nice slope like so. And then I'm just going to think, drop it down a little bit because I want to circle it in there, maybe even a little bit more. And then I'll press and X and pull it out. So let's have a look at that. Looks like, yeah. And a thing that looks pretty good. All right, so now let's make the parts that are going to go up here so I can use this part because it's already got a mirror on. So if I press Tab now shift A, and I can bring in another cube. And if I move that cube over, you can see now we've got what I actually need. Let's press S then, and bring it down. So something like this size. Let's also bring it out here. So and Y, bring it in and then pull it out. Something like that. And then finally I can grab the top of you. And then what I can do is I can press one, pull it up, and then put it into place where I want it, which will be round about there. I'm also going to grab the bomb, pull it down like so. And I'm thinking that's looking pretty nice. And now we'll just grab one more. So I'm going to press L shifty, bring it over, put it into place in there, and then bring it down. Of course, it's up to you how you want your own structure to look. But I think something like this looks pretty nice as you can see. All right, now just the little circle bit that's going to go on there. So what I'll do to do that is I'll press one shift, and this time we'll bring in a circle. So I'll bring in a circle. Make sure that with the circle we turn down the virtus, first of all. So we're going to put it on something like 16. I'll then rotate it round, so R x 90. Rotate it round. And then what I'm going to do is first of all add in a modifier and we're going to bring in a solidify, Where is it gone? Let's pull it out. We're going to bring in a solidifying. A or straight away the solidify is not working and that's because it had no, it wasn't a two D object to start with. It was just like a curve or something. So what we want to do is we want to press a E. Why pull it out? Or let's try that again. So we're going to grab all of this. Let's try, see if we can grab it. So L, there we go, and y, and now we should be able to pull it out like so. Now let's make it smaller just so it's going to fit in there. So we press one, I'm going to press Tab, bring it down. Bring it out now like so. Then we should be able to fit it into place. Let's put it into the place where it's going to go, which will be round about there. We can make it a little bit thicker if we want to. We can also pull it out on the Y, S, Y, pull it out, let's put it into place and see if we're happy with the thickness. We'll put it in place just around there, right. Click, shade, auto, smooth. You know, I think I'm happy with how that looks. All right, so what we'll do then on the next lesson is we'll get this top of the roof in. That's very important. And then from there then we can start actually bringing in our geometry node for this part of the roof. And then we can kind of probably come back to this window again when you're doing something like this. Just bounce around a little bit just to make it more interesting all the time. But what we'll do, first of all, when we come back is just get the materials on here. I think that's important because then we'll have a good view of what this is actually going to look like. All right everyone, So I hope you enjoyed that. I'll see on the next one. Thanks a lot. Bye bye. 76. Tile Detailing on Library Roofs with Tile Generator: Welcome back everyone to Blend for the Environment Artists Guide, and this is where we left off. Now, before we go any further, let's actually come in and put our material on to see what we've actually got here. Let this load up. We can see we've got materials on here. I got my bevel on here if I press tab. Yes, I've got my bevel on here. I've got my bevel on this bit now, have unwrapped that bit. I'm not actually so sure, I've definitely got no material on here. So let's actually fix this first. So what I'm going to do is I'm going to come to this one. I will grab this one, press control L, and I'll link materials. And then I'll come back to this U and wrap. So let's get that one wrapped. And then what I'm going to do is now, I think I will come in to these parts here, you can see there has got a miron. Let's apply that first. So control a, let's then grab all of these parts. There's another mir, oh, this has got solidify on. We know it's got solidify on. So we'll go to convert Mesh. And then what I'll do is I'll press Control. I'll transform. Dry, click, Set origin to geometry. Then I want to unwrap them. Let's smart UV Project. Click okay, like so. And then what we'll do is we'll join them all to this with their bevel and with their materials. So control L, link materials, control L, and then link or copy modifiers. Now are those modifiers actually working? We can see them working on there. We can see them working around here and around here. And we can also see them working for an object mode on here as well. All right, so that's looking good. Now let's come in and just go to file and Save. Last of all, I'm just looking to see these have got the modifiers on as well. I'm just looking to see if everything's leveled off before going any further. What I'm last of all going to do is I'm just going to pray on render review and make sure everything's looking good. Yeah, that's looking really nice. Double tap the A. Yeah. I'm really happy with how that looks. Now let's carry on to this roof. The thing is about the roof at the moment, you can see that this roof is definitely not high enough. So I'm going to have to make sure the roof is a little bit higher. So I'm just going to grab this and I'm just going to pull it up to there. And now I've got a good idea of where my actual roof wants to come down to. So in other words, when I create this roof, it needs to come all the way probably out to here, which means I'm probably going to have to split this roof off and then pull it out a little bit. So I'm going to do that first. So what I'll do is I'll grab both of these. I'm going to press the board just to split them off from there. And also as well, because I'm going to need kind of top to this. I will put that in first and then it'll give me an idea of how high I need this root. So let's come in then and do that first. I'm going to grab this one and what I'm going to do is Shift S Ursa selected. You can see that it goes down there. I don't really want that, so I'm going to grab the top of it with edge select and then shift S, Ursa selected. And now I can actually bring in a cube shift, bring in a cube, let's make it a little bit thinner. And Z, let's make it a little bit thinner. Let's bring it into the place then where we roughly want it, which will be somewhere around here. And I'm thinking probably should be above there. And in S and X, let's bring it in. So something like that. I think jawed above this part here looks kind of good. And then what I'll do is I'll pull it out into place over here. So it's going to go into there. And now we have a good idea that we can see this roof is definitely not going to be tall enough. Before we fix that though, let's do the rest of this first. So we'll pull it down first of all. So we'll put it round about down to there. And then we'll do is, rather than create it from this part, I'll just create a new part. So all I'm going to do is I'm going to come to this part here. I'm going to press shift D. And then what I'm going to do is press S and X and pull it in. And then from there I'm going to press, pull it up, and then again pull it up, and then S and X pull it in and finally pull it up. So I'm just wondering. Yeah, I think that's looking good. Now I can come to my main roof and what I can do is I can come in face, grab the top of it, and then just pull it up to where I actually want it. I think something like there, just above here. And then I've got enough room to actually put a kind of block on this part. Don't worry too much about this roof, because we can actually come in and fix any issues that we've got with it now. The main thing we need to do now is bring in our roof and make it sit in here. So this is probably one of the hardest parts to actually do just to get it to come altogether. So I recommend pressing tab. First of all, save now all of your work. So save. And then what we'll do is now we'll bring in our geometry node. I think we can press Shift and bring in a cube. Let's bring that up, and let's see, I can add modifier geometry node. Click the down arrow, and the one we won is going to be roof. And there we go. There is the start of our roof. Now let's make it smaller like so. And let's also Spin it round, so R Z -90 Let's spin it round into place. And what I also want to do is just put it in somewhere into place like. So just to kind of get a scale of this. Now I can see at the moment these are looking a little bit too big, so I'm going to make them a little bit smaller. And then what I'm going to do is I'm first of all going to shape this the way they'll want it. So I want to come down and bottom bend in. I want to pull out like so. And then what I'm going to do is change the horizontal count ring that up to where I want it, and I think that's going to be about right. And then I'm going to come down and rotate it on the Yth. No, not the Y, the X. There we go. Let's rotate it on the X. And now let's increase the vertex count vertical. So let's increase that. Unfortunately, it's going the other way to what I wanted it. But anyway, I will pull it down to the bottom where I want it. So I want it right around here. Now I can see that even though I've made these smaller, they're still too big. So I'm going to make them a little bit smaller. So I'm going to press S, and that looks to me to be more about the right size. So let's put them into place where they're going to go. If I pull them across here, we've got a better idea. So I can see we need a piece of wood underneath here. So there's a piece of wood gonna be underneath here. And the other thing is, when you're creating something like this, just make sure that they're coming past this post here. So if I kind of bring it down, the best way to do this is just make sure that you've pulled it out enough to go past that post there. That's what we want. Now you can see as we go up, it's starting to actually bend. That's what we actually want, because not bend, so it's starting to stick out here. We want to know where that is because from there it will enable us to bend this roof. So what I'm going to do now is I'm going to increase the vertical count like so, like so. And then we're going to increase the horizontal and then I'm going to pull it back and just making sure it all fits in place. Now I'm not going to worry about being perfectly in place in probably needs to pull it out a little bit there. As long as it's like this, that's absolutely fine. Now, next of all, we want to come down and change the subdivisions. Can we get away with less subdivisions? We go up. Maybe like that thing we can get away with. And then what we need to do is we can come down now and change the tile length and all that other stuff. Now, I think the tile length, for me, honestly, is about right. If I turn this down a little bit or up, let's have a look. Yeah, I'm going to turn it down. We can go down lower if we need to, but I think on this, I don't want to. I think the width is perfectly fine. What I'm going to do is now random size, Let's just turn that up a little bit. So, and then random length, we'll also turn that up a little bit or down turn it up a little bit, so I'm thinking that's really coming together really nicely. And then randomized width, let's turn it down. I always turn this down a little bit just so we have more of a gap in here. So if I double tap the eight now you can see we've got more of a gap in there. And I think that actually makes it look a little bit bare. And I'm thinking actually that this, at the moment, is about ram jaws going to pull it across a little bit and then pull it out. So S and Y, let's just stretch it out a little bit, like so. All right, that is looking good. I'm happy with that. I think I am now. The one thing I need to do is obviously bend this in. So if I come now down to where it says roof angle, you will see that if I bring this out, I should be able to bend it in. Now at the moment it's got lock center on. If I click this off, you can see now it actually bends from the bottom of here. And from there what you can do is if you select it, you can press Art and Y and kind of put it into place. And now you can see that it's actually bending with this actual wood. And that is exactly what we want. I think we have to bend it a little bit more, to be honest. So let's come down, where is it? And bend it a little bit more like so. And then r and y and bend it back a little bit. And finally then let's just pull it out a little bit. So pull it out like so. And now you can see it's nicely bending with this piece of wood on here. Now I'm just wondering if I should pull it out a little bit. In other words, should it be out there? You can see we've got too much space here. Definitely not that far. I think I have to pull it in a little bit. So let's pull it into place. Let's then bend it again, so Y hold in shift, bun, bend it again, and we'll put it round about there. Let's have a look. Something like that. Maybe it's a bit fiddly. This, we need to make sure it's right. I'm just wondering whether to pull these in a little bit, these parts here. Whether to pull them in a little bit. I'm just wondering, let's come in and just grab just these two. Can I just pull these two in? What I'm going to do is I'm going to grab both of those. I'm going to press one. I'm going to put it onto a ghost so I can actually see through it. I call it X ray is what I mean. Let's then put proportionality on. Let's also make sure connected only is so it doesn't affect these other pieces of wood. And then let's come in and put it on smooth, and then, and let's pull it all the way out. What I want to do is just pull them in to this post here as you can see. And now you can see that's fitting so much better than where it was. All right, so what was that worth doing? I think it was and now I'm going to do is I'm just going to come in and grab both of these. I'm going to press one again and then and X pull those in a little bit like so, making sure they fit in. And now finally, we just need to make sure that if I take this off, that this bit here as you can see, is not in place properly. So I'll just press and X and bring it in like so just so we've got a bit of a gap there. All right, there we go. Finally we've got that done. Okay, so now we've got our roof. Now you can see the inside of the roof. So this bit in here definitely definitely isn't working for us. So what I'm going to do is I'm going to come to the inside these parts here and I'm going to come in and just delete this one. Delete faces. And now I can do is I can come to this one and I can come in, I can press control, bring in some edge loops, left click, right click. And now finally I can come in with edge select, making sure selected this one. And now I can just pull it in a little bit. So you can see here, if I press one on the number pad, I should be able to see where this is. You can see here, it comes all the way down to here. It's not bending out or anything like that. So what I need to do is straighten this up. So I'm going to pull this out like so it's jaws behind there. And then I'll come to the next one and I'm hoping I should be able to grab this one through one and then pull it out. I've still got portion editing on. That's what's messing it up. Take portion editing of pull it out. There we go. Now we can pull it into place. I'll come to this one very fiddly again, then come to the side one, pull it into place and now we'll make our way down. So you can see here one, let's pull it all the way over. And then this last 11, let's pull it all the way over into place there. All right, so now if we come in, take this off. We should be able to see, we can't see through there. Everything's lining up perfectly. And we should be able to put a piece of wood under here now and line everything up. That's looking really good. Now, one problem we do have is we've got a lot of kind of mesh in here. We'll sort that out, don't worry about that. And the other problem is we've not got side of roof on here, we'll also sort that out, no problem. All right. One, so save out your work. This is the most technical roof I think. I think pretty much in maybe the circle one is also quite technical, but this is one of the hardest. So once you've mastered this one, you should be okay with other roofs. All right. One. So hope you enjoy that and I'll see on the next one. Thanks a lot. Bye bye. 77. Advanced Roof Cutting Techniques with Blender's Bisect Tool: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left. All right, so we've pretty much got roof now, before putting it over the other side, let's make sure that you can see on these little bits here. There's still a little bit out. So what I'm going to do, Jaws going to pull it out, grab this one. Pull it out, and there we go. Now it's set behind the roof. Pretty much how we want it. Now let's come in and give this some material. So I'll do first of all, I'll I'll let it load up first. I'll come to this one, so L. And then what I'll do is I will come over. In fact, we'll right click, first of all, shade to smooth grab my planks. Press control L and we'll link materials. Let it load up. Let's go and have look. So minus off this one. For some reason that one's on and then we'll come up. Yes, I did. That's this one here. Minus it off. There we go. All right, let's unwrap it. So you unwrap and there we go. Now that is just going to hide the fact of anything behind there. That's why I'm doing that. Also on here you can see 'cause I minus off the material by mistake. That's fine though. Let's first of all get the material on here. Now, what I'm going to do with this as well, I'm going to duplicate this once I've got the material, sorry, with the geometry node. And the reason I want to duplicate this and put it in my Boolean to hide it is because I want to use it on this roof as well. In other words, I want to have the towels being exactly the same. So what I'm going to do is I'm going to press shift D. I'm going to drop it down here, so underneath. And then what I'm going to do is I'm going to move this now by pressing M to my Boolean. Then I'm going to hide booleans out of the way. Now I've got that four later, so just make sure you do that. Now we can come to this. And the reason we did this, that is, is because now I can come in and actually change this from a geometry note. So I'm going to go to object. I want to come down to convert to mesh. And then what I'm going to do is just minus off these two so we don't need these. I do want to roof material, but it's going to be a blue roof material. There you go. Now let's write click shade or to smooth, let's bring in, let's see if we've got our roof material. So it's going to be, I think this is the roof material. Let's put that on. Let's put it on to render view just to have a quick look. And yes, that is our roof material. Now if your roof material doesn't look right, all you're going to do is you're just going to press Tab to grab everything and you Smart UV project. Click okay. And there we go. All right, that's looking pretty good. Now we have got a problem in that we really, really don't want all of this part here. We really want to cut some of that way. So what I'm going to do is just go to object mode. I'm thinking the easiest way to cut this away is probably if I go to three, you can see that I can probably get away with cutting it up here. So let's do that. So I'm going to press A. I'm then going to come and put it onto x ray so I can see through it. I can see this line down here. And what I want to do that for is just to get rid of most of this mesh that we're not using. So I'm going to come to mesh bisect. What I'm going to do is just bisect it down roundabout there, pressing space far. Then I can actually move the bicect tool as well and just making sure it's before there. And then what I can do is clear the outer tick off. Clear in. And there we go. I don't want to fill them in to create more mesh because they're already inside there. Now let's have a look and make sure that's worked. So let's turn that off. And there we go. That's all perfectly good. All right, so now we've got our material on here, let's put our material on this as well. Because you can see we've got no material on here. So all I'm going to do is we're gonna grab it all. Smart UV project. Click Okay. Grab this one. Press control L. Link materials. Press control L. And now we're going to link copy modifiers just to level that off. Let's make sure then it's leveled off. Yes it is. If we go into object mode, we can see it's leveled off. And now we're going to do is we're going to come to the inside of our wall first. Press control all transforms right click, set origin to three D cursor. And then all I'm going to do is we're going to come down now and add in a mirror. So generate mirror and there we go. And let's now come to our actual roof. And because we can't see our roof, you know, both places at the same time, we can keep the actual UV's. In other words, we can keep exactly the same roof on here. So what I'm going to do is I'm going to press control A or transforms right click Orogen, three decursor add modifier. I'm going to bring in a mirror. And there we go. Let's double tap the A, making sure that's working. And it looks as though it's working absolutely fine. I'm just wondering about where this is coming to. If I press one, I'm just making sure that this, this side, as you can see, is a little, tiny little bit out. It should be a little bit over to this side. Let's come in and move both of these. So we'll just move them very, very, slightly over. Double tap the E, making sure everything is fitting in there. There we go. I think that's looking good. Now let's bring in a piece of wood under here. So there should be a piece of wood sat on here. So we'll do that now. Just a simple, you know, we can make it a little bit ordinate, but just something simple. So all I'm going to do is press shift day, bring in a cube. And then what I'm going to do is just bring it to this side. Whatever I, you know, create, I can use that underneath all of the roofs. So I'm just going to bring it up. First of all, I'm going to create which way it needs to go. I'm going to press essence Head. I think it should go round about there. And Y and X, bring it in. Let's pull it out where it needs to go. So something like there. And then under making sure it's in that post then so you can see it's going in that post. And let's bring it out. First of all, bring it out over here. And you can see it's a little bit in front of this post. Where am I going to bring it to? I need to make sure that it's going to fit in there. Now. I think it should come to there. Now I've got a choice. Do I pull this out more or do I put this further back? If I put this further back, you can see I've got to make it a little bit taller. So if I grab this now, I can make it a little bit taller, just before it pokes into there. And then what I can do is I can pull this down a little bit. So then what I'm going to do, I'm just making sure all of this is fitting in place now, which it is. All right from there then what I can do is I can pull this all the way up. I can press control. I can bring it out a little bit. And then from there what I can do is I can press pull it down to here. And then I can press control left click, bring it down. Something like that. And then I'm just going to press and pull it out to something like that. And there we go. Now you can see that's fitting in pretty nicely. Now, the one thing is I'm wondering, it should have probably another ledge that comes up here that comes out on top of here. In other words, I think I will put that in. I'll come in, grab that one, this one. Grab the top of it. So if I grab both of these, just the top. And then what I should be able to do is pull that down to where I want it now. I should be able to pull this out and then pull it up. What I'm going to do, let's see if I can pull it out from there. So I'm going to come in, grab this top, and then press and X and pull it out. Now I'll take this off Rs to check it. Yeah, and I think that now is lining imperfect like. So now what I can do is I can come in with face Lt and grab the top faces of here. This one. This one, and finally this one. And then I can just press and pull it up a little bit. Now I've grabbed them, so I can just turn that off now and see where I need to pull it up to. Let's have a look. We can see we've got a little bit of a gap there. I'm just going to put it to the top of here first. So it goes under there. And then now I'll fill it in. So you can see here we've got a gap here, and here we need to fill these in with double tap, the A, there we go. So if we look from here, it's completely covered. Now that's looking pretty good. All right, last of them, control all transforms, right click origin three D cursor because it is right in the center. Press. Tab. Smart UV project. Okay, tab. Grab this one, press control L. We're going to link materials control L and we're going to copy modifiers. And now finally, we'll add in one more. Generate mirror and hopefully we can put it over. Not that one, let's take that off. Let's come to this one and hopefully add mirror, generate mirror over the other side, making sure that's fitting in place dur, but tap the. And there we go. What we should do now is we should bring these over now to fill in this side bit. I'm thinking though, this side bit is going to be a little bit different. I think what we'll do is I'll bring in one post, one of these posts, or grab this one shift, let's bring it, put it in place like so. And I think that's going to be absolutely fine there. It's all fitting in place. I'm just wondering if I need to stretch this a little bit. Again, I'm never afraid of stretching things out. So don't ever be afraid of that, stretch it out if you need to, just to make it look that a little bit bear. Same with this side if you need to, but I think actually that's looking pretty nice. Now what we'll do is we'll come in and we'll bring this part here. So we'll bring this round. So shifty, let's bring it out. And then what I'll do is I'll spin it around. So Azad 90. And what I'm going to do is just pull it out and put it into the place where I want it. So I'm going to pull it out maybe a little bit more or I'll put it back to this one, pull it over across to maybe there. And then what I want to do is make sure this is fitting in place. Now I have to be very careful how far, push this back. So I'm going to pull it back to there. If it's actually poking through there, you don't want to poke in through there. Just make sure it's not, it doesn't look like it is. But you can see we're a little bit out on this top bit. I don't really want to, how do we fix that? A thing we'll do is I'll pull this out just to, it's just in line there. Then what I'll do is I'll pull this out till it's in line till this is actually going on top of the. Pull it out with shift like. So then what I'll finally do is pull these out now, making sure the line up, all this one, I can just pull this out a little bit and there we go. Everything is lining up perfectly. All right, so let's have a look on that rendered view. And it's really starting to come together now as you can see. So I think what we'll do on the next lesson is we'll finish this actual front. So we'll not finish, but we'll start trying to finish it. So all we'll do is we've got a small window here and a major window here. We'll get those in place. And from there then we'll have a really, really great idea of what it's all going to look like. And also from there we should start be able to start bringing it all together. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks lot. Bye bye. 78. Modeling Victorian Library Windows Above Entrance: Welcome back everyone. To Blend for the Environment Artists Guide. And this is where we left it off. Now let's put it onto material mode just so I can actually do something rather than the render view. Let it load up. And what I'm going to do is I'm going to grab these. First of all, I'm going to apply that mirror because I only want to grab one of these. So let's press control a. Grab one of these then. So let's grab this one. Let's press selection and just separate it out. Let's grab it now and press control or transform. Right click origin to geometry. And now I'm going to do is we're going to press Shift and bring it out. Rotate it round so ours head 90. I'm going to then press one. I'm going to put it into place so I want it in wide enough to go in this post and this post and X, let's pull it out. Something like that, and then let's pull it back. Now we know already we're not going to get the right height at the moment. We can see as well that we need our roof, so the other roof basically to come down to here. And we don't know where that's going to come yet. All I'm using this for basically is a template to show me whereabouts my window needs to go from there. Now what I can do is I can grab this part. Press control all transforms right Click, say origin geometry, press Shift S, Custer selected. Now I'm going to do is I'm going to bring in a plane, spin it round so R x 90. Press the S. Be just to get it the right scale. I want it so I'll think something like that level with near enough the door press Essen's head and let's pull it up. And I think that should be the size of my window. Maybe that's a little bit too big. So Essen's head. Bring it back a little bit and let's pull it up like so. And I think there, yeah, I think that's going to be about right. All right. So we should be really, really good at making windows. So let's have a go at this window and see what we can do within. I'll show you a little bit of a different technique for creating, you know, a different style of window. Only a little tiny bit of difference, but you will see. All right, so what we'll do is first of all, reset all the transforms. Press the tabb, come into face leg, press one on the number pad so we can see what we're doing. Let's make the actual support first, let's bring it out roundabout to there. Let's then split this bit off. So I'm going to press Y, and then I'm going to press again, bring in this part here. So then I'm going to press Y, and then I'm going to press Control left click, right click. And then control going up. I think we'll have four here. Left click, right click. And now let's come in and grab all of these. I've grabbed all of these. I'm going to then press control and pull it out a little bit. So then from there what I'm going to do is I'm going to pull all of this out. So I'm going to press, in fact, first of all, let's split it from the actual window. So selection and then let's grab it. And then tab A, and then E, pull it out like so. And then what I'm going to do is I'm going to grab the top and the bottom with control select and press and pull that out like so it just makes it a little bit different from the rest of the windows that we've actually been creating. Now let's come in and what we'll do is we'll grab this side first. Now remember, we need to, first of all, split this off. Actually, we need to split both of these off. Another word, split this off. And split this off, we're going to press Y, and then I'm going to grab this one and this one. And then I'm going to press, pull them out so they go past this part here. Same on this one. Then select top one. Select the bottom one. Press Y, select this one and this one. Then we're going to press and pull it out. That will be the actual support. Then from there, then I'll grab the bottom part of the window. So this part here. Now I can see that this window is looking a little bit, a little bit thin. So what I'm going to do is I'm just going to grab the whole window and y and just pull it out. So don't worry about where these are, anything like that, because now I can actually come in, grab this part first, L let's select it all. Let's pull this out just a bit. And then what we'll do is we'll come to this bit now, pull it out to where I want it to go. And finally the windows. Let's come in and select each of these windows like so. And then we're going to pull this out into place where I want them to go. And I think that's looking about right. I'm just wondering, put this on object mode. Is this thick enough? These parts here, are they thick enough? Mine actually just come around the back and grab all of these. I'm just going to control select and then just shift select each one and I'm just going to pull them back a little bit. So if I pull them back now like so, and now what I can do is I can come back to my windows and pull those back just a little bit. All right, that's looking good. Now let's make the bomb of the window. So I'm just going to press shift, I'm going to press and X pull it out. Just a little bit. Z. Pull it down, so make sure it's on the Z. And then just grab the front of it and all you're going to do is just pull it out to make a window sill. And there we go. Alright, let's join it all together. So let's join this is, it all joins. Suppress. Yep, just a center bit. Have I got two in there? So have a look. Do you just need to check? No, I've not got two in there, so that's good. Press control J, join it all together. Control or transforms right clicks at origin to geometry. All right, so now let's come in and bevel it all off. So add modifier bevel. And it goes straight away like that, which is really, really nice. Not point N n three. There we go. Now let's bring in some material. So this will be round the outside. First of all, we'll bring in, put it on material first. Let's grab the whole thing first. So grab it all. Smart UV project. Click Okay. And then we'll have it lightwod. I don't think we'll use the dogwood on here. I think we'll use the actual lightwood. I'm also wondering as well, should this part on here actually painted? I'm thinking should it be painted? I think actually it should be probably wood on here. Can I come in and actually select just these parts? Let's see, I'm going to select all of this, but it is selected in the window. So just in fact, you know, I'm thinking the easiest way to do this, You know what, I'll just change the material So where it says green painted wood, I'm just going to change that for light wood. Let's just change it to light wood. So let's click the plus board now. And then we're looking for the green green painted wood, this one here. And what I can do now is come in, and that was a much quicker way, actually. L, L, L, and L. And then click a sign on here. And there we go. Now let's just see if that looks a little bit bare. Yeah, actually I think it does look bare. I'm going to leave that as it is now. I'm going to pretty much do the same thing on this one. Then what I can do is I can grab, grab this press control L and I'm going to link materials like so. And then what I'm going to do is I'm going to come to the outside first. I'll grab all of this going around the outside and the bottom. And then what we'll do is we'll assign this. And then I'm going to grab the windows now and I'm going to assign them to the glass, but I'm going to change the glass. So I'm going to assign them to this. But then I'm going to click the down arrow and I want the glass not lit windows. This one here, like finally. Now let's go to UV editing and let me have a look at my glass. If press on these ones, I'm going to actually press Tab to grab these. Then come to these. Now where do I want these? Let's first of all grab this one and what we'll do is we'll put this one in place and then all I'll do is press copy, copy, defolt, and then paste it onto each one of these. Like we've done many times, the report. So you copy paste. Default to grab everything and now we're just coming into each one. And just move them into place wherever I want them. So let's put that one over there. All right. That's that done. Now we can do finally is I can pull this window back into place like so into the wall. Pull it out a little bit, double tap the A and there we go. That's that window done. All right. That window took a little bit longer than what I thought. What we'll do then on the next lesson is we'll make a start on perhaps the most difficult window, which is like this kind of massive bay window like this Harry Potter type window on here. We'll do that. We'll also as well split off this wall here as you can see. And we'll get the right material on there. I think on this it'll be brick to follow on round here. So we'll do that first. All right everyone. Let's save that our work and I'll see you on the next one. Thanks a lot. Bye bye. 79. Crafting a Bay Window for Victorian Libraries: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left it off. Now let's come to this bit first. And what we'll do is we'll grab this, press the Y button. No, in fact, we'll press selection. We'll grab it. Press control. Or transforms Se origin geometry. Grab this wall. Then press control L, and we're going to link materials. And then what I'm going to do is grab this one again, press U and unwrap. Now I'm going to press one, going to Front View, and then I'm going to come over to my UV map, Press A and then make it much, much smaller. Lining it up with these walls over here as you can see. So I'm going to try and line this up, press in G and Y. Move it up a little bit or down. Just try and get them lined up like so they don't need to be perfect. Again, what we're looking for is we're going to have some path of the bottom of here. So just make sure they're lining up the way that you want them. And I think actually with this wall, I don't really need to worry too much about here. I've got my mortar down here, so that looks absolutely fine. Press the tab, double tap the and there we go. Now we can use, we can use this wall to press Shift S, Ursa selected. Go back to modeling because we're going to really need to be in modeling on this one. Let it load up and now also let's put it on object mode so we can really see what we're doing. All right, so now let's think about our bay window. How big is it going to be? Well, it's going to be near enough all the way up to the top of here. So near enough all the way to the top roundabout here. And it's going to cover most of it around here. So let's press Sir, shift date. And what we'll bring in, first of all is we'll bring in a cylinder. We'll make this cylinder, I'm thinking 24. So let's put this on 24 like so. And let's get this into the size first of all that we want it so we know it's going to have to be and's put it down to the floor roundabout there is where the floor is. I think actually where we've got this to at the moment is probably round about the right size, Maybe a little bit more for sure. It's coming way too far out. So what I'm going to do first of all is press S and Y and squish it in a little bit like so. And I'm thinking that's going to be about the right size of what I want my actual window to be. We know we should be able to come in and grab this one and this one. And this is what we're going to use for our actual wall, so these two here. And then we're going to press selection, separate it off, and then come back. And what I'm going to do is press delete. And just delete the other way from there. Then I'm going to write a click shade auto, smooth. And I'm just going to have one final check of it before I finish just to make sure that I'm actually happy with how that is. So this is how far it's going to be out and Yeah, a thing that's going to be just about right. So what I can do now is from there I can start deciding where where's the windows going to come up to. And I'm thinking the windows will probably come. If I bring my guy down, actually, that'll be the easiest way to actually check this. So what I'll do is pull him out, pull him down to the floor like so let's make sure he's on the floor making sure his feet aren't disappearing in there. So where is the ground plane? Let's bring him down somewhere like this. Which means that he wants to be able to look into the window. The window is going to be a little bit lower than that, so I'm going to grab this now, press control and then bring it down. And I'm thinking somewhere like that. And then I'm going to bring it up. So control law again. And I'm going to bring it to something like that. All right. So that's all the pre planning out of the way. Now the part, the hardest part is to actually start creating what we actually want out of this. So what I'm going to do first, I'll come in with the first bit. I'll press control, come down to the bottom, and I'll bring it out, I think this far. This far out. And then I'll come in and I'll grab this one and this one. I don't now manage to grab that one, but let's grab it again. This one And control select this one. And control selecting is not working, so let's grab this one and this one. And then what I'm going to do is going to press Enter alternates and hopefully bring that out a little bit like so. Yeah, that looks pretty good. Okay, so now what I want to do is I want to bring this part down. So I'm going to come in control, select this one, bring it down. So something like that. And then I think I want a little bit of a lip on maybe on here. I'm just wondering the easiest way to do that. You know what, I'm going to just press control head and put that back and instead of coming out all of that weight I'm going to come back. So control select them and then I'm going to press alternates and I'm going to bring it back in. So I'm going to bring it back to there. Control left click. Bring it up a little bit to there and then I'll come in now. And I should be able to pull this out. So if I can grab all of this going round, I'm going to press Enter alternates, bring it out to where I want it. And finally then I can actually bring this part down. So if I come in now, grab this part, control slate, this part, and I should be able to just drop it down that little bit like so. All right, that looks a good start. Now where is my window coming up to? So if I'm come in and grab this, I can see my window is going to come up to about here. In between here I'm going to one plank of wood. You know, these little planks going down here. So what I'm going to do is I'm going to press controller and bring this up to here. And then I'm going to make a little bit of a lip on this. So I'm going to come to here. And come to here, not to there, to here. And then what I'm going to do is press Enter Alternates and bring that out a little bit. Now these are going to be then map planks of wood that are going to go down here. We also need support in here as well. I think we'll actually put in our support on here after. I think we'll basically take this apart first. So let's come in, grab this one. And this one, it's extremely complex, this one. So trying to work through and work out which way we're going to do it is not an easy task at all. So what we'll do is we'll just split this off. Now, press Y, and then that should be split off like it is. And then what I can do now, in fact, we'll press selection. Split it off that way. Now I can come in and what I'll do is I'll press control all transforms rightly set origin geometry. And the first thing I'll do is I'll come to this side. So control one edge loop in there. Control one edge loop in there, like so. And then what I'll do is split these off so I'm going to come to this one and this one. And then what I'll do is I'll pull these out. So I'm going to press Enter and X and pull them out just so there. Just out. Still going under there, so. All right, so good so far. Now let's again split this off so you can see if I grab all this, it's grabbing those as well. I don't really want that. So what I'm going to do is control select all the way to there, press P selection, Split it off. And now I'm going to do is I'm going to actually subdivide this one to get more planks of wood based in there, because these planks are a little bit thick at the moment. So the easiest way to do that is just to come over adding a modifier. In fact, no, we won't do that, we won't add any modify. What we'll do is we'll just grab the whole thing. Right click, subdivide. Now we can see that we have subdivided it here. We don't really want that, so we want to get rid of that. So this one here, this one going across here, we don't want that. And this one here. So what we're going to do is delete and dissolve edges. And it should be left with something like this. Which is pretty much planks going all the way around, which, which is perfect for what we need. We could have used the geometry, no planks for this, honestly. It would have also worked because you can actually bend that as well. But, you know, on this one I want them to be a little bit straighter. I don't want them so, you know, randomized. So what I want to do now is come in and I want to select all of these and split them off. So the easiest way, rather than selecting them all and, you know, giving them a seam and then do it that way, let's do it this way. So Alt Shift click come up to select and we're going to come down to check a D select. And from there just press Y and separate those all off. Now you will end up with something like this. And from here now what we can actually do is press control ul transdrclic surrogen geometry. Now let's come in, bring in a modifier and one to generate an actual solidify. You won't be able to see anything at the moment, but if we come in now and add, modify and generate a bevel now you'll see exactly what we're trying to do. And we'll turn that bevel down to naught point, naught naught three. Let's turn it down a little bit like so. You can see now pretty easily now if we come in, we can actually increase this and pull it back a little bit, which I think will be a good idea, gives a little bit more to work with. And now what we can do is we can come in and I'm thinking, let's just double tap the let's come in, grab it with a. So grab everything and let's just have a look what transformation randomize actually does. Let's put it onto nought point, not five. So, and there we go. That's looking a little bit better. If I press Tab now we can see they're a little bit more misshaped. And that's exactly what we want. All right, so we've got some of the window done, let's pull him over this way. Now what we want to do is work on the next bit. So the next bit, it's going to be the actual sell. The sill is going to be quite a chunky sell, but you can see how we're actually breaking this down and trying to make it fit in place. I think that before we actually do that, what we'll do is we'll pull this up a little bit. It's looking a little bit weak there. A little bit thin for what we need. I know it's going to be going underneath here, but still it's a little bit thin. So we will increase the size on that. Let's save about our work and I'll see on the next On everyone. Thanks a lot. Bye bye. 80. Adding Wood Frame Details to Bay Windows: Welcome back everyone to Blend The Fall, The Environment Artists Guide, And this is where we left it off. All right, first of all, then let's come in then to this bit here. Now we can see if I grab this, it's going to grab the whole thing, which means that it's not split off. But the easiest way to do it is to press controller, bring in another edge loop down to here. And then this is where I think the sill will come to, so we've got a good view of our window sill. And I think this is about the right thickness to where we want to. All right, so let's see if this works. So we'll do this bit first and then we'll decide if we want to make this a little bit more chunky. So what I'm going to do is I'm going to grab this part, this part going all the way over to here. I'm going to press P selection and just split that off. Press control all transforms, right click, set origin to geometry. And then what I'm going to do now is come in, add a modifier, generate, and we want to solidify. And then I'm going to pull it out. So pull it out to where I actually want it. So something like that doesn't like anything at the moment. I know, but we're going to fix that. Don't worry. We're going to actually use bevel hopefully and give that try and see if that's actually going to do the job for us. I think at the moment we'll put even thickness on and then what we'll do is we'll come in, apply or solidify. So control, and even if we make a mistake here, we can still actually join this bag together and get that mesh back. So we're not concerned about that. What we do want to do though is come in and we want to press Olt Shift and click just around the top of there and level this off. So I'm going to level it off all the way down to pretty much the halfway point. And then what I'm going to do is I'm going to come in now and increase my segments like so. And then what I'm going to do is I'm going to come in and put on a custom. And now we can see why we're actually doing that. Now for some reason I actually have a problem with it beveling it all off, which is because it's the inside beveling off. So I'm not going to go quite that far and I'm going to bring it down to there. And now you can see what we're actually doing. You can see already that's looking pretty nice. Now you can see over here, this is how I've got mine set out. Now how am I going to mess around with them anymore? You know, for me I've got pretty lucky and I think it's actually looking pretty nice for me, so I'm going to leave that on there. What I'm going to do though is I'm going to come in Alt Shift and click. I'm going to press control B and bevel it off this way. And now I'm going to mess around with these. So first of all I'm going to bring this one up or out a little. Let's bring it out maybe a little. And if I want to delete it, I should be able to come in and just delete that once. I'm just going to grab this one. In fact, you know what, I'm just going to reset the curve. So I reset it and now I can bring it out if I want to or bring it in. I'm just wondering where I'm going to put that. I'm going to bring this one up and then this one going to move this one. I'm going to bring this one out a little bit. There we go. That's looking pretty nice. It's just this Bom part that I'm not actually happy with. Let's see, pull this in, increase it to one more, be able to add one onto there, and then just bring that out. All right, let's have a look at that. Looks like, there we go. Double tap the yeah, nice. Okay, so Jaws fiddle around with yours. Get them into the way that you want them, but you can see how easily that was. To actually get those in place, I would probably grab a cube, get them to how you want them work out, how to fiddle around with that. Because it does take a little bit of work. If I go back, so let's go back and press control. There we go. Let's press control them and bring it to where I want it. And now you can see this is the way that I've got mine set out. You can come up and reset the curve if you want to. And there we go. All right. I'm happy with that. Now let's think about our top. So where is our window going to come up to, and where is the top going to come out? I think our top should come out. I think we've got enough gap between there. So what I need to do now is come into here, press the tab bottom. You can see here's where I've got my actual top. I actually think that will be good enough. So what I'm going to do now is I'll fix the top first. So I'm going to come in, grab this one. And this one I'm going to press then enter alterns. Bring that out to where we actually want it, something like that. It's thick enough you can see it's nice and thick. And I think that's how I want it. I'm going to mess around with this a little bit more. Before I do that though, I'm actually going to bring in a support on this side to do that. We'll split this bit off now. We'll grab this bit. We'll press this time selection because it is our window after all. We'll press control or transforms, right click, set origin geometry. And now I'll come into these side, so I'm going to grab this side, this side, I'm going to press and then and x, I'm going to bring them out to roundabout there. And then what I'm going to do now is split these off. So I'm going to grab this one. And this one, I'm going to press Y. And then what I'm going to do is pull them out, pull them out. And then now we should be able to grab the bottom of them. So grab the bottom of each like so. And let's pull them down into place. That's a bit of a support on the sides of there. That's exactly what I'm looking for inside here. We're also going to have a little bit of a sill now. Run to the hardest spirit. The hardest spirit. So it's this bit here. I'm going to press P again. Selection control, all transform dry clicks, origin to geometry. And I'm hoping that this bit goes right. First of all though, I think I'm going to need another support. So a little bit like this, but in here I'm going to do that first before I do anything. Yeah, let's see if that actually works. So what I'm going to do, I think it needs to be here. And we've got one too in here, so roundabout here. I'm going to press control B, bring it back to one, so something roundabout there. And then what I want to do is I want to bring these out now. But I want to bring them out in the right way. So in other words, I want them to come out this way. So all I'm going to do is hit P selection, grab them again. Control A or transforms set origin geometry, add modifier, generate, solidify. And let's now bring them out. So the other way, bring them out and then what I want to do is press and's Ed and just pull them down so they're going into place. Now you can see that they're not quite coming to where I want them. I do want them past there, so I'm jaws going to pull them out just so they go past there. So. Alright, that's the main part of the window done now. Now what I want to do is come back to my window and I want to bring in some edge loops. I should have probably brought those in before, but heh, so control law, let's bring in perhaps three, left click, right click. Same on this one. Control law three, left click, right click. Same on this one. Then control law three, left click, right click. All right, so now I think with this one we probably could get away. First of all, I think I need a frame in each of these. I don't think they should be like that, but I'm thinking should they be individually framed? In other words, if I press, press the Eban, press the Eyebane again, Can I get away with just having a very, very thin frame like this? It's this part here, you can see we really, really want to frame in here. So this is the part that I need to do first. Let's do that first. So what I'm going to do is control. And I'm going to put in an edge loop along here. Control, left click, right click. It's going to make a very, very small window in the side, but I think that will be fine. Left click, right click. You can see where the actual frame is going to begin here. Do I actually want that first of all, or can I get away with a really, really tiny frame on this bit and then a small window on this? I'm just wondering if I can get away with that. All right, let's make a decision. So we'll come to this one and this one. This one and this one. And then what we'll do is we'll press Y first of all, and then Enter, and then and X, pull it out perhaps there. And then what we can do is grab them both. Grab this one and this one. And then press S and's pull them down into place. All right, so far, so good. Now let's think about this part here. So we can see at the moment this is going to be pretty small window in this part and I think that's still going to be okay. So what I'm going to do is I'm going to grab all of these again. Selection control transforms right click, Orogen geometry, grab them all. And then what we'll do is press and bring them in like so a very, very thin window as you can see. So something like that. Now being as we've got all of these selected and we know these are going to be the glass, this is going to take a little bit of work actually, to do this glass. But what we're going to do is we're going to press selection and just separate it out and then hide it out of the way. Now before I solidify these, I'd really need to split them off. So the easiest way to do that, hopefully, is if I come in and I can mark a seam. Yeah, let's come into mesh and split and face us by edges. Let's see if we can actually split all these off. So I'm going to press G, and I'm hoping that they've all split off, which they have. So that's one good part. Now let's pull them out. So all I'm going to do is control a or transforms, add modifier, bring in a solidify. Let's have the solidify going the other way. So if we put it this way, this time like so. And you can see now it's starting to bevel them off kind of the wrong way. So you can see here we've got a few issues and that's not what I want. So what I want to do is I want to press controls head and just go back the other way I think. So let's add it again. Generate, solidify that way is what I want. Let's put it out a little bit. So something like that. And then what I want to do is offset. So if I'm bringing this offset down now, let me be level them off. Add modifier, generate bevel point N N three naught three. There we go. Is that looking nice or what? Yes, I think it is. That's looking better than my other window. Sure. All right. Let's press and bring back my windows. Double tap the there we go. That is looking pretty good, I think. I'm happy with that. I think breaking these off, maybe it's a little bit too much there as you can see. So let's try not point n one. Yeah, I think that looks even better. That looks really, really nice. All right, so what we'll do is we'll save out our work. And on the next lesson then what we'll do is we'll get our windows are already in. It's just the top bit now that we need to do. So the top bit and this top bit on here that we need to fix. But we'll definitely get that fixed on the next lesson. All right everyone. So I hope you enjoyed that. I hope you managed to follow along. It's a very, very difficult part of this, and I'll see you on the next one. Thanks lot. Bye bye. 81. Boolean Techniques for Shaping Wood Planks in Blender: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left off. All right, so let's get this final part done. So what I'm going to do is, and first of all I'm going to bring in an edge loop. So control law, I'm going to bring it down to perhaps there, bring in another edge loop. So control, I'm going to leave that one there, so left click, drop it in place. And then what I'm going to do is I'm going to come to these parts here. So control select, enter alternates and let's bring it in now. You will see when I bring that in, we are going to have some problems with this part here as you can see. And we're also going to have some problems with these back pieces, but don't worry about those at the moment. We can fix all of those problems. Let's first of all though, think about the top of here. I think the top of here should be beveled a little bit. So all I'm going to do, come round to it and pull it up. So bevel it a little bit. And now you can see we, again, that really, really nice look that we're actually looking for finally I think I'm going to bring it up jat a tiny bit. So I'm going to grab all of this and bring it up just a tiny bit like so. And I think now that is looking about right. And finally then let's come in, grab this, going all the way around here, let's pull it up a bit to hide that out the way. And yes, that's looking really good. Now let's fix those parts. I'm going to press shift H just to hide everything out of the way. And now I should be able to come in and get rid of all of these parts that are causing me these problems. So these parts, these parts, these parts and Elite and bases. And there we go. That's that fixed Lth, bring back everything. Or tab Lth, bring back everything. And there we go. Now let's fix the back of this first. So I'm going to just grab this. I'm going to isolate it this time. Come around the back. What I want to do is fix this. So I'm going to grab old shift, click, shift click, right click, bridge edge loops. And there we go. Right click, shade, auto, smooth, there we go. And then what I'll do is now bring in some planks. Now the little question mark. Let's grab these planks over here. Let's press shift D, and we'll bring them over. We've still got a geometry node on. As you can see, I'm thinking I'll bring them into place, so let's bring them into place. So we also probably need to bullion these in some way. I'm thinking the best way to do this is probably to bring in a bullion that's going to match this here, which is easy enough to do. Yeah, I think we'll cut them. I think the planks are looking good, like this. I think what I'll do is rotate them round so they're not looking the same as this Y 180. Then what I'll do is pull it back and I'll pick my spot where I want it. So I'm thinking this here is going to look about right now. I'll do is to create my bullion. So to create my bullion, easy enough to do, we'll just create it from here. So I'll grab it going all the way around here. Shift D, bring it up, and then E and Z pull it down all the way there. And then I'll put it back on it. So if I grab this bullion that I've just created, so make sure I'm grabbing it from here, Press selection, separate it off, grab it again. Control or transforms right click cell origin to geometry. And then what I'll do is I'll grab this and my planks award, press the question mark. We should end up with something like this. Now we can see it's a little bit out over here. So let's move the planks over first just to get them into place like so. And then what I'll do now is come back to my Boolean. I'll grab this edge. And this edge, I'm going to press the button. And then what I'm going to do is just pull this out. So I'm going to grab this one. Pull it out with all the way over there. Finally, then I need to actually delete this bottom and the top delete faces. Now let's fill it all in. Alt Shift and click F a shift and click. Now what I can do is I can actually booleion this off. I'm going to come now and I'm going to grab this part here. I'm going to turn this into mesh object, come down to convert mesh control or transforms right clicks origin to geometry. Add in a modifier and let's generate a bullion. I want to click on this here, so I'm thinking I want to intersect it instead. So I want the inside of it. Let's click fast and make sure it's done right. And let's press control. And then delete this out the way. Delete all tag Moment of truth for question mark. Double tap the a. And you can see we have a little bit of a problem in that boolean was made for this part. So all I'm going to do, bring it up, put it into place and make it a tiny, tiny bit smaller, able tap the And there we go. How easy was that to do? All right. Not easy at all. Not at all. All right. So we'll do is we'll grab all of this now. And now I need to start actually coming in except the windows, I think we'll do those separate. Also we need to bevel these as well. So I'm thinking we'll have to work our way down. So let's come to these parts first. And we can base it on nought point N n three. So if I had a modifier generate bevel, let's put in not point N naught three. And then what I can do now, I can work my way down. So if I grab this part, grab these parts, grab this part, grab the inner part, and then I can grab this part finally. And then control L. And what we're going to do is link or copy modifiers. You can see there. First of all, before I do that, I don't want to grab this. I'm going to do this again at the moment. I need to make sure that all of this has everything on it. In other words, some of these have got solidifies on and we don't want that. Grab this one, grab this one. This one. And you can see solidify the grab these going down, you can see that this one is okay to grab it. Well, this one we don't want to grab because I think we've already put a bevel on there. Now I'll go up to object, I'll come down to convert and mesh, and then finally I can grab my wood control L. And what we can do now is copy modifiers. And there we go. Now we've got our bevels on. Now let's see if this got a bevel on. It's got to solidify on and the bevel, so let's press control on that. And now we've got a bevel on this. So we've basically got a bevel on everything now. Which means we can now join it all together. So we'll join this, this, this, the inside here, the outside here, this top bit, and these parts. Let's press control J. And hopefully the old joins together. Right click, shade, auto, smooth. And now if I press G, everything should come away with it. And now we've got, and we can actually get the materials on now that we want. Now at the moment, if we put this on material, it should all be wood, which of course we don't really want. So let it load up. It's not so it hasn't gone on wood. So that's okay. So what we'll do now is we'll start with these parts here. Let's come in Smart UV project. Okay, Let's come in then and bring in the material. And what we'll do is we'll just click the down R on here and we're going to want it green painted wood. Let's put that on. And we can see straight away just down that's going to look. And then what we can do is now we can come down to the different points, L, L, L, L and L. U. Smart UV Project. Click Okay. Work our way down now. L, again, I'm splitting these up and I'm wrapping them like this just to make it easier for me. L, L and L, because it will make sure that I'm not going to go in and mess around with the resolutions. So this one now L U, Smart UV Project. Click Okay. Now finally, just all of these. I'm going to grab one of them and then just go round. So grabbing them all, not that one being face select, that'll make it a little easier. I'm trying to grab all of those edges all the way around to here. And I'm going to press Smart UV Project. Click Okay. All right, so that's that bit. Now let's come to this bit. I'm going to grab this, we've already got on a Solidify, let's actually apply that solidify control A. And then while there is a smart UV project, click Okay. Bring in then my wood. It wants to be the light wood. So we've got one here, light wood. Drop that on. We can see we've got a few problems on here in that some of the wood is going the wrong way. And the reason that's happened, by the way, is that I forgot to add a same to all of these. What we can do instead of that is we can just grab the whole thing. Right click. And what we're going to do is mark a. Same. I can't right click because I'm in face sex. So what I need to do is press control A, mark, Sem, A. Then grab everything. Smart UV Project. Click okay and it's fixed. M, most of them apart from now, they're all going the wrong way. Pretty much. I'm going to have to go in now to the UV editing. I'm going to have to press Tab. This is a little bit of a pain, I didn't want this. And then what I'm going to do is I'm going to spin all of them round that are going the wrong way. Which ones are going the wrong way? I think they're all these going here. So what I'm going to do is I'm going to press B. Grab all of these going along here. And let's see if it is though. So what I'm going to do is I can see these are the ones. Let's put it on material so I can see what I'm doing. I'm going to come back. I'm going to press R 90. And you can see now it's spun those. So these are the ones going the wrong way round, which is what we actually wanted. So now I can just put this over here and now I can just work my way down. So I've got all of these just to spin around now. Sometimes with UV's, they are a bit of a pain can be. Generally it's because of making a little mistake like what you saw me do, Control plus R 90. Spin them around. Now let's go to these ones. Let's grab this one B, and then grab that one and that one, and then R 90. Spin them around. Now let's have a look. It should all be going pretty much the right way, which it looks like the wood grain is going the right way. And all of those, let's put it onto render view. Have a good look at that. There we go. That is looking pretty nice. All right. So we can see the actual wood long is not going perfectly right. And the reason for that is if I select this, we can see that these parts here aren't right. If I press L, L and L and then alter, straighten those all up and I'm going to rotate this one round. So R 9070. Is that looking bare? I don't think that's I should looking any better. I think it's the devil actually that's doing that. I think if I brought this one out, so I would bring it out from here to here. Bring it out there. You can see the difference. That is what we actually want. So it's just to do with the fact that it's not quite beveling out enough. So let's bring it out very, very slightly. And there we go, that's looking perfect now. All right, so what we'll do then on the next lesson is we've got all these windows to do, and then finally we can put this to bed, and we can finally start moving round to this side, because honestly, this backside is nothing really. This side is a little bit of work, but nowhere near as complex as this. So we're actually pretty much on the home street of getting this building, you know, done and dusted and out of the way. Alright everyone, let's say about our work and I'll see you on the next one. I hope you really, really enjoying the course so far and I hope you're learning tons. Thanks a lot. Bye bye. 82. Finalizing Texture Details for Bay Window Backdrops: Welcome back everyone. To Blend the for the Environment Artists Guide. And this is where we left off. All right, so let's get these windows done. So what I'm going to do is just go into Material View, Select my windows, and what I'm going to do is press U and unwrap them. And I'm going to then just grab one window once I put my material on. So let's click the down arrow. We're looking for glass and the glass lit is the one we want. And then select, just select any of them. It doesn't really matter what I'm going to do. I think with these, we could also, instead of doing that, we could actually just make them smaller and put them in like that. I think I'm going to put it at the side here like so. And I know it's a little bit of, but I think it's worth it. So let's go to copy, copy, and default. And then we'll grab them all. And then, and then copy paste and default again, we're going to press A over here. And then we're just going to work our way along. So press a little Darvon so we can see what we're doing. We've got mold the same at the moment. We don't want that. Now there is a way that I actually did this a little bit different. I actually grabbed like two of them. So in other words, what I did was I'm going to select this one. I will share a little bit of an easier way. I'll select this one down here. I'll select this one over here. I'll select this one down here. And I'll select this one here, and this one here. And what I'm going to do is hide them out the way. And it's hid everything else out of the way. Why did they do that? I'm going to press H. Hide them out the way. Why is it hiding everything else out the way it shouldn't be doing that. Let's put it on object mode. See what that's going on. Oh, that's why I de selected them. There we go. Now we can see what we're doing. So let's like this one. This one, like this one over here. This one here, like this one here. And maybe this one over here, and this one. And this 1.1 over here. Maybe this bottom one here. Let's hide them out of the way. Now what we'll do is we will this one, we'll pour it over here, let's say like so. And then all I'll do is press U and copy. And sorry, copy default. And then what I'll do is I'll select this one. I'll select this one. I'll select this one. I'll select this one over here, this one here, and finally this one here. And now all we'll do is U and Paste Default and pour all those there H, hide them out of the way. Work on the next one. So we're going to put it over here. Let's move out our UV a little bit so I can see what I'm doing. Let's put it over here. And then what we'll do is you copy, copy default. And then we'll just select this one. This one down here, select this one here, this one over here. Let's select this one here, this one down here, and then u and Paste. And where is it? Paste Default. And then hide them out the way. And just keep working your way along there. You might actually find that an easier way. So all I'll do is grab the next one, let's put it over here. And then all I'll do is copy, copy default. And then let's select this one. We'll select this one, and this one, and this one here. We've got one there. Look, no done that one. Let's select this one. This one, this one. And then and copy paste. Default. Hide them out of the way. And let's look how many we've gotten now. So we've got this one. I'm just going to move this one out here. I'm going to hide it then. So H this one, put it over here. Hide it out of the way. And then this one, we'll put this one maybe over here, like so. And then I'll just select you, copy, copy, default. And let's now select this one as this one. Once over, look this one, this one, this one. And then you and paste, like hide them out of the way. Now which ones have got left? Very hard to see. Let's move this one over here, out of the way. The two got three in here. Let's hide out the way, scrub this one. Put it over here the way. This one over here, out the way. And now we've a few in here. This one. It's a little bit time consuming this. I know, but as I've said, I feel it's very much worth the effort to do it. So we've got a few left now. As you can see, it does go pretty quick. Then this one, then finally this one old, bring back everything. Let's put it on rendered view. Have a quick look at what that looks like. We can't see really them in the moment. But that's because we haven't got anything behind there, which is what we're going to do next. So what I'm going to do now is we'll go back to modeling. So let's click on there. Let's save our work so we don't lose anything. So file and save. And then what I'll do is I'll start with a actual plane. So what I'm going to do is I'm going to bring a plane, so shift bringing a plane, Rotate it round, so r x 90. Let's bring it then into place. So I'll want it coming all the way from roundabout here, it needs to be in a little bit. If I press one, you can see it's bigger than the window. We don't want that. Let's press as the next. We want it coming right to the edge of here. And then let's grab the bottom of it. Let's put it in. Grab the bottom. This bottom here. Now let's pull that down a little bit, round about to there. Okay, there we go. Now what we can do is we can grab this, we can pull it out to here, press A, and let's just pull it back into our actual wall. Now finally, let's come to our wall, resell the transforms like. So come over to our modifier, add modifier, and we'll bring in a bullion. And from there we're going to select this, put it on fast, and then press control. Then what we're going to do is delete the other way. And now we can hide our window. We might as well join all of this window up as well, because there's no reason why we shouldn't do so grab my window. In fact, there is a little bit of reason in the fact that we, we've got this on a bevel, so we'll do is I don't really want to bevel this again. On this occasion we might just apply all of our bevels. I think we'll grab our window, grab everything, object convert, mesh, join all together, control J. And then what we'll do is we'll just make sure everything's working now. So all transforms right. Click origin geometry, pull it out, and this is what we should be left with. Now, let's just put it back on to rendered view, making sure everything's looking right on them. Just looking at the ward and everything else. Yeah, I think that that's looking pretty cool actually. So nothing's wrong with that. I'm just wondering if I should have this piece of wood coming down in here as well. I think so. I think we'll do that. Maybe I should have done that before. But what I can do is I can come into my mesh select. And I'm just going to go in and select, not that select L and L on the inside as you can see. Keep going across all the way. And then all I'm going to do is press Shift D and bring it down into place to here. I'm probably going to have to make it a little bit smaller as you can see. Let's put it on tab and there we go. That is what I'm looking for. So now we can have the background. You can see that the actual things here which is, well, one thing we'll do is I'll make them a little bit thinner, and Y make them a little bit thinner. And then S and X make them a little bit thinner, that way like so. And now I can put something on that background. All right, let's do that next then. So all I want to do now is hide this out the way I want to put it back onto material view. I want to grab the backup here. So let's grab this one. This one and this one. I'm going to press E. In fact, I'm going to press, is it easier to do that? No, it's not. It's easier to press. And then I bring it in all the way into the center. And then control few edge loops, left click, right click, grab the center. In fact, we'll grab it going all the way out now. So control plus, split it off with Y. Grab the center portional editing on. Let's put it on. Smooth connected only on. And now we should be able to, if we bring this in, all right, now what we need to do is just make sure it's connected to this wall. So turn it off L bring it forward. Just a little bit like so now let's bring in a backdrop. And the backdrop we want is going to be the same as this one behind here. Let's see. First of all, if we come in a, a modifier plus backdrop, let's put shop, I think it's on the shop there it is. Shop one or shop two. Let's see, let's assign it. Let's come then to where you be editing, and let's see which one it is. So is it going to be, it's none of these. So it's going to be the shop, the other shop. So let's click down shop two and there we are. That is the one. The one I'm wanting is one of these. I'm not sure which one did I put in? I think, yes, it's this one here. This one here. I'm going to put this in place. I'm going to make it a little bit bigger, like so. And I think that is going to look about right. Okay. So now let's press Alt and bring back that window durable. Tap the and there we go. As you can see, now that's looking pretty nice, especially with that wooden being there. And we can see it looks like there's actual books in there. All right, so that's pretty much done on this. Now what we want to do is we want to think about this side round here. Because the front is done. We've still got a sign. It's point in there. You know what? We'll actually start the sign on the next lesson. We'll start this sign to give us a little bit of respite from building this house. Let's go to file and save. And the sign is quite a nice thing to create as well. All right everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 83. Modeling an Authentic Victorian Bookstore Sign: Welcome back everyone to Blender for the Environment Artists Guide. And this where we left it off. All right, let's bring in then, first of all, a plane. So let's bring in the plane, let's pull it out. And then, oh, y, 90. Let's see how big we need this first. So how big is this sign actually going to be? So if I put it into place, so it's going to be going roughly around here, of course. It's going to be out a little bit, so somewhere around there. Is that going to be big enough? And I think looking at guy here, I would say it is. So I would say this is also the right size for a book. Maybe maybe a little bit longer. So said a little bit longer from there, then we can actually isolate this out. So I'm going to press the little question mark. And there we go. And then what we'll do is we'll press control one edge loop. And then what we'll do is press control two edge loops, maybe three, left click, right click, Control three edge loops, left click, right click. And now what I want to do is just bring these out. So I'm going to grab these two and I'm going to try and pull them out a little bit. Now let's see if I can do it with proportional editing on. So I'm going to bring it in and then bring these out. And there we go. It's nearly perfect already. All right, so that's looking pretty much like an open book. Let's pull these bites back as well. So let's pull these bits back. The only problem is I've got to make sure that, you know, it all kind of comes together. So that's the main thing. I've also got to make sure that these, when I pull them out, if I pulled them out a little bit, are going to be a little bit rounded. Because at the moment they're not something like that. Right click, shade auto, smooth. And you can see when a shade autos move, these are too jagged, so all I'll do is I'll just come in control B and just bevel them slightly and there we go. Alright, that's that bit. Now let's come in and actually solidify this. So we'll come in adding a modifier. Bring in a solidify. So solidify, make it a little bit thicker like so holding the shift bomb, something like that, I think looks pretty good. And from there as well, I might as well use this to create the outside as well. In other words, if I press shift D, I can then pull it back. I can then make it a little bit bigger. So S make it a little bit bigger. And then this will be the back of the book. From there as well, I can actually decrease the thickness so the page are obviously much thicker than the actual book. And there we go, that's looking pretty cool. Let's put it on object mode so we can actually see what we're doing. Let's turn off the x ray. And that's looking pretty nice so far. Now let's think about our pages. So if we come to this, we'll press control A to apply that. And then what we're going to do is bring in some edge loop control. Let's bring in three, left click, right click. And then we'll do is we'll come into these two parts. So L shift click, olthift click, and then control B, bring them out. So, and then all I'm going to do is I'm going to press Enter Lns without portional ting on alters. Now bring them in very, very carefully. Just a little bit you want like. So there we go. That's looking pretty cool. Now let's think about how this is going to be all held together. First of all though, we've got solidifi on this, so let's press control A, join it all together because there's no kind of complex materials in this or anything like that. It's literally just Mel. So control J. And now what I'll do is think about these bits that are actually going pull all this together. So what I'm going to do is I'm going to first of all press shift curse to selected shift. And let's bring in a cube. So let's bring in a cube. We'll put it this side, we'll do this side first. We'll make it much thinner and X make it thinner. And then what we'll do is we'll just have this holding onto the back, just onto the back here. You can see we're a little bit out, so let's pull it over here, let's make it. Yeah, that's actually going to be okay. And then what we'll do is we'll just bevel off these bottom parts. So if I come in, grab both of these, press control B. So control B, bevel them off so I don't really want them like that'll increase the amount of bevel and now we're actually going somewhere. I'll put it on custom. And then what I'll do is I'll bring this in a little bit like so and I think that looks pretty nice. And then all I'll do is just bevel off these two edges. So control B, so maybe three. Left click, right click. And let's just go the other way now, never let off. So right click, shade, auto, smooth. All right, that's looking good. Now we just need another bar to hold these all on. First of all, let's mirror this over the other side. So all I'll do is I'll add modifier. In fact, we right click Set Origin to three de cursor add modifier, generate mirror on the Y, turn off the X. And there we go. Now let's bring in another part. So I'm going to bring in a cube. Let's pull this cube up. Let's press the born press S, Y. Let's press, and pull it down into place. So let's pull it back. And there we go. And I think that's thick enough because we're going to have something else that's going to be attached to this as well. All I'll do now is I'll come in, grab these edges. Just to make it a bit more fairy tale, let's press control B, level that off. You can see it's not beveling off properly because we need to reset the transforms And then press control B. There you go. Now it's beveling off beautifully. Right click, shade or to smooth. Now let's think about the top part of this. What I'll do is I'll press Shift S, Coaster, selected shift, and I'll bring in a cube. I'm going to put my cube up, pull it up. And then one we do is scare over the top seven. And then and Y, sorry. And X, bring it in. I want it slightly, slightly bigger than this part here because it needs to look as though it's actually going to hold something, S and Z, make it a little bit thicker. And now let's pull it out on this end. We'll pull it out on this end all the way out to here. And then this end can come all the way out to here, wherever far it's going to go into the wall. Probably somewhere around there, maybe a little bit more. Then what we'll do is we'll come to this end, grab this end control, increase the amount of levels. Left click, right click. First we'll just press control Ad before we do that. And then what we'll do is press control all transforms and then tab. And then let's bevel it, but let's not Beverly it like that. Let's actually bevel it inwards. I think it's going to look much, much bare. Yes, that looks much bare. Let's pull it out this way, a little bit more jaw, so it's fin, a little bit. Be going to this point, just pull this out. And I'm also going to pull this up a little bit. And from there as well, what I'm also going to do, I think is press the eye button. Bring it in. Just be careful that it doesn't, as you can see, go over there. If it does, all we want to do is we want to come in and we want to make sure that all of these they joined together in the center. If I join these two right click, I'm going to go down to merge vertices at center. And then I'm going to merge these two at center as well. So now we'll just pull this up. Let's press, pull it up like so. And now we're going to create these ornamental swirls. But first of all, let's just press the question mark. Bring back everything and see where this is actually going to fit. Before doing anything else, I can come in now and join pretty much these together. So let's actually check and we've got a solidify on, we've got a mirror on this. Let's just press control. Let's join it all together with control J then. And then let's grab them both. And all we're going to do is just put them into place. So where is it going to go? How far out is it going to be before we do anything else? So we can see here, it needs to be, I always like to support things or have it supported. Is it to be? Let's move it over. The never look. I think actually it's the right size. Let's see if I bring it down just under that one there, just under there. And you can see if I move it to the side slightly, I can slightly support it then on here like so I think that's actually looking pretty nice. That's got the eight? Yeah, I think I'm just wondering, is it a little bit too big? Yeah, I think I'm actually going to keep it. I think the size actually is. Okay. So what we'll do now is I can grab both of these and press the question mark. And I need to know actually, where is it going to come up to, where is my actual, if I grab this part here, press Shift age. Yeah, that's the best way to do it. Now I can see exactly what I'm going to do now. I'll do is I'll just grab this one here. Shift, select shift. Let's bring in a plane, R, Y 90. And then press bring it all the way out. And yeah, I'm going to leave it like that. And then what I'll be able to do, we'll get set up. First of all, before we do anything, so what I'll do is press shift eight. We'll bring in a curve, we'll bring in a path. And then from the path, what we'll do is we'll press Tab. Delete it out the way, so delete vertices. We'll still have our path there. And now on the next lesson, we'll be ready with our little draw tool. On the next lesson, what we'll do then is we'll draw this in. So we'll draw a large one, kind of coming from here and have that coming up and then swirling around. All right everyone. So first of all though, let's say about our work and I'll see you on the next one. Thanks a lot. Bye bye. 84. Adding Ornamental Swirls to Metal Signs with Curves: Welcome back Von to Blender, fold the Environment Artists Guide and this where we left off. All right, so now let's have a piece coming from here and then we'll go up, so I'll try swell coming from here and then slowly going up and then coming round to here and then swirling round maybe to something like there, and then what we'll do is another swell. Now generally when you had another swell, sometimes they don't work, so hopefully we'll get this right. So I'll bring this round to here now support it going along there and then we're going to go up to here like so. And then support it coming where this part is here. Round to here. So all right, they look really nice. Try and do something like that or do it however you want to do it. And then what we're going to do now is we'll come in, well hopefully this will work. So first of all though, let's put it on to move tool. Let's also delete this plane off the bike. We don't want that. And then let's come back to it and what we'll do is we'll put our extrude first. And we can see sometimes, as I said, the extrude comes out a bit of a weird way. Now just let's extrude back a little bit. So I'm going to hold the shift bun down, get it to the actual thickness that I want. So I think this thickness is going to be absolutely fine. And then finally, let's come in and add in a solidify. So I'm just going to add in a solidify, add modifier, generate a solidify. Let's pull it out a little bit. So the thickness I want, it's going to be roundabout there. And you can see here, we've got a problem in here. I think it's because I drew on here. But we can fix that, no problem. Let's just right click and shade flat. All right, let's fix that first. So what I'm going to do first of all is come in, press delete and vertices, and fix that out the way. Now I can press three again. And now let me fix all of these problems that we have. Let's put connected on, smooth on. And let's actually start moving these and getting them into place, into a nice place. We need to have this kind of support in that some jaw is going to bring it in. And what I also need to do is make sure that it's going to be nice and smooth as you can see. So I'm trying to smooth this out now as best I can, pull that out. If it's not going to pull out, just turn it off and then you should be able to pull it out from there. You can grab both of these pressing and pulling it down. Now by the end of this, you should be pretty good doing these things. So you can see here, I'm going to pull it in a little bit, or maybe out there we go, that's looking bare. Now this one, let's bring it in to tighten that curve up. Let's put it there, tighten this curve up then like bring it down a little bit. Now let's work our way around. Let's pull it up first, let's pull it out. Let's then pull this round. Maybe we want to tighten this up. There we go. Then let's bring it in and that's looking very nice. Curve all the way down here. That's looking all nice. This bit here we can see we're going to have to bring them both down a little bit. Bring them down, the jaws touching here. And then what we'll do is now we'll make sure This part, first of all, is going to be at the right height, right about there. Then it's coming round. This bit already is quite nice. Let's just tie it up a little bit and move it around. There we go. There we go. All right, so you can see that the outsides of them tighten or relax the curve. And the middle one actually moves the curve. So you have a lot of control over these. Now the next thing I want to do is I want to grab this one here. I'm just going to move around here. I'm going to press alterns then and just bring it in. I'm going to do the same thing with this one. Alternates, bring it in and then the same thing with this one here, Alton, bring it in. Now you can see we do have a problem here in that these are in the wall. We don't really want that. So what I'm going to do is I'm going to press three again and I'm going to grab jaws. This one, this one and this one. And then move around to the side. And now I can move over slightly to make sure that they're popping into the wall. And you can see we've still got that beautiful curve there. And finally, I think we need a bit of a metal in here. So I'll move it over a little bit more and I'll drop a little bit of metal in here just to support it more. Because at the moment it doesn't look like it's being supported by much. Also, let's have a look at the in the middle. We can see that some of the curve is in the middle and some of it isn't. I'm not going to worry about that right now. What I'm going to do first of all is come in and just reduce my resolutions to something like seven. And then what I'm going to do is I'm going to come to object and then I'm going to convert it. So I'm going to convert to mesh. And then right click, shade, auto, smooth. And let's see what that looks like now. Have gone a little bit too far on the resolution. I think so. So I'm just going to go back, put it to. Nine. And then I'll go to object convert mesh. And there we go. Now let's come in and what we'll do is we'll grab this one first and we're going to put it more in the middle. So let's put it in the center for press one. I can see it's near enough in the center. Let's grab the next one, L. Let's put this one near enough in the center, like so. Then let's now think about this bit of Mel that we're going to put on there. Shift. In fact, let's just grab this one here. This is a good starting one. So we'll grab this shift D, bring it to the bag, and then R x -90 No, R x 180. Spin it around, and then we've got a nice round bit on there. Now I'm going to pull this out and you can see that this is a little bit too much in here and I don't really want that. So what I'm going to do is I'm going to come back to this. I'm going to grab this point here. I'm going to press one or three on the number pad and I'm going to come in proportional editing G, and bring it out and then move it to the side, hopefully just to bring it out that little bit. So there we go. Now I do want to come in with my proportion, let it in and grab each of these ones. And then one going to do is press and X, bring it in a little bit and then just slope them in like so. And you can see now that's looking really nice. Right click shade or to smooth. There we go. Now, is that in the wall? Yes it is. I think that is looking pretty good. Let's press question mark, old tag to bring back everything. Double tap the A, then, there we go. Now let's give these material and join them altogether. So I'm going to join this one. This one. Let's grab it all. This one. This one. And let's just go to object and convert mesh and press control J, join it altogether. Right click, shade, auto, smooth. And finally, let's bring in a bevel. So I'd modifier generate, bring in a, let's put it on naught point N three. Let's put it on that. And there we go. That is the sign done. Now if I come down and we'll just bring in, let's have a look at black metal. We'll see what that looks like. Let's put it on rendered view, durable tap. The the one thing we haven't done is unwrapped it. We're just looking what it looks like. I think we'll unwrap it now. So Smart UV Project. Click Okay. There we go. Now let's have a look at the other mels we've got. So we have got some other metals, so we might as well have a look at those. We've got green Mel, I think it clashes too much with this, definitely. So what other metal have we got? Put metal. I think we have blue. So we've got green metal. Light. Let's try that. You know what? I think the black metal is the best one. Put that on. Yeah, the black Mel, I think is the best one. So we're going to go with that, I think. So hopefully your sign has turned out as well as that. We're going to end it here. On this one, actually, on the next one, then we'll actually make a start on this wall round here. And then, yeah, we should be able to get our roof on and get this finished and out the way. All right everyone. So I hope you enjoy that and I'll see you on the next one. Thanks a lot. Bye bye. 85. Integrating Street and Wall Textures for Realism: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left off. Now, before we do anything, let's put it on object mode so we can actually see what we're doing. And then what we're going to do now, we'll grab this one. And I want this to be round about the center of here. So what I'm going to do is I'm gonna press shift D. I'm going to move it over to roughly the center, 90. Spin it round, and obviously we're going to have to pull that out a little bit. So pull it out so it fits into place. Now I do want the center of here, so let's actually see. If I grab, you can see that this is a little bit of a mess here and we really don't want that. So what I'm going to do is I'm just going to press Y just to split those off and then bring them out. And you can see I brought them out with posture editing on. Don't really want that. You can also see that I brought them out, yeah, you can see that they're not level or anything and we really, really don't want that. So all I'm going to do is I'm going to grab one of these parts. So I'll grab this part. I'm going to press Shift D to duplicate it, pull it over this side. And then I'm going to press E and Y and pull it all the way over to this part here. Then that means I can get rid of this back part L and L. Delete the other way, Delete vertices, and now we're left with just this, which means I can press L selection, split it off from all of that, press the tab control or transforms set origin to geometry. And then let's pull it back into place where I want it to go, which will be roughly around that point there. I think you can see as well it goes slightly above this and we don't really want that either. Some jos going to press and's head. Bring it down. There we go. Now let's find the center, the center of this as you can see in here. Let's bring in this part first. So shifty, bring it over, R z 180. Spin it round, put it into place, so it's going to go roughly in, somewhere like that. And now we can see that the center is here, so let's pull it over. And there we go. It's nearly in the center. And there we go a little bit over the other way. Let's grab this one and then this one. Now, I should be able to not do it. Can I actually grab it? Yes, I can. So now I can actually move it into place. There we go. All right, there we go, finally. Now let's grab this one and press and Y, pull it into place. And then what I can do is I can press Shift and D and bring this one over and it should fit. Hopefully, there we go. That's fitting nicely. And now we want this paneling down here, which I'm going to grab these ones over here. I'm going to press Shift and D, bring them over. Then I'm also going to write clicks the origins to geometry, make it easier for myself. I'm going to then spin them round, so zed 180. Spin them round. I'm going to put these then into place. And what I want to do is I really want three of these on each of these things. So I'm going to work out. First of all, if I come to this, you can see it's not into place at the mom, so let's put it into place. Let's come over and go to adding a modifier. And we'll add in a array. So generate an array, let's turn it on zero on the X, we want it on the Y, of course. And if I put the Y going minus, minus one, then we get that little edge in there. And from there now what I want to do is squeeze them in. So if I put it onto three, so let's put it on three first, and then let's press A on this bit, and then and y and squeeze it in like so. And I'm also going to make them a little bit smaller, like so. And then I'm going to pull them into place and then and y pull them out and then let's put them into place. So All right, that's looking pretty good. Now what I want to do is I want to make sure that this is going to go across the bottom. So what I'm going to do now is come in, and I can probably stretch this out instead. So if I put it in the middle and then press S and Y, it's going to make it a little bit easier trying to grab those edges like so. And then I'll come to this one same thing, put it in the middle and then tab and y, pull it out into place like so. All right, that's looking great. Now let's grab all of this. So grab these, grab these, and then bring them over. So shift D, pull them over and hopefully should all fit into place beautifully and done really easily. We've got the top them. What that enables us to do now then is work on this part over here. Now, before we do anything, let's actually come into these and we'll just apply our array. So I'm just going to select this one control. Select this one control. And now I'm going to do is I'm going to come to both of these. Press the tab on Smart UV Project. Click Okay. And this is because we stretch these out, so I'm just basically re unwrapping them. Smart UV Project. Click Okay. Now let's think about this post here. So we are going to need a post going over and up here. So all I'm going to do is stress, shifty. Now, this one hasn't got any front or back on it. So you can see here we've got a side view on there. This one hasn't got that. So we can just basically stick in place like so probably going to need a little bit of extra room just to get a bit of post down here as well. But I think now that is looking absolutely fine like, so now we've got a center point on here, so let's fix this wall as well before we actually carry on. So all I'm going to do is I'm just going to grab my wall. This one here, press selection like so. And then I'm going to grab this wall. So this one here, delete faces. Delete that off. Come back to this wall then. And then all I'm going to do is grab the bottom of this wall and pull it out into place like so. Now, everything should be beveled on the things that we've made here. All the material should be on. The one thing we need to put materials on, if we put it onto material view, is going to be this and this face here, I think. So let's just see when it's loaded up. There we go. So we've already got this wall on here, so I can use that. So let's come into this one. What we'll do is just re unwrap it and there's that wall done. And now we'll come to this one, grab this wall, press U and unwrap. And you can see objects as a non uniform scale, meaning I just need to resell the transforms. Now I should be able to go in and press wrap. And finally let's join it to this wall here. So control L link materials. And there we go. Now let's come in and go to our UV. So I'm just going to grab this one. I'm going to go to UV editing. I'm going to come to my wall pressing the 190 and now just make sure that it's the right scale to this. So I'm going to press S, bring it all the way down, so maybe something like that. Double tap the there we go. All right. Now we're cooking on fire. Now we need to basically get our sign, let's put our sign in the way. We'll do that. Before we do anything else, let's go back to modeling. What we'll do is we'll just bring in our coffee shop. For now, bring in your coffee shop. Let that load up. Hopefully it will load. There we go. Now I'm just going to steal this sign. We're going to press Shift D, Bring it over through here. And then R, Z -90 I'm going to press three. And then what I'm going to do is I'm going to put it into place. I'll want it rouly around there. Let's put it back into place. And of course this one needs to be a different sign. All I'll do is I'll put this under Victorian Park, so I'm going to come in, grab the face UV editing, and then let's move it, I just need to move it up basically G, Y, move it up into place, holding the shift on. There we go. Now let's have a look what that looks like. Double tap the A and there we go. That's on. All right, so now let's think about this part under here. I think I'll first of all make the structure that's going to hold this together. I'm also thinking, does this come out enough? Maybe because we've got the option to pull it out further if we want to. So I think we will. So I'll come in to model in again and I'll zoom out. And then what I'll do is I'll grab both of these. I'm not going to worry about the walls at the moment. All I want to do is just pull them out a little bit more like so. All right, now let's come in and make the under part of here and see if it's actually all going to come and fit together. Because we can lower this down at this point anyway. So what I'm going to do is I'm going to come first of all to the bott, I'll grab this bomb shift S Ursa selected and then tab shift. And let's bring in, first of all, a cube. Let's bring in a cube. And then we'll put the cube in. So I'm going to press S, make it smaller, bring it down. It needs to be fairly chunky. This support, it's quite a heavy load on this, so we need to take that into account. Let's pull it back to here. First, I'm going to pull it back to the wall. Then what I'm going to do is I'm going to come in, don't worry about where it's going to be positioned here or anything like that. Let's grab the front of it and let's just pull it out onto here. Let's then pull it down so fits under there. And then what we'll do is we'll think about the next part. So I'm going to grab this with L shift D, then R, Y 90, press the B just to slim it down. And then what we're going to do is put it back to here. I'm going to press S and's Ed. Then where I want it, because I'm going to want another piece coming out of here. So I'm going to press shift D, and then R, Y, 90. Pull it back to here. And then I'm going to make this a little bit wider, S and Y, pull it out like so. And then finally now I want to probably pull it all out a little bit. Pull it all out so it goes into the wall. Now that is a good start for what we actually need. And on the next lesson, what we'll do is we'll make this kind of Ben that's going to go out towards the end of here. And we can do that many, many number of ways. It might be easier to just use a curve or a path to do that. I think we'll do that and then we can just finish this off and then get the supports in. I'm just looking at the moment. Is it supported enough? I think it is, when we've got a few of those on there and so we can get on with that. Alright everyone. So, I hope you enjoyed this one, and I'll see you in the next one. Thanks a lot. Bye bye. 86. Modeling Supports for Second Floor Extensions: Welcome back everyone to Blender for the Environment Artists Guide. And if you actually bring in your coffee shop and your what's it called, bookstore, you can really see now it's really, really starting to come together and already is turning into quite a beautiful scene. What I'm going to do though is actually hide my coffee shop out the way, so I'm gonna hide that out the way. And then we'll come back now and actually work on this part. So all I'm going to do, I'm just going to put this onto object mode. Let's come in then. And what we want to make sure is with this is that it looks like it's actually supported at the moment, you can see that this is probably not going to be far enough out. So all I'm going to do is just pull that out a little bit. Now what I'll do is I want to bring in probably easiest to bring in a curve. And I know it seems a lot of work to bring in a curve, but sometimes it just makes it that much easier. So what I'm going to do is just press shift day. I'll come in, I'll bring in a path. I always find paths easier to work with as you know. I'm going to bring it down then. And then what I'm going to do is extrude it out so you can also as well. A good idea for this, and I'll show you that in a minute, is just keep the curve active. In other words, come in, bring in your extrute. So bring it out like so. And then what you'll do is you'll come in and you'll add a modifier. So add modifier and then we'll bring in a Generate, bring in a solidify, right click, shade flat, and then just bring that out a little bit like so. Now what you can do is you can just copy this. So all I'm going to do is I'm going to press Shift D. I'm going to copy it. Bring it down and put it next to my geometry node. And I think I've already got the geometry node in my Boolean. I think so. I think it's in here. This is the cube. Look there. Let's just call that roof geometry node. It's all about just trying to work as fast as possible to get things done. Now with this, I'm going to call it, let's call it a curve set up. So, and then what we'll do is we'll just come over here, press the N button, and we'll put it in our bullion as well. Now when we need a new curve, we can just go straight back to that rather than keep having to set it up like this. All right, now let's come in and actually bring this in place then. So what I want to do is I want to just bring it into here. I'm going to make it a little bit smaller so, and then what I'm going to do is just grab this top and what I want to do is curve it round. Obviously I want it to be nice and curved round going into here. And I think actually on my old one I didn't make it. So, you know, kind of, I didn't really make it like this, but on this one actually, I think it's going to look a little bit nicer if I curve it in something like this. So let's put it, first of all in the middle. Let's also make sure that it's actually pulled out, so at the moment you can see it's pulled out like this. Let's increase the thickness, let's bring the offset back a little bit, so let's put it right in the center like so. And there we go, thinking that's looking a little bit bare. Let's also then bring this out. So if I come and press three now or one, let's go into side view. And let's press and actually just pull this out over here. And then what we'll do is pull this down and we'll get it all nice and flat then, so it looks like it's in place like so let's then bring these down. So we'll bring these down, let's bring them back a little bit like so. And there we go. Now you can see it's really action starting to look very nice in that way. I'm just wondering whether to bring the whole thing down just because I want it a little bit flatter on there. Yeah, something like that, I think looks pretty nice. And from there then we can actually put some support going into, especially this corner, you definitely would have a support going into this corner. That's going to be the main support, and then maybe a couple either side. Now for now though, let's go over, we'll bring this down all the way to one, bring it up a few, So I'd say four on this one should be enough. And there we go, that's the support Now, just make sure it's roughly in the middle. You can see a little bit out there. Let's put it to that side and let's actually come in now. And what we'll also do is we'll just apply that object, convert mesh and apply that. And then what we'll do is control or transforms right click origin to geometry, right click, shade, auto, smooth. And there we go, we've got a beautiful part on there. Now I'm going to do is I'm just going to bring in a couple of supports. It will look a little bit different to the original, but I do think it actually looks better like this. So what I'm going to do is I'm going to grab this part. Press Shift S Coaster, Selected Shift. Then let's bring in a cube. So I'm going to bring in a cube, Let's make the cube smaller. And also with this cube, let's just delete the top and back. We're not going to need them, these two parts here. So let's delete them out the way with faces. And then what we'll do is we'll make it a little bit smaller. So let's then scale it up. So, and scale it up. And then what we'll do is now we'll press R and Y and rotate that into place. So let's get it into place. Something like this. And as you can see, hopefully, hopefully it's come to the right place obviously as well. It's a little bit thin as well, so let's just grab the whole thing and because we've got no top and bottom, all we can just press is alter S, and that then we'll stretch it out for us the way that we want it. All right, so I think that then is a good support there. So what I'll do now is just pull this back. So I'm going to press Alt Shift and click, I'm going to put this on Normal. And then hopefully you can see it hasn't actually, it isn't aiming up that way. It does that with the edges. If you fill this in though, then you'll see that it is able. Now to do that, I can just fill it in. And then press the lit and faces another little tip there that you can actually do. All right, so let's now, we'll use this one as well. So Shift, let's use this one. Let's press Olt and R, and that actually didn't work. Now I will show you actually what L and R does and things like that. So if we bring in a cube, let's bring in a cube. And what we can do is we can scale it. We can rotate it, so R and Y, let's rotate it now. As long as we don't reset the transformations on here, we can actually come back and reset them back to the original. So in other words, the original scale on here, if I press Alt and you'll see it takes it straight back to the scale there was, if I press Olt and R, it will actually take it as well back to the actual rotation. It was a really, really handy thing to know that. Now let's come and bring it into place. So what I'm going to do is just bring it down. I'm going to bring it down possibly to here I think as well. What I'll do is I'll pull this out. So I'm going to press and X, let's pull it in like, so let's pull this bit out a little bit. So I'm going to come in, pull this bit out just a tad like so. And then we're going to come into the top of here, grab the top, and then just pull it up like so. And there we go. That's looking a little bit more support now, and I think that is all we need to do with that, really. All right, so now what we can do is we can come in, we can grab all of this. So all of these parts we can press control J to join them all together. Right click, shade, auto, smooth control all transoms, right click, set origin to geometry. And now finally what we can do is we can actually come in. I don't think I'm going to paint this yet. And the reason being that I need to move it over here and I want them to look a little bit different from each other. So I'm just going to go into each one and do that. Now I do need it to come over to roundabout here, but before I do that, what I need to do is make sure I've got enough support in here. One of the things I don't have is my planks of wood. I'm just wondering if, if I've got these planks of wood in here. So you can see these ones here. You can see that we've still got, should have the geometry node on them. So what I'm going to do is I'm going to use that. So I'm going to press Shift, I'm going to bring it over, then I'm going to press 90. I'm then going to bring it into place. So you can see now I should be able to put this into there, basically. So what I'm going to do is I'm going to pull it up into place. So I'm just going to sit it on top of there like so. And then I'm jaws going to pull it back into the wall. So I want it into the wall. I'm not going to worry about the front because the front is going to be covered by something else. But what I certainly want to make sure is that this part inside here is definitely set a little bit further up. So what I'm going to do is I'm just going to press ye, and then I'm going to grab it and jaws pull it up a little bit. And while I'm here, I might as well just add a material on here. So I'll just press selection. Just take it out of the way. Control A or transforms right click, set origin geometry. And now let's just go into shady mode just a minute and what I'll do is I'll actually give this a material, so let that load up. Obviously, the more actual shades you've got and seen, the longer it's going to take. So what I'm going to do on this one is we'll just come down and instead of it being gray box, let's put it on some wood. And the wood we'll pick is dark wood. So we don't, we'll unwrap it quickly. So let's unwrap you, wrap. And there we go. Now we've got wood under there, we're not able to see in there. And that is exactly what we want. Unfortunately, we're not able to see this wood either, but we can just see it. So let's increase then the count. So if you increase the count all the way up to something like that and then finally con jaws move it over. Just a little bit like so. All right, so that's looking pretty good. Now what I want to do is I want to build around this part. So first of all, let's press shift date and bring in another cube. So let's bring in a cube. Let's put this then in this corner. So we're going to put it right in the corner. Press the S button in this corner here, so make it a little bit smaller. We don't want it too thick. It wants to be thick, but not thick enough to look silly. So I'm saying a little, probably a bit smaller than this part here. It's holding up this part, which is still a heavy part, but most of the work is being done by these supports and things. So let's come in and we'll pull that down like, so maybe down to here. So I'm thinking, do I want to support on there? I'm actually thinking that's probably going to be fine there. Then let's come in and pull it up. So I'm going to pull it up to here. So then what I need to do is I need to grab this. Show shift D and then R Y 90 control or transforms right clicks at origin to geometry. So and then make it a little bit smaller. And then x, let's pull it back a little bit. And it's going to be going into there, hopefully just above this point here. All right everyone on the next lesson, then we'll actually carry on with this. We'll actually get all of these parts in here. And then finally we'll get this roof done, and then it's pretty much done. We just have to do the back of it. We've already done this side, so I'll see on the next. And everyone thanks a lot. Bye bye. 87. Techniques for Modeling Second Floor Extensions on Bookstores: Welcome back in front to Blend. The four, the Environment Artists guide and this where we left off. All right, so we've put this here. Let's make it a little bit smaller so S next, let's pull it out a little bit and Joe, want to make sure everything's gonna fit into place now like so. Okay, so we've got this here, we've got this here. We're going to want one that's going to go across straight across these as well. So let's get that in. And we're also going to want this part on here, so all I can do is press 50. I can bring this out. Let's write clicks at origin two geometry. Let's press Oz -90 and let's put this into place of where it's going to go. Now I do want to keep this height, but we have to remember that also. We're going to have the roof part coming down here as well. So let's just press S and Y, bring it in and then marking is just put it into place right on this part there like so if it's going to cover this part so we don't need to worry about that. What we need to worry about is just this one going across here for now. So along with the presses shift eight, I'll bring in a no, won't. Actually. I'll use this one. So all I'll do with this is press shift and then Y 90 and then Z 90. Nope, not z. And the reason is, let's put that back. The reason is a great are normal. So then x 90, there we go. Zed hundred 80 and then we go, now we've got that in some kind of place. Now let's grab this part, put this back onto global, and then we'll do shift and D X -90 Let's rotate it that way. And then what I'm going to do is some J going to press the S bone just to shrink that in. So I want it coming. Yeah, it's probably going to be fine like that. I just want it coming across here. So I'm going to move that across a little bit and have them then going across, let's put this, I want it right in the center here. First of all, let's bring this part out, press shift D, duplicate it, bring it over the other side. And now we have a length of where I can actually put this. Now you can see I'm just wondering whether, yeah, I think I'll just put it going straight over. So let's grab this face, put it straight over like so. And then what we'll do is, well, I think we'll grab this and put it just underneath here. So if I grab this, then I can press L Shift D. Let's bring it up and we'll put it just underneath there because we'll have one sat on top of here anyway. So I'm going to put it just there like so. And now let's think I'll make this a little bit thinner. Well, let's come in, make this a little bit thinner. So now what I'll do is I'll just grab this once more. I'll press L shift D, and then what I'm going to do is I'm just going to bring it down, make it a little bit smaller, and Y bring it in. And what I want to do is I want to work out like where is this going to go? The easiest way to do that is just to put some wooden parts in here first. Let's do that first. So what I'm going to do is I'm just going to press Tab. I'll grab this part. I'll press Shift D. I'll bring it over. I'll reset the transformations because it'll make it easier to work. I'll press the button, and let's bring it back, so making sure that it's actually in here. And x bring it back back back like so. And then let's just pull it out into place. Let's put it on object mode. I can really then see what I'm actually doing, something like this. We can see now we want to split this, then we need three of these. So let's add in a modifier geometry. Sorry, not geometry. Adding a modifier, Generate an array, Let's turn this down to zero. And then let's move this y this way. Let's increase it, and there we go. We've got three in there. Now we can see if I have got this this big, it's not really going to go in there. So what I'm going to do is I'm just going to move this over and then increase this slightly more like so. And now all I want to do is just grab this part. So L, let's press P selection. And what I want to do now is press control all transforms, right click to origins, geometry. And then let's press Shift D and move it over. So I'm going to move it over here. And what I'm actually looking for is if it's in the same amount, so you can see it, these are a little bit too tight to this. So if I move this this way, for instance, now you can see that they're a lining much, much better. Now if I grab this one and press Shift D and bring it over here, you can see now it's aligning around the same as this one. So that's exactly what we want. So now we've got that in there. What we can actually do now is start work on this part on the inside. So what I'm going to do is I'm going to grab this part. I'm going to press and Y, sorry, S and X and pull it back. And then what I'm going to do is I'm just going to pull it up so it just goes under here. And now let's shape this into something a little bit different. So let's press Tab, Press control two, left click, right click. And then what we'll do is we'll pull this out. So if I grab this center part, I'll pull it out like so. Not going past that point. Of course. Alright, so that's that bit. Now let's bring it down to the bottom bit as well. So shift D, let's bring it down. Sit it on there like so. And now let's bring in this main part on here. So to do that I'll just grab both of these. Press shift S, Ursa selected shift then. And then what I'm going to do is I'm going to bring in a plane. We'll work with a plane. We'll press R and Y and 90. And then what I'll do is if I press three, I can get this plane to be that size. So first of all, I want it to be jost here, like so. And now I need it to fit in this wall. So S and X or S and Y, bring it in like so. And then just move it to the side like so now I'm hoping if I grab this, press shift D, that these over here should fit in there. Which it is, it should fit into the next one and the N one. So I'm just going to try the N one, making sure it fits in which it does. So that's great. So we've pretty much got that. Now if I press controls are just to go back before I actually duplicate that, and now we can actually start work on this. So what I'm going to do is I'm going to press, I'm going to pull it out first, actually make it easier for myself. And then what I'm going to do is I'm going to press Tab, select the face. And then what I'm going to do is I'm going to press and bring it in. Now it's not coming in properly. You can see there from pressing much, much bigger gap here to the sides. We don't really want that, so let's actually reset the transformations. So come in, press the eye button and now you can see the nice. And even I want it to be round about this sort of scale going all the way around. And from there what I'm going to do is I'm going to come in, grab each of these points here. So press control shift and this time and bevel those out like create in that nice round finish that we want. We can also come in and shape these as you know. So we can shape them like that. And we can also change the length of these if we really need to. So we can really change the length of these. We have a lot of control because we're using this bevel. Now from there what I can do is I can actually come in and just delete this center out of the way. So grab this center, press delete and faces, delete it out of the way. And then press L on the whole thing, just to pull it out. And there you go, You've got a beautiful part that we can fit in there. So right click, shade, auto, smooth, and let's bring it into place. So we're going to put it just there. And then what I want to do is I want to probably bring these out a little bit. You can see here, not really going to fit in like that. So let's bring these out just a little bit on the bottom and probably just a little bit on the top like, so maybe a little bit more, something like this. And then what I'm going to do is bring these out now. So I'm going to grab all these, they've already gone away on. And I'm going to bring them out just to the cover this you can see here, this one's not covered, so let's hold shift, let's bring them out first. Not all shifts, so let's bring them out, bring them back a little bit like so. Now they're still under there and everything's fitting in really, really nicely. Now what I can do is I can join all of these together. So let's join all of these. Control J, join them all together. Right click, shade, auto, smooth control all transforms right clicks at origin to geometry. And finally, now let's press shift D, bring it over, drop this one into place. So let's press Shift again. Bring it over, drop it into place like so. And finally the last one, shift, bring it over and drop it into place. So now we can see that we're a little tiny bit out on this bottom one. We can probably get away, actually, with moving this a little bit out. So if I grab this, let's move it out a little tad, then let's come to this. And I'm looking at that's fitting in much, much better. All right, let's save that our work then on the next one, what we can do is we can really start putting this together. These parts are going along here, We can bring this to the other side, get that in, and then we can actually start work on the actual roof coming up here. And the rest of it is pretty easy. I think with this one we've done the hardest part anyway. We've got a window as well as put in there, but we're really, really hum the home straight with this one for sure now. Alright everyone. So I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 88. Optimizing Library Mesh for Improved Performance: We welcome croon to Blender for the Environment Artists Guide, and this is where we left off. All right, so let's come to this part now. Actually, no, we won't. We'll come to this part and we'll get this into place over here. So I'm going to press shift, I'm going to bring it over here, put it into place, hopefully, hopefully it's going to fit in nicely against that post. You can see that this post is a little bit too high. We can see here, this one seems to be sitting there. Instead of moving these parts around, you know what I'm going to do, I'm just going to grab this one and this one press Tab. I'm going to grab the face. Then on each one and all I'm going to do is pull it up. I think this one's dropped down a little bit. So what I'll do is I'll just pull it up a little bit just so it's sitting on there. And then I'll delete this one out the way. So I'm going to delete this one out of the way. So delete, and for some reason it's moved, so shift, let's bring it over and make sure that that is set in place, which it is now. Okay, so that's looking better now. All we need is this part over there. So I'm going to press shift, we're going to bring it over. We're going to rotate it around ours. Ed 90, in fact. Zed 90 again, so it should have been 180. And let's bring it out put into place so it just sits in there. Don't worry if it's a little bit higher than that. We spoke about that before. Let's put it into place like so. And as we move on here, obviously we'll able to work a little bit more on these parts round here, This part round here, by the way, we're not really going to see that. So the most important thing is just this bit here. From here we're actually going to build the butcher's shop. So all I need to do is just make sure I've kind of got something in there, so just a wall or something just so we can't see this part also. We've got this part down here. The butchers is going to come from here, so we don't even have to worry about that here. Now, from here, let's come in. Before we start anything else, let's get everything tidied up, let's get this moved over, and let's get some materials in. Because you can see it's not quite looking right at the moment. We need a lot of materials in here. But first of all, now we've got that in. Let's come into this part and what we'll do is generate, add an array and we're going to turn this down to zero and we'll increase the y value up and then increase it. So it hopefully finishes right at this end. Now I can see that this probably at the moment it's got way too many. It's a little bit too supportive. So let's bring it down to let's say five. And then from there let's increase this y value. So let's increase the Y value. Just so it goes right next day you can see it a little bit too much, So let's bring it back a little bit like so. And I want it not quite there. So 44.3 Let's try that. Let's try 4.295 and there we go. Perfect. All right, that's fitting lovely. Let's now come in. And the last thing I think is these need to really come down to this bottom part here. So can I actually move them down a little bit? I think I can. So what I'll do is I'll just move them down just so they sat on the top of there. And that then looks a little bit better than what they did. And I also just want to make sure that everything's in there, everything's supported, which it looks like it is now. Okay, now what we can do is been come in, apply this array. I can then come in and grab all of these parts. Now, so all of these parts I've created, I'll do these a lot. First I'll press Control all transforms, right clicks the origin to geometry. And then what we'll do is we'll come in and unwrap these ones first. So we'll do just these. Press tab, Smart UV Project. Click okay. And now we'll come to this one. So we'll grab all of these smart UV project. Click okay. And then what I'm going to do is I'm going to grab this part here. Press control L link materials control L copy modifiers. We just need to go in now and just make sure that the modifiers are on so we can see now they're all nice and beveled. And then what we'll do is we'll come to these parts, grab them all, grab this part. Last, control L, link materials, control L and copy modifiers. And now we can see we've got a little bit of flashing here which tells me that there's something behind this one. So if I move that out, you can see that this is the one behind it. I'm going to delete that out of the way. And there we go. Now let's come into these top parts. So we'll grab these ones first, and then we're going to press Smart UV Project. Click Okay. And then we'll come to these parts here. So if we grab each of these parts, I think we'll do it in two just to make sure we're not stretching the UV's too much. So what we're going to do is a smart UV project, and then these two, a smart UV project. And you can see the way that we're working now is making things so fast and so easy to do, because we've got a really, really good way of doing this now. If I come in, Apply this array, tab A U smart UV project, click okay. And I know it might seem a little bit fast, but you really will if you just keep doing this, get up to speed and you'll find that this kind of workflow non destructive. And the way that we're applying everything, just building things such a breeze and so easy and by the end you'll be able to build anything. In this way. And it really will, you know, take you from an absolute beginner all the way up to, you know, becoming on your way to become. I'm not saying you will be a professional, but certainly on your way to becoming one. All right, so now we've got all these, let's grab everything. So all of these parts, press G, just to make sure I've not Mr. any which I have. So these two here. Select this one. We're going to press control L. We're going to press, then link materials and then control L. And we're also then going to copy modifiers. And again, I'm just going to go in now. Just put an object Mel quickly and just make sure that they're beveled along here, which these are, everything is beveled off. And finally, now let's come and put this back on material, and now let's come to these parts. You can see I really need to split these off. So I'm going to split these off together with Y. In fact, we'll split them off from everything. And then what we'll do is we'll come to this part here. So we want to split this part off with selection. And now we'll come to this part first. And what we'll do is we fat. Before we do that, we'll resettle the transforms. All transforms set origin and geometry. And then what we'll do is we'll press a just on this one first wrap and then on these two wrap. And we can click on wrap on these because they're simply just planes, so we ain't got to worry about that. Then what we can do is we can grab all of these. Grab this wall last, press control L, and what we're going to do is link materials. There we go. There we go. Now we have got a problem with this. It's not far enough out, so let's pull that out a little bit where it needs to be. Let's also then pull this part out so you can see this part needs to come out a lot more than where it was. There we go, and that is that bit done. All right, now let's actually have a look at our work. Let's put it on Render View. There we go. It's really coming together. Now you can see we've got a lot of support in there. Looks really, really different and nice down there. I'm just making sure that I'm happy with everything and I'm just making sure as you can see on these, we do have a little bit of a problem in that these panels, we can see the brick wall through them, and that's not something we want. For some reason, those panels ended up a little bit smaller so we can fix those. Let's come in then and fix these panels. As you can see, grab them both. We just one of the inside panels. So I'm just going to press L on all of those. I'm going to make sure that run individual origins. And then all I'm going to do is press the S button and hopefully pull them out enough to hide that wall out the way. Yeah, And there we go, Now they're fixed. All right, so now what we need to do is we need to make a start on the top up here. So we're going to have going all the way up here and along the top it's going to be flat and it's going to have some kind of spikes going along the top here. So what we'll do is we'll come in, we actually, we'll press tab on this. Now what I'm looking for around here as you can see, where is the walls that I actually need. So you can see on this, we only need realistically from this part, this part of the roof. In other words, if I press Tab, I'm going to grab this part of the roof like so. And then I'm going to press Selection. And then what I'm going to do is then we're going to come to this part. And I need, from this part, as you can see, I need these parts here and these parts here. I don't really need anything else. It's all got a wall on there. Anyway, let's press selection. Now, let's come back to the parts. I ain't got, you can see I've got two parts here. One part very hard to see, so let's just hide that other way. This part here, these are the parts that I'm actually talking about. Do I actually need these parts if I press G as you can see, and bring that all away. Do I actually need any of these parts? You can see there's a gap in there. We've got flaws in here which we don't need. We've got all of these blocks that we really, really don't need. And I think we can actually get rid of this at this stage. All right, let's press Delete. Let's press Altage, bring everything back. And now I'm just going to check this bit, making sure that it's okay. You can see that's altogether well, and you can see now it's pretty clean actually, so that's really good. Now, back then to our roof, what I'm going to do before carrying on is I'll just set up my cursor. So my cursor is gonna be right here. I'm going to press Shift S cursor selected. And then what I'm gonna do on the next lesson is I'll bring my first piece of wooden down here. I'm looking to make it run about the same thickness as this. It's not going to be sloping. You see how this roof sloping, We don't really want that, but the good thing is we've already got our roof set up over here, so that's really, really handy. Alright everyone. So let's save about our work and I'll see on the next one. Thanks a lot. Bye bye. 89. Detailed Roofing for Large Library Sections: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left off. All right, so now let's bring in a cube. So shift bring in a cube, let's make it smaller. And then I want it to be roughly the same thickness as this, so all I'm going to do is press shift D. I'm going to then go over the top, press G, just to move it over here. And I can see now that this, if I bring it down like so is a roundabout the same size. If I pull it over as this one it's a little bit thicker. So let's grab them both, making sure that you're on individual origins. And now make them both a little bit smaller. And there you go. You've got the same size thickness on both. All right, let's grab this one. Delete it out of the way. We can bring this one over. Now we want it right in the corner there. And then what we want to do is want to grab the bottom of it. So ba select ground the bottom, pull it down, making sure it's coming down. So down like so. And then all I'm going to do is pull it out like so where it's going to go now. I'm thinking it's probably, it needs to be, you know, kind of the same length of here. So you can see here, it's a little bit out here, but what we need to make sure is that it's actually going past this part. So in other words, if I pull it out just so it's going past there, that is perfect how that is. Which means then I can level it up by bringing this part out just a little bit as well. Leveling that up against this plane here that you can see. All right, so that's pretty much perfect the way that I want it. And now what I need to do is I need to think about how far this is going to come down. I actually think coming down to here is about right. So something like that. We're going to have another piece of wood in this part here, so don't worry about that. And what I want to do now is just press control all transforms and I need to basically put it in the center. So what I'm going to do is I'm going to come to my roof here, press tab, grab the center shift desk, cursor selected, and then come back to this part here. And what I want to do now is right click set origin 23d, cursor from here. Then I can come in Add in a mirror. And that then is going to go over the other side as you can see. And that's perfectly in line with what a one put the Y on the, that's going to put it that side as well. And there you go. It's as simple as that. Alright, so now what we can do from here, we can actually bring in the next parts of this roof. So I'm going to press Shift, bring in a cube, make it smaller. And what I'm going to do is bring it out to here first. So I'm going to grab this bit. I'm going to slot it just on top. I'm going to make it probably a little bit thinner, so S and Z. So let's press three on the number pad. Let's bring it out then. So S and Y, pull it out just past this point. And then let's put it on top, right, on top of there. And then S and why do I need to bring it in anymore? But I definitely need to bring it this way. So I'm going to bring it just past there like so. And that is exactly what I want. Now control all transforms, right click, set origin to three decursor. Add it in another modifier, and this time will be a mirror going over the other side. Now let's bring in the next part then. So I can probably use this in a good way if I grab this. A, press Shift D, press R, Z 90. Now what I can do is I can come in, so I can grab this one here and bring it in. And you can see now we can actually use that to bring this out. Now if I come in and I grab this face, let's say bring it out into place, you can see it's exactly the right, same height as this. Which we don't really want, but we'll saw that in a minute. Let's bring this one out. And then what we can do is we can pull this part down. Just a little bit like so. And then I'm thinking what I can do is I can pull this part up just a little bit like, so now I'm looking if that's going to be okay. I'm thinking maybe to pull it out Jawt a little bit like so, so I can get my roof in there. And I'm thinking that's looking pretty good. All right, so let's actually apply the mirror on this one. And the reason is because I want one in the center. So I'm going to grab this one. I'm going to press Shift so I can put it there if I need to shift S then and selections curkeep offset. And from there all I can do is lift it up, put it into place. And now I'm going to have these little spikes, long ears of said. So I can press and Y and pull it in like so. And that is looking pretty good. Now the one thing I want to do is I don't want these so thick, so I'm just going to pull this one back. And I'm hoping, yeah, it didn't pull the other one back because I applied that mirror. So all I'm going to do then is put this on medium point and then and Y. And now I can pull them both back, leaving enough room then for my spikes. All right, let's save out our work. So we'll save it out. And then all I'm going to do now is I'm first of all going to, you can see here on this one, it's a little bit out. They are the things I'm checking. Now, all these parts a little bit out. I don't want that poking through there, and I certainly want it pulling back a little bit. Can I pull this one back a little, tiny bit? Let's have a look. So we'll pull it back a little bit and we'll pull it this way a little bit. And there we go, that's in place also then going to check for double tap, the A and make sure this is not in the wall, which it is, let's pull it out to the side a little bit. Double tap, and there we go. Let's then come to this one. It's certainly out too much, so we'll pull it back. So then what we'll do is we'll pull it in. And you can see that because this one has gone that far, we need to pull this one back as well. Let's pull that back and it's just a case of fitting everything in place. All right? That's looking really good. Now, what we need to do before we do anything else, we will need to I'm not going to worry about this bit going over here, but I do. I'm just looking to making sure that all of the parts that I actually need, so you see this here, this part underneath. I don't need it going along here because I'm going to have my butchers there, and I don't need it going along there because I'm going to have another part into this to actually bring it all together. And I've got my part in there already, so everything is ready to go on there. Now we need to do is we need to reset all of the transforms on these and basically get some paint on there or some shader on there. All right, so to do that what we'll do is we'll first of all come to object, we'll come down to convert and mesh. And what I'm going to do then is control all transforms, right? Clicks to origin geometry. Now I do want to unwrap these. I'm thinking probably separate from each other. So I'm just going to grab, I'll grab all these. I think I can get away with unwrapping all those smart UV project. Click okay. Let's come to these ones now. A smart UV project. Click okay. And then these two here. Tab, Smart UV Project. Click okay. Now what we can do is we can come in, grab all of these. Grab just this one here. I can press control L, link materials, control L, and then copy modifiers like so double tap the eight and now just have a quick check to see what all that's looking like. There we go. That's, that's looking pretty good. So everything on there is looking nice now. And now let's think about these two parts here before we carry on with the roof. So let's come in and what we'll do is we'll grab our roof. We'll grab these two parts. We'll split them off with selection, grab them all, transforms origin to geometry. And then what we'll do is we'll press tab A, unwrap, and then grab this wall control L, and we're going to link materials. Double tap the, just make sure you're happy with all that. All right. Now finally we're going to be onto this roof now. Before that Yeah, I think we'll put something underneath this roof, so we'll put some wood going underneath it. So all I'm going to do, I'm just going to grab, I think actually we'll use all three. So we'll just press control L all transforms. We won't split it up. Origin geometry, bring in a material and the material one is wood. And we'll just use the dark wood like so. Al right, that's good enough for what we need. And now let's come in with our roof that we made. We're gonna press shift just in case we want to reuse that roof for anything else because it is the right scale. The most important thing why I want that roof is because of the scale of the tiles. We've got them perfect. We know what they want them to look like. So when we come to do our perfume shop, for instance, we already know this is what we want. All right, so let's first of all come over to geometry and at the moment we can see the roof angle is on 16. Just put this to one and what they'll do is straighten it alpha and that's exactly what you want, R z 90. And I recommend, first of all, just getting it lined up. So making sure that it's lined up first is the most important thing. So you can see I need to line it all up, so R X, let's line it up so it's into place. And you can see even now, if I pull this bit back, it's stuck out right there. So we don't want that. So R X, let's then pull it down. So we're going to pull it into some sort of place, so roundabout. You can see here, are we going to manage to get this into place? You can see I need to pull that back, which means I need to pull this part down. So I'm just going to slot it into there. And then you can see that this part of here, I'll have to come back. Now I'm looking at where that is coming down to. You can see the roof is coming all the way down to here now. Is that far enough down or do you want it to come further down? I think possibly level or a little bit lower or a little bit higher than that. I think there look roundabout there thing. I think now this needs to go back just a little bit. And from there now can I actually level it up? So you can see here, this one here going all the way up. I need to bring it out very slightly. So if I press R and X holding the Shift button, now you can see that's leveled up. Now, can I increase the vertical? Counts 1.2 That is looking pretty good, albeit I think it needs to go back a small amount. Yes, I think that's looking good. Now, before we finish, let's bring this bit back then to where it needs to go. Can I actually get away with bringing it back that far? You can see probably not in something like this as I've said. Don't be afraid to mess around with it a little bit. So I'm going to bring it out to there. And then what I'm going to do is just grab this top and I'm just going to pull it back just so it's behind there like so. And we'll do the same thing on the other side as well. You can't see any difference really. So it makes no difference now before we finish, in fact, we will finish, we'll finish here. And then what we'll do is we'll get this over to the top, this side, get it over the other side, then make sure this part's correct. And then from there, just looking from there, what we should be able to do then is actually get this main part finished hopefully. And then we've just got this part to do and then the spikes and then we're done. All right everyone. I'll see on the next one. Thanks a lot. Bye bye. 90. Optimizing Roof Tiles with Face Normal Selection: Welcome back everyone. To blend for the Environment Artists Guide, And this is where we left off. All right, so let's grab our roof. Let's then increase the horizontal. So we'll just increase that to where it needs to go. Let's put it back into place. And then we did it perfectly. Hopefully you'll do that. And then what we'll do is we'll just squeeze it in a little bit more. So if I press and X squeeze them in just a little bit, just so we've got not got those tiles sticking through all of those. Double tap the. And here we can see we've got no other problem with this part here. So let's come into this part. Grab the front of it and just pull it back just so it's behind those tiles like so. And there we go, that's looking pretty good. And now all do is we will first of all apply this geometry node and get on this nice tile material, make sure that's correct. And then from there then we should be able to mirror it over the other side. Let's come into object convert and go to Mesh. And then what we'll do is we'll now press the tab bottom, press a smart UV Project. Click Okay. And from there I want to actually copy this material. So right click, shade, auto, smooth, and then copy this material. You've got a mirror on here, that's fine. So control L copy material. Let's come back to this, have a look at the material and we've got this roof base on for some reason. Don't need that on now. Double tap the just to have a quick look before doing anything else at what the actual roof looks like. And you can see it's looking pretty nice like this. Now, the other thing I've not explained is that you might want to delete the back of these tiles. You might not want them on some of them, you might want to keep them. So something like this on the underneath of here, you might want to keep them and you might want to come to the back of them and actually delete all of those off. There is actually a good way of doing that, Fire pressure shift H. And what I can do is I can come into my tiles, let's say I want to grab these four. All I can do then is I can come to mesh. I can go where is it? No select, and I can select by similar normal. And then what I'll do is I'll select the front and the back. And from there it is a little bit tedious, but what you can actually do is you can come in and you can select, let's say these four here. Then we can go to select. And the one we want is select similar by normal. And then what it'll do is it'll select all of the front, and all of the back. You've got some options down here where you can actually put this down, put your normal down like so, or increase it. You've also got some other types so you can compare equal greater or less. And you've got, you know, co planer, aerial or material, but I'm going to keep it on normal. And what I want to do then is press a Shift H and then I'm going to go into side view. As I said, it is a little bit tedious but I will show you actually how to do it. Once I'm inside view, I'm going to double tap the, I'm going to come up to where my wire frame is and then what I'm going to do is I'm going to hold control and right click. And what you'll get is the last select. So what you want to do now is you see these ones going each down here. You want to come down and select those like so, like so. And now what you've done is you've selected just the back of those. So in other words, if I come in, put this back on material, you can see now we're just selecting the back of those. If I delete those faces now, so if I delete faces, press Altage. Bring back everything, double tap. The you can see now that we've got rid of all of the backs off here. So if you want to tie this up, not of as many polygons, that's what we can actually do. Unfortunately, the reason why I'm not doing that is because the course is already monumental as it is. And I don't really have time to go in and actually clean everything up, but I'm going to show you how to clean things up as we go along. All right, let's press all teach and bring back everything. Let it load up. Take a little bit of time. Maybe I should have pressed all teaching in object mode or something, but there we go. All right, so now I'm going to do is I've got my cursor in the center. So what I want to do now is I'm going to come in and I'm thinking I'll just mirror it over the other side. So if I press control or transforms right click, set origin three D cursor. I should now be able to come in, add, modify it, generate, and bring in a mirror on the Y, turn off the X. And there we go. Now we can see it's not mirrored perfectly over this side because I'm not sure why it's not done that. Let me just think why it's not actually gone over there. I mean, I can't put it in place. I'm thinking, yes, the cursor is not in the center, that's why. So let's come and put the cursor into the center. So shift S cursor selected. And now what I'll do is I'll come back to this one. Right clicks at origin 23d, cursor and there we go a few. I was wondering why I've done wrong. All right, let's put it on object mode. Let's have a look. We can see that this part here is definitely out. This part here is definitely out. So we'll come to this part here first, and we'll pull that back just as we did with everything else, so pull it back into place and then we'll come to this post here. I've got a few options. We could lower this part down or we could pull it back into place. Let's see if we can pull it back a little bit. The problem we've got with if we pull it back, we just have to be careful, we don't pull it back too far. Just enough so it actually goes into there. If it's, you know, still stuck out a little bit, I might just come in, grab the top of it because no one's gonna see that, and then just pull it down into place like so. All right. I think that'll do actually. I don't need to do anything more with that. Okay. So now let's actually come and work on the back here because we've pretty much got this bit done. This bit is going to be hit by the butchers. And this bit's already done. And this bit's looking very nice. Now we're onto this bit here. First of all, let's bring in a cube. We'll bring in a cube, let's bring it out. Let's bring it out. Not those. Let's press control. Put it back to where it was. There we go. Let's press. And then what I'm going to do is bring it down to here. I'm going to press and Y pull it out. You can see that this is going to be way too smart, big, this cube. So I'm going to pull it back into place. Into my wall, down onto here, making sure that it's jaw in front of here, like so. And then I'm going to press S and Y, pull it out and into place. Now the one thing I want to make sure is that this is not in front of there for sure. I want to pull it back, so I want to pull it back into place. Just here now I can see that this roof here, probably a little bit out. So I'm going to grab both of those. I'm going to pull them out, just a very small amount, making sure my roof is still in there as you can see. And that's fine. Also looking at this top bit up here. So I'm going to pull this bit out as well. L this is always the most fiddle bit, just getting everything to line up and fit in. And then from here then, now I can make sure that I can pull this bit out just a little bit more. Double tap the and now let's come in and pull this bit back a little bit. And there we go. Now you can see everything's lining up. Now we want a few piece of wood in here. Luckily for us, we actually saved out this, this part here. So all I'm going to do is press shift. I'm going to bring it up. I'm going to rotate it round so R Y 90. I'm going to press control And three just to go into back view. And then what I'm going to do is I'm going to put this this side first. So we'll put this in here. I'll press, just scale it up a little bit. And then what I'm going to do is slot that into place. Just slot it back into place there, make sure it's past the middle bit. We don't actually want these touching. And the other thing is also my orientation is already here. Now if yours isn't, just come in, grab this face, Press Shift S, Costa selected, grab your wood again. And then what you're going to do is right click to Origin 23, cursor from there. Then you can add in a mirror, bring in a mirror, let's put it on the Y. Turn off the X. And there we go from here. Then what we can do is we can now come in with our actual path. And I can just pull it out very slightly because I just want those to actually fit in from there. Then let's press control three. And now what I can do is I can bring this up five press. And then, and then, and I want it actually to go into this corner. So let's pull it into that corner like so. And then let's straighten this up. Let's straighten this up. Straighten this part up like so. And there we go. Now let's work on the next bit then. So we'll pull this over. So what I'm going to do is I'll just press A on this, press shift D, drag it over. And from here, then let's have it coming from round all the way around here. So I'm going to grab this part, put proportional editing on, and then what I'm going to do is pull this out into place. I want it going something like that, and then I want all of these parts coming out. So I'm going to grab this one, pull it out like so. And then we're going to pull these out or delete them. We can delete them as well. So delete vertices, and now let's pull this one into place where I want it to go. Now obviously I want it a little bit better than this. It's not done very well, so let's just take off proportion editing, and now let's work on this bit. So we'll have it coming out from there, coming all the way around to here. All the way round, all the way into there. And then this bit coming down and round like so. And let's have it bending at the end, pull it up into place really easy stuff as you can see. Now we've got that. All right, that's looking pretty good. Now what we'll do is we'll just come in to our curve. Turn this down. We don't want that. Let's turn it up then to maybe six, something like that. I think that's looking really nice. Yeah, I think that's looking absolutely fine. So what we can do now is we can come in object, come down to where it says convert and mesh. And there we go. Now let's have a, if I grab these actually right click shade or to smooth, let's have a look what we've got left to actually bring in materials on. It's just this roof's got it. And then we just need to do these kind of spikes going across here. And once we've got those in, pretty much done on this one, which is really great and we can move on to something else, something smaller, not something so huge. We have actually only got one building though, after this, which is really nice to know. The rest of the stuff we've got is kind of lamp posts and we've got a subway. There are a lot more intricate, smaller things, which is really nice actually. So we're going well. All right everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 91. Modeling Decorative Roof Spikes with Modifiers: Welcome back everyone to Blender for the Environment Artists Guide, And this is where we left it off. All right, with all these though, let's make sure that they're unwrapped separately. So all I'm going to do is just grab these two. In fact, before we do that, let me just resell the transforms, right click the origin geometry. Let's press Tab. We'll grab these two. Smart UV project. And then what I'll do is I'll grab these two. Is it working Smart UV project? Click Okay. Come to this one tab, Smart UV Project. Click okay. And then from there then, what I can do now is I can grab them all. Grab this part here. Press control L, link materials, press control L, and copy modifiers. And I'm hoping now they're all got a bevel on them, which they have. So they look absolutely fine. Let's have a look at the back now, because the back is basically finished. So we can have a look at the back. There we go. That's looking pretty nice. Just wondering if they're a little bit too far out. I think not. I think we'll leave those now. We've got this part here. And then finally the roofs. Let's do the roofs first and then do this window finally last. All is we'll come to object mode. What I'll do is I've got my cursor there, but I really want it in the center shift or selected. And then we'll shift A, and I'll bring in a cube. I'll make the cube much, much smaller. I want it to fit in this gap in here. So what I'm going to do is I'm going to press and Z, pull it down. And then and Y pull it out a little bit like so. And I want to fit in just just below this part here. I'm going to bring it over now like so all the way over to here. Grab this face then, and bring the face over all the way over to there. And then what I'm going to do now is bring in one edge loop. So control, bring in an edge loop right in the center, going down there, press seven to go over the top. And I just want to grab just this top part here. And then I'm going to press control B, Bring it back a little bit, so we've only got one kind of bevel and we'll pull it out to there, leaving this much of a gap from there. Then what we'll do is we'll pull this up and then in, so I'm going to press, pull it up like so. And then finally we're going to press and y, and pull it in like, so now think that this, first of all, it's a little bit too big. It's going over those. And second of all, I've just got to make sure that it is going in the right place. I want it coming out probably round to there. And then we're going to make it a little bit wider, so S and Y a little bit wider, like so. And finally then I can grab the whole thing, press and X and just pull it back so it's fitting in there. Not you can see it's still not fitting in there, right ex, pull it out and then just make sure that this bits in place as well. This is a bit of a pain. You can see it's not quite going where I want it. I'm going to press S and X, hold in shift, bring it back. And then probably pull this a little bit this way. So pull it a little bit this way. So double tap the and there we go. All right, so now we need the spike. So I'm going to come in, I'm going to grab this part in the center here. And then we're going to press shift S. Custer selected, grab this here shift. Let's bring in a plane that will then make it really easy to work with for bringing my plane all the way down. And then we're going to press S and Y and bring it in from there. Then what I'm going to do is I'm going to press, I think I'll bring them out first. So what I'll do is I'll press just to get that on there and then I'm going to press Tab. In fact, I really need to make sure this is split off. So I'm going to press LP selection control all transforms right click, set origin to geometry. Bring it in now. So I'm going to press the bond to bring it in. I'm also, yeah, I think I'll make my spikes like this. I think we'll do is I'll just bring it in a little bit next. Bring it in. And then from there what we'll do is we'll bring it up and then let's Yeah, the next let's bring it in there. All right, from there then let's bring in a few edge loops. So control, let's bring in five. I think we might actually be able to get away with three. Let's bring in three. Left click, right click, old shift click portion editing on, bring in the. So I think that's going to work. Actually press the button, bring it all the way down. Yeah, and it's not going to be the shop root. Let's try root. There we go. That's the one that I want. That's bringing it in. Yes. I think that's going to be what we actually want. The one thing is the top of it. I don't really want the top looking like that and Y. There we go. I think that now is looking better. The one problem we've got is let's take proportional editing off. I just want to line these up better as you can see. If I press three on the number pad, these aren't lined up, so I'm going to press S and Y and bring them in, and now it's got that nice curve that I'm actually looking for. All right, from there I want to probably shrink this down a little bit. So I'm going to grab control. Control. Control control. Then I'm going to press and Z. Shrink it down a little bit. Now let's put them down into place. So grab the top then then you're going to press Enter. Pull it out like so. And then pull it up and then pull it together and you're going to end up with a beautiful spike on there. Now let's see how big those actual spikes are. Thing actually that's lock in about the right size. Let's right click though and shade auto, smooth. And then what we'll do is we'll bring this then into play. So if I go over the top now, I'm going to pull it all the way along to here. So, And let's have a look from back here. Yes, and I think that spikes looking really good. That's exactly what I want back to the spike. Then add modifier, bring in an array. And what we want to do is want to go the other way on the x. Let's pull it the other way. And now you're going to do is increase the count like so. And I think they're a little bit too close together actually. So what I'll do is I'll just increase this, bring them all out to where I want it. And I think what I'll do is I'll bring this one up to the end. If I turn this down to bring it all the way up, right to the end. So that looks about what I'm looking for. All right, so that's looking pretty good. Now we need to obviously put this over here as well. This part needs to go over here. So I can do is I can use this again. Shift desks to selected, I can grab, then this and this. I can press object convert mesh. Join them. We won't join them together. What we'll do is we'll come to this one first. Add modifier, generate mirror on the Y or the Z. Nope, because not move my proportionality in origin three cursor. Let's see. There we go. And now they're mirrored over. And now we'll do the same thing. So I'll grab this one. Right clicks, origin three cursor, grab this one, press control L and copy modifiers. There we go, we're done. All right, so now let's come in, apply these modifiers so we can join both of these up. Now let's join them both up like so, object convert, mesh control J. Join them all up. And now let's grab all of these. First, I'm just going to come in and grab this side. I don't want this side grabbing, I just want all of these ones. And what I want to do is I want to make sure that they've got the unwrap on. So if I press Smart UV Project, click Okay. And then what I'll do is I'll hide. And then a Smart UV Project click Okay. Ol tag, bring back everything. And now what I should be able to do, I don't think I'll put a bevel on the here. I don't think it's going to be worth it. If if I generate a bevel, is it going to really add a lot to it? Maybe it is. Maybe there looks so much better with it. So I think I'll leave the bevel on. Actually, what I'll do now is bringing a material. If I come to a material, we'll just add it in. Black metal actually is the top one. Let's add that in. Let's have a look. Making sure when this loads up that they've got the right material on double tap, the A. There we go. Let's have a look with our rendered view just making sure it looks right. There we go. Okay, that's looking cool. Now, the last thing then is the actual window. And a thing from there, we're actually done with this building. A little small window. Now let's come in then we'll grab this part. Shift, selected shift. Let's bring in the plane. Let's rotate the plane round, so Y 90. Let's make this a little bit smaller like so. And let's certainly make it a little bit thinner so, and y make it a little bit thinner, a little bit longer now. So S and z. And that then looks about the right length that I'm actually going to need. Now from here what we'll do is we'll first of all resell the transforms like so origin geometry. And then what we'll do is now we'll actually bring in these parts. So I'm going to grab each of the corners here like so I'm going to press three on the number pad. And then what I'm going to do is I'm going to press control shift and B and bring those in. Now for me, I don't really want it looking like that. I want it to look a little bit nicer than that. So I'm going to turn up the segments, first of all, and then I'm going to come down and put it on custom. And this is more like what I'm actually looking for. Of course, it's not exactly like this, but from here I can actually come in and shape, this is the shape from here. So you can see this point is this point, and then this point is this point. So you can see, I can bring in this point now and shape it the way I want. Do I want it like that or do I want it, you know, more like this? Bring this in. I want it to be a little bit different. As you can see, I'm Jaws trying to shape this part, so. So let's put in one more. There we go. There we go. That is what I'm looking for, something like this. We can lift this up a little bit, we'll get there, and we can play around with this all day, really. It's so much fun to play around with. I think it's just this bit now there. Alright? Not quite right. What I need, I'm going to actually add in another one. I'm going to another. I know it's hidden around with this, so I'm just going to wait. You can see now I've added in another one just to get it to where I want it. Not lying. That's it. I'm spring that one now. This one here has not moved, doing anything. The reason is, we haven't, uh, fun if you bring it in now. You'll see, there we go. That's the sum. Look, I'm going for, I think, try and get something like that. Don't worry if it's not exactly like that, they're never going to be the same. But something like that I think, you know, really, really suits the actual overall look. What I'm looking at though is the bottom here is not the same as the top. I don't know why that happened, but what I'll do is now I've seen that, is I can split this in half and on the next one we can mirror it over it. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 92. Creating yet another victorian stylized window: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left off now. First of all, let's do what we said then. So if I press three a grab everything, let's come down to where he says bisect. Let's cut this in half then. Like so let's put this on zero just to make sure it's leveled up. And then let's clear either the outer which we don't want or the inner which we do want. Shift desk then selected. And now I can do is I can come in control or transforms right clicks at origin, then to three decursor. And then we'll add in a modifier which will be of course a mirror and it should be on the Z, turn off the X. And there we go from there. Then I can press control A, and now I can press Tab. And I've got this line here. Don't particularly want this line at the moment. So I can just press delete and dissolve edges. And there we go. All right, that's looking perfect. Really happy with that. Now I can do is I can either, you know, use something like a solidify or I might be able to just bring it in. So let's even bring it in. And you can see we're getting a lot of crossover. And that's the thing that always worries me when dealing with things like this. I do want it a little bit thicker than this. So I think what we'll do is instead is I'll just press and pull this out. And then from there, what I'll do is I will keep this part here. All I'm going to do is just grab the front of it. I'm going to press P and separate that off. I'm going to hide that other way. And then I'm going to come to the back of it and delete it off. Delete faces. Now from here, let's create how we want it. So I'm going to press control again. Right click Srogen geometry, add in and modify it, and this time it will be a solidify. Now let's increase the solidify. If increase it, you can see we are gaining a little bit of crossover on here. So we just have to be careful. We're probably in the end going to point even thickness on for one thing, let's bring it in to where I want it. So I do want it somewhere around here as you can see. But I'm probably going to have to merge some of these. Let's try the offset. If I can bring it back a little bit, and that's why I wanted to use the solidify. Because you can see we can actually shape it now without actually messing around with that. All right, that's looking good. I'm happy with how that looks. One thing I just need to make sure is, is the thickness looking about right? I think, you know, the thickness in comparison to the rest of this looks absolutely fine. Now we'll do is we'll actually apply that. So control a Ol tag then. And we'll bring back this front part here. And from there then now we can actually shape the inside of it. So all I'm going to do is we're just going to press S and bring it down. I'm going to try and line it up. So you can see at the moment this part's lining up here. I need to bring it in so, and y, let's bring it in a little bit like so. And the reason I want to do that, by the way, is if I now come into this and grab it, press the Eyebon and bring it in very, very slowly. I should be able to create a slight kind of frame around it. So if I press now S and Y, I can create a slight frame going around it. And there we go. All right, so now we can grab the whole thing. I can pull it back to where I want the actual frame, which will be somewhere around there. And then I can grab this part here, and I can press P selection and separate that off. Now, grab this part here. And what we want to do, because this is the frame going around it, we need it to be broken in a little bit. I'm going to grab this one. This one, this one. This one. And the same on this one, then this one. This one. This one, and this one. And I'm going to have the frame going around these parts here like so. Right click and mark a seam. And then from there then let's split these off now. So I'm going to press L, L, L, and L, Y. Split them off. Tab, now we should be able to grab this tab again. A, and now I should be able to pull it out. If I press now, let's pull that out just a little bit, making room then form my actual window. That's going to go in here finally. Then let's come to our window. So I'm going to have one strip going down here and maybe three going down here. Now, the problem as you know is with things like this, you're not going to, you're not going to melt to bring in an edge loop. You can't bring an edge loop at all. But one thing we can do if we press control law, we can bring in it in the middle. So let's left click and let's press control law. No, we're not going to put it like that. Let's press control ad, put it onto Verts mode. And you can see now I've actually insertd that. So let's do that again, just so you can see what I did. So I'm going to come and press control. And you can see if I aim it here, I can put it right in the center there. And then I can come vertex. And now I've got that there. This one here is what I'm looking for. And from there what I can do is I can bring in my knife, tool press a, bring it down, drop it in. So now I'm still not going to be able to bring in a vertex along this way, But what I can do is I can bring it in the middle, left click. And then what I can do is I can come now with my knife, tool press K, and go to this side first, and then K. And then A and Enter. And there we go. We've got one in there, perfectly level. Now, we're still going to have the same problem though, in that we won't be able to bring in another one in here. So we're just going to come in and I'll show you a different way. Grab this one and this edge, right click, and we're going to subdivide from there. We should be able to now have 1.2 in, which means now we can put a window in here. Now they're not level. In other words, this window is going to be huge and these will be small. But what we can do is we can grab them both, Make sure that we're on medium point, press S and Z, and pull them up into where we want them. So something like that I think looks much better. And from there then what we can do is we can press K, grab this one. A go all the way over, Enter, and then come down to this one. And then A all the way over and enter. And there we go, we've got our actual window. All right, so now let's come in and what we'll do is we'll grab all of these. All of these. And all of these. We're then going to press control and actually pull those out, bring back the actual bevel, so something like there. And then from there then what we can do is we can now pull these out a little bit. So if I press, I can pull them out into place like so a bit too far there. Then I can separate these windows out. So if I grab this one, this one, this one, this one, this one. So selection, separate them out. Now finally, let's grab this part. This part and this part. Let's make sure that we've got nothing on there. So convert and mesh. No modifiers or anything like that. Let's press control J. Let's ride. Click and shade. Auto, smooth. And let's also then press tab, a smart UV Pj. Click Ok. Let's now come in and bring in a Bevel. Add modifier. Generate Bevel, let's put it on ninth three, finally, then let's come in and bring in materials. And you'll also notice because we split them up, we've also got a break in the frame. That's exactly what we wanted. Now let's come in with the material. And the material is going to be the same as this one here. If grab this one, grab this window, press control L. And what we'll do is link materials, let's put it onto material mode, Let it load up, and then we'll make sure that, I don't know if we unwrapped it, I don't think we did. So let's just grab it all again. So a smart UV project. Click Okay. And it looks like we did. And now I'm just looking to make sure that I'm happy with this. Now, of course, this material on here needs to be green painted. So if I come in, I'll grab all of this, go around green painted, Click a sign, and there we go. That's exactly what I'm looking for, the word. To be honest, it's so small, you probably won't even notice. The one things we do notice are these parts here. So we already know if we can go in and we'll just select all of this. And sometimes sometimes if we go in now and UV editing, you'll see that they look like this and they're actually joined together, which sometimes causes us a little bit of a pain. Now just to fix that, we'll just press Alt shift click. Alt shift click. Alt shift click. Going around here, R 90. Spin them around and let's have a look what that looks like now. And there we go. Now they're going the right way. Now I'm looking on the inside of these. I'm still happy with the inside. So all I'm going to do is come to these parts. I don't know why they're actually twisted around, but they are. Might as well fix that press dot while we're here. It's a little things that are really going to make the difference in this scene. Anyway, a 90, spin them round and there we go. Now everything's going the right way. Now finally just the windows. So I'm going to grab my windows, now I'm going join them to the rest of the actual build press control J. And then what I'm going to do now is come in to the window, select them all, and then click glass, Click a sign. And then what I can do now is I can work on these now. Again, you won't be able to copy these Windows. You'll end up with something like this, but you won't be able to copy them like we did before, only these four. Let's press on the wrap. Let's then press A. In some windows like this, I will just do them manually. Just grab them because it's just not worth my time to mess around with them. And then with something like this, I'll just grab them like this, like this. There we go. All right, let's put this window back in place where I want it to go. Let's double tap the A. There we go. Now let's go back to modeling, finally. Now let's have a look at what this actually looks like and make sure we've actually finished it. There is our actual bookstore. Now on the next lesson, just before finishing this, we'll just make sure we've got the right materials on here. And we'll make sure that we put it into, you know, some sort of order them on. We've got a coffee shop, we really need to put all of this into bookshop so that it's easy to differentiate and pick them out if we need to. I'm just having a good look round and making sure that I'm happy with it. Making sure that I don't need to add anything. Making sure that everything's, you know, kind of looking the way that it should do. And I recommend you always do this once you finish one of these and just go around it and just have a good look around and make sure you know, everything's kind of good and in place and I think it is. Alright. So what I'll do is I'll save out my work and I'll see you on the next one, everyone. Thanks a lot. Bye Bye. 93. Improving Wall Textures with Material Nodes: Welcome back everyone. To Blend the Fall, The Environment, Artists Guide, and this is where we left off. Now there's a couple of things that we need to finish. First of all, you can see that indirect sunlight, we're not really getting a lot of detail out of this. In other words, it's not looking, you know, kind of green enough. It just looks like a white wash wall. It's fine when we're in like shadows, like over here or around here, it looks okay. We can just pick them out, but really it's looking a bit too white. So what we want to do is we want to come in. First of all, let's make sure that this has got the right material on. So all I'm gonna do is we're gonna press tab A, U unwrap. And again, this is going to be, you're not going to really see this. So it's just merely there just in case you can see through any of it basically, let's click the down arrow, then click wall and wall gray. Let's put that on. Double tap the eight. And then what we'll do now is just work a little bit on this shades. So you've not really done a lot with the shaders because they're all pretty much built for you. But on this one, I think we should actually work on it. The other thing that was, well, I'm noticing this one is a little bit too big as you can see this wall. It's a little bit bigger than these. So what I'm going to do before doing anything is go to UV map, press the dot Born, go round and what I'm gonna do is I'm going to press Tab and then come into it. And all I'm going to do is just bring it out. Just one, I think holding the shift burn like so. And I think now it just fits a little bit bad. Now let's go round to our actual shade. So open up your shade, make sure that you're on rendered view because then you can really see what you're doing. Make sure also that you've clicked on a wall. You can then double tap the to deselect everything. And now what we can do is we can mess around with this. Now the moment this is made up by a basic texture, this is the brightness or darkness of the texture. And then we've got a Musgrave, which has given us all of that kind of, you know, those little black spots in there. So what I'm going to do is I'm going to come in, what I'm going to do is I'm going to click the little down now I'm going to reset the color ramp like so. And then from here then, what I'm going to do is going to bring this up. Now you can see the moment I start bringing it up, that is what we're looking for. This actual dirt is what we're looking for. Now if I'm bringing that down, I can actually start to bring it back. And the other thing I can do is I can bring it to here, let's say, and make this a little bit yellow. So I can come in and put this more on a yellow Y, kind of tinge. And you can see now that, that is starting to look much, much better than what it is. And from there what I'm going to do is I'm just going to then tone this one down a little bit. So if I click on this one, I can come and bring this down and just tone it back a little bit, as you can see. Now let's come in and work on this bit here and tone it all back a little bit. So how do I want it? I think something like that's looking much, much better. What I think now I need to do is just tone these back a little bit. And I can do that one of two ways. I can either bring this up and tone it more of that yellow can bring it down and make it more gray like So I can also drop this down and basically turn it off. So I've got a lot of control over this now and we want it looking. So it's just there as you can see, I think. Now if you look at that, that looks tones better. Also, if we come down and bring this down, we should also be able to bring in where is it, our coffee shop. Let's click that on. And I'm hoping we can see now that this is also much, much bear color as you can see. So that's looking much better, much dirtier. And that is what we want. We don't want to really, really bright like we had it before. All right, if we have any problems then we can come in and we can mess around with that a little bit more. Because, you know, as, you know, if I press say, zero, we've got our camera in here. So I think before we go on, let's actually take one image of this. So all I'm going to do, I'm going to go back to modeling. We're just going to do a quick render. Let's zoom out. I'm going to press zero to bring in my camera. I'm going to press n, I'm going to go to camera to view. And then what I'm going to do is I'm just going to get all of this in and see what it actually looks like. Something like that I think is going to be a good view. Let's turn off camera to view. Let's then move around, press the tab on, double tap the A just to make sure you've not got everything there. Make sure. Then we put it onto wire frame. Let's come up to file and save our file. And finally then let's come in and render and render image, Let this load up and let's see what we've actually got. Yeah, let's fix that first. So I thought something like that might happen. You can see, we can't see any walls anyway. So that's no good to us. So what I want to do is just close that down. And let's actually come first of all to where's our coffee shop? Let's put these up so we can actually see all we're doing. Let's hide our coffee shop, let's hide our ground plane out the way. And then what we should be able to do, let's hide our gun out of the way. Let's hide the geometry mode out of the way. And let's hide this little, you know, wooden part out of the way. Let's press object mode. Let's hide our sun out of the way. And let's finally press B to grab everything. Always press just to make sure you've got everything. And now all we're going to do is we're going to press New Collection, and we'll call this book store. So click okay and there we go. Now we can put that P. All right, so all of those parts are in there. Which means now we've got if I press Saltg, we can bring back everything. We can also then come in and put the coffee shop on. We can put a ground plane on. And also what I like to do is I always like to make sure that my human here is always make sure that the render is off. Just so we don't render him out. Let's put it on wire frame, then let's save the whole thing out. And the one thing I want to do, actually just before doing it, is just come to your bookstore and just make sure all of these are rendered view. So you can see if a scroll down, we had some problems before where they weren't being rendered out and this is the reason why. So what I want to do is just make sure that all of these are actually going to be rendered okay. Let's hit that Render button, and hopefully now it should all come into place, which it does. So that's exactly what you wanted. Alright, so let this render out, let's have a good look at what it's going to look like and then we can actually carry on. Actually, this I think it looks better than the first one I built is always the case. It does look really nice. Let it finish rendering, let it finish compositing, and then we're going to get a really good idea of how this is going to turn out. All right, so that's looking pretty good. Let's also then you can see the lights coming out, all of the, you know, the ambient occlusion is coming out. I just want to make sure that the compositor yes, this is with the compositor, everything's working correctly. And that's the view that we've got so far. Now as we go further on, obviously we're going to work a little bit more with the render and things like that, but I think for now it's looking amazing actually. So let's come on and put it on material mode. And I think what we'll do now, now that one's finished, is we'll start work on some of the more little things. In other words, the benches we'll actually get some benches in. We'll also get this little advertisement thing over here. And I think after that, what we're going to do is we're going to work, oh, the lampposts as well. We'll do the lamppost, so we'll do the small things. Next, we'll do the lampposts with the signs and the normal lamppost, we'll do the advertisement, which is gonna be over here. And we'll do the benches as well. And we'll get those ones out of the way. Because I'd like to split it up a little bit into sections 'cause I think that is much, much healthier, you know, for your mind when you're working on a huge scene like this. Alright everyone, So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 94. Mastering 3D Modeling of Lamp Post Bases: Welcome back everyone. To blend the Fall The Environment Artists Guide. Now something that's going to be test your skills basically, which is going to be the actual lamppost. It's basically taking everything we've pretty much learned and putting it all in to a lampost, because we want it to be fairly or neat, this lamppost. So let's bring our guy over. I'm going to actually put him near the middle. I'm going to press shift H then just to hide everything else out of the way, and I'm going to make sure he stood on the ground plane, which is from there we're going to press shift S cursor selected, sorry, Shift cursor to world origin. And then let's bring in a, let's first of all bring in a cylinder. Let's bring the cylinder down something like 16. I think we can work with 16. And then let's make it a little bit smaller. So we want it to be, first of all, the lamppost. So the lamppost realistically wants to be the same kind of width as his legs apart. So I'm going to press, bring it down a little bit more. Press and's head. And then what I'm going to do is make a start on the bottom of it. So I'm going to put this on the bottom. And then what I'm going to do now is press dot to zoom into it. Which means I can orientate myself around it. And that is exactly what I want. And then I'll start pulling this down. So pull it down like so. And then what I'll do is now I'll put an insert in here. So if that's my ground part of my lamppost, press the eye button. And let's bring an insert. And then what we'll do is we'll press one again. And then we'll press and pull it up like so this is the first part of the actual lamppost. And from here now what we can do is we can kind of, you know, shape this into whatever we want. So let's first of all press the eye button, bring it down. And then what we're going to do is we're going to press, and it's important you can have some fun with this, really. You can. Let's pull it over to there. Let's press control. Bring in an edge of loop, left click, right click control then. And then what we'll do is we'll press Enter Alternates, and bring that out like so. So you can see we've already got a nice shape to it. Let's write click and shade auto, smooth as well. So that's looking pretty nice. Let's also be an object mode because then you'll really be able to see what you're actually doing. Now let's actually start with the actual lamppost. I think if we aim to bring our lamppost up, let's say if I come here, we're going to bring it up to just round about here, just in the middle of these two lines. Let's come in. Bring the center of it in again. So I'm going to press, I bring that center in. And then what I'm going to do is I'm going to bring it up now. So if I press one, I'm going to bring it up to this part here. So I'm going to press, pull it up. Something like that. Now at the moment, this might not look much. And the reason is because we need to bring all of this in. So what I'm going to do is we're going to press control are bring in a few edge loops. So maybe seven, left click, right click, seven edge loops. I'll come to the center, then shift and click, going all the way round. I'm going to put proportional editing on and I think root might do it. Let's just see if root can do it. So let's bring it out. And I want to bring it in like so. And you can see we're getting some nice bending there and that is exactly what we're looking for. Something that's bending in like that. I nobody actually brought this down, but, you know, moved all of this up. That's absolutely fine. As long as we've got something like this, I think looks pretty good from there, then what I want to do is I want to separate this bottom out or not to really separate out, but I want to make sure that I'm able to grab the bits that I want. So I'm going to make an edge loop around here, right click, and I'm going to mark a seam. And from there then what I'm going to do is I'm going to go probably every one, so if I come every other one. So what I'll do is we'll just mark a seam going all the way around on every one of these like so all the way round, right click Marco scene from there. Then what we can do is we can now come in and we can grab the top. I need a top control Marco. There we go. Now I can grab each one of these. All I'm trying to grab is each one of these like so, so, like so, like so. And so. And from there then I'm just going to press Enter alternates without proportioning on alternates. And bring them out like so. And that is the start of our actual lamppost. Now, it might be a little bit too big, I'm not sure if it is at the moment. The one thing I do know is it might need pulling out a little bit. In other words, we want to get this shape right. So at the moment, let's put proportionality on, and let's bring it out a little bit and just make it less rounded. And let's use one of the other ones. So let's come in, let's try inverse square. Is that going to do a better job of it? Jr is going to look how that looks. All I want to do is get this roundness on the Bob. I'm just going to press controls again and just get to add it. I think what I'll do is I'll come to this bottom one. I'll press, so I think that's better. A little bit more like so. And then bring it up. Then this one actually, that is looking much better. That is exactly what I'm looking for. All right. Now what we'll do is we'll grab this part here, so we'll come to the underneath. I'm going to grab this part, I'm going to press Shift. What I'm going to do is I'm going to bring that up then without proportion of litton on, we really don't want that on. Bring it up. Press the S one to bring it in. And we're just going to use this part then just to create the top of P. So what I'm going to do is I'm going to press, bring it up like so. And then I'm going to press, I bring it in and then then bring it in. So we've got something like this. Then from there then we want a little bit of a bulge going around here. So what I'm going to do is I'm going to press to bring it in like so, and then bring it up. Now I want a little bit of a bevel on here as well. So what I'm going to do is I think I'll press again. And then what I'll do is I'll press and bring it out like so. And then bring it up and I'm looking where my guy is. Basically I want this part, this bulge coming into jaws around here. So I'm just going to shape it, going around here. Now the shape of this at the moment needs to come out a lot more than where it is at the moment. It's a little bit too small, so I'm going to pull it out to where I want it, which will be roundabout here. And then from there, what I can do is now I can bring this down a little bit. And finally, let's bevel this. If I grab this edge, press control B. R is going to be vel it out. And that is exactly what I'm looking for. All right, now let's come in, grab the top of it. We're going to press the Born to bring it in and then pull it up. There we go. That is looking very nice. Finally, let's bring it up to here up again. And then the born to bring it in. Now, again with something like this, it's gonna take practice. You're never going to get this right on the first time. Don't expect to. Don't get frustrated, just practice it again, because even when you finish this course, you're not gonna get that right. It takes a lot of dedication to actually, if you do get this right, that's amazing. Because I know I wouldn't have great right in the first time. So just remember you just got to practice this. It's like modeling a human head. You know, when you first come into sculptor, you can follow someone's instructions. You're not gonna get that human head looking, you know, perfect. It's not gonna look realistic. And so the closer you can get to it, the better it is. But it does take a lot of practice. So with things like this, just keep practicing. And the more you practice, the better and easier it'll get. By the end, you won't even need to watch what I'm doing. You'll just be able to create it on your own. All right, so we've got that. Let's come in then. And I think what we'll do is we'll bring it in one more. So E bring it in one more. And then we're going to do is press I bring it in and then we're going to do is press bring it up a little bit. And then I'll bring it in a little bit. And then bring it up a little bit, something like this. And I think now we're near in where we need to be now. All I want to put a couple of rings on here, so I'm going to press Enter, bring it out. And then pull it up like, so. What I'm got to be careful of here is that don't make this too thin, it's, it's got to look as though it's actually going to be supporting something. So that's the thing that we need to make sure of. Now if it does look a bit thin, all we can do is we can just press control and plus and then we can press alternates. And we can bring it out a little bit if needed. We can also as well pull it up if needed, like so. And there we go. The other thing we can make use of as well when we're doing anything like this is the shops. I don't think I'm going to use the sharp. I think I'm just going to bring it down and have it like that. But if we need to come in and let's say want to line along here. Old shifting click, right click, mark a sharp. And there you go, you can see we've got a beautiful sharp there. Old shift click, old shift click, right click, mark A sharp. And there we go, You can see just how much better that actually looks now. All right, so what we'll do is finally we'll finish this bit. So I'm just going to press, I bring it in and then bring it up. And finally control left click, right click. Control, bring in a bevel and then enter Alt at an S and bring it out. Bring it out. Or we could bring it in actually now. I don't think so. I think we'll bring it out a little bit like so. And there we go. Now from here you can see this is roughly so let's press one. It might be a little bit too tall. This, I'm not so sure, it might need squishing in just this little bit. I'm thinking that I'm going to go with it, so I'm thinking it's over there. And then what we'll do now is create the top bit of this. And to create the top bit, I'm actually going to cheat a little bit and take this because it's really nice. We'll work what we actually did on this and then we can put that straight to the top from there. Then we can actually start with, you know, the delicate part, the ornamental finish on this working around there. Once we've got this though, it's like it's one of the main parts in the scene. And from there we can use it for the directions one. And we can also use this post as well for other parts in the scene as well. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 95. Crafting Elegant Victorian Lamp Posts: Welcome back everyone to Blender for the Environmental Artists Guide, and this is where we left off. All right, so from here what I'm going to do is I'm gonna grab my guy. I'm going to press shift and I'm going to drag him up and I'm gonna put him on top of the other guy. Now this is going to be roughly where the end of the lamppost is. And from there we're just going to put a little top on it. But that's to give you some idea where we want it. Now I'm going to do is I'm going to grab this part here. So if I come round, I want to grab just one of these parts. Now the thing is I don't want to grab it where it's actually bending because I want it to be straight. So the easiest way to do that is to come in and just press out shift and click shift and D, and then you've got just this. And from there then you should, if you press dot, be able to press and fill it in. And that is what we want from there. Then what we want to do is we obviously want to make this thin enough to actually fit into this part. So if I bring this down here, you can see now I press and pull it up. Now we can actually start our lamppost again from that part there. And that's looking pretty nice now. Is it thick enough or is it too thin? That's the next question you need to ask yourself now. We're not going to worry about that now because we do know how to squish it in. So all I'm going to do is I'm just going to bring this all the way up to where the top of his head is. So round about here and now we can have a good look round. And I think actually that is going to be about the right scale from there. Then what we're going to do is we need to think of the intricacy, so the parts that are going to come out first. Now what I recommend doing before you do that is putting a top on here, building out your actual light. And then from there working on, you know, kind of the swells and things like that. So what I'm going to do is I'm going to come to the top of it, I'm going to press shift S Ursa selected. And then shift I'm going to bring in another cylinder, press the S bone. We're going to keep it at 16, which is what we had it on. And from there let's put our top on. So I'm going to press essens D, let's put our top on, so we'll have it, something like that, making sure that it's in there. And then what I'll do is I'll come to the top now. So I'll grab the top, and I'm going to press I and bring that in. And then I'm going to press E and bring it up. So bring it up and then I'm going to be level the top of this. So if I come in now grab these ol shift and click, press control B and bring it back. Now you can see it's not be level of properly. So what we're going to do is just reset all the transforms. It's our origin of geometry. And while we're here, let's write click and shade auto, smooth. And then let's come to the top now that we had press control B, and now you'll see it levels off. Let's add in a couple of bevels and let's also make sure that they're going the right way at the moment. You can see this one here, so have a look. There we go. Let's also make sure they're going out enough. I'm just wondering. Yeah, you can see here, this is not going out enough and the reason is, it's on the wrong one. Let's turn it down one now. It should work. So let's bring it down. There we go. That is what we want. Something like that. All right, now let's come in and finish the top off then. So all I'll do is I'll come in face, let grab the top, press the eye button, bring it in, press bring it up. And then we'll do is I'll press, now what I want to do is I want to kind of give it a nice top on here. So what I'm going to do is I think I will use bevel, I think to actually get that top that I'm looking for. There's many ways we could actually do this. Let's come in first of all, and bring it here. Then we'll bring it up a little bit more. Here and then here. So now let's see if I can actually level that off now, because I want to make a nice top for it. So what I'm going to do is I'm going to come to this part first here, press control. And I should be able to bevel it off like that. That's that bit dumb, that bits looking nice. It's just this inside And I don't think unless I bring it in that I can be level that off. So what I'm going to do is I'm going to press alternates and just bring it in like so. And I think that's going to be the easiest way to actually bevel it off. Now, of course, that's a little bit too much I think. So something like that. Press Sen's ed, then squish it down and let's put it into place. And then what we'll do is now we'll bring the whole thing down. So if I n press the tab, drop into here. Control plus, down to this part. Press one again and then let's bring it all down like, so let's have a quick look at what we've done here. Yeah, and I think that's looking pretty nice. And then I just want a little bit of a top on it as well. So what I'm going to do is I'm jaws going to bring this in. Do I want to bring it in slightly. I still feel like this. It's not coming out enough for my liking. So I'm going to press Alt Shift and click control bus. And then I want to do is press alternates. Just bring it out a little bit like so. And I think that'll looking much, much better. And now we can actually come to the top. So I come to the top and then bring it all the way up. Control to bevel it off like control, left click, right click. Control B, Bring back just one bevel, like so. Let's bring it up a little bit and then enter alternS and bring it out like so. And that's what we should be left with. Let's press one good look at that. Yeah, and I think that's pretty much what we want, just having a quick look around, making sure I'm happy with it, making sure everything's been in place. Yes, and I think that's nice. Now we've got that. What we can actually do now is actually start work on our actual lights. So I'm thinking the best way to do the lights is probably going to be in stages. I'll start work on the lights. Now what I'll do is, first of all, let's bring in, we'll bring another cylinder, but this time we'll press a ship date mesh bringing a cylinder. But let's set this down to eight and that'll give us a good starting place for what we actually want to do. From there. Then let's press the S bourn. And what I want to do is these are going to be quite large now. We're not going to worry too much about the size of the moment. What we are going to worry about is just getting the actual shape. So what I'm going to do is we're going to bring this in. I'm going to grab the top of here, pull it down, and then I'm going to bring it in now. So bring it in. And then I'm going to press like so. And then bring it in again. And that will be the very foundations of my actual light. And then from here then let's pull this down. So I'm going to pull this down. So, and then all I'm going to do is just grab the outside of here, Press E to extrude alternS and then bring that out. So this is again the start of our actual light. And now let's come in, grab the top of it, press the eye button. And then what I'm going to do is I'm going to press E, And then I'll press again. And then to bring in the top like so. And now I'm going to do is press control. Left click, right click. And I just want to bring out bevel now, so all I'm going to do is just grab this one. Going around there, Alt Shift and click Enter AlternS and bring it out. And there we go, that is the top. Let's right click and shade. Auto smooth. You're not going to get a lot of smoothing in there. Anyway, the one thing I think is that it's probably not flat enough at the moment. So all we can do is we can just press S and's head and just squeeze it in a little bit. And now you can see that's looking pretty nice already now. Then let's think about the actual bit coming down here. So this is going to be tricky because what we have to think about is the actual lights in here, so in other words, the little bits of glass that are going to be going in here. So what I'm going to do is I'm going to bring back this part first. Come in, I'll grab this part. And then what I'm going to do is I'm going to press E to extrude it up. And then I extrude it in, and finally extrude it up again. And from there now I can press and bring it in a little bit more. And then finally I'm going to bring it down. So I'm going to bring it down with so and then to bring it in, and you can see now we're already starting to get somewhere that's looking pretty good now. The one thing is, how big is the light need to be? I think these lights, it's a little bit bigger the moment. So all I'm going to do is I'm just going to come to it, press tab, press the board, and just bring it in a little bit. So because I think, you know the lights, they have to be quite big, but they can't be way, way too, over the top. And I think also the light needs to be, if I press one on the number pad, I'm thinking that it needs to come probably around here and a little bit lower than this point here, so maybe even a little bit lower like so. And now I'm looking at this guy, the size comparison. At this point I think I can probably get rid of my guy and now I can work on the rest of this. So before we do this bit of glass in there, we've pretty much got that bit nailed down. So all we need to do now is think about the bott, let's fix the bottom first. So all I'm going to do is I'm going to come to the bottom. I'm going to press to pull it out. Now pull it out like so. And then bring it down. And then, so something like that. And then what I'll do is I'll now make the bottom bit. So I'm going to press to bring it in, and then I'm going to press E, bring it down like so. And now before we carry on, what I'm going to do is I'm now going to work on this bit here. So our press control law bring in five edge loops. And then what I'll do is I'll grab the middle of it, portion editing on press the B. And I should be able to bring that down like so. And that's looking pretty good. And now we just need to fix the end. So what I'll do is, first of all, I'll bring in another kind of part on here. So bring it down slightly, and then old shift click, enter, alter ans bring it out without portion editing on a S. And then let's bring this part in. Bring it in and then bring it down and then bring it all together. And I'm hoping a right click shade ought to smooth that. Is looking pretty good, and that's pretty much what I'm actually looking for. So you can see it's got that really nice feel about, especially when we're going to have, you know, all of these swells and things like that. The one thing I'm worried about is that it needs probably to come out this way a little bit. And also the whole thing might be a little bit too big, going to make it a little bit smaller. Now that is about put up a little bit about the right scale. So I'm looking at one here and one this side. Yeah. And I'm thinking that's looking pretty good. So now, before we actually, you know, on the next lesson, sorry, what we'll be doing is we'll be creating the actual glass that's going to go in here. And then we should be able to start putting these swells in and making those look really nice and beautiful. And then we should be able to pretty much nearly finish this. We just need one for a sign post as well, which is much easier than this. All right everyone, let's save our wig and I'll see you on the next one. Thanks a lot. Bye bye. 96. Decorating Victorian Lamp Posts with Ornamental Curves: Welcome back everyone to Blend for the Environment Artists Guide. And this is where we left off. All right, so let's come in, and first of all, before we do anything, let's come in and just bring in one edge loop. So control left click, right click. And let's press control B. And I just want to pull that out because I want the top and the bottom, so the top and the bottom of here to be a little bit thicker than the main bit. So in other words, this is going to be metal and the glass is going to be in here. Now what I want to do is bring in three edge loops. So control 123, left click, right click. And this, then these little points here are going to be my glass. Now the thing is about this, we want to bring all of these in now to create the actual glass look. But we don't, it's a bit harder than that. Because what we want to do is, first of all, we want to level these off, so these parts off first, to actually give us the ability then to make this band here be a little bit thinner and actually go in from these parts. So it's hard to explain, but it will be easier once I've actually got in. So I think the first thing we'll do is we'll split it off. So if I press Lt shift and click Control plus. Control plus. And then just grab this bottom part round here. And what I'm going to do then is split it off, so P selection, Split it off. And now I'm only working with this which is going to make it so much easier. So control A or transforms right click, set origin geometry. Now I'm going to do, well, first of all work on these bars coming down here. So what I'm going to do is I'm going to come in and then old ship click on each of these. Going down, going round like so and so and then all I'm going to do is I'm going to press control B and level those off. Control B, let's be level those off like, so something around that thickness. Now what I want to do is I want to actually extrude these parts out. So I'm thinking, I'm just trying to figure out the easiest way to do this. I'll think I'll come in to Baselt Ol shift and click shift click, old shift, click O shift, click. All right, we've got all of that now. The one thing we need to work on is these parts here. As you can see, what I'll do is, yeah, I think I can separate these out. That's not so hard. So what we'll do is first of all enter Olt and and just bring them out. Bring them out a little bit like so you can see already that's looking pretty nice. Now the bit that I'm worried about is these parts here. So what I'm going to do is now I'm going to come in and what I want to do is select all these. I'm not sure if we can come to select and select all Where. Is it similar by length? Nope, that's not going to work. Let's select similar by direction. Is that going to work? Only on this one? You know what? We're going to do it the hard way. We're just going to select all these. I'm probably going to actually spend longer trying to figure out a way to select them and then find out, even if it worked, it's still going to take longer. So you know what, I'm just going to select them all, so didn't take that long. All right, let's press control and level these out. Now what we want to do is we want to press control and minus. Because we only want these parts here, Control minus, not going to work. So what we'll do is we'll select it by area. So I'll select this one. Let's come to select, and we'll select similar by area, not going to work. Can we actually pull this down? That's also not going to work greater. Let's put it equal. There we go. Let's bring that up, bring it down. That's not going to work. So what we're going to do is we're going to come in and we're just going to select all three of these again. Then we're going to extrude these out, but not as far as the other ones. And that then should give us that perfect look which we're actually looking for. We're going to select all of these. All of these. Now we've got more selected. Let's press Enter, alter Ns, and bring the mow into place, not a wide as these parts here now, don't worry, we're going to stretch them out as well. So now what we can do is we can come in Global, put it on normal. And then all you're going to do is you're going to press and no we're not. We're going to put this first of all, individual origins. This on individual origins and then and Y. And you should now be able to pull those out into place as you can see from there. Then what you can do is you can press alton S and you can bring them out a little bit further like so. And then and Y if you want to bring them out a little bit further. And there you can see we've got a really, really nice, beautiful light. Now from here, we want to really come in and select all of these, because it's going to make it easier for us when we actually come to adding the material. So we're going to select all of these like so. And just two more. I think there is, yes there is all of these then we're just going to go over it and we're just going to go over to vertex plus and we're just going to put that down as glass. And then we're going to click a sign. And now if I deselect and select, we should be able to easily select all those ready for when we actually come to, you know, adding on our materials. All right, so now we've got that. We've got our light, we've got our lamppost. What we need to do now is these swells. So let's first of all save out our work with our swills. I recommend what we do is we bring in a plane. First of all, just make sure that your light is perfectly in line with this, which ours is. Press shift and we'll bring in a plane. We'll rotate that plane round, so our x 90. And then I can press one, and I can just put my plane anywhere down here from here. Then what I can do now is I can bring in a bezier curve, so I can press Shift, bring in a curve and a bezier curve from there. Then I can press tab A to grab all of them and delete and vertices. Now we're going to do is just come and draw those in. I recommend working on this in stages. The first thing is let's think about the bomb and how that's going to go. So I'm going to come to the bomb and draw a line round roughly, and then bring it down to something like this. Then from here I want it coming from this part here, we're looking at where we're going to be supporting it. That's the main thing. If I bring a little swell round round to here and then bring it down all the way around here to here. Finally, then the last what we'll do with the last sell, I'll come from here. Bring it all the way round, bring it down. I'm hoping that that's not too close to there probably is. Then bring it round to here like so. And as you can see, if I move around, maybe that was too close. I'm not actually sure if it is or not. All right, now we can press Tab, We can get rid of this plane, and this is what we should be left with. Obviously, if I press Tab on here, there's going to be a lot of work on each of these things. Let's put it onto our movement tool though instead. Now I want to do is we just want to get ourselves set up. So this is actually going to look right. So what I'm going to do is I'm going to come in and we'll give it some extrusion first. So let's extrude it out and we'll see what we're actually working with. So something, something like that's probably going to be about the right thickness. And then what we're going to do is add modifier. We're going to bring in a Generate and solidify. We're then going to right click and shave flat. And from there then we're going to pull these out a little bit. Now remember these are not in the halfway point, so you can see at the moment they're slightly out. What we want to do is we want to put this on 0.5, put it right in the center. And from there then we can control the thickness out from the center. Albeit some of these, as you can see, you know, aren't right. So what I'm going to do is I'm just going to set myself up because that won't work right in the center of here, like so. All right, next of all, then let's come in and just turn down the resolution. We don't want it so high, so I think it is quite neat, so we need to keep it relatively high. But I'm thinking something like nine or ten should actually do it. All right, so what I'll do then is I'll press Sir One. And we'll leave this to the next lesson because it is a lot of work to get this all into play. Also, we need to make sure that we've got, you know, kind of support going down here, so we don't want this too far in like this one here or this one here, and we really want to control how this is actually going to look. I find honestly the easiest way is to work from down and just work your way up all the other way. It's completely up to you. Maybe it's about working our way down on this one. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 97. Attaching Ornaments to Lamp Post Bases: Welcome microphone to blend for the environment Artists guide. And this is where we left off. All right, so now let's come in and actually start making these swirls so they look actually good. So what I'm going to do is I'll come to this part first. I think I'll grab this one. I don't even think I've got one in here which might make it a bit hard. Also, putting it on normal, we'll put it on global, that'll make it a little bit easier for sure. Let's grab all these three then first. And what we'll do is we'll pull them out and get that into a nice place. And then what we'll do is this swirl actually is nearly right, It's just this bit here as you can see. So I'm going to use G and just bring it out like so. And then grab all of these and pull them out. And that then is looking much, much bearer as we can see. Now do we want to tighten up this swill? So in other words, do we want to tighten it up a little bit and tighten up this a little bit? If I press, pull it down slowly, it's a little bit tighter as you can see. And that's looking good. And then this swill here obviously is not right, because that needs tightening up. So I'm just going to press, tighten this one up, press G. It's just a case now of fiddling around with it. Maybe let's tighten it up. Bring it in, let's bring this one out. There we go, Let's tighten this up. You can see now that it is going to have to balance on there. This bar I'm not happy with though. You can see it's going round, I think coming down to here, it looks much, much better than where it did before. I'm also thinking that it's probably, it's a little bit hard to move this all over. What I'm going to do is grab this one and this one right click, subdivide. That's then going to put one right in the center for me. Which means now we've got the ability to move that. Now you can see it's a nice curving swirl, and that's exactly what we want. Now let's move down to the next bit, and we'll focus on this bit first in this part, even moving it just like that, looks so much better. As you can see, it's a nice swill. Now this part, as you can see, is really not what we want. Let's bring it first of all into where we want it, and then make it turn like so. And now you can see it's a really nice flowing swill going all the way around. Now you can see, do we want to extend this out a little bit? We can extend this. We just press and we can just bring it round. So now let's fiddle around with it. So, and then let's fiddle around with this. There we go. That's a nice swill. Now look, now that's all coming along, then what we're going to do is this part here, this part here is a little bit harder. We need to make sure that this part here really has got that swirl look. If I make that a little bit tighter as you can see. And then touch the actual part here, making sure it's following it. And then let's fix this bit because this bits not good, make it swirl. So again, this is going to take some practice. So don't worry if you don't get it right the first time like so. And then a little bit out, as you can see on the top of the, and now it's a nice beautiful swill. And then what we'll do is we'll come to this part, this part here, let's move them out. First of all, we can see that we've definitely not got this bit right, A real bit of a mess here. This bit isn't straight, as you can see. Sometimes. If it's not straight, what I tend to do is I'll grab this one. And this one right click, subdivide and then come in and just delete this one out the way. Delete vertices. And now you can see that's made it nice and flat for us. Now this bit here is definitely definitely not right. So let's make it really nice now. And this swill, you can see now, it's looking so much bare. So even if it's just to at least it's touching something, let's grab all three of these now. Just move them over. So now let's finish with this one. Do we want it more of a swill? I think so. On this bottom one, pressed it twice, then delete vertices. Grab this one. Let's spin it round. First of all, let's put it into place. Let's press G. Bring it up a little bit. You can see here, can I get it to go in the swell that I want it and is that too much? Is that last swell too much? Possibly. We don't want them too much, that's the thing. We want them more neat, but just be careful how far you go. I think actually it's not bad. I don't think it's bad. Let's move this one then to the side to get into here. Let's move it up a little bit. Now we can see that we do have a problem in that we even move all of this up, which I think will probably be the case. So let's move all of this up now. It's just touching, all looking nice. It's just this bit here that we need to fix. Now let's fix this world. There might not be enough parts on this one. I might need to bring one more part in. So let's press and then bring it round. And then middle bow. Let's tighten that up. Tighten it up, then let's tighten this one up. There we go. That's now really nice and tight. I want to make sure that it's on that part. You can see here, not quite on that part. You can see here, This bit is going to need to be a bit thinner, but I'm thinking it's looking pretty nice. I'm just going to go over the top and make sure it's all in line. You can see it's not in line. None of this is in line. I'm just going to press a, I'm just going to pull it into place now, like so. And then I'm just going to look at these parts here. These are the parts now looking at, we can see that this is going to need to be thinner. This is touching this, this one's really nice. Let's work on now and scaling on the ends of it. So what I'm going to do is I'll grab this one, put proportion editing on, let's put it on to smooth, and let's press alterns. Really start scaling that in. So I'm going to scale it into here as you can see. So now it's looking tons bare. You can see now some of the problems that we've got, like this one here, quite, let's take off portion editing. Not quite the curve that I'm looking for. There we go. That's looking quite good. And now let's come into this one here. Portion editing back on, and then alterns, bring it in if you need to. That just dictates how thin it's going to get. Let's come to this one as well, alterns, and then this one, Alan Stow, and then this one alter ans and then finally this one. Alan. There we go. All right, that's looking cool. Now, all we need to do is we need to work on the actual width going this way. Now unfortunately we can't actually do that, so in other words, we can't press S and Y and bring it in. It's just not going to work. So what we have to do is we have to convert this to an actual mesh first. Now before we do that, we don't quite want to do that first, because what we want to do is, first of all, we need a bar coming down this side to show us where this is going to actually hang from. So I'm going to press Tab. I'm going to save up my work just so I don't have to do that again. I'm going to press Shift, and then what I'm going to do is I'm just going to bring in a mesh. Bring in a cube, make it smaller, and let's pull it out into place. So we're going to pull it down into this place here. And then I'm going to press S and Y. Sorry, S and X, pull it back, pull it into my actual lamppost. And then S and Y now pull into place. That's good because it also tells us how far this needs to go. So you can see here, this is not the right length. If I put it onto wire frame, you can see here, this has got a lot more gap this way than this way. Which means I can pull it now more into center. All right, let's go back to this now. Go back to object mode. And now I can do is I can start, let's say here, and then I can pull this all the way down to the bottom of here. If I pulled this down with that portion editing on, pull it all the way down somewhere like that. All right, that's looking pretty good. And you can see why I did that now. Because from here you can see that I might need to pull these out a little bit because this might not be where I need it. The other thing is as well, this should be more in the center. This part what I can do, I can come to my lamppost and what I can do is I can put it on, let's say if I do it on wire frame, I can't really do on wireframe. So I'm going to leave it on object mode instead. All I'm going to do then is rotate it. If I press RN's head, I should then be able to rotate it around more into the center. Now you can see that's fitting just so much. Be now from there, let's actually fix this last bit. So what I can do is I can come to these edges, this edge and this edge. And what I can do is I can press control B, like so where do I want it to come? Something like that. But what I really need to do first before doing that is I'm going to press controls head tab. Control all transforms, reset all of my transforms. And now let's try that again. So control B, bring it to there. And then what I'm going to do is turn this up like so. And then let's turn it up to four. And then let's finally increase the actual width. Just be careful though, how far you go. You can see probably something like there. And then let's bring it inwards. So let's bring it inwards, and there we go. That is looking much, much better now as you can see now all we can do is we can go to the bottom one and do exactly the same thing. So grab this one and this one because blender, remember what the bevel was on, Just press control be and then you should be able to do that finally. Then let's just pull it out a little bit. Let's pull it out. So let's press Tab, grab this bit, let's pull it out a little bit. And now it looks as though those things are actually fitting into place, and I don't think I actually need to move those now. Then finally, on the next lesson, what we'll do is we'll put a little band or three bands going into this, just holding this on. And then finally what we can do is we can start bringing these in because at the moment they're all the same width and we don't really want that. So we can do that next as well. All right, but apart from that, as you can see now if I press tab double tap, the, it's looking really, really nice and it's really coming together well. All right, so let's do that on the next lesson. Let's save our work and I'll see you on the next one. Everyone. Thanks a lot. Bye bye. 98. Applying Materials for Realistic Victorian Lamp Posts: Welcome back everyone to Blend the for the Environmentalist guide. And that's where we left it off. All right, so let's come to our lamppost and what I'm going to do is I'm going to grab this part here. So old shift and click. I'm going to press Shift and D, and just bring it down into the place there. And then what I'm going to do is press P selection tab, grab it again. Control all transforms, right click, set origin to geometry. Finally, then what I'm going to do is I'm gonna grab it all again. I'm going to press Enter alternS and just bring it in then, and it looks like it's actually supporting it. Now you can see that it's going a little bit out of here. Let's see if we can bring it in a little bit. So all I'm going to do is I'm just going to press the S P, bring it in a little bit like so double tap the E and there we go, Easy as that. Now let's come in and we'll have one support here, one support here. So what I'm going to do is I'm going to grab it, we're going to press Shift D. Bring it down into this part here, Shift D, bring it down into this part here. Run about the center of each of these, like so. And that's looking pretty good. Now let's come to our curve. Let's fix that. We're happy with the curve. I don't want to do anything else with it. What I want to do now is object convert mesh. And there we go. And what I want to do now is come into each of these. So each of these points I'm going to grab, so like proportional editing. And then what I'm going to do is I'm going to press and Y and bring them in. I'm going to pull this out a little bit and bring them in. So there you go. Now you can see just how nice that actually looks, and that's pretty much perfect. Now from there we can write, click and shade, auto, smooth. And there we go. All right, that's looking pretty good. Pretty much. Now we've got all of this finished, so what I might as well do now is mirror over the other side. So I've got this and we've got a light. Let's mirror it over the other side. I'm just wondering about this light. No, I'm just making sure that everything's in there and I'm happy with how it's stuck on then, You know What I think is I think it looks good. Yeah, I think I'm finished with this. What I'll do is I've got my cursor in the center. I'm going to grab this. And what we're going to do is press control all transforms, right click origin three, cursor and then let's bring in a mirror. So add modifier, generate mirror. And let's grab this one. This, yeah, we've got all these parts first. Let's grab both of these first. And what we'll do is we'll control a transforms right click, origins three de cursor. And then what we're going to do is grab this and finally this. And what we're going to do is press control and copy modifiers. And there we go. All right, that's looking very nice. Now what we can do is we can apply everything to this. We don't need that anymore. The one thing is we just need to make our little sign. And we can make that from this once we've actually finished it anyway. So what I'm going to do is the one thing I'm worried about, I'm not going to join it altogether yet. And the reason is because this has the glass on there and I don't want to mess around with that yet. So what I'm going to do is I'm just going to break it down inters stages and the first part I'm going to do is the green met. So I'll put the green meal on here. So let's come in and what we'll do is we'll grab all of this part. We'll press Tab on, so let's press Tab A Smart UV Project. Click okay. And then let's see if we've actually got our green mouse. So click the little down arrow. Green green metal. Let's grab that. Put it onto material. There we go. And then what we'll do is we'll work on our black metal. Now I'm going to grab these parts here. And these parts here, I'm going to press Tab to grab everything. Now we can see that we've still got the mirror on here. Let's come in Object convert and mesh. And then what we can do is now we can press Tab, grab them Smart UV Project. Click Okay. And what we're going to put on this one is we're going to be the black metal, I think. Black metal. Let's drop that on and then we'll copy it onto here. So I'll press control L and link materials. And there we go. Now this part here. Let's press Tab to grab everything. Again, we've got the mirror on here. We can just come in. Object convert mesh tab now Smart UV project. Click Okay. And luckily for us it's made of metal. If it wasn't made of metal, we'd have to go in and add in tons and tons of seams and things. So luckily we don't have to do that. It's a little down arrow, black metal and there we go, that's that part. And now onto the light. So the top of the light here, I'm going to have green and everything else is going to be a black color. So let's come in and what we'll do is we'll first of all mark a seam on here before applying that mirror. So what I'm going to do is Alt shift click, and then I'll come down to this part here. Alt shift click, right click, and mark a seam. Now the one thing I'm not happy about is this here, it's too sharp, so let's come in and fix that first. And I'm going to grab all that. Press control B. Bevel it off. Let's have a look. And actually, that looks it looks I got lucky with that because I used the same one as what was on here. So Yeah, we'll keep that. That wasn't a mistake guys. It just just happened. All right. So then what we're going to do is we're going to actually come in, we've got a mirror on here, so object convert, mesh. And then Tab, Smart UV Project. Click Okay. And now what I'm going to do is I'm going to grab in fact, you know what, I'll just come in, we'll look for the green first. No, we'll look for black first. It'll make it easier. So black metal. And then you'll come in and grab all of this. So this one here. So L and L plus down arrow, green, green metal. Click a sign, and now finally the lights. So what I'm going to do is I'm going to grab both of these and I'm going to hide those out the way. I'm going to press a down arrow, black metal, Smart UV Project. Click. Okay. Like so now I'm going to do is I'm going to press Tab again. Ola, double tap the A. Come over to your little glass where it says glass. And then what we're going to do is C, select select all these and then we'll go back to material. And from there we can hit lamp post material. Now, I don't think that's it. So what we'll have to do is save how you work before doing anything, go over to your asset manager and the one we want is where it says glass. So we're looking for where is it? I think because my blender crashed. It's not on here. Let's have a look. Current file materials. There we go. Glass. Nothing in there as you can see. So I'm just going to have to go to Edit Preferences, File Paths minus that, off plus. And the one we want is going to be resource pack, I think it's the course resource pack in here. So I'm going to click sign, Close that down. And now let's see if we've got that in. Let's close that one down. Let's come now current file all. I'm just looking to see if it's in here. It's not in there. All right, so let's go over to Edit References and File paths plus, and we want the course resource. Click Add, and then that do, we should now be able to find that. So if I scroll up the file, let's click all. And here it is. All right, so now I've found it glass. Now the one I want is street light glass, so I'm going to put that on to there like so. And then I'll go back to modeling. And now what I'll do is I'll click a sign and there we go. That's looking pretty cool. I'm just wondering if I should even bother on wrapping those. I think I will wrap like, so let's have a look in rendered view what they actually look like. There we go. I don't think I need to do anything else with that. I think I'm happy with it now from here, what I can do is I can now come in and I think I'll keep it split off because I want to actually create one where it's actually the time post. So I'm just going to double tap the eight and I'm just going to make sure that I'm actually happy with it. We can also turn this off to have a good look at what we've actually done here. I think it's looking really good. Let's put it back on material, let's turn our little interlocking balls back on. And now what we'll do is we'll come over the top of this, we'll press B to grab everything. And then I'm going to press Shift D, and just drag it over here like so. Now this side of it we don't actually need, so we need to come in, put in, it's not going to modifier on. Let's press the tab. So what I can do is I can come in and delete off this side. So L L delete vertices, come to the next part, then grab all of this. You can see this has still got the mirror on. Let's just apply the mirror. So if I press Tab, come over press control and now you should be able to come to this part. So L delete vertices. So work my way around then. So I'm going to come to this part now. I'm going to grab each of these just from one side, delete verts. Okay, and finally now I'm just going to come in to this part here. I don't need both of these on the heaver. So I'm going to grab this one L delete versus now what I'm going to do is I'm going to come to this one. Now the origin is already in the center, which is really handy for us. Because what we can do now is we can press shift and then z 90, and then we can press shift D and then z 180. And now we've got one each side. Now from here, what we can do is we can actually put our sign in the center of this one here. So put my sign post going out of here. So we'll do that actually on the next lesson, because obviously we're running out of time. But you can see now we've nearly nearly finished these. And these can go into their own collection as well. All right everyone. So I hope you enjoyed that. I'm going to save our, my work and I'll see you on the next one. Thanks a lot. Bye bye. 99. Integrating Street Signs onto Victorian Lamp Posts: Welcome Mcroyone to Blender for the Environment Artists Guide, and this is where we left off. All right, now we've got these. Let's come to this. And what we'll do is we'll put a cursor in the center, so cursor selected. Let's then bring in a cube. Let's bring in a cube. And then what we'll do is we'll bring it up, we'll press the bone and bring it into place. What I want to do is make it thin enough and X make it thin enough to go on there. Then let's pull it out into place. We want it, if you look at this here, you can see press one actually will be easier. We want it halfway between there, like so. And then from there then what we can do is we can pull this out. If I grab this edge, I can then pull it out without portion editing on, pull it out. So do we want it so is that going to be far enough out, maybe a little bit further? Something like that, I think looks great. And then what we'll do is we'll come now and bevel off this edge. So if I come in bevel off this control, do we want it like that? You mind want yours like that? I'm thinking, does that look good? It's pointing. So maybe that's actually bad. Maybe we'll leave it like that. All right. If you want to leave it like that, that's fine. But we need to still make the inside of this. I'll do the beveling technique that we've done before. So first of all, we'll have the sign facing this way, that's the most important thing. In the back of the sign will be black. So what I'll do is I'll come in, I'll grab this here, I'll grab this bot one and I'll press J just to join that in. And from there then what I should be able to do is now if I resell the transforms, so come back in, grab this face, press the eye button, I'll bring it in. And then I'm just wondering is is there going to be enough room on there? I could move it across a little bit like so. And then what I'll do is now I'll come to each of these corners. So each of these. So I'll press control shift and B and vel those off. Obviously they're not beveled the way that I'll want it. I don't want them like that. So what they'll do now is come down to my bevelin. I'll turn it down maybe one, and then I'll pull this out and make it rounded like. So from there then I can come in and grab this face now, and I can actually pull this back into place. I'll want it. So now I've grow a pointing sign and we've got some roundness on there as well. And that thing, that looks pretty nice now from there, we want one on the other side as well. So all we want to do really is mirror it. And we want to mirror it from this point here. So what I'm going to do is press control A, all transforms right click. So origin three cursor, adding a modifier. Bring in a mirror, let's put it on the y, let's turn off the X. And then we go, we've mirrored it over the other side now. And now we can actually apply that mirror. A, apply the mirror. All right, from here then let's first of all bring in some materials. So what I'll do is I'll just bring in black metal. I'll unwrap them as well. So I'm going to press U on Wrap. And then you can see Wrap solved two islands. Reason being is that we need to first of all reset the transformations. And then we can come in Smart UV project. Click okay, and there we go. All right, now the inside of these, we need to select each of these. And we need to press one or three, or control three. And then we can press U and we can go to Where is It, Project From View. Now what we can do is we can come in and we need our signs. Should be able to press plus down arrow. And let's see if I've got one that says signs, street signs, this one here, click a sign. And now I'm going to go to each of these. So if I go to UV editing now I'm going to have one that's going to say cathedral and one that's going to say train station. So, if I grab both of these, I want to grab them both. I want to bring them down and I want to kind of make them the same. So, in fact, you know, it'll be easier just to work on one. So I'll grab this one, I'll press Surg and let's bring that into place. And we're going to have this saying train station. So I'm going to break it bigger S bring it out. And then I just want to get this black parts in here as well. If I zoom into here, we've got a lot of control then over it. So then what I'm going to do is press S and X, pull it out. So I've got those little bumps on here. And then and Y pull it up like so. And if you press Tab now you'll see that looks really nice, except this is way too far. Press tab again, you can see it's gone all that way. So let's press and X and then X and bring it over to where it's going to go. And that's about the furthest it's going to go over where you can see it's looking pretty nice. Now I want to do is I want to copy this. If I grab this one, I might be able to press copy, copy default. And then this one, copy paste default. And there we go. It's actually works, cool. Now what we can do is where I can grab this one. So let's come to this, spin it around or 180. Because remember, the problem is that this was mirrored over this side. So I'm just wondering, it still seems a little bit out this one. Let's press sir one or control three, sorry. And let's just re unwrap this. So you, we're going to project from view now. Can I paste that on? It's sometimes a bit iffy. If I go to copy paste default, you can see it's turning it around, it's messing around with it. Sometimes it's not worth doing that, the best thing to do is just grab it and go to wherever you want it. So I'm going to put around Cathedral. And I'm just going to create this a little bit bigger. So I'm going to press Y, and then and X get a little bit bigger and X pull it over so you can see it didn't take long. I'm going to press S and X a little bit more just to bring it in. And there we go. All right, that's looking pretty good. I'm happy with that. Now, finally, before we finish this, before we finish these parts, I mean, what we need to do now is join them all together. So what I'm going to do is I'm going to go over the top, I'm going to press B, grab them all. So, and then what I'm going to do is object convert to mesh. And then what I'm going to do is press control J, right click, shade, auto, smooth. And that's what we should be left with. Now let's come to the next ones and do the same thing. So I'm going to press B. Grab it all. I don't want all this one grab, so I'm just going to grab one of those. Then grab it all with B for box select, object convert, mesh control J, right click, shade, auto, smooth. And there we go. Both of these now should all be done. So G and G. And now finally let's actually think about a bevel. So what I'm going to do is control all transforms. Right click, set origin geometry. And let's bring in a Bevel modifier. We know will it work? That's the thing. Let's put it on object mode. And actually you know what, the bevel has actually worked perfectly first time, which is surprising. But it actually looks so much better as you can see. All right, that's one. Let's come to this one now. We do the same thing on the control transforms right click, set origin geometry, adding a modifier and bring in the bevel. And there we go. And let's again just make sure the bevel is on here, which it is. Everything is beveled off and everything is beautiful. All right, so we've got our street light and street light sign. So that's what we're going to call them. If I come into this one and press two, I can call this street light sign like so. And then I can come to this one, press two, and then street light, and that's it. And then what you can do now is you can put those into your asset manager or would save them out for another scene there. Too beautiful not to. And with this one, what I'm going to do is I'm going to make a new one with M. So I'm going to press M New Collection. And we'll call it, what should we call it now? Assets. We'll just call it Assets actually. And we'll drop it in there. And then we'll come to this one, press the bot, and we want to put in assets. And there we go, there is our street signs actually done. Now if we scroll all the way up to here, we've got our bookstore. Let's close that up. We've got our assets. Let's close that up. And now what we'll do is we'll just bring in everything else. So if I press ol tag, will everything come in? Yes, it will. I think it just needs to load up. Lad it, load up. I did do it again in material mode, which is not the best way to do it. And there we go now our street lights, I'm just going to, for now put them over here. In fact, you know what, we'll just give it a quick render while we've got time. So we'll just put it on to there, make sure they're in the floor, which they look like they are. And then all I can do is now I can just hit that render. I'm going to save out my work. I'm going to put it onto wire frame and I just want to see what they look like if they look nice. So let's render it out. There you go. There are your street lights. Let it load up, let it do all its compositing. I'm just making sure that the composite is actually going to work because I might have set the things for the composite compositing. There we go. So have a look then. There we go. All right, everything's working now. We can see what our street lights looks like. Remember though as well, this is a very, very low render, so you're not going to get a tons of detail. It needs to be set a lot higher to actually bring out all of this detail. But you can see these lampposts look really, really nice. And it really, really adds to the scene, fitting in with the scene perfectly as well. And that's the main point of all of this. All right, let's close that down then. And then what I'm going to do is I'm just going to grab my street lights and I'm going to adjust, I'm going to put them over here because on the next lessons what we're going to do is we're actually going to, I'm going to put this onto object. We're actually going to create a couple more things. So we're hoping to create like the benches for one and also the sign with the adverts on. I'm hoping to get that created. And that's one of the reasons why I created these first because part of that actual advert is also going to have a couple of these lamppost parts in there as well. All right everyone. So I hope you enjoyed that. I hope you managed to get some street lights that look like my own. And remember if you didn't just keep practicing, you're never going to get it first time. Alright everyone. Thanks a lot. Bye bye. 100. Modeling Public Benches for Victorian Scenes: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left it off, Judge. All right, so now let's bring in our guy over here, because we just want to make something very simple now. Well, simple in comparison to what we've actually been creating. So let's create a actual bench. So with our bench there, quite easy to create. Just make sure that they're the right high, and they look the right size. That's the hardest thing to get. Right, Judge. So shift. Let's bring in a plane. Let's pull our plane over here. I could have put my cursor there, but I'll just bring my plane over here now. And what I'll do is I'll bring it down, first of all, to the height of my bench. So you can see now that it's coming, just just where the kneecaps are, so you can imagine him sat on there. You kneecaps kind of come out. They come to the top here, which is kind of level with this kind of on the bench. And then your legs bend over, so as long as they're at top of the kneecaps, you should be fine. And then S and Y and bring it in. And now, when you think about him sat down, how far is he going to be sat back? You can see if he sat down on this part, he's going to be quite far back. So let's press S Y again. Bring it in a little bit more, and I think that's about perfect for him sitting down. The thing is the body does tend to seem to stretch out when it actually moves in that way. So just take that into account, Judge. All right. As far as the actual length of the bench goes, if you'd imagine a guy sat over here, he's going to be sitting on here, his arm's going to be on here. You can see then, if I press shift D, what sort of gap is going to be between them? I would say that it's probably better off being this sort of gap between them. And then what I can do is now I can press and X and bring it in a little bit like so pull it out. And that I would say is about the right length for a bench. All right, with that said, let's get rid of one of our guys. We don't need them both. Let's move to the side. And then what I'm gonna do now is create the planks for the first part of the bench. So if I come in and press control lot, we'll bring in two edge loops. Control lot and then just control B, bring them out. Make sure you bring it down just so you've got just one bevel in there and then delete and faces and there's the first part of the bench. Now what we can do from here is we can grab it all. Press E, just extrude them up and get them the right thickness of what we actually want. Which I think something like that is about right from now. Then what we can do is we can actually start with the side of the bench. So all I'm going to do is I'm going to press Shift S, Ursa selected. And then I'm going to bring in a Cube now. So I'm bring in a cube, bring it over to this side, make it smaller with the S button. And then all I'm going to do is make it the right size to fit in there, which it needs to be a little bit thinner because benches on the sides of them, it's always thinner on the z axis anyway, Judge. And then what I'm going to do is just bring it out like so all the way back to something like that. And finally then I can grab the front of it and bring it out over here. Now I'm just going to check the actual thickness. I still think it is a little bit thick, so all I'm going to do is press and Z and make it a little bit thinner. Put it down a little bit and then just make sure it's not popping out too far in this edge. It doesn't matter about the back, but the front matters a bit more. All right, from there then I can do is press control. Right click, set origin three de cursor. Bring in and modify it and we're going to generate a mirror. So let's go on grabbing a mirror. And now from here let's go back into edit mode. And what I'm going to do is I'm just going to grab this front off here. I'm going to press shift D. And then all I'm going to do is just pull it out. Press just pull it along like so. And then L, and then and X and pull it in a little bit. Now I'm going to bring it to here and I'm just going to put it in the front like so. And then the next thing I'm going to do is just press and y, squish it in a little bit more and then grab the front of it. And we want to bring this down then to the actual ground plane. So down to here like so. Alright, The first part of our bench is nearly done now. You might want to. On the front, I would. On the front by the way, just pull it out a little bit. So just pull it out. So it's like this a little bit. Then what we can do now is we can press L shift D and then bring this one to the back. And instead of obviously pulling out, we need to spin it round so R S 180, spin it around and then we can put this one on the back like so. All right, so now what we've got is we need the top and we need it going over to the actual middle. So what I'm going to do is rather than bring, I think what we'll do is the easiest way is first of all, we'll come in, press tab, press shift, bring in a plane. And then I'll rotate my plane round, so Rx 90, press the S button and we want it come in roundabout up to this length here. Then all I'm going to do is just put it in place. So I'm going to put it in place, so it goes just to the top of there. So now, it depends what kind of bench you build in, but generally maybe the back is stuck out a little bit more, I would say. So what I'm going to do is just come to these back parts. I'm going to grab this back, press L on this one, and then just pull it out a little bit more. And that then will give me a little bit more room to pull this down a little bit. So if I grab this, I can then pull it down into place like so I'm just thinking. Yeah, that's about right. I've just pulled it down a little bit too much. I don't want it down too much, I just want it sat on top of there with a little bit of a gap between here and here. So maybe up a little bit more. All right, from there then let's grab the top. So we're going to grab the top first. I'm going to pull it down to where I want it. So I'm thinking maybe that's about the right height, actually, something like that. Now, before I carry on, it's easier if you actually bend it at this point. So if you bend it at this point, how you want your bench to be bent? So something like that I think is perfectly fine. And then what we'll do is we'll add in some edge loops now. So control, let's add in three edge loops. Yeah, three I think will be absolutely fine. Left click, right click. And then all I'm going to do is control B and again give it a gap between them. Delete and faces. And there we go. Now the thing is if you want your bench to be a lot more weathered than this, you can put in some edge loops and then use the random. So with mesh, you know, transform and go to random, we could do that as well. But I think on this one I'm not going to do that. All I'm going to do on this one, actually, if I grab this at the moment, you can see even if I put this on normal and will it actually do it? Yes, it is. It's pointing up like that. So which means I can actually shape this before doing anything else. So I'm going to do is just bring in some edge loops. I'm going to bring in five edge loops. Right click five then. And then what I can do is just grab this one. Actually I want to just grab the top of this one. Let's see if I can actually do it. Yes, I can. So I can grab that, I can pull it up, so I need to pull it up the other way, grab these two. And hopefully, I should be able to pull those up. And sometimes when we're dealing with normal, let's put it on local and see if that makes any easier. Nope, so let's put it back on normal. Sometimes it's weird when you actually use it. You can see I can pull this out and in, I can pull this up and down going this way. For some reason now, I don't know why that is, but either way, I've got it working, so you can see it's going that way from there. Then what we can do is we can put this back on Global, press the bottom. And then all I'm going to do is I'm either going to pull them out or pull them back this way. I think for me I'll just pull them back this way. Trying to keep with the same sort of scale as this plank down here. And there we go, that's looking pretty good. Now let's go back to this part over here. And what I'm going to do now is I'm going to come and I think I'll grab one of these legs. So I'll use one of these legs. So grab this one here I can. On edge select. So grab this one. Shift deep, and then let's bring it up. So let's bring it up, make sure you're on Global. Let's bring it into place. So I'm going to bring it all the way back to here. And then what I'm going to do is I'm just going to grab the top in face select, grab the top, pull it back into place. Pull it up and then back. So let's make sure that it's lined up along there. And there we go, that is. And also make sure if it's a little bit too high for your liking, just put it on normal. Can we pull that back? Nope, that's not working. Let's try local. Nope, that's not working. So forget that. Just pull it down and then just line it up a little bit. Bare like, so. All right, so that's that bit and now we're nearly done. All we need is a little bit of an arm rest. So to do that what I'm going to do is I'm going to come to the part that I got set up, which is this one here. I'm going to press shift and D, I'm going to bring it over. And then what I'm going to do is pull it up. And then finally I'm just going to turn it round. So 090, let's turn it round, let's bring it over this side. First of all, let's make it the right side. So I just want to bring it in and put it into place. So all the way back in there as you can see, let's put it into place. In fact, you know what, we'll do it over the other side because then we can mirror it over there. So let's put it over there. Let's then make it a little bit thinner. Now this is a curve, so we can come in and we can drop down the extrude. So let's drop down the extrude, get it to the thickness that we want it, and then let's come over to the solidify, and we'll drop down the thickness of the solidify, finally, then let's move the offset. So can we move it in? No, we can't. So we'll just move it over into place like so. And I'm just making sure, is it thick enough? I think it needs to be a little bit thicker, so jost a little bit thicker and line it up into place like so. And now what we can do is we can actually make, you know, this kind of arm rest. So to do that, all I'll do is press tab. Now bring these down. So bring these points down like so. And then lift up this point like so. And you can see just how easy that was to do. And there you go. You've got actual near enough a bench. Now, before we carry on, let's come in and just turn down this. So we'll operate on six, let's try that, and I think that's going to be easily adequate. And then finally finally let's come in and add in one more of the block. So what I'm going to do, I'm going to come in, I'll grab this point here. I'm going to press Shift D, Enter. And then what I'm going to do is press and X, pull it in, bring it over. Let's press then to pull it out. And then let's bring it up. We'll bring it up into place. You can see it's way, way out of the moment. And then what we're going to do is press L and X, pull it into place, and then finally just drop this bit down so you can't actually see it. All right, that's looking pretty nice. I'm just making sure. I'm happy with that. If you were sat on there, would this be a little bit too high? I think it is. So let me fix that before I finish. So down to there maybe. And then grab this, drop it down the Orbotap, the A, and there we go. Now finally, all we need to do now is first of all come in and go to convert a mesh, just to convert that from our curve. And then press control all transforms. And then just join it to these control J, join it to these right click, shade auto, smooth. And there we go. In a lesson we actually created a bench and it's actually looking pretty nice. So on the next lesson then, what we'll do is we'll get the materials on here. And then I think we'll actually start with something a little bit more difficult because this was pretty simple. All right everyone, So I hope you enjoyed this and I'll see you on the next one. Thanks a lot. Bye bye. 101. Starting the Bus Stop Stand Project: Welcome back everyone to Blender for the Environment Artists Guide, and this is where we left are. All right, so let's pop this onto Materials. Let's come in then once it comes through and what we'll do is we'll actually select this and we will apply our mirror modifier. First of all, because this bench is basically finished. Now, let it load up. There's a fair few shaders on there. Let's grab it all. So grab everything, press G just to make sure you've grabbed it. Right click, drop it back in place, and then object convert to mesh. Finally, now we can join it all together with control J, right click, shade, auto, smooth, just make sure everything looks right on there. And then what we can do is we can now come in, and I think we can probably get away with unwrapping this all. So Smart UV project. Click Okay. And then what we can do is we can come over now to our material. We'll put on first green green painted wood. And then what we'll do is now we'll come into these arms, we'll add in a new material and it'll be the black Mel. So black Mel. Click a sign and there we go. Let's just have a look at what that looks like. And finally, let's come in and add in a modifier and we're going to generate a bevel. Let's press control A first of all. Yeah, Right click, set origin to geometry, not 0.3 and there we go. There is a beautiful bench. Double tap the eight and just make sure that you're happy with it, and I think I am. Let's have a look at that rendered view then before we finish. And there we go. There is our bench. And now we've got a bench, and we've got a lamppost. So we're really, really getting on with this now let's put it then on object mode. And let's also save out our work, first of all. And then what we'll do is we'll move this now to our asset. So if I press M, I'm going to move it to my assets, and there we go. Now what I can do is I can pull this over there. All right, so now we're on to the. In fact, I'll just actually duplicate this. Shifty, I'm going to duplicate that. Pull it over there, because I'm going to create now, you know, the part that comes actually over the top of here. So we've got on there, like it's supposed to be a bus stop, so I'm going to create a bus stop over the top of here, because I know this is roughly where people are going to sit, and I'm actually going to use this for people to sit. So at the moment I'm just going to pull it out over here. I'm not sure where it's going to go yet, but over here is absolutely fine. And what we're going to do is we're going to actually repurpose some of these parts. So we can see here, we've got this part here, for instance. Do I want to repurpose? Is it going to be easier to repurpose this part? I think so. So what I'm going to do is I'm going to first of all duplicate this, bring it over. And then what I'm going to do is I'm going to make my bus stop kind of similar to this part here. If I bring this, let's say out to here, what we'll do is we'll just create the top of this. We'll create it a little bit different. We'll keep the same part here, but we'll have it coming up to round about here. And we'll make this a little bit different. So what I'm going to do is to repurpose it. I'm going to press one on my number pad. And then what I'm going to do is press tab. I'm going to make sure double tap the A. And then I'm going to go into wireframe. And what I'm going to do is I'm going to press B box select and come all the way down to here. Press control, plus just to make sure that you've got everything and then delete and we can delete faces. So delete faces, let's put it back then on an object mode, and this is what we should be left with. Now I still think like we need to come down a little bit, probably down to here on this. So all I'm going to do now is grab the top control. Plus I'm going to go all the way down then to this part here. So Jaws, this part here is going to be left. And then I'm going to press Delete and faces again. Now finally what I want to do is I might be able to come in and delete these out the way. So if I press L, L and L and just go round it like so L L because we want to be, to look a little bit different. Control plus then, and then we should be able to press Delete and Faces. And we're going to end up with obviously a lot of gaps in there. Now what I want to do is I want to fill these gaps in. So I'm going to press out Shift Click. And you can see it goes all the way around there. And then I can press hopefully and join that in. Let's do the same now with all of these and just keep filling them in. And now I'm going to show you a good way to actually get this measure. It doesn't look so bad because at the moment it's an end one. But it's an end one that's in the wrong place. We really don't want that there because it might cause problems with the lighting. So let's fix that. Well, first of all, let's fill them in. So fill them all in. So, and now what I can actually do is I can come in, I can press L on this right click. And what I can do is in face Lex, or you need to be in face Lex or right click. And you can see that you've got one that says triangulate faces. So triangulate all the faces first and then right click and you're going to go, tries to quads. And then it's going to fix all that for you as though we had never actually took it away. All right, so this is good so far. Now what I want to do is I'm thinking I'll keep this the way it is. I'm just wondering whether I should also delete probably this bottom part as well. Yes, we'll do that as well. So what I'll do is I'll come in. I'll press out Shift, click control plus, delete and faces. And then what I'll do is just fill in this bottom just in case you want to put an upside down one in there. I guess. Ol shift and click. I don't know, you might want it in there. I just prefer to fill in that face. All right, from here then we can press control or transforms, right click the origin to geometry. And now I can see where that's coming actually down now on here I want it to be probably at the top of this actual alarm re, so if I press one I can then press S and's and pull it up. Pull it up so it's on the ground plane again. Let's pull it up a little bit more like so. And there we go. Now we've repurposed that, and that's looking really nice. Now let's go to the next bit then. So what I'm going to do is I'm going to first of all come in Oak shift and click, press the F button. And then what I'm going to do is now bring it up to where I want it. Now the height of where I want it is probably going to be two benches high. So in other words, if I come in grand a bench press one press shift. So the underside of this, it is going to be round about where if I put this right on top of it, round about this arm rest. So it needs to come up round here. And then we can actually make that top of there and lower it down if we need to anyway. All right, so now we've got that. Let's come in and what we'll do first of all, is we'll come, we'll press the eye button to bring it in. And then what we'll do is we'll press and bring it up to the bottom of this bench here. So if I press one again, we'll bring it up two, just under this bottom here. And then from there what we can do is we can press again. And we're just going to bring it up then to where we want it. So something, something like just at the top of there, I think is absolutely fine. And we can start our wooden part on here. That's what we're actually going to do. All right, then from here then, let's actually make some more parts of this. What I'm gonna do, press control art, left click. Bring it down to here. And then all we're going to do is grab both of these. So Alt shift and click, press control, select them and then enter alternS and just bring them outwards. You can see here we've got some problems there. As I've said many times, just press controls ad and just make sure that your normals are okay. You don't even have to check it. All you need to do is press a to select every pin and then shift, and then it should spin them all around. Let's just have a check though, just in case. So face orientation. Now you can see they're all facing the right way and it should now actually work. So if I now come in and grab these faces, so Olt shift and click Olt shift, click Enter Lns, and now you'll see they'll come out properly for you like, so. All right, that's looking cool. Now let's come into the top. I'm going to, first of all, I'm going to bring this out first of all, so I'm going to press the S button, like so I'm going to press E then and just bring it up. And then what I'm going to do is bringing some edge loops here. So control, bring in some edge loops, maybe three, maybe 55 edge loops, left click, right click, grab the middle. One old shift click, and now I just want to bring that in. So I'm just going to bring in, maybe a shop will do it, so let's have a look. So I just want to bring that in. Yeah, I don't think a shop's going to do it, so let's try the root. And I think the route is actually going to be better for us. So you can see this route now is bringing it in very nicely. And that's exactly what I want. So something like that up to you, of course, how you want to actually do this. Now what I'm going to do is I'm going to come in, I'm going to grab the top of this, I'm going to press Enter alternates, and bring it out without proportion editing on, so altern, bring it out like so. And there we go. And then finally I'll probably want to come in and just make this top hold them out a little bit and make it a little bit like the lamppost that we've already created. Bring it into here, to here, to here. And then all I'm going to do then is press to alternates and bring it out very gently, like so now we can see they're not quite joining there. It's up to you whether you do want them joining there. If you do, you can just press and Z and pull them into place like so you can do it that way. I think actually that looks pretty nice. I'm just checking my lamppost and seeing that it looks a little bit different from there. And I think it looks different enough, though. I'm happy with that. On the next lesson then, what we'll do is we'll actually start working on this part going round here. So we'll go over here to the back, and then we'll start building this out. For now though, we can actually delete the other bench out the way and come up to my work and save it out, and I'll see on the next. And everyone, thanks a lot. Bye bye. 102. Designing Bus Stop Signage in Blender: Welcome back everyone to Blender for the Environment Artists Guide. And this where we left it off. All right, let's go over the top. And what we'll do is grab this one. We'll press Shift, and we'll grab it and pull it over here. So it's roughly about the same length each side. We don't need to mirror anything like that. And then what we'll do from there is grab them both and we're gonna press shift and we're going to bring them to the back. So now we've got a good foundation to actually work from. So something like that, as you can see, looks pretty nice. All right, so now I'm going to do is I'm going to grab these two. I'm going to press Shift S As to selected shift. And then what we're going to bring in is a plane. Now we're going to rotate the plane round, so RX 90. Now most of the time when you're building things, basically it comes down to looking at something and thinking how we're going to actually build something. That's the hardest part in three D modeling. The next hardest part is realizing how many things are available to you. So which way you're going to do something because there's 100 different ways of doing everything. But the better you get at realizing how many different ways there are, actually makes you better at three D modeling. So you noticed professionals, they do, you know kind of the same things you're doing. But if anything goes wrong, they know how to fix it, then they have a lot more, just kind of overall understanding of how everything works. So let's come in and pull this up and what I'm going to do is I'm going to press and head and pull it down like so. So I just want to work out where my actual ridge is going to come across. So I think if I pull this out a little bit more on the S and X like, so from here then can be where my ridge starts. It can come all the way over, bend all the way over and come to something like here. So how is it going to go up? It's probably going to be it come to the top of this, pull it down a little bit. It's probably going to be up to roundabout there, so not particularly high or anything like that. Something like that I think. And then from there then we're going to build out the top of this. So what I'm going to do now is just bring in one edge loop in the center. So left click, right click. And from there, what I'm going to do now is I'm going to bring this round the other way. So I'm going to press shifty. All right, shift, let's put that back shift. And then what I'm going to do is press Art 90. And what I want to do now is put that in the center of these. So I'm going to grab both of these. Press shift S, cursor selected, grab this one shift and selection two. Cursor. Put that right in the center. And then I'm going to press one. And I'm going to pull it up just so it's at the right level of here. I'm going to press three to go over this side. And you can see I've got a problem here in that I can't see anything. If I put this wire frame on, then I can see where it needs to come up. So I'm going to do is just pull it up to the top of this one like so. And now I'm going to do is bend it in. So if I press S and Y, I'm going to bring it in roughly, roughly. So it's got the same kind of gap each side. And from there I can actually start building this. Now let's put it on an object mode. And what I want to do now is reset the transformations of the. So control or transforms right click, set origin to geometry. From there then let's see now if I can come in and level this off. So if I can level this off and level this one off cut. So control shift and B, let's pull it out. Let's bring in a couple of edge loops. So maybe three to start with left click and now you can see we have to come in and change the direction of these. At the moment, it's on super lipse, which is what we need. But I actually want it going the other way, so round this way. And I also want to stretch it out like so, so something like this kind of roundness. Now, I do want it coming though. All the way over to these parts here. So you can see here, it's right up to this edge. So I'm going to have to probably get away with doing these separate. So what I'm going to do from there is I'm going to press control D. And I'll come to this one first, and I'll press control shift and B. And then see if I can pull that out where I want it. So once I've got this where I want it, I'm going to press and X and pull that out like so. And from there then, do I actually want this to come a little bit further down? I think I do. So I'll press and D. Now you can see the problem I've got there is as it comes down, I'm actually bending it up and I don't really want that. So what I'm going to do is just make sure it's back in place. Now we can make sure this is perfectly straight as well, which I'll show you with the bsector. But for now, let's do this one. So I'm going to press control Shift and B and bring that up. And then what I'm going to do is just I want it to be round about the same height as this one. So you can see we're a little bit out here, so let's come in and not mess with that one. Sorry, let's do that again. So control shift and let's pull it out. Let's bend it in now. Where is it? This one? Like so. And then we can actually bring it out where we actually want it. They'll think something like that is going to be right. They don't need to be perfect or anything like that. All right, so we've got that now. I'm happy with how these two are going to be. So now what I can do is I can just come in and control select them all. So if I control select going all the way around here. So I'll shift select, press Delete and Faces. So there you go. All right, let's come in with this one. We'll just press on this one and just select them that way. And then I'll press Delete and Faces. And there we go. I think they're looking pretty good. Now I'm going to do is I'm just going to come in. I've got them both grab, so I might as well join them both together. Control all transforms and then what we'll do is right click, set origin to geometry, and then we'll join them together. Actually control G, join them together. And finally what I'll do is I'll just grab all of these. Press shift S, cursor selected, and just put the cursor right in the center From there. Then I can grab these. Now I can write clicks at origins three de cursor, adding a modifier and we'll generate a solidify. Then what we'll do is we'll pull them out a little bit just to give them some thickness, something like that. And from there then, what I can also do is I can add in a modifier, and this time will be a mirror. And I'll see if I can put it over there. So if I press the Y and the X, there might be a problem here in that one of these is probably going to be doubling up. If I apply this mirror, it's probably going to be doubling up because I've got an x and y axis on. I don't want that. What that means is then I'm going to actually now have to come in L P selection. And then what I'll do is now add in a mirror to this one. So generate a mirror, put it on Y. Turn that one off, and then come to this one. Add in a mirror. So generate a mirror, and there we go. Now they're separated off. That's okay. We can actually work on these now. All right, so now let's come in and what we'll do is we'll actually apply our solidify on these two. So I'm going to come in and I'll apply my solidify. So solidify control. And then what I'll do now is work on these parts here. So all I'm going to do, I'm going to come in, I'm going to grab these two here. I'm going to press the eye button and bring those in. Now you can see as well that they're still joined in the center. But if I press Eye again, it will split those up. And I want it to be something like that. And this will be exactly the same from here. Then I can actually pull it back now into place like so. And there we go, we should have that both sides. And that's looking really nice. All right then. So from these then, what I want to do then is bring out a post next to here and then a post on the other side as well. So let's actually do that now. Let's see. So what I'll do is I'll press shift or should I press shift, I'm thinking. Yeah, I, well, what I'll do is I'll press shift and then and then and X. And hopefully should pull them out if a basis on medium point. So and X, there we go. That's what I want. All right, so that's brought them out both sides from there. Then I can come in now and I can pull these out on the Y and Y. Let's pull them out like so. And then I can also maybe drop these down a little bit, just so they look like they're actually in place. So drop them down a tiny bit. All right, so good so far. Now we need the big post, which means I'm probably going to have to pull these out a little bit closer to this. I just want them right on this X. So now let's get in the post on here. I'm thinking, yeah, I'll have a big post them from there. We can actually support these on top of here. All right, so let's do that. So what I'll do is I will do the same thing again. Shift and then enter and X pull them out and X pull them out. And we want these to be a little bit thicker than the other ones, and we also want them to be up here. I'm going to grab both for these, I'm going to pull them up, pull them up straight, and then let's pull them out. If I grab both for these, I'm going to press S and Y, pull them out into place. And then that makes it easy for these ones to join in as well. You can see it's looking pretty nice already from there. Then let's actually make, I think, one more point on here just to support them a bit more. So what I'll do is I'll press control. Left click, right click. And then what I'll do is I'll press control. I'll bring it up a little bit like so. And from there then what I'll do is I'll press control and pull that out, bring it all the way back so it just looks like this. And then what we'll do is we'll bring it out. So if I grab this one, in fact, I need to do this one as well at the same time. Let's just go back and do that again. So control left click, right click. Control law, left click, right click. And now what I'll do is control left click, right click. Control left click, right click. Grab them both, pull them up a little bit. Grab both of these parts. We have shift select control. Let's pull them out into place like so. Let's also move them over. In other words, I want to pull them over and X pull them over just so they're more in the center. And finally then just grab the faces on each of these and let's pull them out this way. If I press, I can pull them out this way. And then all I'm going to do now is just bevel off the top of here. So if I come in, grab this top press control B, and bevel them off like so wherever I want them. All right, that's looking cool. So on the next one then what we'll do is we'll get this part. Then actually in, so you can see we need another plank of wood which is going to come to this part. Probably going to have to pull these parts out a little bit more just to make sure they fit into place. But you can see really, really coming together nicely now. All right everyone. So let's save out the work. So let's save it out and I'll see you on the next one. Thanks a lot. Bye bye. 103. Finalizing the Bus Stop Stand Model: Welcome back if you want to blender for the Environment Artists Guide. And this is where we left off. All right, so now let's start work on these little parts here. So pretty much I'm going to do the kind of the same thing with this one. Might make it look a little bit different on this one. So it goes nicely into this part, I guess. So let's circum in and what we'll do is we'll come and we need to work on either one of these. So I wont to do. Just put this little triangle on and we should now. I'm hoping. Nope, we can't, we still have to come around to this one. I was hoping we could work on both of those. So I'm going to grab the face select. I'm going to make sure where is it? Oh, it's the solidify that I've put on. Let's try print it on here. There we go. Now I should be able to work on this. Now we can see that I've got a problem in that I need to apply the solidify First, let's come in press control A, and then I'll show you what I just did. So basically if you put this on, you'll be able to work on the other mirror. So sometimes you want to work on this mirror and it's just on this mirror for instance. So this is the main one. It's mirrored over here. It doesn't let you work on it, but if you take this on, it will actually let you do that. So let's grab both of these like so. And then what I can do now is I can start pulling this out. So if I press shift D and then Enter and Y, I should be able to start pulling these out into place like so. So I'm going to pull it maybe a little bit further. S and Y pull it, something like that. Then what I think I'll do is maybe add another one that'll come over here. So first of all though, let's pull this out. So I'm going to grab all of this Alt Shift and click Alt Shift. Click. And then I need to put them on individual origins, individual origins, and X. And then I should be able to pull them out. And then what I'll do is I'll drop these down a little bit as well. So I'll grab both of these, hold them down a little bit. So now let's think about this final bit on here. And I'm thinking that maybe I want a rounded bit. Coming down to here, What is the easiest, easiest way to do this? I'm thinking prob probably with a bevel on here. If I bring in a cube, I can then use it to bevel it. What I'll do is I'll bring in this part, first of all, and then what I'll do is I'll grab this one as well because we're dealing with two of them here. Then what I'll do is I'll press shift D again. I'll press and X, and I'll pull those out. And then what I want to do is I want to put this on medium point. So let's put it on medium point. And then enter and Y. And then I should be able to pull that into place. Now you can see that it's not going to be how I want it. So first of all, I want to pull this up a little bit, like so I want to pull them both up, sorry. So pull them both up then what I want to do is now pull them back. So I'm going to grab this one. This one and then pull them back and Y's pull them back into place. Now I want to do is just level this edge off, see if I can level it off. It gives me a nice form on this part. What I'll do is I'll come in on object and put this x ray on so I can see through it. Grab this one and this one. And then I'll just press control B. Hopefully I pull them off. We should be able to, if I pull that in, bevel them off a little bit like so. All right, let's see what we've done there. We can come back now and alter the bevel anyway. I'm going to turn it up a few more like so I'm going to then bring down this bevel or bring it across. So I definitely want to bring it across. Now the thing is if a bevel won't come across, all it means is instead of doing it like that, you can press controls head, bring in an edge loop. So control bring in edge loop on there. So you can see it's going to be over the other side, unfortunately, let's come over here. So control left click, right click. And then control left click, right click. Let's try that one again. Control law, left click, right click. And then grab them both. And then and y pull them towards here. And now we should be able to come in and level them off. Much, much easier if I come in now with my x ray. Grab this one and this one and press control B. Should be able to, as you can see, bevel it off with Ese now. Now if I come in and turn that off, you can see just how easy that was because it only comes to this point now. Now we do have a problem in there. You can see it's gone slightly over there and it's up to you now. I think what I'll do is with this, I'll just pull these back now. So if I grab this one and grab this one, and then I'll press and y and pull it back like so. And there we go. Let's have a look at that. Yeah. And I think that's looking pretty good, so I think it hanging like that is a bit better than this one. And I think it sets it apart from the other side. All right, so now we've done that. What we can do now is think about putting our top on so I can press Shift. Let's bring in a plane. Let's bring it up then. And let's put it into place so it looks about right on the front and back. Let's press and X, pull it out just so it's going to go over there. And from there then I'm just going to place it into place. So, and then I'm going to press the Tab button. And press E, first of all, just to bring it up. So, and then what I'll do is I'll bring it in. So I'm going to press, I bring it in a little bit, hold in the Shift button. And you can see if I go over the top, it's not even so I need to fix that. And the easiest way to fix that, control all transforms, set origins, geometry. And now press the button. And now it comes in nice. And even now press the button, and let's pull it up like so. And then again, and then, and let's pull it out. And then pull it up. And then pull it up. And then pull it in with the button again. Something like that's looking pretty nice and now we just need a really nice blowing top on here. So to do that, first of all, I'll press I to bring it in, and then E, and then, and there we go. All right, now with this bit, I'm going to separate it off because I don't want to bend this in. And then what I'm going to do is I'm just going to press Y. And then I'm going to press, bring it up to the height that I want it. Something like that. And then finally, let's bring this in now with the button. Now let's actually bend these in. Let's bring in an edge loop. Maybe five on here. Left click, right click, and then shift and click proportion editing on. And let's press the button and bring it in. Bringing it out can pull it out very slowly. So there we go. That's pretty nice. Now finally let's right click shade to smooth. And there we go, that's looking good. Now let's just put a little bit of a top on here. What I'm going to do is I'm going to press without portion. You can see it's not even again, so I'm just going to go back. I'm going to press Tab Control or transforms, right click the origin geometry. Now hopefully if I press I'm actually, you can see here, what happened was basically brought out an extrusion. So let's press control plus and then what I'll do is mesh. And I want to clean it up because there's an extrusion on there and I want to make a new extrusion. So rather than, you know, having two extrusions on there, messing around with UV maps and things like that, we don't want to do that. Instead what we want to do is fix it. So if I clean up and then come down to merge by distance, four vertices removed. And now if I grab this, you can see there's no extrusion on there. So now what I should be able to do is enter and pull it out. And it is coming out a little bit, even not quite as even as I want it to. So I'm just going to press S and X and pull it in a little bit like so. And then finally, let's bring it up into place like so. And then finally, there we go. Dad is looking really nice. I'm happy with how that looks. I don't think I need to do really anything else to it. All that's left to do now on the next lesson is to put the materials in and bevel it all off. What I'm going to do, first of all, we'll grab all of the little parts. So all of these parts like, so press G just to make sure you've grabbed them all. And I'm just going to do this separate from these, just for now, what I'm going to do is I'm just going to come up to object, come down to convert mesh. And then I can press control J, Join it all together. Right click, shade, auto, smooth control all transforms. Right click the origin geometry, Add in a modifier, and this time it's going to be a bevel. You can see that the bevel doesn't seem to have gone on there. And all that means is again, geometry clamp over, lap off and then mount naught point naught three. Put that down and there we go. Now we've got a nice bevel on there. Now I'm just looking to make sure if I right click and shade or to smooth. You can see it's not smooth on these parts here. So I really need to fix that. So all I'm going to do is come in Oak Shift and click, going all the way around, right click. And we want to shade flat on that part there. And there we go, you can see that it just looks so much better. Now, same on this part as well. You can see that these parts here, they're actually not shaded flat. So I need to come in, fix those. Right click, shade flat, and there we go. It's just looking so much better. And now what we'll do is on the next lesson is we'll get all of this actually joined up. So we can see here we've got a bevel on here. It's got not 0.1 Let's put it down to no point naught three like so. And you can see it's not really going to do anything. Which means that now I should be able to come in and join all of this together. So if I join this with this, now one problem we're going to have is at the moment this has got the metal on, probably better off not quite joining it yet. If I put this on material, you will see when the material shaders load up, you can see 27 shaders over here. When they load up, then you'll see that this has got the metal on. And this of course, needs to be wooden, so better off splitting it up for now and joining it together all at the end, because we do want this green metal on here. But you can see already it's coming together really, really nicely. All right everyone. So I hope you enjoyed that one. I'm going to save out my work and then I'll see you on the next one. Thanks a lot. Bye bye. 104. Texturing Techniques for Victorian Bus Stops: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left the art. All right, let's come into this. So we've got our bevel on, everything's on there. Let's then bring in our first material, which will be our green painted wood. So let's bring that in. We also haven't unwrapped this yet, so we're probably going to be better off wrapping this in stages. So all I'll do, I'll grab this smart UV project. Click okay, hide it out the way. Let's come to the next bit then. So L smart UV project, click okay, hide it out the way. Then we'll come to these bits. And we're just going to break it up into sections. It just makes it look much better. I'm thinking the one bit I've missed on here I think is this bit. I think I actually, what I'll do is I'll fix this bit first. So I did actually forget. So what we'll do is we'll come into these bits. We'll press the eye button, bring it in like so. And then I'm going to press, so not Enter and X and bring it back. So I'm just going to put an object mode just to make sure that's back round about the same as this. If not, I can bring it forward. So S and X bring it forward a little bit like so. And there we go. That's looking much better now, I actually forgot to do that. And now we can actually go back to Material mode, press the tab. And then what I can do is we can come into these parts here with L, and then I can press U and Smart UV Project, finally. Then I can hide those out of the way. Press the button to grab everything. Smart UV Project. Click okay. And then finally, Lth, bring back everything. All right, now I want to bring in another material, so I'm going to click the plus button. And this time, I don't think we brought this in, It's going to be the painted one. So if I come down, I'm looking for wood and the one I want here is this red painted wood. So I'm going to drag and drop that into place like so. And now I'll do is go back to modeling and let it load up. And what we're going to do is we'll grab the top part first, I'm going to grab this part. Control plus control. Plus, just to make sure you've got it under there as well, red painted wood. Click a sign. All right. Now let's have a look at that. It's looking pretty nice. And now let's come down to, I think we'll do this part here. So Alt shift click control plus making sure it's going all the way around there, Red painted wood. Click a sign, and there we go. And then what I think I'll do is we'll also have probably a little band on here just to split this up a little bit. So if I press control left click, right click, control B, pull this out, bring it back. So it's just one or something like that. And then press Enter alternates and just bring it out a little bit and you can see it sometimes this happens. So what you want to do if that happens is just press the S button instead and bring it out like so. And then just make sure that it's all kind of lined up so you can see there. That's looking pretty nice. And from there then what you can do is you can press Control plus smart UV project, just to rewrap it because it will be stretched. And then click a sign. And there we go. That's looking really nice now. We just want the inside of these. So I'm just going to come in face select. I'm going to grab all of these. And again, it's more or less trying to break up the surface like so. And then click a sign like so. All right, that's looking really nice. Now what I want to do is I want to actually think about these adverts on here. So the way I'll do it is I think what I'll do is I'll grab all of these and then what I'll do is I'll press Shift like so. And then press the bon, I should be able to shrink that in like so now the thing is I really want to split these off, so I'm probably better off. I'll just go back. And what I'll do instead is we'll come down, we'll grab this one and this one for instance. And then what I'll do is we'll press Shift, press the S button. Now they're disappearing in there because we need it on individual origins, press the S button, bring them down to where we want them. So something like that. And we can see that they then still stuck back against this, which is exactly what we want. What we're going to do and then is press P selection. And then I'm going to come round to these now. So control, click shift, click, control, click shift D S, bring them in like so. And then selection and split those off from there. Then I'm going to grab these ones, and these ones join them altogether. So control J, join them altogether. And now I'm going to do is I'm going to give these a different material back to asset manager then. And what we're looking for now is let's have a look backdrop. So they on there. So living room, bedroom, Let's scroll down and look. Posters, here we are, Posters. So the ones we want are the adverts. So these ones here is what I want. So click control, sorry. Plus, and then just drag my adverts over there, like so. Now back to modeling once more, and then what I want to do now is grab all these and click a sign and more. So we're going to press you and unwrap them. And then what we're going to do now is go over to our UV editing. Now I'm going to come and just do these in stages, so I'm going to grab this one here, so L and then I can see it's over here. I'm going to press a R 90 and just spin it around like so. And then R 180 just to make sure it's going the right way. And then finally I'll just make it a little bit smaller and bring it into place. I'm just pressing G now. I'm going to bring it into place where I want it. And luckily for you will see, because these parts here, again, it's a seamless texture on there. So now I just need to try and fix all of this into here so we could unwrap this and make it a lot more straighter, for instance. So we could straighten out these edges and that then would bring this all together. Let's see if we can do that. So if I grab this one going down to here, so if I grab, just come up to my edge. So if I grab my edge going all the way down to ear press Alt and I can straighten that out. And then what I'll do is I'll grab this one going all the way down to here al, and straighten that out. And let's see what that looks like. It might not work out, Sometimes it does, sometimes it doesn't. Let's press and X and pull it out a little bit, and then let's put it into place. And then and X and pull it in. Now, is that going to work out? Let's have a look. It looks too bent to me, so I don't think I'm going to keep that like that. What I'm going to do then instead, is I'll just go back to it. You unwrap it, spin it round, so O -90 Spin it round, and then let's put it in place like so. And then and X pull it into place. I'm just thinking, do I want it coming all the way out to there? So from here sort of thing. Do I want it to look like that? I don't actually think so. I think I need to make it a little bit smaller like so to bring it all in and then just put it up into place where I want it. And I think that is actually going to look much, much bearer as you can see. All right, from there then what I'm going to do is I'm going to copy this one. So I'm going to press you, come down to copy, copy and default, and then come over to these. Hopefully I might be able to copy these all. So if I grab this one, this one and this one, and then press you, let's see if I can paste Default. And there we go. Let's even paste them in. And actually that might have worked out okay, except this one and this one don't look right. So we'll do this one first. All right, so let's think about this one on the back. You know what, I think, actually it's better if we don't have one on the back. Yeah, I think we don't need one on the back. I think it's too much, actually. So what I'll do is I'll just come in and delete that one out of the way. So delete vertices. Let's now come into this one, and instead of doing that, we'll just press you on the wrap. And then what we'll do is we'll stick this one in place. So R -90 Come on over here, R -90 And then we'll press and then bring it up in some kind of place like so. And then press and X, stretch it out a little bit, and then and Y, bring it up a little bit. And there we go. That's the advert on here. You can see that top bit on there. That's fine. Now from this I can grab this one then copy, copy default. Come round to here, L u, copy paste default like so. Now let's put the other one on, which is going to be this lady here. Bring it over and put it in place like so. There we go. Double tap the, they're looking pretty nice. All right, let's go back to modeling them. Let's just make sure we're happy with all of those. I think we are. Now what I can do is I should be able to grab all of this, grab this, and then what I'm going to do is grab the bottom, because it'll all be the same now. So grab all of these parts in the bottom and press control J and join it altogether. And now let's just give it a quick check. Then let's double tap the first. Let's give it a quick check on our rendered view. Have a look what that looks like. And there you go, absolutely beautiful. And I'm just looking around where the woodies just making sure that I'm mapped with everything. I think that really, really fits the scene. I'm looking at these posts down here making sure they look very different from these ones. Which you can see. They do so still the same style but looking a little bit different. All right, so what we'll do now is we'll just put this on object mode. I'll come over to this and I'll call it a bus stop. So we'll put it, first of all, into our assets. Then I'll press F two, I'll call it a bus stop. Now, I'm not going to set these out at the moment, so I'm just going to move it over here. I'm going to of course, reset the transformation. So control, layo transforms set origin to geometry like so I'm going to let this, what's this bench, you couldn't get my words out then out of the way. And I think what we're going to do now on the next lesson, is we'll build out the newspaper stand. We'll get the little newspaper. You know, we're in placard on here and I think from there then I'm just looking around my scene. We've got basically the car to do, but we're going to be doing that a little bit later. We've pretty much built out then all of the little assets. We've got the trees, and a few things to put in. But apart from that, I think after that, then we'll move onto our Subway, and then we'll move on to our butchers, and then maybe the car, and then finally this top building here, and then the floor. And then we're basically done. So lots and lots to do, but we are getting there, so I think the next one is definitely going to be the actual subway. Alright everyone, So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 105. Beginning the Newspaper Stand Project: Welcome back everyone to Blender Fall, The Environment Artists Guide, And this is where we left off. All right. What I'm going to do now is I'm going to go over the top of here. So I want you to bring in your coffee shop and your bookstore, because that then will help us line up where we're actually going to put this Subway. And all we're going to do really is just bring in our actual subway and just make a kind of where is it going to go. And then from there we can actually start with our bookstore. So I just want to make my gap here first. I can see that probably this bookstore may be a little bit too close to the subway or this is too far this way. I'm thinking that the subway should realistically come from about here and round here. So let's actually enough of me waffling on, let's just put this around here. Let's press Shift S Ursa Selected. Let's bring in a cube then. So bring in a cube, and then what we want to do is just get it to the size that it's going to do it. So I'm going to press and y first of all and pull it out. And then what I'm going to do next is I'm just going to pull it down so I can still see my guy there. I can still see myself going over the top of it. And what I want to do now is work on the actual width. So I can see here that if he's walking down here, so if there's one person walking down here, it's going to be like over here. If we've got a second person walking down here, we can see that the one probably about that far apart. So I'm going to say that this pretty much wants to be tiny bit wider, so S and X tiny bit wider. And then what we want to imagine is where is it going to come up to? So we can see now people will easily easily be able to, you know, walk down the street from here, down here, towards here. The one thing I'm thinking is that maybe, maybe it wants to be a little bit further away from this part because we're going to have a lamppost. You know what? I think that's in the right place. Let's have a look at that. Again, I think this is really in the right place. Actually, we're going to have a bus stop over here and yeah. I don't think I don't think I'm actually going to alter it. The one thing we've got to put in there is a butchers and then we've got this big building here. Yeah. I think rather than mess around with that anymore, I'm going to actually go for it. Let's delete one of the guys. Then let's actually come into our floor and what we'll do is press control or transforms right click surgins geometry. And now we'll go in and add in a Boolean. So just add in a generate Boolean and then what I'm going to do is just click on this like so. And finally then I'll apply that control. Let's apply that. We're going to delete the cube out of the way. We're not going to need that anymore. And what we can also do is just make sure that these are in Boolean so I can hide those out the way as well. All right, so there we've got pretty much our subway where it's going to go and now let's come in and what we're going to build is the newspaper stand. So it's just a very, very simple building. We'll use a lot of the plant geometry note for instance on this, I think that'll make it much easier. So let's first of all, we'll start with the top of the building, So if I bring my guy over, it's gonna be a roundabout there. And then what I'll do is I'll press shift day and I'll bring in a plane. And I'm just going to put the plane just above my guy, so I just want to put it above him. I don't need to do anything else. I just want it to the height where roughly it's going to be. So somewhere around that. And then what we'll do is we'll just come in, add modify geometry, node down arrow. And we want the plank, so bring in a plank and that's what we'll end up with. Now this needs to be, you know, relatively, these will be relatively thin. They're not gonna be that thick, to be honest. They're just gonna be simple planks of wood. First of all though, let's turn the resolution all the way down two, because we're really not going to need a lot of resolution. We're not bending this or anything like that. Next of all, let's work on the actual width. So the moment, if he stood in the, you know, in the kind of newspaper stand here, it's a little bit too wide. So let's come in and bring the width down. Not the width, sorry, the length. Let's bring the length down like so. And then let's next bring the thickness down. So thickness is here. Let's bring that down a little bit, holding the ship to something like that. And I think that is about the right size. Let's move it over here then. And what we'll do then is increase the count. So we'll increase the count like, so I'm thinking that it's probably looking about right. I'm thinking that these are a little bit too wide. So what I'm going to do is I'm going to bring the width down, holding shift like, so increase the count. Maybe one more. Let's try ten. And I think actually that's going to look pretty good now from here. I'm not going to do anything with this yet. What I'm going to do now is I'm going to bring in some other piece of wood. So I'm going to grab my guy press shift, Desk coaster, selected shift. Let's bring in a cube. And then what we'll do is we'll fit the cube on the sides, first of all. And we'll get a good idea then of how big we want this. So make it a little bit smaller, like so. And then we're going to fit it into place like so let's pull it out like so. And then what we'll do is we'll bring it over. So shift space bar move. To the back like so. And then let's bring it to the front and just popping pass there. And finally what I'm going to do is I'm also going to squish this down. So essence, head squish it down a little bit. Pull it down a little bit, and there we go. All right, so now let's bring this to the other side. So shift deep, bring it to the other side. You're just out there now. Let's see how big this is. Now you can see I'm going to have to, or it will be probably better off if I bring in a couple more. And then what I'll do from that is I'll get an idea of how big or small this is going to be. Let's first of all we'll come to this part. So what I'm going to do is I'm going to press shift and I'm going to pull this down. And then I'm going to press, pull it out, press L. And then what we're going to do is bring this down to the floor. All the way down to the floor. There we go. Just there, grab it. And then let's pull it all the way up into this place. And then what I'll do is I'll press L and pull it back a little bit. And then I'll grab this one on this side and press and X and pull those in. If they don't come in, make sure it's on medium point. So S and X pull those in like, so now if I just grab this with L and then I'm just going to bring it over shift D, bring it over into place on here, making sure it's fitting in there nicely. And it is. What can I say from here? I can say this is probably a little bit too wide. We want a very, very small actually. So that now gives us a good idea of how big this is going to be. And what I think with this is actually I want it probably, I'm going to split this off first of all, so let's grab this one selection and now I can grab this one. So LP selection like so. And now I'm just going to press one to go into prompt you. And I'm going to actually grab all of these. So all of these including my guy. And just move them this way a little bit. So just move them this way. Move your guy there. And what you want it to be the size of it, you want it to be the similar size, this side. So in other words, if I grab this, now grab both of these and just move them over. And I think that is the size that I actually need it. And as far as the height goes, I think it also needs to come down in height. So I for grab the height. So let's split this off as well. So LP selection. Now I've got both of these split off and this, let's press one and let's bring it down a little bit like so. And I think that is round about the size that I want it. All right, from there then we can come back to our geometry. Know we can bring down the comp of our boards. We can also decrease the gap. So you can see this gap is very wide at the moment. Let's bring it down. Bring it down like so round about, something like that. And then let's press and X and pull that down to there. That then looks about right now, of course it's gonna slope up the back, so just bear that in mind. But what I'm going to do now is work on this front bit. So on this front counter we'll work on that. So what I'm going to do is I'm going to bring these down first. So we'll bring both of these down. So let's bring them down into place under there. And then what I'll do while I've still got these grab they'll press shift S, coast to selected and then Shift. Let's bring in another cube. Let's separate the cube off. I don't want to joined to those. Selection control y or transforms. Right click, set origins, geometry. Press the S button, scale it down into where I want it. I'm thinking it needs to be fires one, it's going to be too high up there. So I'm going to bring it down to roundabout here just so you can rest his hands on these counters and then S and X, let's pull it out into the place where you want it. At this stage, I'm thinking that the counter that actually probably wants to come round about there, but then these parts want to come back a little bit. We'll do that now. We'll grab both of these and then pull them back, they're into play, something like that. And now finally we'll just put a top on this counter. So what I'm going to do, we just come back to here. Press control, left click, right click. Grab just this top part control. And all we're going to do is just pull it up. Needs to be something very simple as we've said, like, so. All right, that's looking good. Quite a thick counter. Is it too thick? If it is, we can just come underneath, we can grab both of these parts. Then three, we're going to face both of these parts and then just pull it up, making our stick. And there we go. I think this is pretty good and building the outside of this cabin, I'm thinking that I will have a little piece of wood going in there, a bit of wood coming on the bottom. And we also want to put some metal, you know, bolts on the bottom of here as well. But pretty much we've got the basis in there. The one thing I want to do I think before carrying on is make these a little bit thinner, so the width, make them a little bit thinner like so. And increase the actual, not the resolution, increase the count, then x, and there we go. And maybe a tad, just a tad bit thinner, so. All right, let's lift them up and there we go. Alright, that's what I'm going to build with. All right, I'm going to save my work. Well, let's save it out and on the next lesson then, I'm hoping, hoping we should be able to get this actually finished. All right everyone. So hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 106. Implementing Geometry Nodes for Dynamic Newspaper Stands: We welcome back everyone to Blend for the Environment Artists Guide. And this is where we left off. Now what I'm going to do is I'm gonna grab this, I'm gonna press Shift, and I'm just going to bring it down. And the reason I want to bring it down like that is because I want to tilt all of these one way. So if I grab all of these, I should then be able to press RNX and just tilt them, because I actually want this to be tilted down a little bit like soap. So let's now put them on top of there. And there we go. That's looking much better. Now let's work round our back. So what I'm going to do is I'm going to come to the side, I'm going to rotate it around, so our x 90. And let's rotate it around the other way, Y and 90. And there we go. That is the way that I want it now. I need a split coming down here. So what I'm going to do is I'm going to make these a little bit smaller like so. And then let's pull them out. And the other thing that I forgot to do is I forgot. We need to have a lot of variations in this wood. I'm going to do that in a minute. I don't think we've actually done that so far. Yes, we did. Actually, we did it for another part. So what I'm going to do is I'm going to come to this wood and we're going to make it a little bit uneven. And then I'm going to duplicate it and put it there because, yeah, at the moment, this is not how I want it. If we come down random, obviously we need a random length, so obviously we're going to need random width as well. You can see when I make a random width, was that width? Yeah, random width. There we go. Random width. Let's bring it back. Let's add another one in. So let's bring it back again a little bit more. And don't go too far with it, just press and X and pull it in if you need to, like. So there we go. That's looking tons better. And then I'm thinking, can I bring that out? So shift D, let's bring it out. And then out and R. Can I put that back? Yes, I can. That's perfect. And then I want to spin it round, so Y 90 and then 90. Okay, So we know we can get that into place. Now, before I do that though, I forgot what I want to do. I want to also bring in a few resolutions actually. Because what I want to do is let's bring in tiny, tiny bit of bend like. So I want to right click and shade auto smooth. Which is not going to work actually because we've got, it's not going to work actually because we're still going geometry. So let's just change the material though. And what we'll put the material on is dark wood. Let's put that on. And then finally, what we'll do now is the noise. So we need to turn up this displacement. So if a turn up the displacement, you'll see that happens. We don't really want it to be like that. So what we want to do then is turn up the noise. So just put that down a little bit tiny, tiny bit, even smaller than that. Turn up you noise them and now you can actually get a lot of variations in it like you can see. Now it's looking a bit more broken. Let's turn up the resolution and then we'll get even more broken parts. As you can see, that's what I want, except where is it? The displacement is maybe a little bit. Let's bring them up a bit more like. So not the displacement, the noise. And I think that is perfect. That is exactly what I want. Now from there what I want to do it now, I can actually come in, duplicate it. R, Y, 90, 90. In fact, we can't do that. We'll get there. Let's pull it out, press Alton. Now, R Y, and 90, and then 90. There we go. Now the good thing about this is now we've got this, is we can actually just turn up this seed completely swapping over what we have. Now let's put it into place. So we're going to put it into here and we want a halfway point coming down here. So what I'm going to do is press S and bring it in. And we're going to let this one out the way, because that's the one that I want in here. And then what I'm going to do now is bring another post in. So I'll grab this post. Should I do both? No, I don't think so. I'll just do this one for now. So shift, let's bring it back. And what we'll do then is put that in place. So I'm just going to come in, I'll put a top on this, maybe should shift click, that'll make it a little bit easier to come into place. So let's pull it this way a little bit. And on the back we'll pull it a little bit this way. So I'm going to grab the back and pull it that way a little bit. So now let's get this wood into place and we'll get the wood into place going up. We'll also have, we need a back on here as well. So let's put that in first. All I'll do with that is I'll grab this one, Shift D, I'll bring it over to this one first, and then I'll grab it again. So shift D, bring it over to the middle roughly. And then let's reset the transformations like so. And then R, Y, 90, and let's pull it up into place. Now obviously we're going to need to make it smaller. Let's make it smaller. Let's put it into place just on the top of there. Let's press Y and bring it in, and Y and X, bring it in, and then pull it down. Into where we're going to have it now. The good thing is about the geometry nodes. You can see there's a couple poking out here. What we can do is we can come down now and just bring down that length a little bit like so. And we can pull those back into place. Now we'll do is we'll grab this one here. We're going to press shift D. I'm going to bring it over. I'm going to reset the transformations once more like so. And then what I'm going to do is I'm going to make this a little bit smaller. In fact, we won't do it that way. What we'll do is we'll make it smaller, first of all on the Y and Y, like so. And then X and X. There we go. Now the thing is I need to make sure that this is in the center of here, and it should be because we grab this part here. So I think actually we'll see. So what I'll do is I'll grab this one. I'm going to bring down the length of the. Let's bring down the length just so they fit into place. Let's increase down the count. So then we'll go all the way down. All the way down. And we can see we do have a problem in some of the lengths don't actually fit plus the bottom one. We don't want it like that, so I'm just going to turn it down once more. And then what I'm going to do is I'm going to turn up the length. So, and I'm going to turn down the length randomness, just bring it down a little bit so. Alright, that's looking pretty good. Let's bring it up a little bit. We'll have a bottom on here as well. Now I'm going to do is I'm just going to press Shift. Bring it over to this side, making sure it fits. Now you can see, as I said, I don't feel like this is in the middle. So what I'm going to do is grab both of these. Shift cursor selected, grab this one. Then shift selections cursor. And now it's more in the center. It should be in the center of both of those. Now I should be able to put this into place. Let's put it into place like so let's see how that looks. We can see that we're going to have to move this to the side and then we're going to have to move this one to the side as well. And there we go. All right, so good so far. Now let's think about this part. I think I'll have a halfway join in here, so I'm just going to steal this bit. Shift D, bring it over and then R, and X and 90, and then and Y, and just pull it in also, because we're not going to need these in the view of the moment. Hide our coffee shop and our bookstore. Let's hide them out of the way. And then let's pull this into place, like pull it over here. And then what we'll do is we'll just come in now and put this bit back like so. All right, now we need another one, so we're going to grab it again. So shift D, we're going to bring it over to the center of here. Let's grab the center of this. We'll do the same thing, because we know that this is the center of it. All I'll do is I will grab this part, shift selection to cursor and now we know it's in the center. And then x 90. And let's drop that down into place. So, and bring it forward probably a little bit. And then let's drop it down. Let's hide our floor out the way as well. Let's drop it down a little bit more, just down to there. Now what we'll do is we'll come and grab this one shift. What I'm also looking for, just to make sure I've changed those. This is on seed one, this one's on seed one. Let's put this on S two. There we go. Let's try another seed because it's dropped down a little bit. Three, looking a little bit B. Now let's come to these and turn the count down. Turn the count down. Let's also change the seed up to maybe five. Let's bring it into place. We just want it to fit in there, so that's looking good. Let's bring one more in like so and then express Shift D. Shift D, bring it over, put it into place, change the seed. There we go. And you can see just how quickly and easily this is really coming together now. All right. Really happy with that. What we'll do then on the next lesson is we'll get this part in. We have got a daughter put in here as well, which will be around this side. And from there then we'll start putting on, you know, these bottoms of here, which is pretty easy. And then from there we should have it finished and we should be able to come in and texture it. Alright everyone. So, I'm going to save out my work. I hope you're enjoying the course. I really hope you learned a lot and I really, really hope that people have got this far. And just keep going. Like I said, just keep going. You're going to learn more and more and you've seen and really start coming together soon. Alright everyone. So I hope you enjoyed that seeing the next one. Thanks a lot. Bye bye. 107. Completing the Newspaper Stand Model: Welcome back everyone. To Blend for the Environment Artists Guide. And this is where we left off now. I'm just actually going to take one of these. I'm going to press shift D, I'm going to turn up the seed like so. And I'm just going to keep that there. I'm going to do with that is use it for my actual sign, you know, kind of with a newspaper clipping on or something like that. Next of all, I'm going to grab this one and I'm going to press shift deep. And what I'm going to do is I'm going to bring it down. I'm going to press alton Ar just to reset the resolution. I'm also going to turn the seed up like so. And then I'm just going to fit that into place wherever it's going to go, which will be just above these parts here. Of course, this is way, way too wide at the moment, so we need to pull it back. So all I'm going to do is press S, and in this occasion I'm not going to mess around with anything else because you won't really be able to see in there anyway. It's gonna have a piece of wood on here and then we'll actually balance this all up. And what I'm going to do for my piece of wood is I'll just bring in this part here. So I'm just going to press Shift. I'll drop it all the way down. And then I'm just going to steal the bottom of it. So if or this part here. I'll just steal this part here. Shift selection, separate it off, grab this part, then delete it. Hopefully it's not deleted that, which it didn't. Now what we can do is we can press control or transforms, right clicks a origin geometry. Now just pull it out a, pull it out like so. And then let's get this into place and into wherever it's going to go. And this bit maybe needs going up a little bit, as you can see, it needs coming out a little bit like so. And then we don't want this being here because it's going to be supported just on these edges here. Also, we need our floor a little bit higher than this. So I'm going to grab my floor now. Put it up into that place and then grab this one. Pull it up into place like so. All right, so that's pretty much most of it done. Now I'm Jaws making sure that my flaws you can see still a little bit too low. Let's bring it up a little bit or something's in there. Actually, it's these parts here. We don't want those bits just kind of peeking through there. So what I'm going to do is I'll just grab both of those S and Z and just squeeze them up. Jaws a little bit like. So there we go. And then what I'll do is I'll come round and bring this part. So shift, bring it back over here, put it into place. And now finally we just want to straighten up these bottom parts. So I'm going to come to these bottom parts now I'm going to come and put the length, turn down the random length, turn up the length of them, and then just make sure they're sat in place because someone stood on there. You're not really going to be able to see in there. You can see here, you can just see it if you get a really, really clever angle of like that. But I mean, how often are you gonna take an angle like that, to be honest? All right, let's come round now and drop this. We've got it on the back, we just need it on the sides now. So I'm going to press shift D and then R Z 90. And then all I'm going to do is put that into place in here, in here like so. And then all I'm going to do is pull it back. So grab this one, pull it back into place. Grab it again then. So L, and then press shift D and pull it over. Now, to be honest, I'll be sick of working with planks of wood. Once I've done this, I did do the first time. So there we go. That's that. Now let's work on these parts. Coming down here. So what I'm going to do is I'm going to grab this part now. Shift and then we're just going to bring it over. We're going to press R Z 90. And let's then get it into place. If I press control three, I should be able to see where it's going to start. So let's put it there. What we'll do then is turn down the length, randomness to zero, turn up the length. And then let's put it into place more. So let's get it into place. Like if I turn that, that length just far enough, we should be able to make sure it doesn't come at the top of there. So let's turn down the length a little bit more. Let's pull it back a little bit, making sure it's in. Let's see if I can actually get away with that. Let's put it into place. I'm just making sure it's not poking up there, making sure there's the riggin there and that looks perfect. All right. That's looking perfect. I'm happy with that. Now what I think is we'll we'll create the bottom parts. Now, just for these metal parts that are going to go on here, I should be able to come in and grab all of these now. Press control J, just to join them all up. I'll press control to reset all the transformations. And then we'll come in, I'll save my work out while I'm there, I'll make sure then to grab all of the bottom parts like so. And then all I'm going to do is press Enter and then pull it out. You can see the pulling out wrong and the reason is we need to be on individual origins. So pull them out and then pull them down like so. And I really don't think these need anything else other than just those metal parts like so now, before we start our door. Let's actually make these things that are going to go on the front. So what I'm going to do is I've got the front here and I've got the front here. Let's start with this one. So I'm just going to grab this one. Shift us to selected shift. Let's bring in a plane. Let's make it a little bit smaller. Rotate it round so R x 90. Rotate it round. Let's press one or in front view. And then all I'm going to do is press squeeze it in a little bit. And it is a newspaper. Just remember, so it needs to come in a little bit more on the X just so it makes it a newspaper shape. So something like that. And then what we can do from there is we can pull it out like so Al right now what we can do is we can actually make the metal part where the newspaper is going to go in. So all I'll do is I'll come in, grab this, I'll press and you'll see it's not coming in properly. That's because we need to reset our transformations. And now press and bring it in like so. And then all I'll do is I'll grab this, this, and press Y, just to separate them out. And then this and this and press Y, And then I can grab the whole thing, or all of these, sorry. And press pull them out. And finally all I'm going to do is just pull this bit forward. So just pull it forward a little bit just so it can sit on the back of there. Now let's put this into place. So let's put it so it's jawed on there like so. And then all I'll do is I'll pull it over the other side. So shift the, pull it over the other side so make them a bit uneven. I think it looks a little bit bad like that. Anyway, even if you want to just rotate it a little bit like so I think it just adds to it. And now what we'll do is we'll bring in another plane which we'll use for our newspaper. So shift S Ks to select it and then let's bring in a plane. In fact, rather than bringing in the plane, you know what, we'll just use this one. So I'm going to press Shift D. I'm going to pull it out. I'm going to press selection. I'm going to grab this one. Control all transforms. And then what I'm going to do, I need it to look a little bit like a newspaper and I need it to be bent on the corners and things like that. So the way I'll do that is first of all, I'll press one, I'll press S, then one, let's put it set origin to geometry. Bring it down. Yes, like so. And then what we'll do is we'll bring in some edge loops. So control, left click, right click. And then what I'm going to do is I'm going to come in with my knit Al, so I'm going to press one. I'm going to come in with my knife. So I'm going to press K and just come into the corners. And then I'm going to press K, come into this corner. And then I'm going to press K again and just come into all of the corners like so. And then K once more near the top. Now we can actually duplicate this. If I come over, press L shift and duplicate it over there. And then what I'll do is this one. First I'm going to come in, first of all, grab the top of it. I'll grab all of it. Shift and click. Grab these two parts if you need to. And let's bring in, let's try this one first. Is that going to be the bend that I'm actually looking for to have a look? Not too bad, but I need to fold over. Let's try the shop. Yeah, that one's going to be a bit better. Let's try bringing it on the bottom. Now, let's fold it over. Bring it out a little bit. So now let's come in with these parts. And all I'm going to do with these parts is I'm just going to press G and bring it in a bit. Fold it over like so. And there we go, That's looking good. Now let's right click and shade. Auto, smooth. And that's the first one done. Now let's come to the second one then. Same thing again. So we'll just grab all of these. And I've just done separately just so they're going to look a little bit different. Let's grab them all. First of all, let's bring them over, not quite as far on this one. Jaws a little bit less. And then let's bring them over from here on this one as you can see now looking a little bit different. Now let's come up and we'll bend this one back a little bit. And this one forward, jaws, to make them look a little bit different. Bring this one out. There we go. Now they're looking very different from each other. Now let's pull this one back into place, just so it's on there like so. And then this one, now we need to put also in place. So press one on the number pad without proportionality. It's on. There we go. Let's rotate this one round as well, so R, Y, and then let's also grab this one, L, and then R and Y rotate it around, maybe this way. So all right, that's looking perfect. Okay, So all there is left to do now on this is the actual door. I do need a little thin one coming across here, I think. Yeah, I think we'll put that on. And then just the door and finally we can actually work on this part here with our other newspaper parts. So not much to go on this one now. All right, everyone. So I'm going to save out my work and I'll see you on the next one. Thanks a lot. Bye bye. 108. Modeling Doors for Community Stands: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left off. All right, so let's grab this one here. We'll just actually grab this one. So I'm just going to grab this one. Press P selection, Split it off, so control y or transforms right click instead, origin to geometry. And now what we'll do is we'll bring in our door archers first. So we want some door archers coming around here. And here we want to keep the door straight. We don't want it going, you know, kind of this way. So what I'm going to do, I'm gonna press shift, bring in a que and Cube came over there. I don't want that. I'm going to come to this now. Shift S. Krista, selected shift date. Let's bring in a cube then. I'm also tired of kind of making this smaller. Sando is going to bring it all the way down to bring in something that I can actually use. And let's press and bring that then over to here. And then X, bring it in, pull it out. Let's pull it up now. So we're going to pull it up with face select. Bring up the face. You can see it's all the way through there. Don't really want that. So let's pull it up first, Grab the top. Let's pull it up to the top. So let's bring it back a tiny bit more like so. And then all we're doing is we'll bring it over to this side, shifty, bring it over to this side and we'll make our door. From there, we're going to bring up the top now. Then what we'll do is we'll use this part to make just that arch that's going to go over there. So I'm just going to press shift D. I'll bring it up and then what I'll do is I'll put it into place so we can see here. It just needs to go thicker, basically. Let's first of all press S and Y, shrink it down. Maybe we're going a little bit too far there, S and Y, bring it out. That looks about right. I just need to bring up the top now. There we go. Make sure it's not poking through and that looks perfect. Now from here, we can actually create our plane for our door. So what I'm going to do is I'm just going to grab these two. Grab this one and this one. Press the F one, and then press P and Selection. And there we go, that's split off. Now you can see we do have a problem in that we really don't want it to come kind like that. So all I'm going to do is press tab. We're going to pol it over. I'm also going to make sure that it's right down at the bottom. So this one here is right down the bottom. Press control three, is it? No, it's going to be three. We can work with that. And what I want to do is I want to put my door roundabout there. So what I'm going to do is I'm going to press Tab. I'm going to press control R. Bring in an edge loop, bring you up, and if you press E, you can actually straighten it out. So all I'm going to do is press once I've got that, and then I'm just going to press left click light. So finally then I can come in, grab the top part of the here, press Delete and faces. All right, so that's our door. Now let's come in and just hide the other way so I can work with it like so I'm going to hide that other way as well. Let's come to our door. So with our door, we probably want a little bit of a frame going round it. We're going to have then a window and a bit coming out. So first of all, let's press tab control. And let's split this door right in the center, I think. So drop it right click right in the center. Let's now make the frame that's gonna go round them. So if I grab this, should then be able to press again and bring it in. So draws the small frame like so. And then from there then what I can do is I can grab this one and bring it in. And that then is going to create my window here. And from this part I'm going to bring it in, but I also want to make sure that I'm going to be going back. Now. First of, first of all, let's split off these two. I'm going to press Y, and then I'm going to split off this one and this one, I'm going to press Y, and then what I'm going to do is grab them both and pull them out. I'm going to press to pull them out just there. Then what I'm going to do now is come into the next part. We'll do the window next. I'm going to grab this one. This one and this one press Y, and then this one and this one press Y. Finally, grab both of these and then we're going to pull them out. That is where our window is going to go, right in there. This now should be separated. I should be able to pull that back if I want to. Now you can see we've not got a lot of room here to maneuver with on the front or back. As you can see, my window is right back here. This door is right back here. These probably won't come out a little bit more. I'm just going to grab these. I'm going to pull them out a little bit more. Give me a little bit more room to work with. And from there then I'll also pull all of these out just a tad more. So let's pull them out just a little bit more like so. All right, that's bare. Now we can come into the window and we can pull the window into place holding shift, so perfect. Now let's come to the bottom part then. So we're going to grab this one, and this one, press Y, and we already know why we're separating these. We're separating them because when we come to bevel them, they're going to look much, much nicer. Let's press. So now with this part, what we're going to do is we're going to bring it in slightly, so I bring it in. And then, and then again like so. And finally just press the button and just make a door like that. Just a simple door like this. Finally just the bottom bit. Then I want the Bob bit to come out a little bit more. So what I'm going to do is I'm thinking I'll just pull this bit out. So I'm just going to press and pull this bit out a little bit. So actually I don't like these parts on here. Instead of that, I'm just going to put it back. All I'm going to do is come in. First of all, I don't know if there's still a extrusion on there. So what I'm going to do is mesh, clean up, merge by distance, and there wasn't one on there. Now I can do is come in, press A just so it's going down. Now you can see at the moment, it's a very weird angle. The reason is for press escape, I need to be in directly on three. Then I can press A, then I can do the same one on this one A. And that one didn't work, so let's try that again O Enter and still not work. Sometimes sometimes this happens. If this happens, just press shift H, Hide everything else, and now you should be able to get this to go right. It's just trying to connect to something else. That's the reason sometimes it doesn't work. So connect it, Enter, and there you go. All right, from there, then now I can pull this out. So pull this out. So let's press tab. There we go. All right. All right, we've got our door on now. The one thing we can see with this door is it needs to go back. You can see it at the moment it's in front of there. We don't want that, so let's pull it back into place. The other thing is that on our door, as you can see on the back here, we've got a lot of the pack missing. So let's press shift age, hide everything else out of the way, and let's have a look at why these backs are missing. You can see we've got a lot of crossover parts on here. First of all, before we do anything, let's just reset all our transforms. Let's come in then and add in a, not a jumptodevel, generate bevel, nothing's actually happening with that, have a look. I think what I have to do is come in geometry, turn off clamp overlap. Put this on naught point, naught naught three. Now, there we go. All right, that's a good door. Now we've just got the backs to fix. So you can see here, especially down here it is this part here, it's mainly this part down here. So what I'm going to do, I'm going to grab everything. I'm going to make sure first of all that we're going to clean it up. We're going to merge by distance 56 vertices removed. And for some reason we had actually a really big problem in there. I don't know what caused that. Either way though, now let's actually get this fixed. So if I press L, it's going to grab the whole thing. So you can see problem is when I joined those vertices together, it actually joined the back of here where this wooden kind of part is going around here. We don't want that, so let's come back before we do that. And there we go. And let's come in and grab all of these. And we're going to hide those out of the way. So hide them out the way. And we should now be left with this. Now you can see these just I've got a blank in them and I need to first of all, separate them out so you can see all of this isn't separated. This is probably what's caused that problem. I didn't separate these out, and I really need them separated out. So what I'm going to do is I'll grab the center press control, control control, why H to hide it out the way and separate that out. Now let's deal with these now because we can see we've got gaps all the way down here. If I come in and I grab each of these, let's first of all see if you can come in and mesh, cleanup and fill holes. There we go. Let's now bring the other part back. So this part here. And I'm going to do the same thing. So I'm going to press L on this part, mesh, clean up L holes and there we go. All right. The doors fixed? That's looking pretty cool. I'm just making sure everything's right on there. I think I'm going to leave it at that now. All right. All Tate, bring everything back and then hopefully now on the next There's nothing before doing this part. We'll get all of these materials on because this part is pretty much done. The one thing you can see is I need to lift it up a little bit. So if I come in, grab everything, bring it up and then press ol tag, bring everything back. Press one and then grab it again. And then one we're going to do is just put it on that ground plane. So let's bring it down now. Put it on the ground plane, so press old tag and there we go. Alright, that's not floating in there. That's looking pretty nice, the guys in there, it's looking like a newspaper stand and we're happy. So let's go up to file, save everything now and I'll see on the next. And everyone, thanks a lot. Bye bye. 109. Advanced Texturing for Newspaper Stands: Welcome back everyone. To blend the ball, the environment, artists guide, and this where we left the art. All right, so now let's come in, let's put in our material. I think we should have material on these. Let's see. And there we go. And we've got materials on all the way around there, which is really good. You can see that on some of these, the materials haven't gone on properly. That sometimes happens with the actual bend. So what I'm going to do is, first of all, I'll turn my light round, so 180, turn it round. Let's have a look at these. So we can just see in here where they've actually gone. If we come up here, let's try and turn the seed first. And there we go. Seeds done that. Let's come to this one, turn the seed up to four, maybe five, and there we go. It's actually fixed it, apart from the fact we need to make them, you know, a little bit longer. Let's just make them a little bit longer like so double tap the eight and they're fine. Work our way round. Let's have a look at the other ones. Work our way round here, making sure they're all going the right way. And I think everything on there now is pretty much hunky dory. So let's come in and grab these ones now. We'll join all of these posts together. We'll also, yeah, we'll do these parts first. So I'll grab this one. And this 11 part of Miss, by the way, is under here. So let's quickly fix that then, while we've got it. So all I'm going to do is grab this one shift, we'll bring it over to here, and then we'll pull it down to here. So let's pull it back into place into somewhere like that I think is good. And then all I want to do is just lower this down a little bit and make sure that it's a little bit thinner. So in a lower it down. And there we go. All right, now what we can do is we can join all of these. So we're going to join all of these together. So I'm going to press control J. Join them all together. Smart UV project. Okay, I'm hoping they will unwrap. Okay, Then what I'm going to do is I'm just going to come in and let's come in and add in wood, dark wood, double tap the and there we go. It's up to you. If you want all to be dark wood, let's put it on to render. Or what you could do instead is you could bring this down to the light wood. We also have that, so if we're in light, you might want to have it like that. Instead of it's dark, some of it's light. I think personally I like the dark wood like so. And then what I'll do is now come to this part because I'm also thinking they would have probably used the same material all the way through. So I'm just going to grab all of these parts now, and this part and this part. And then what I'm going to do is grab this part, this part going all the way around and maybe a bottom part there, like so. Press control J, and then control or transforms. And finally, tab U and Smart UV project. Click okay. And then what we'll do is we'll join it up to this wood, so control L and we'll link materials. And there we go. Now let's think about these bottom bits before we go on. So if I come over, just hide my floor out of the way for now. And then what I'm going to do is I'm going to come under the bottoms, grab each one of these like so. And this one press control control plus. And then all I'm going to do is click down arrow and black metal and click a sign tab. Double tap the. All right. Now I'm just wondering why this bit here looks like that. Not even sure. So let's come in, separate it out and there we go. I don't know why that did that. But anyway, I think it was joined to this in some way. But ah, now let's come to these parts. So I'm going to go out both of these parts. Control A or transform, dry click Sogen's geometry. Bring in a black metal. And let's now press control L and link materials. And then all longer going to do is press Tab and smart UV Project. Click okay. And there we go, there's the metal. And on these actually you can really, really see what we're talking about with the metal edgewaar. This is why those shades that we've created really, really make such a huge difference. Now let's come to the actual door. And I think the inside of the door should basically be all green. So if I press control, Al transforms set origin into geometry Tab, grab everything. Smart UV Project. Click okay, down arrow. Let's find the green them. So green painted wood. And then let's come to this part here. Now the green painted wood, as you can see is definitely definitely not looking the way it should. So I'm going to come to this part here first of all. And then one going to do is going to click plus down arrow. And I'm looking for glass. And the glass I'm looking for is a table glass. And let's click a sign. And now I'm going to do is I'm going to come in and hopefully split all of these off. So if I split these off, fair, press selection. Split them off. Now you can see it's actually looking a little bit better, I think. I'm not happy with how this wood is on here and I don't know really why it's going lib that. So what I'm going to do is I'm just going to grab them. Control or transforms right clicks, the origin geometry. And what I'm going to do is I'm going to get the light, so where is my light? And I'm going to shine it. So zed 90 red hundred and 80. And shine it this way. So I can actually see a little bit better while I'm looking at. Yeah, I definitely don't want it looking like this. It doesn't look like it's unwrapped as well to me. If I grab all of these, so if I come in, you can see these are split off. Now let's grab this one. Press a smart UV Project, Click Okay. I'm just looking to see, definitely not like this. Let's actually try something. So what we'll do is we'll come to this part and what we'll do is we'll add in a modifier and we'll bring in a bevel. Let's bring in a bevel. Let's put it on point N naught three. Let's put that on there. Let's just check to see if it's actually beveled off, which it has. Now what we'll do is we'll come to this door, we'll join it with this control copy modifiers. Let's actually over look what happened there. Oh, it's already got a bevel on there, let's have a look. Yeah, it already has a bevel on there that maybe Let's just turn this bevel off. So I'm just going to turn this bevel off. Put it back onto. Yeah, it's still the same. All right. We have a few options what we can do here. Let's turn it back on, make sure everything's leveled off, so both of these parts should be leveled off. Now let's join it all together with control J. And then what we're going to do is instead we'll come over now to our green painted wood. And what we'll do is we'll click plus new green painted wooden door like so. And then what I'll do is I'll come to this one, click the down arrow to copy material, and then click the down arrow to paste in the material. So now this material is exactly the same as this one, but now I can alter this one without altering this main one right across our scene. So what we'll do is click the minus B. Everything will go to glass, which of course we don't want. Press the tabon to select everything. And then a sign. And then come to this part. Let's join it altogether, actually, because it's no good as the way it is. So control G, join it altogether. And then finally come to this part here. Glass click a sign. Let's minus this one off as well. So minus that off in object mode. Now we need to just come in and grab these parts here and click a sign on there. All right, now let's leave that there. What we'll do is we'll go over to shading. I'm going to press the dot button to zoom in, and I'm going to zoom out of this. And then what I'm going to do is I'm just going to go onto my rendered view. Let's have a look now and see if we can actually fix this. Basically, most of the time, these are where the devils are. This is what's caused in the edge. This is like the difference between them. If I come in here, I can come in and let's see if I turn that down. There you go. That's exactly what I want now it's looking there. Let's bring that up a little bit. Let's bring it up even more. There we go, a thing. Our looks tons, tons better. Yeah, that's looking much, much better in there. And that's exactly what I wanted. All right, so we got there in the end. I'm just looking to make sure everything's right while I'm here. I think this is looking really good. So now what we'll do then on the next lesson, is we'll get the newspapers in. I think we'll build this part out first because then we can get the newspapers in altogether. I think they'll be easier. I think for now though, we'll just go back to modeling and we'll save it out. As this part took much longer than I actually thought. To be honest, I thought it would be done and dusted within, you know, a few moves. All right, let's also bring out our guy. What we'll do is now join it all together. We'll join this all together. I just want to make sure, have I, these geometry nodes? Yeah, this could cause a problem. We don't really want that because we've leveled some of it off, some of it is beveled off, and some of it isn't. So you can see the bevel is here. I'm just going to quickly do this, so this hasn't got a bevel, this has a bevel. So let's hide that out of the way. Hide. And then all of this now shouldn't have a bevel, you can see it's just geometry nodes. So what I'm going to do from here is first of all, I'll come in and delete this out the way because we don't need that. And then what there is, I'll press Select, Dragon Select. And then what I'm going to do is object come down, convert to mesh. Just make sure if it's gray you select one like that, so it's a bit yellow. Object convert mesh. So now we can press control J, join it altogether. Lth, bring back everything. So now I can just join these with these hopefully and inherit the bevel control J. In fact, what would do? First control all transform, right click, therogent geometry control J, join it all together. And sometimes sometimes that happens, I have no idea why that happens, but sometimes when you join these geometry nodes with something, it minuses off the material or it just doesn't unwrap them way round. That is, let's see, I'm thinking if I come to my bevel, let's minus that off first and the door, let's minus that off. And now let's join this with this press control J. And there you go. You can see how it minus it off. Really weird how it works like that. Let's grab the door, press control J, join it all together. And finally finally let's come in and just re unwrap all these points. I don't know why that is. It's a little bug on blender that's happened to me before. Luckily I do know how to fix it, so I'm going to do is just grab this one and then and smart UV project. Click Okay. So hide those out the way. Let's come in now. L L your any parts that I've actually missed, which is this one. This one. This one and this one. This one. My door again. I think I might need to undo the door again. Smart UV project. Click. Okay. Now let's look at the door. The doors, okay. So that's lucky. Just looking around now, making every sure everything is in the parts I want. You can see again that this part here. Can I bring this out? Let's press Altage. Let's see. Just grab this part. Bring it out a little bit. Just wondering. Yeah, there you go. That's causing the problem there. Let's bring it back a little bit. Causing a problem in here as well, just because of how close it is touching. So we've got another option, We can grab this part and just pull it back a little bit. So there we go. Now that's looking bare. Double tap the, there we go. Everything's looking good on there. Now finally what we can do is we can grab the whole thing and five press, it's all grabbed. Add, modify, generate, bevel, let's come in, bring in plant overlap off, and then let's put this on. Not 0.3 there we go. Now it's all beveled off. Looking beautiful. Now, finally on the next one we can build out this part. And build, get our newspaper on there as well. All right everyone. Sorry that took so long. A few problems there. Hopefully though, it won't give you, you know, the skills in the future to actually fix problems that you might come across. All right everyone. Thanks a lot. Seeing the next one, Bye bye. 110. Finalizing Scene Assets for Enhanced Realism: Welcome back everyone. To Blend the Fall, The Environment Artists Guide, and this is where we left off. All right, let's start work then on this. First of all, let's bring down our length. The length randomness. Let's make them a little bit more just not as much as the other one. So something like that turn up the seed if you want to like so. And the other thing is we want to make this a little bit thinner because at the moment, if I press three, you can see, right, it's right on the ground plane. I don't really want that sell. I'm going to do is press En's ad and bring it up just so it's stuck away from there. The next thing then I want to do is put on something on the front of this shift S Kuster selected shift. Let's bring in a cube. Let's make the cube a little bit smaller. And let's also bring it to the front. And y bring it to the front like so. And then what I'm going to do is have a gap, this side and this side. So I'm just going to put it onto there, so make sure it's stuck back and make sure it's wide enough. Is that too thick? I think it's a little bit too thick at the moment. And X, bring it back in. And Y bring it back a little bit. And there we go. That looks about right now. Just bring this down to the floor. If I bring this down to my ground plane, if I press three, you can see ground plane is, I think round about there. So have a look on three now. Yeah, I press five by mistake then on the number pad, so I couldn't see it properly. So let's bring it down to the ground plane, so. Alright, we've got that one. Let's press tab A in edit mode, shift D, bring it over like so. And then what we'll do now is we'll bring it, we'll actually put on the paper now at the moment, because if we don't do that when we rotate it, we'll have to rotate the paper as well. So all I'll do is I'll just press tab shift a, bring in a plane. In fact, no, we won't do that. We'll use one of these. We'll just grab this. We already created it. So we'll just press Shift and bring it over and put it into place. And you can see here, it's a little bit too big, so I can either shrink it in or I can just grab these parts and just pull them out a little bit like so they don't need to be even anyway. So something like that I think is actually there. Yeah, I think that looks good. Now what I can do is I can join the whole thing together. So grab this, this, and this. You can see that this part is part of here. So let's just press tab LP selection. And now let's join them together. Join all these together. First of all, though, we've got a geometry node, we've got bevels on there. We don't really want to. Yeah, let's have a look. Actually, this has not got a bevelon and this has got a geomet node on this has got a Bevlon. Let's turn off the bevel on here. And now we can come to the geomet node object and convert mesh. And now I can join this and this together control join it altogether. Right click, shade auto, smooth. Finally, let's rotate this. So what I'm going to do is, first of all, let's right click, set origin to geometry. And then what I can do is R and X rotate it round. So now let's bring in some little points on the back shift. In fact, you know what, let's use this part here rather than making new parts shift, let's bring it to the back. Let's press and rotate it round into place there. Then all I'm going to do is I think I'll just all these down a little bit. So I'm just going to come to the front of here just so I can see in there we go. Let's put it on normal, let's pull it down into place, and let's take that off. And there we go, let's pull it up a little bit like so. All right, that looks nice. Let's now grab this with L shift D, bring it over this way and it's needs to go over the other way because I've got a normal on, let's bring it back in global, make it a little bit easier for ourselves. And then we go, all right, control all transforms, right. Click the origins geometry. And now, yeah, we need a bevel on, so generate a bevel nought point n three. There we go. That's that done. And finally, now let's come in and add in some material. So operate in material mode, let it load up. There's a lot of shaders, as they always say. Now let's come to these parts here. So we're going to press L L L U Smart UV Project. Click Okay. And now what we can do is we can actually add in that material. Because at the moment we've got all of these materials on here, we really don't need them on. The only one we want is dark wood. We can minus off the rest of them. We're going to add another one in a minute, which will be for the newspaper. Let's first of all though, do this one. So what I'm going to do is I'm going to come to my newspaper here. I'm going to minus this off, because this one is from the geometry to just minus it off. So make sure you're in object mode, minus it off. It won't change anything. Click plus, and I'm looking to think. That we might need to bring it in. So let's come to asset manager. We can see we've got news headlines here, so just drag and drop this into there, like so back then to modeling and then what I'm going to do is this one and this one. And I'm going to grab, I think this one, yeah, we'll grab both of these. All three of these. So we'll grab, we'll just come in and grab this one. This one and this one. We'll press U and unwrap. So not smart UV Unwrap. Just unwrap. Now let's go to UV editing. Let's first of all come to these. So I come to this one, I can actually assign this, I can come to this one, then assign this. And then finally, for this one, what I can do is I can come to this one here and I need to bring in a new one. So let's actually press plus down arrow and adverts. Is it under adverts or is it something else? Sorry, I forgot. Let's have a look. News headlines. There we go. News headlines. Okay. News headlines like, so click a sign and there we go. All right, so now let's bring in the news then, I guess. So the first one is this one here. So let's grab this one. We'll grab this here. Press dot just so I can come into it and see what I'm doing. So L and what I'm going to do is I'm going to basically move this one a little bit smaller, move it across to here, and then just pull it out a little bit and x pull it out a little bit like so. All right, that's that one. Now let's come to this one L, and I'm going to put this one, so if I press A, I'm going to put it onto several. Which one do you want? Let's pick this one over here, press bringing it down, put it into place. And then and X, and X, pull it out then. And X, just line it up a little bit more. G, X, line it up. There we go. That's that one. Then finally the other one. Let's have this lady on here. I'll come to this one then then put it into place, make it a little bit bigger, and then and x and pull it out. And there we go. All right, that is pretty much done. All right, let's go to modeling. We'll save out our work. We'll have one more look round then to see what this looks like. I'm going to put these both together. So I'm just going to put both together. But we are going to split them up 'cause you might want this in something and this in something else. I'm going to hide my floor out of the way. Let's press the render Bun just have a quick look round making sure we're happy with them and yes, I'm very happy with how they look. Hey, that's that done. Let's then go to object mode. And what I'll do this, I'll call it a paper stand or something like that. So let's grab this. Press F two stand, then we'll call this main paper stand or something, paper, grab them both, Press the button and we're going to put them again in our assets. So finally, now we can actually drag those over there. All right, let's press a tag, bring back everything. Now on the next lesson then what we're going to do, we've basically pretty much done all of our little assets that we have here. What we're gonna do then is work on the actual subway. So we're going to get the subway done, and from there we can actually put in even a couple of trees, we can get those in. We can get in some lamp posts from there. And then finally, we'll start work on the actual butcher's house. All right everyone, So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 111. Initiating the Subway Entrance Model: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left off. All right, so now what I recommend we do is we just hide these two buildings out of the way just to make it a little bit cleaner to wit. With we can also hide the assets out of the way. The only thing I'm going to need is this little guy here. And he's already in his own group. So that's fair enough. So let's close out each of these. You can see that we hid the floor. Then I want to bring that back. I want to hide my bookstore, and this is what we should be left with. Let's move our guy over a little bit then. Now what we're going to do is, first of all, we'll create the kind of part that comes around here. So this part here, the bricks that come around here. And from there then we can build off of that. So what I'm going to do is I'm just going to come in, I'm going to grab this one. This one and this one, and again, three D modeling is all about how we approach something. So we've got to figure out, you know, the best way of doing this. So a lot of pre planning in your own head or even writing out a diagram of how you're going to do it makes a lot of sense. Before you even start something, it will speed up the process. So what I'm going to do is I tend now to look at something and I can understand the best way of building something. It doesn't always work, but most of the time it's just, it's planned out. All right, so let's grab these. Let's press shift D then. And then what I'm going to do is we're gonna press E and Z. Let's bring it up like so. And then let's just separate out from the rest of the actual ground plane. So selection, so let's press control. All transforms right plate it's origin to John tree. And then what we'll do is we'll come over to our little spanner adding a modifier and we're going to generate a solidify. Let's pull the solidify out then. So let's pull it out and let's bring it in a little bit. So what we're looking for here is the thickness of the actual walls. So the bricks, let's bring it out a little bit more. Let's make sure we've got even thickness on. You can see here, it doesn't look quite even. So let's put that on. And there we go. And then what we're going to do now, we've got the right thickness for the bricks. I'm happy with those. And what I'm going to do now is I kind of need to pull it down and bring it in, because at the moment it's right next to this actual wall here. So this actual edge. So let's just bring it in. Jawt a little bit like, so not much. Jaws, a tiny bit. So then what we're going to do now is pull it down. So I'm going to come in, grab the bottom of it. So I'm going to make sure if I turn this off a minute, grab the bottom. So and then what I'm going to do is pull it down. Now, I have no idea at the moment how far my steps are going to come down. So that is the next thing that we need to do. Now one thing we do need to do to make sure that it comes right is if we put our guy here, well, let's put our guy here. Remember that this is going to be the top, so wherever he goes, he needs to be able to walk underneath it. So in other words, if I put him down here and press one, you can see if I put him down to the floor there, this is how much room he's going to have. But the thing is we've got above the ground plane, we've got this. So it definitely needs to be above it. So what I'm saying is the arch needs to come roughly round the top of where this actual ground plane is. So if I pull him down, we can see that if my arch comes around here, that's going to be much better. So from here, what I'm actually going to do now is bring in another object. And we'll use that to actually create the Boolean. And from there then we can actually create the stairs and make sure it all fits in together. So what I'm going to do is I'm going to grab my guy press cursor selected, press shift eight, and we'll bring in a cylinder. Now let's turn the cylinder down because there's no way we want it on this many vertices. So let's put it on something like, let's try 22. Let's then rotate it round, so r x and 90. Let's make it a little bit smaller then. And this arch needs to be big enough so that our guy can actually walk underneath it. And he's got plenty of room at each side. All right, So what I'm going to do to actually do that is I'm just going to come now to this. I'll press actually question mark, just to isolate this out because it'll make it easier to work with. And then what we'll do is now we'll come to, let's have a look. We'll come to this bottom part here. So let's select this one all the way around to this one here. Select the front and the back press. Delete and faces. And we should end up with something like this, which is fairly flat from here. Now what I want to do is I want to bring it down. So I'm just going to press E and Z and bring it down like so. And I'm actually going to fill this in now. So grab all this, press and then the same on the other side, and actually fill in this bottom as well F. Now I know that this might not be the right size at the moment, but I can just grab the bottom and pull that down. So what I'm going to do now is press Tab, Press a little question mark, bring everything back. And this is what we should be left with from here. Then we can actually pull this into place. And I can see now if I press one, this is above the ground plane. Our arch is going to come over here. If I put my guy down, my guy down now down to here. We can see now that it would have plenty of room to come around it. The one thing we have to be careful of is the fact that we want our arch to be made of kind of stone. So I'm going to have to move it down a little bit more so if I pull it down a little bit more like so. And that now once I've got those stone parts in, is going to be much, much better. So I'm happy with how deep this actual Subway goes now. And you can see now this is what it's going to look like. So the arch is going to go in there. And I think that is going to be about right. All right, so from there what we want to do is we just want to make sure that this is poking through so we can actually, you know, make our boolean and the next thing we want to do, in fact, we'll pull it back a little bit more just to there. So that's where it's going to be, roughly, maybe even a little bit more, just so it's poking in front. And the reason I'm doing that is because obviously we need some stairs going down here. Now, the other thing is we want to make sure that this part here, so this part on the bottom of here, can be pulled down all the way down to here. Because our actual bricks are going to come all the way down to here, of course. And the other thing is, if we're bullying this in here, so if I pull it down a little bit more, you can see now I'll make a kind of nice gap. Now I am thinking that I should pull it up to here. Because if not, I will end up with like kind of a break in these steps and then a little tiny piece going across there. Probably not the best way to do that. So I'm just going to leave it like that now. From there then I have to figure out my steps now. So if I pull my guy just over here in front of this arch, I want my steps to end around here. So what I'm going to do is I'm going to come to this part here. So grab this part here. Press Shift S, Ursa selected press tab. And then what we're going to do is bringing a cube. So shift A, bring in a cube. I'm going to make my cube wider, so S and X, bring it out to where these steps want to go, like so. And then what I'm going to do is just make sure I'm happy with where this starts. Now at the moment, if I come into this and turn it back on, you can see that is how the steps are going to look. You can see that they're probably going to be way, way too thin at the moment. So let's pull them out with and y, let's pull them out and let's make our starting step a little bit lower. So something like this looks pretty good. Now what we're going to do is use the array. And we need to now array it and make sure that it comes all the way down to this part here. What I'm going to do is I'm gonna come in, I'll press Control Layer transforms origin to geometry, bring in an array. And then what I'm going to do is turn this to zero. Turn the Y up then. So if I bring the Y up, if you just put it on one, it will just be right next to it. And then the Z, let's put the Z on. So let's bring it down the zed to where I want it. And you can see, put the Z on one, which means now it's right at the bottom of there. That should be fine. Now the only thing we're going to have, the only problem we're going to have is how steep these steps are going to be. And this will always be the actual problem. So let's increase it and you'll see what it means. So if we can get it going all the way down, let's have a look now. You can see that if I come in and put this on, you can see if I press three on the number pad. These are our wide. So if I grab my guy here, you can see I can put him on top of that stairs and I can just see this is fitting actually really nice. The one problem we've got is, is the height of each step. You can see the height is round about a halfway point. That's pretty steep for a step. So what I can do is I can come into this one now, press Tab and Z. And what they'll do is it will pull it up, pull me making them thinner. And now I should be able to increase the count. And there we go. Now that's looking pretty good now. The only thing is you can see they're still a little bit too high, so I'm probably better off the steps look about right for his steps, for his feet. I can probably bring this back and then add in another one. In other words, I want it just to come a little bit down. Because if I grab my guy again, you can see on the last step, if I put him on there, so let's put him on the last step. He's nearly going to bang his head on there. We don't want that. So what we want to do is we're going to grab our steps again. I'm going to grab the actual front of them, so grab the front, pull them back like so. And then just bring in one more count. So one more count, and there you can see now that's fitting pretty nice. Now I'm going to bring it out a little bit more. I'm thinking actually, you know what, if I bring him down now, Have a look. Bring him down to there. And that is pretty much perfect. That is the way that I want it, actually. So, yeah, I'm going to leave it like that. It's just poking through here as well, so that's good. The one thing I would say is from here now, I would probably pull this down a little bit more. So I'm going to grab this, pull it down a little bit more. And from there then I will also grab the bottom of here and pull this down a little bit more. So it's just in there like so. And now I've pretty much got this and I think I can work with it. So let's turn off this and let's actually have a look. Yeah, if it's on there, I think that's going to work out perfectly. All right, so that's basically the groundwork laid out. What we'll do on the next lesson is then we'll boole in this out and then we'll have a really good idea of what this is going to look like. We'll also create the arch going around here. And then from there we'll actually have it going into here and finishing off somewhere around here. After that, we can actually start building this out. This is the hardest part of this. The one thing I think is I should bring this out a little bit. In other words, before I finish, I let me overlook. Can I grab this one? I want to turn this off a minute. I want to grab this. This one here, and this one here. I'm just going to pull them out to here. Let's have a look at that. Actually looks like, yes, and that's what I want. Something like that, I think looks really nice. All right, so there we go everyone. So that, is that done? And I'll see on the next one. I hope you enjoyed this, hope you'll be able to keep up with this one. It's a little bit more technical than some of the other stuff we've built, but I'm sure after all that work that you've put in, you shouldn't have any problems. Thanks a lot. Bye bye. 112. Completing the Modeling of the Subway Entrance: Welcome back on to Blend Ford, The Environment, Artists Guide. And this is where we left off. All right, so the first thing we'll do is we will come in and we will boole in this out. So I'm happy with the sizing on here. We need to put a bit of a top on here when we finish it, but just make sure let's actually come over, bring him up because we know we've got that in place now. And let's just make sure we've got the right height on here so you can see here if this is going to be the high and we're going to have things built on top of here. So I'm thinking maybe we'll just bring him down to the ground plane. Maybe we'll make this a little bit smaller down here because we are going to have a top on it. So just a slight bit. So what I'm going to do is just turn that off tab and I'm just going to grab these. I'm just going to pull them down very slightly like so and put it back on. All right, from there. Now what I'm going to do is I'm going to come over to my solidify press control. Just apply that. And then I'll come in now and reset all of the transforms. All transforms, right click, set origin geometry. And now let's add in the modifier generate. And the one we're going to look at is the boolean. And now what we're going to do is grab our Boolean over here, and there we go. It looks like it's working fine, so I can press control on there. I'm going to come then to this arch, hide it out of the way. And that's what we should be left with. Now from here then I'm going to come round and what I'm going to do is I'm going to make sure that I keep this kind of thickness because I want my kind of arch to come there. But what I want to do now is pull this out so it's got an actual wall come in either side. So what I'll do is I'll come to this part, I'm going to grab the back part. So old shift and click. And you can see it normally grabs all those. So just shift, select each of these off. We will need a floor on here as well, but we're going to do the floor in just a moment. The main thing that I'm going to do is just pull this out now and y, let's pull it out. So make sure you pull it out far enough so that if you are looking down there, you'll just see the back of it like this. And then all I'm going to do is press the F, and just to fill it in from there. Then let's fill in now this bottom part here. So what I'll do is I'll come in and I'll grab this one first. And this one I'm going to press the button. And then this one, and this one press the button, and there we go. That is filled in nicely. Now from now I can press ol tag and I can bring back my arch. And what I'm going to do is I'm going to take this arch that I've actually created, I'm going to pull it forward a little bit. And then what I'm going to do is I'm going to press and y and bring it kind of into someplace like so. So something like that. I think I can create the stone work that's going to come off here from this. So what I'm going to do is, again, I'll ilate it out, press the question mark. And then what I'm going to do is just delete the front, the back on the bottom. We're not going to need any of those. Press delete and Faces. And then what I'm going to do is now bring in some edge loops. So I'll bring in this side first, maybe 1234, left click, right click. And then control press four on the number pad, press Enter, and there we go, and right click, drop those in place. And from here, now we can actually create our stonewall. Now there's a few ways that we can create our stone. If you split them up first, then bring in the solidify. I think it doesn't work as well as doing it the way that I'll show you. So in other words, if we split every one of these, so if I come in and split everyone, you know, press in Y and then bring in the solidify, it's going to leave a big gap at the top here. So at the edge here, it's not going to look right. So the easiest way to do this is to press control all transforms, set origin geometry, adding a modifier we're going to generate. Then where is it a solidify? Let's come down, bring it out then for the size that I want it, make sure even thickness is on. And then what do we do is just press question Mark. And I'm just going to make sure it all fits. Now you can see here, another reason we use solidify is the fact that you can see we've got a lot of flash in here. We don't want that. So let's turn this offset down a little bit and there we go, get to be the right thickness. And I think that's looking absolutely fine. Now again, let's come in and do one final check with our little guy down here. Let's put him on that top step. We can't see through this. Let's press three x ray on. We should just be able to then see this bottom step down here. Look at this bottom step like so. And there you go. That's absolutely fine. Now, I've got plenty of room over there, so now we know everything in place. Let's turn that off. Let's bring our guy back over here just so we know where he is and then we can start work now on this part here. So now I've brought it out. I'm happy with how far out it is. I need to really think now about turning this into actual stonework. So I'm going to do that. I'm going to click on it. I'm going to come over it, Press Control, And now I'm going to isolate it out again. So press the question mark. Isolate it out. And then what you're going to do now is come in and I think first of all, we'll split these off and then I'll split this off, this off, and just work your way down Now, all the way down, same on the other side. With old shifting clicks. Grab the bomb as well. You might as well grab the bombs just so we don't have those left over. Press the Y button and you should end up with something like this now where everything's split off. Now from here, what you can do is you can press a grab everything, mesh, clean up, fill holes. And now nothing seems to have happened. What it's done is it's filled all of these holes in for us. And finally from this now what I can do is and come in press control or transforms and then add in a bevel modifier. And there we go, naught, point naught, naught three, and there is our stone. Now it's up to you on stone. Sometimes it does look a bit better. If you turn up the segments and turn this up, you will see that sometimes you can get it looking a little bit more stone like. So you can see now it's looking a bit more stone like Turn it up again. And there we go. And I think that's looking a bit better than where it term and then what I had it before actually. Now from here what I want to do is I want to come into this one and I want to bring it in. So I'm going to bring it in with I like so and then No, I'm going to do is just bring it back with just to make it look a little bit different. All right. That's looking pretty cool now, I think pretty much we've nearly finished with the bottom. The one thing you might want to do is you might, let's just press question mark and see where this comes down to. So you can see my bottom is all the way through the floor there. So the one thing I'm thinking maybe want to pull this up a little bit just to give it a little bit more of an edge there, or I want to pull it down a little bit, whichever is the case you might want to pull it down. Actually, I think that looks better. Now, the one thing I might want to do is then just come into each of these shifting, click grading, going around the edge alternates, and then just pull them out like yeah. And I think that looks a little bit better now. All right, that's looking pretty good now. Let's come to the top of here then. So let's save that our work as well, just so we don't lose any work. And then we've got a floor in. We've got all of our bricks in. Let's start work on the top of here then. So we've got each of these and what I want to do is I want to pull these out as well. So what I'm going to do is I'm going to press Shift, and then I'm going to press E to pull it up like so to get that thickness of the top, you know, kind of parts on here. And then what I'm going to do is now I'm going to grab it going all the way around and I'm hoping I should be able to press alternates and bring it out a little bit like so that is what I want. So something like that is what I'm looking for. Make sure offset even is on, it's going to pull them out a little bit more. And then just make sure that you're happy with how that looks. I think I've come out a little bit too much. So what I'm going to do is press controls, head alternates again, pull them out, not so much, so something like that. Offset even on, and there we go. All right, that's looking just about perfect now. Now the problem we're going to have is we want to make these into stone. And we've got actually a turn here. And we don't really want that turn to be in there. So what we're going to do is we're going to come and we'll isolate this part out now. So we want to just press this top bit here. So what I want to do is I want to grab it all with L. I want to press selection a control, all transforms right. Click origin geometry. This one here all transforms right. Click origins geometry. Let question mark. And now what I want to do is isolate this out. So the easiest thing to do then on this is grab the top. So press P selection, grab the bottom and delete it. Just delete it out of the way. And you're just going to end up with something like this. Because now what we want to do is we want to make some stonework on this. And trust me, it's going to be easier to delete it out the way. So I'm going to press K, I'm going to press A to go over the top like so. And then Enter, and then K, and then A to go over the top like so. And then now this side A and enter, and then K and A and enter. So now let's bring in some more stones. So let's bring in maybe three. Left click, right click. And now this side, what I tend to do on this side is I'll bring in left click and move them up a little bit, so that's seven. And then control seven, and let's bring in eight. Let's try eight. Left click, right click. And now you can see they're a little bit uneven from each other, and that is what we want. All right, from here then let's split them all up. So what I'm gonna do is I'm just gonna come in, I'm gonna grab each of these. I've got to be careful because if I grab this one, it's still going to be joined to this one. So I'm just going to press Y, H, hide them out the way. This one and this one, then Y, H, hide them out the way. And then every other one on here, like so. And every other one on here, press Y and H, Hide them out the way. Alternh, bring back everything. And finally, now let's put those back to where they're gonna be. So if I press Tab, press a little question mark. Come back to it, press Tab to grab everything. And then let's pull them into place just to sit on top of there as you can see like so. And finally, control or transforms origin geometry. Adding a modifier, Bring in a bevel nought point, n naught three. And there you go, there's those parts. Now you can see that they're not looking a lot like stone and I really don't want them to I want them to look more like more like ground, you know, when you have the towels in there. But the one thing I don't want is on the next one, they're too even and we want to make them a little bit more uneven. So we will do that on the next lesson. We'll make these a little bit uneven. And from there then we can actually start building out this main part of the subway. But you can see it's looking really, really nice already. And we're really starting to move along now with this. Al right everyone, so I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 113. Creating Subway Supports for Enhanced Realism: Welcome back. We want to blend the fold, the environment artists guide, and this is where we left the art. Alright, so what we're going to do now, we really want to make these a little bit uneven. So what I'm going to do is I'm just going to come in, I'll grab one of them. I'll come up put where is it randomize on, on proportional editing. And then what I'm going to do is just lift them up, bring it all the way out like so. And you can see here, it's only moving one. We don't want that, That's because connected only is on. And now when I pull this up, it should move all of them pretty much like so. And that's what we want, but not quite so much, so, just a little tad like so. And you can see now we've made them very uneven. Now the next thing is we want to also come in and make them a little bit uneven on the edge. So you can see the edge, It's perfectly straight. We don't want that, so all I'm going to do is grab the edge. Same sort of thing. Then you can see, I can pull them out like this way, so a little bit this way. And then what we'll do is we'll come to this way and we'll do the same sort of thing. So pull them out this way, then like so, and finally then let's pull these out as well. So we'll bring it down, pull them out like so. And there you go. All nice and uneven. That's exactly what you want. Finally, what you could also do is you can come in, you can press A and you can come into mesh transform, come into randomize, and then just turn this all the way down to zero or not point naught, one. Press the tab and that's it. That's exactly what I'm looking for. Nice and uneven on there. All right, so now what we're going to do is we're going to think about creating the top part on here. So I'll create the little post first that come into here. So I'm just going to look where my cursor is. Don't forget to save about your work as well. You don't want to lose anything at this stage. And what I'm going to do is I'll just press Shift S cursor selected shift, bring in a cube. I'm going to bring my cube then over to this side. I'm going to put it roundabout in the center here. And you can see if I put it around here, it should be able to go over the other side as well. And that's what we're looking for. So something like that looks about right, giving us plenty of room this side and this side. And then what I'll do is I'm going to bring it up now. How high does it want to come up? Well, if we come over and we stand our guy on here, he wants to be able to basically put his arms up onto here. So let's say if I press Sir three, let's pull him up. So he's actually, actually, he's on the ground plane there, so that's fine. Let's grab the top of here. Let's press three again, and let's pull it up without proportion editing on. And he wants to be able to, this wants to be a tiny, tiny bit higher. And then the bar going across here so he can actually rest his arms on and maybe look over there if he wants to. That's what height I'm going for. Then what I'll do is I'll look at the actual size of this. I think the size of this is fine. I'm just looking haven't pulled it off far enough, so maybe want to pull it over a little bit more. And then what I'm going to do is grab the top enter, pull it out like so. And then, and pull it up like so. Now from there I'm going to add in a couple more. So I'm going to add in one right down the bomb. So control left click, bring it down to here like so. And then another one. Control left click and bring it up slightly like so ol shifting click. Then control B to be level those off. Enter alterns and just bring them out very, very tiny amount like so make sure offset even it is on and there we go. That's the first post on there. All right, that's looking pretty good now. I should be able to mirror that then over to the other side. So all I'm going to do is press control. All transforms right click origin to three D cursor adding a modifier And we're going to mirror it. So mirror it over the other side. Now we can see that this for some reason is not right in the center. So what I'll do is I'll come to my steps and I'll try. Let's have a look and make sure that everything is fitting in. So if I press shift S cursor selected, grab this one. Right clicks at origin three. D cursor. There we go. Now it's mirrored into place. That's locking much, much better now. Now from there what I can do is I can press a, grab this one. And I'm going to pull it all the way to the back. So shift D, bring it all the way to the back into place like so. All right, so that's a good start for this part. Now what I want to do is work on this part here, coming down here, and I'm going to actually make sure that this part going along here is going to be actually wood. So let's do that now. So what I'm going to do is I'll come to this part here because I want to keep that mirror on, because it is mirroring over the other side. And what I'm going to do is I'm going to come in and grab this one, press shift. And then what I'll do is I'll press S and Z. And then I'm going to bring it, yeah, I think up to something something like there, maybe a little bit thinner so and's and then sorry. X, pull it in a little bit, and then from there I'm going to pull it across. Pull it across like so I'm Js thinking, I think that should be fine to get the wooden parts in there. I think it's wide enough. Actually, I'm just wondering whether it's high enough over. Look is our guy stood on the ground plane to pull him down a little bit. There we go. So all right, now let's come in and grab this again. We're going to press L. We're going to press Shift D. We're going to bring it down then to the bottom here. From there then I'm going to actually put some planks on here. I'm also as well want to do exactly the same thing going around the back here. I will do that separately because I'll use these planks, what I make, and then put them around the back. That's how we'll do that. All right? Yes, we'll do the planks. Now what I'm going to do is I need to find where I put my planks. I think they're under bullion or is there any planks in there? That's just that. So what I'll do is I'll just bring in another plank. So let's just hide our fulian out of the way. I want to press shift. Just bring in a cube, pull it up, and then add modifier geometry node down arrow. And the one we want is planks. So let's then spin our planks around, so r x 90 and then R z 90. And let's get them into place. So we're going to put them over here, and you can see just how handy these geometry nodes are. They're amazing. Let's press and bring them down. Put that in place. So, and then I just want to make sure that they're in the halfway point. So something like that you can see is in the halfway maybe a to tad this way and maybe we'll make them a little bit thicker so I'm just going to pull it right into that edge there and then going to make them a little bit thicker so to come down to my thickness, something like that. From there then I will come in and increase the account. Let's increase the count all the way up to here. Don't worry about it lining up or anything like that at the moment. And then what we're going to do now is work our way down the gap at the moment probably is a little bit too big. Let's bring it down a little bit. So let's pull it up and down to something like that. So n 0.6 Let's then think about the width. So we want our width to be this, but we want to randomize it a little bit. So I'm going to randomize it a little bit. Then what I'm going to do is I'm going to, so now I've got my width, I might as well. In fact, you know what, they're too thick that way. I'm not happy with that. What I'm going to do is I'm going to come and bring my width the other way, I think. Yeah, that's looking better. And from there then what I can do is I can increase it just by one more. So like so and now I've got my width. What I can do is and y and just bring it back, yours to that point there like so there we go. That's looking really good. And then we don't need to mess around with the length. The length is absolutely fine. It's just, we need to mess around with the noise and the curvature maybe. Or with the bend. It's one or the other really. So I can come in, I do I want to rotate them. You can rotate them as well like so now you can see they're a little bit even. We can also increase the bend. But do I want to increase that? Because you don't want to increase that a little bit? Actually, I think that looks good. It looks as though there's been, you know, a little bit of weight put on there or something. And then finally, let's come in with our noise now. So we'll just increase the curvature a slight bit. Curvature, where is it not Curvature Displacement. Tiny bit, even less than that, I think. Let's just bring it up. Naught naught, three. Try that and then let's increase the noise like so. And there we go. Now we've got some unevenness on there. We don't need too much of it on this. That would be kept in fairly good condition. You can turn this up to naught 0.5 maybe, and then make them a little bit more uneven. And then finally, what I want to do now is the subdivision, so we can see our resolution here, it's on 20. That means every single one of these is going to have a little, you know, kind of edge loop down there. Can we turn this down a little bit and have it so much and still keep that wobbleness which we've gotten there. So I've turned it down to 12, which means now it's got 12 edge loops in. All right, that is looking pretty good. Now what I want to do is I want to mirror this over to the other side. And I'm just wondering, can I actually mirror it? So if I right click, set origin three D cursor, you can see that it moved it straight over. Which means I don't really want to do that. Because that means then I'm going to move the whole thing and I don't want to do that. So what I'm going to do instead, I'm thinking, I'll think, I'll just press shift. You know what? Let's just press shift, let's get it going over the top. So if I press seven, I can see it's in the center there. And then the last thing we'll do is we'll just change the seed on this. So change the seed like so different seed. I'm just going to go up then. Yeah, something like that. Look completely different to this one and fits into place. Double tap the eight and there we go. All right, so what we'll do then on the next lesson is we'll get this in over this side. And then that bit is just about done. Which means then we can work on this part, coming out here towards the end. And finally, then we can work on the top of the roof. Alright everyone. So I hope you enjoyed that. I hope yours is really, really starting to come together now. And I'll see on the next one. Thanks a lot. Bye bye. 114. Designing Railings for Subway Entrances: Welcome back everyone to Blender for the Environment Artists Guide. Now before putting this bit on the back of here, I want to actually make sure that this is in the right place first. In other words, I want to build this bit out first. So let's do that now, actually. So what I'll do is I'll come in, I've got my cursor there, so I'll press shift eight. I'll bring in a cube just before we put on that back, because I just want to make sure that this is going to be high enough. Because at the moment I'm thinking it's a little bit too short. And if I need to make it longer, then I will have the ability to do that. So what I'm going to do is just make this a little bit smaller. I'm going to press Sens head and bring it down to there. And then what I'm going to do is Jaws put that in to the bottom of here, like so. And then I'm going to pull it out something like over here. And then on here we're going to have an actual post. So our post is going to be sat on top of this part here. All right, so that's the bottom part. Let's make it a little, tiny bit thinner. So. And then what I'm going to do now is I'll bring in an edge loop, or I'll start the top of it. You know what? I'll bring in an edge loop first. So control left click, right click. And then what I'll do is I'll grab the whole thing now. So L I'll press Shift and then I'll bring it up into place of where it's going to go now. I'm thinking that we're going to have little ridges down here, but you can see that maybe they need to go up a little bit. So which tells me that I can actually probably get away with just grabbing each of these. Come in O, shift click and then shift click control plus, and then just bring it up just so it sat on top of there instead. Just up a little bit, so. All right, so from this one then, I'm going to come in now, grab the top one and I'm going to come in and bevel this now. So I'm going to press shift click and then I'm going to press control and bring it out. And maybe bring in another edge loop like so left click. And then what I'm going to do now is pull this up, so I want it a little bit round another width, So I'm just going to pull this one up. And then I'm just going to come to the side and pull these two up like so making it a nice rounded part like so. All right, from here then what I can do is I come now I can grab this one and this one, press the button to fill those in. And then what I can do is I can separate that out. Now, so selection, separate that out. And then from here I can press Control all transforms, right click, set origin geometry. And now let's split these up. So what I'm going to do is, first of all, I'm going to split all of this up. So I'm going to press control, er, bring in a few edge loops like so left click, right click, and now while I've actually got them selected, press control, bring down the amount of levels that you've gone there, just to one and then just put the like this. Something like that I think is perfect. All right, so now we've got our little ridges going down. What we want to do now is obviously create this to solidify this. So all' going to do is press control light or transforms, set origin geometry. Adding a generate and the one we're looking for is solidify. Let's make it a little bit thicker. Let's put this, I think it'll be not 0.5 Let's put it on not 0.5 Let's increase the thickness center where we want it. You can see it's going to have to come down a little bit more. It's not in the center there, so let's bring this down into the center like, so that looks about to be in the center there. I think that's actually thick enough as well. And then what I'm looking at is the thickness of these. You can also see that these are not level. You can see that this is not level. So let's pull it over. Let's press one, and there we go. Now it's more level. And I would say that this probably needs to be a little bit thicker. Let's make it a little bit thicker there. Let's go with that. All right, so what we'll do is we'll apply the solidify, we'll come in, then we've got them selected each side. Hopefully that happen with you. If not, you'll have to go down and select each one. And then all I'm going to do is going to press Enter, and then and X and pull them out. And X pull them out like so. And there we go. That is that bottom part on there now. And that is looking pretty nice from here. Then we can join all of these up. So I can join this up with this. We know we've got to solidify on there, or we might have something else on there. So if we have, let's just go to object convert and mesh. Press control J, Join them all up. Press control all transforms and we want to put the orientation over here. Right click, set origin to three D cursor. We're also going to right click and shade auto smooth just to make sure that's smoothed off. And from here then. We can mirror them over this side. So add modifier, generate a mirror. And there they go, that's over that side. Now let's create the top of them. So this part here, we'll actually create the bar, they're going on top of here. And then from there we can actually create a little strips that go down. So what I'm going to do to create that bar is I'll just come in and I'll grab this whole part here. And then what I'll do is I'll press shift deep and I'll bring it up. So I'm going to bring it up into place round about here. And then what I want to do is I want to bring up the top part. So what I'm going to do, I'm going to grab this part here, press the born and bring it up like so. And that is looking pretty nice. I'm just wondering if I brought it up a little bit too much or if I need to bend it down a little bit. Maybe it's a little bit too much. So bring it down a little bit and there we go, a thing that looks much, much better. All right, so now we need all of our bars going across here. So what I'm going to do is I'm going to first of all bring in a cube. And then what I'm going to do is bring it over. I'm going to put it into place. And it's going to go every other one of these. If I put it into place here, I'm going to press the S. But what I want it is every other one of these. If I can, what I'm going to do is I'm going to pull it down to roundabout here, press S and's ed, squish it down like so there we go. That's about the right size, I think. And then what I'll do is I'll just press control layer transforms that origin to geometry. Come in, grab the top of it, press the bottom. Now what I want to do, before doing anything else, I want to grab it. So L, and then what I'm going to do is press 50, Bring it up, and then R, Y or X for that my doesn't matter which 180, spin it round, put it in place into here like so. And then what we're going to do is we're going to grab this one and this one and we're going to bridge, so we're going to bridge faces like so. And there we go. You can see just how easy that was to do. And now what we're going to do is we're going to press three to go into side view. And I want to bring in, first of all, I'll bring this in because what I'm looking for, actually, that's not going to work on that soap and wire frame. What I'm looking for now is to get this to go into each of these ones here. So you can see I'll move my guy out the way. I just want to bring in an array. Now add modifier, generate an array, and I want to put it on zero on the X and bring the Y over. So if I pulled the Y over, you can see that it's going to go there. But the problem we're going to have is maybe it's not going to go on everyone. As you can see, we need to pull them back a little bit or we bring this over. So if I press A on this, you can see if I bring this over, it's more to the middle. Then what I can do is I can come now and pull this back a little bit like so hold in the shift button, pull it back a little bit. And now you can see they're all fitting in very, very nicely. Now let's see what that actually looks like. So let's take the wire frame off, let's put on an object, double tap the a, and there we go. That's looking really, really nice. Now the final bit is going to be then this little post that's going to go into here. So what we'll do is we'll press shift A, bring in a cube. And let's move it to the side. Let's bring it up then into the place where it's going to go, which will be roughly around here. Now, just make sure that you're happy with the scaling of this. I'm thinking this probably is the right kind of chunkiness. Let's pull it up so it sits on top of those stones. Let's then grab the top of it, pull it up to here. Let's then press the S bon. And what I want to do is bring it in like so. And I think that's looking pretty nice. Drop it down a little bit and then finally, while I'll do is I'll press the button, bring it in like so. And then press and bring it up. Now we can see that this top part isn't going to fit it properly. If that is the case, what we can do is we can just expand it out a little bit more. First of all though, let's come in and grab this top. So I'm just going to come in and grab all of the points on here like so and around the side. And I'm going to pull that into place. We can also see this part here isn't into place and I'm going to pull it into place like so. And then what I'm going to do is I'm just going to hide my post out the way I'm going to come down to this part and then basically going to grab all of these, this, this, pull them over into place like so alternate, bring it back and now we can see, right, we need to make this bit a little bit thicker to fit this. All I'm going to do then is O shift click Ok, shift click altern, and pull it out very slightly so it fits in. So you could probably from here get away with moving it a little bit further forward. Okay, so that's looking pretty good now. We just want to top on here. So all I'm going to do is just bring it right up to jawst under there, like so. And then what I'm going to do is I'm going to press enter, pull it out. And then pull it up like so. And then I pull it in like so. And then finally bring it up, bring it up to here. And then bring it up, and then finally bring it in. There we go. There is the actual post. All right, this is coming along really nicely. Now on the next one, we can actually mirror this over, and then we can get this wooden part in here. And from there then we can actually get this onto the top of our, you know, our dome. This kind of dome that's going to go over there and then we can kind of bring it all together and finally get all those materials and textures on. All right, everyone. So it's actually a lot of fun actually creating this one. It's kind of, you know, got that intricacy in there that keeps you really engaged and I hope you're having a lot of fun with it. Thanks a lot. Bye bye. 115. Modeling Complex Roofs for Victorian Structures: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left off. All right, so what we're going to do, we need this going over this side. First of all, we've got a ray on here. Let's press control, lay on that. Then we should, this should have a mirror run, so we should be able to join this, this, and this finally to our mirror. So press control, Jake, join them all together, and there we go. All right, so now let's bring it round to the back. So what I'm going to do is this has got a MirrunIant. First of all, I'm just thinking these parts here. I need to probably duplicate this one and this one, and then duplicate this one. So we'll do that now. So the easiest way to do that is to come in, grab this part. So L and L grab those selection, split them off, and then grab this one and this one. And what we're going to do is just press Shift D. Duplicate it, R, z 90. Spin it around, and I can see it's kind of a mess. We don't want that. So what we want to do is want to, first of all, I think we'll turn off the mirror on these. I'm thinking we've duplicated it. Let's just pull it out. So yeah, that's exactly what I want. Now what I want to do is I want to come into this top one. Turn the mirror off. Yes. And I should end up with something like this. And now from there then I need to put this in place. So it's going to rotate around there, but we do want it rotating on a medium point, not individual origins. So 90, I can't move the orientation yet. The moment I move the orientation, it's going to upset the jumptionode. So all I'm going to do is just pull it into some kind of place where I want it, which will be over here. Because I know when I increase the count on the geometry node, it's going to come this way. So if I now come in and increase the count like so you can see now it comes all the way over there. And finally then let's come in and all I want to do is grab the bottom of it, pull it over, grab the top of it, pull it over. And there you go. As simple as that, to do that. All right, so that's looking really nice. I'm happy with that. And now now we're onto kind of the main bit of this actual built. What I'm gonna do is I'm going to bring in, I need to first of all, work out where this is going to be. So let's come in and we've already got our cursor in here, so we might as well bring in a cylinder from there. I think I'll put this on 24, so slightly higher 24 just to give us a bit more resolution. In fact, you know what, We'll put it on 26 a little bit more. And then what we'll do is we'll rotate it round, so r X and 90 rotate it round and let's get it into some sort of place. So it needs to come from this post to this post. And obviously it needs to be much, much wider so you can see. But what is the height of it? That's the thing we're looking for. I think first of all, we'll pull it up and we know where these halfway points are. So these halfway points are here. Let's pull it out. First of all though, with S next, let's pull it out to where we think it's going to go. So roughly gonna go round about there. Now. I'm not too happy with it, you know, kind of coming down and then bending around. So what I'm going to do is pull it down. So pull it down like so. And now you can see that's going to fit in much, much nicer. Now I would say, I would try and get it to where this point is, where it goes all the way down. Just to be at the top of here, so just to be at the top of there like so. Because we're actually going to put in something else in here, another kind of metal part. Just make sure that it is halfway in between. So you can see at the moment it's a little bit out. Let's press S and X, bring it out a tiny bit more like so. And I think if I come over, we don't want it to look, or the last thing we want it to look is to modern. The more you create like flatness on here, the more modern it's actually going to look. So if I press now S and's head and pull it up, you can see now it's more rounded, which means it should look less modern. And that's what we're looking for. The other thing is we want the front and the back to be halfway in between here. So you can see if I bring this in at the moment, I'm going to have to press S and Y to bring it in. And there we go now. So that'll be halfway in between because we'll have a big bar kind of coming down this part. Now let's figure out then how we're going to actually do this because it's not so easy. So what I'm going to do is I'm going to first of all come in, delete the front and the back. So delete faces. And then what we're going to do is we're going to come now to this part under here and to this part under here. So control select them all, press Delete and Faces. Now from here we need to create the actual bars. So these kind of funny looking things, these round bits that are going to go in here. So let me just look on my reference. So I've got 3456788 of them, that's what we're going to create. So what we'll do is we'll bring in two edge loops. First of all, so control. In fact, we'll bring in 11, left click, right click. Drop it right in the center control B. And then what we'll do is we'll bring that out and what they'll do is just kind of separate from the edges so we can work on the center part. And then what I want to do is I want to now bring in a bottom of it. So control left click, right click. And I want to bring in another one. So this side control left click, right click. And then both of these. I want to press ol shifting click just to make shots slick to that one. I want to then just bring them down so they just pop under there. So All right, so far so good. Now we need eight or yeah, let's bring in eight. So control, let's press eight and then right click to drop them in the center. From here we should be able to now work with these. What I'm thinking I want my first, I think it should come to round about the top of here, the roundness. What I'm going to do is I'm going to press control B now and pull that out like so. Yes, that's exactly what then from here, now I can work with these parts going in here. The one other thing is as well, I don't want them coming all the way down to here because they're going to be hidden there. So I don't want that. But what I'm going to do is I'm just wondering whether I should separate these out now. And instead of that, I think at this point I will separate these out. But what I'll do first of all is get rid of these on this side. So I'll come in, face select out, shifting, click and delete and faces. And then just press L, delete faces like so. And now that gives me something to actually work with. Now with this now what I'll do is I'll bring in another edge loop. So control just above this as you can see here. And then what I'll do is I'll come to the top now. Control left click and just above this again. Now from here I should be able to work with these parts in here now. So I can come in for instance and I can bevel these parts here, bring them in. But before I do that, I want to actually split all of these off. Old shift and click. Just go down and split all of these off. So like so and I'm also going to split this off and this off. So now the ones that I don't want to actually bring in are going to be these ones down here. I don't actually want to split those off from here. So what I'm going to do is it seems quite complex and it is what we want to take off these. And then what I want to do is press and selection and separate those. So you should end up with something like that. Now from here, you should be able to hide those out the way. Now what we want to focus on is these Bob bits here. So what I'm going to do is I'm going to come in, I'm going to grab all of these. This one here first. And I think, I'm just thinking, yes, I'll separate those off. Selection, Separate those off, hide them out of the way. And then let's come to the bottom one now. Selection. Separate that off, hide out of the way. All right, so we should be left with just this now. Now I want to do, first of all is we're going to come in, you want to press the eye button. And then what you want to do is you want to press, now as you can see, we can bring them in. And from there then what we're going to do is level these out. I'm going to come in, grab the tops. So just working all the way along, just grabbing all the tops. And then what we're going to do is grab the bottoms, these ones in the corners here, because we're going to actually round these off and create that corrugated metal look which is what they would have had in this area from here. All right, so now what you want to do is you really want to actually press control all transforms, right click, Rogen, jump tree. Come back to it then, and you're going to press control shift and B. And hopefully level those off. Turn it up, one maybe left click. And then all you want to do is change the actual shape of it to be round. So okay, so now this is looking pretty good. And now the only thing we need to do is select all of these. So if I come in now, I'm going to come to the top. Shift select. Control select, sorry. Shift select, Control. Shift control, Shift control, Shift control. The way we're doing this is going to give us a lot of control over what we're actually doing with this. As you'll see, one shift slip these off shift control and then what you're going to do is you're just going to press P selection. And there we go. Now let's press all tag and bring back all these parts and this is what we should end up with. So the first thing now is let's first of all make this part on the front of it. So I'm going to come to this part and this part, these want to be a little bit thicker than the inner part. So all I'm going to do is I'm going to come in, I'm going to grab this one and this one, press P Selection. Did I do that then? No, I never go with that again. So L, and L, and then Selection. And there we go. Now they're split off. All right, so with this one, let's pull it out a little bit first. So I'm going to come in oak shift click, pull it out a little bit without portion editing on. Pull it out like so. And then I'm looking at the back one, so old shift click, pull it out a little bit like so. Then I'll press control. All transforms, right click, set origin into geometry. And now I need some thickness on here. So what I'm going to do is add in a modifier, generate and we're going to bring in a solidify like so. And then I'm going to bring it up like, so now I do want it poking a little bit out of the top as well because we are going to have some other parts in there. So I'm going to increase this or pre like so and now it's just a case of how thick do you actually want it. I actually think that's about the right thickness, so something like that. Now, now because we've done it this way, we've split everything up, we're going to add in modifiers as are working along. It means that it's non destructive, which means that we can change things on the fly, which is the most important thing. The other thing I recommend is once you've actually got something just right click, shade, auto, smooth, and now you're going to see just how smooth that is. Once we've got that in, then we can mirror it over the other side. Put down a big middle bit, going down here, down this bit here. And join it all together. Alright everyone. So I hope you enjoyed that. Let's save that our work and I'll see on the next one. Thanks a lot. Bye bye. 116. Finalizing the Subway Model with Detailed Features: Welcome back on to Blend for the Environment Artists Guide, and this is where we left it off. All right, so what we want to do now, first of all, just want to pop in my reference. So I've got something to work with and then we'll do is we'll come into these parts here now. So these parts in here. Let's do these. So again, control all transforms. Let's right click and set origin to three D cursor, add in a modifier and we're going to bring in another solidify. Let's now pull this out a little bit. So we're going to bring in the thickness, then change the offset. So we're going to bring it out just under those parts there. So right click and shade, auto, smooth. And there we go. All right, that's that bit. Now let's come to the center bit. Now what we want to make sure is why we're adding thickness in here as well, is to make sure that it looks the same underneath. So at the moment you can see that these two here, so this bar as well here, we're going to pull out a little bit, so make it nearly as this high, but this, we won't actually give some thickness to. So what I'm going to do with these center parts, first of all, I'm going to press control all transforms. Right click, set origin to three decursor, right click, shade, auto, smooth. And then all I'm gonna do is gonna join it up with this one. Not join, but I'm going to press control L and I'm going to copy modifiers like so. And it's gonna make it the same thickness as the other one. We don't want that, so what we want to do is turn down this thickness as you can see. So turn it down. Not that one, Sorry, this one. Turn it down like so. And then you end up, if you go underneath now with something like this and that is looking what we're actually looking for. All right, so now we've got just these parts on here. So what I'm going to do is going to right click, shade, auto, smooth. And then I'm going to press control all transforms set origin three D cursor. And now let's come in, add in a modifier so we're going to generate a solidify. Let's actually put even thickness on. Let's bring it out the, where's the thickness? Yeah, it's coming out that way. So let's bring it out that way. Let's move this offset then. Move the offset this way. Slightly lower than this part here. We want to make sure that we can still see if I double tap the, that little ridge there, that is what we're looking for. All right, that is looking really nice. Now, we've just got these parts here. So this part is going to be a little bit thinner, so it's going to come to there. And this part is going to be thicker. So let's grab this one again. Same sort of thing. Reset it, transforms, add in modifier, and this time we're going to bring in a solidify again. And then what we'll do is we'll increase the thickness and we'll also bring it out like so just before we're touching that. So now we want to get it, it's coming all the way out a lot more thickness on here. Let's bring it back then, just before it touches that as you can see. And then we want it just before it touches this one. So we're just going to have to fiddle around with it and bring it back maybe maybe a touch more thickness. Bring it back a little bit. Let's check what that looks like so I can do it round here as well. It's in there and it's, that is perfect. That is what we want to see. All of these now line up. That is really good. Now, the bottom one, we want to be coming out thicker than these ones. All I'm going to do now, again, same sort of thing. Vlidify, then let's pull it out past that point and past this point. Now this one here, you can see it's a long way out here, so I need to mess around with this now. Pull it all the way out through here, and then pull it out, making it thicker. Pull it back, there we go. I think that is what I'm actually looking for. Double tap. The there we go. All right. That this part now what I want to do is I want to obviously mirror it over the other side. What I'm going to do is I'm going to grab every little piece on here. All of these pieces, including these parts down here. Just press just to see what you've actually missed. You can see I've missed these parts here. Press again, and there we go. And then what I'm going to do is go up to object, convert to mesh. And finally then I can join it all together with control J. And then hopefully you can see now it's already there. But right clicks the origin three D cursor if you need to, then what we're going to do is add modifier, generate a mirror. And that then is going to mirror over the other side. And you can see now we're nearly there. All right, so now we need a ridge down here, but the first thing is we've got a mirror and we need to join these up. So what we can do is at the moment, we've not got clipping on. So what I tend to do is I'll grab the bomb of it. So just if you put this x ray on, you can see grab the bombs of each of these. And then what you're going to do is you're just going to pull them back so they're not touching anymore. And finally then you're just going to put clipping on. So clipping or beyond now bring them together and let go. And then you're going to grab the top of these. The top of these. Yeah. And then you're going to bring them together. Touch them together. Press the tab button. Let's turn off the x ray. And there they go. Now they're actually touching there. Now we do want them a little bit smoother on the top as well. And to do that, all I'm going to do now is just apply my mirror. So control they apply that. And then I'll grab these right click, shade, auto, smooth. And you can see it's still not smoothing them out. Now to fix that, we can either come in and we can drop these down. Ol shift click, Olthift, click, press one. And then all you want to do is drop them down, make it a little bit more smooth. And now if it's still not smooth them out, what that means is inside there, there's an actual face. All I'm going to do is grab both of these. Hide them out the way. Come in and grab the inside face. And then just press Delete Faces AlternH. And now you should see it's smoothed it all off really, really nicely for you. All right, so now we want a kind of bar that's going to come down underneath here. So what I'm going to do is I'm going to use my cursor where it is. I'm going to press Shift Date, Bring in a cube. And from there I'm going to bring my cube over here. Bring it up, make it a little bit smaller. And then press, I need it poking through there. Let's have a look at how big it needs to be. Let's press S and Y then, and pull it out to where it needs to be. Let's pull it over into here. And then what I'm going to do is I'm going to pull this down. Now I want to make it slightly rounded, so what I'll do is I'll bring in two or three edge loops. Let's first of all though, bring it down to the point we need it. That'll be easier. We'll bring it down through here like so. And then what we'll do is we'll bring in a edge loop. Left click, right click. And finally then I'll bring it up to where I want it. So something like that. And then what I want to do is now bring in a couple more edge loops. So left click, right click, control lot, left click, right click. Grab them both then. And then we should be able to bring them up like so that's looking perfect. Now of course the underneath isn't, So I'm going to come in controls like this one. Pull them up into place, double tap the, and there we go. Now up to you if you want to level those up a little bit. I think I'm happy with our mine. Look. I'm just going to, I think right click, shade, auto, smooth. There we go. Now let's work on the top then. I do want to top on these. I'm going to press control, left click, right click. Control, Pull it out all the way over to just the edge of here. You can see it's not quite lining up. I can pull them across though, like so then all I'm going to do is just put a ridge on top of here. I'll just grab these two now and these two. And then I'll press, pull them up and finally then I'll just bevel off this top. So grab this one. This one. This one. This one. I'll press Tab Control or transforms, right clicks, origin to geometry. And finally, then let's bevel them off control B, bevel them off. Double tap the, and there we go. All right, that's looking good, except maybe we want to lift, you see these bits on here? Maybe we want to just lift up those very slightly, just so they're a little bit more, not quite flat against there. So let's lift them up very slightly. You can see here that the problem is that I've not grabbed these here. So all I'm going to do is I'm going to press out shift and click and then of click and then I'm going to lift them up very slightly. Even hold in the shift borne if you need to. Just so they're slightly above there and that's looking much better. Check the underneath and just make sure everything's good in there. I think for me everything is good on that. Now from here then what we want to do, we want to bring in a sign now, so we're not bringing a sign and we want to make it quite ornate as well. And then once we brought in our sign, we can actually create those swirls that are going to go around here and make it look really nice. So let's come in and save out our work. So we'll save out our work. And then on the next one, we'll start on our sign, everyone. All right everyone. So I hope you've got this far. I hope yours is looking something like this. And yeah, I think it's looking really, really nice. It's going to really fit into the scene well. And especially when we've got all of our, you know, textures and materials on, you'll really, really see it come to life. Alright everyone, hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 117. Incorporating Swirls into Subway Decorations: Welcome microphone to Blender for the Environment Artists Guide. And this is where we left it off. Let's press Shift, then we've got a cursor over here still. So shift mesh. Let's bring in a plane. Let's rotate this plane on the x axis, so our X 90. Let's make it a little bit smaller. And what I'm going to do is just press one. And I want to put this to where it's going to go. So my sign basically, so I think my sign needs to be a little bit smaller. Maybe that size essence D, then bring it down. And I think something like this kind of size is a really, really nice size. What I want to do then is just make sure that it's going to be popping down a little bit, so something like that. And then we'll be able to put these swirls and things like that along here. All right, so now I'm happy with the size. What I'll do now is bring this in. So first of all, control a l transforms right click the origin geometry tab, Bring it in them with the insert. So I bring it in like so. And then what I'm going to do is now I'm going to pull these parts out. So pull these parts out a little bit. So this one and this one, and X pull them out a little bit like so. And then from here now I'm hoping I can level these off now. Because we've got a kind of edge loop there. Can we actually do that? Let's give it a try. So I'm going to grab this one. This one. This one and this one. I'm going to press control Shift and B. And yes, it looks like it's actually might work mind I say, so let's bring it in, let's put it on custom. And let's see Now if we can get a shape that we need, you can see it's slightly, slightly out. Now the one thing is if I actually delete that though, you can see I'll probably end up with a really, really nice shape. So if I come in and basically press delete faces, that is actually what I'm looking for. So if you haven't got that, just mess around with the bomb left, you know, mess around with your own custom. And then you can actually lead to other way, just make it look something like this. If you can't do that, I will show you one other way what you can do. So controls head. You can use the knife tool to cut around this. And then what you could do is you could mirror it. You could put in an edge loop, an edge loop here. Delete all of these corners off, just leaving yourself this, cut it away with the actual knife tool. And then you'll be able to actually actually create something really nice control shift and Z. Then let's see if I can go back like so. And there we go. That is what I actually want. Now what I'm looking for is just to make sure that the top and bottom are the same. You can see here they're a little bit different from each other. It normally happens on the custom. And what you could do is you could mirror, mirror it on the top and the bottom. So cut it along here again with the knife to and mirror it down. I'm going to leave mine. Actually I think it looks pretty good the way it is. And then what I'm going to do now he is all I'm going to do is I'm going to press L. I'm going to bring it out now. So I'm going to press to make it a little bit thicker like so. And then I'm going to grab the center. I'm going to press and pull it back. And there we go. Now I'm going to do is just line it up underneath here like so. And you can see it's gonna fit in beautifully like that from here. Then what I'm going to do is now I'm going to press Shift S Ursa selected. Bring in a plane. So shift, let's bring in a plane, let's rotate it round, so R x 90. Rotate it around. And then what I'm going to do is make it bigger like, So what I'm going to do with this now if I press one, I'm basically going to create some swell. So in other words, I'm thinking I'm going to have a swell coming from here, going round here, like so. And then what I'm going to do is I'm going to have a swell coming from here, going up, supporting this swill, and then coming down here, all the way down, near enough to here like so. And that is what we're actually trying to look for. Now if you want to point you annotation so you get an idea of drawing on there, you just click this button, point you annotations, and to take them off, all you're going to do is just click the minus. No, and then the minus. And there we go. All right, so let's actually make that happen. So let's put ourselves back on our move on our gizmo. And then what I'm going to do now is I'm going to click on my bullion. I'm going to grab my actual curve that I've already created. And then I'm going to press Shift D and bring it up into place like so. Now what I need to do now is I just need to put that over there. I'm just going to keep it there a minute because what I want to do is I want to attach this onto my actual curve once I've actually drawn it out. So now I'm going to do is I'm going to press Surf shift A. I'm going to bring in a curve. So I'm going to bring in a path, I think we can do it with a path easier than a nerves curve. I'm going to press Tab. I'm going to press Delete Vertices. And then I'm coming with my little draw tool and making sure surface is on. And now let's come in and actually do what we actually said. So first of all, I'm going to come from here, go round here and swirl it round like so. And then what I'm going to do is I'm going to come from here, I'm going to swirl it round here, bring it all the way back round. And then what I want to do is support this going around here. Now I'm a little bit out on this one, for sure. I'm going to bring it all the way around. Do here. So, all right, now, before I give this some thickness, let me just then come in and just tidy this up a little bit because it's a little bit out, as you can see, especially around these parts. I want this to support in here and then I want this to support in here. So I need to tidy this bit up as you can see, making it a little bit more rounded. And I want to make this one nice, and slim over here, going up to here. So let's bring this one in when we can see we've got a few in here that we probably don't need. Let's grab this one. Press delete this one. Delete this one. Delete vertices, and this one delete vert. And we should be left with that. And from there then, what I can do is I can pull this out now, make a better swill. And then this one, let's see how many we go in there, you can see got a few in here. And the reason is, is because it's drawn on top of here, which is a little bit of a problem for us. So let's move these out. First of all, let's come in there and delete this or delete vertices. Let's come in and delete this vertice, or delete vertice, and there you go. Now you can see that ins come together. So let's bring it over now. Let's bring this part over now to something like here. Let's make it a little bit more of a curve like so. And there we go. And you can see that's looking pretty nice. Except this bit, maybe, maybe we want to clean that up a little bit, like so. And maybe we want to move it up into place. All right, let's press Tab. It's looking pretty nice. We can alter it a little bit more as we move along, but I'm thinking that's looking pretty good. Now from here, I'm going to come back to this. What I'm going to do is I'm going to decrease the solidify. No, I'm not. Because that's not decreasing the solidify. Let's bring it over here actually so we can see what we're doing, but you can see it's way, way too thick at the moment. Let's decrease the solidify like so. And then we'll come over to the actual curve. Let's bring down the extrude, but we've got something to actually work with, and I think that is much, much better. Now from here, what I can do is I should be able to come back to this one here. Delete this plane out the way. Come back to my curve, grab this curve, press control L. And what we're going to do is copy modifiers. We can see it. Let's have a look what modifiers are going there now. It's got to solidify on there, but we've not got any extrusion on there. I think we have to reset it. Let's come in to this one again. Whoops. Let's come into this one again. Take off this latifi and then what we'll do is we'll press control A all transforms rightly so. Origin three cursor. And what I'll do first of all is I'll come in and look what this is. So it's extrude 0.14 click control C, come back to this one, then come back, do this one P and then go to extrude control V, like so. And we can see that's the reason why sometimes that happens. We don't want it this thick, Sometimes it's because we're resell transformations but we definitely don't want that. So let's bring it down into play and we'll just scrap using that actually. So we'll do it this way, we'll make it probably this kind of thickness like. So delete this out the way. Let's get rid of it. Let's come back. And it was a good idea, it didn't work. Add modifier, Bring in a solidify. Solidify now. And let's right click and shade flat. And then what we'll do is we'll pull it out. We can see we need to line all of these up. A lot of work on this, but let's line them all up so I'm happy then with this thickness. And then what I'll do is, first of all, I'll grab this one and I'll line it all up. So I'm going to move it over into place. I want it in the halfway point of my actual sign. And then with this one, I'm also going to come in, now press L and line this one up so it actually fits on the bottom of this part here. And you can see already, it's looking fantastic. We're nearly actually there already. There's a bit of work to do on this, and then we can mirror it over the other side, but you can see just how nice that actually is. All right everyone. So I hope you enjoyed that. I hope you've managed to follow along and I'll see you on the next one. Thanks a lot. Bye bye. 118. Texturing Subway Surfaces for Authenticity: Welcome back everyone. To Blend for the Environment Artists Guide, and this is where we left off. All right, so now let's do a little bit more work on here. So the easiest way I find is if we press one, now we can actually go in there. And what I'm going to do is first of all, bring this in. So I'm going to bring it in to here. And then I'm going to straighten this up by bringing this out. And you can see we've got a better curve on there now. And then what I want to do is bring this over. I want to, realistically though, bring all of this over. So what I'm going to do is just bring it over like so just so it's touching there. And then what I want to do is of course bring this back. So we can see here. I've got this one here. I need to really think about bringing it back like, so let's bring this one in, then let's pull it out just to make it a better swill. And then what we'll do is we'll move it all to the side. So, and that's looking really nice. I'm happy with that. And now finally we can come in and probably bring this one down a little bit. So you can see there which one? I'm a grabbing, this is this. So I can either bring it up or I can bring this one down. So I think I'll bring this one down rather than bring that up. And then we'll do is you can see it's got a little bit of a bump there. I'm going to straighten it out by pulling this out like so. And straightening all that up. And then finally just bring it up, jaws to tad like. So now let's come and think about these parts over here. So I'll move this over here and then we're going to pull it round or maybe even pull this one down. Maybe pull this one together like so. And then let's bring these two up. This one, this one, pull them up just so they're like landing on there. I'm thinking that's probably bear off maybe pulling it over here and then straightening this one up. So let's try and straighten this one up now. Yeah, like that. That looks much bare. Let's move it over then. Yes, that is what I want. I'm just wondering whether I want it to go creeping into this part. I don't actually think so. I'll just pull it up a little bit just so it's sat on there nicely. And then I'm just wondering if that looks right. The only thing I'm thinking is this one needs rotating around a little bit. Maybe. I don't think I'm happy with how this one looks, so I'm going to rotate it round then I'm going to make it a little bit. Yeah, like this. I think that looks bare. And I'm just wondering if I should bring another one out. So if I press E can actually go away. We're bringing this one out. Bringing it across to it. Yeah. And it doesn't look right. So let's leave that other way. So we'll leave that as it is. I think it looks good like that. We'll make sure. Then if we go over, we'll go around 12 at the moment. We'll turn this down very slowly to something like seven or even eight. Let's have it on eight. I just want to make sure now that everything is being in place, we can see this bit is a little bit out if I grab these important that we get it right before we actually finish. If I grab these, I think I'll make this. Then we can see that this one maybe a little bit too much in there. Again, go back to the drawing board, grab all of these. Let's just pull them down a little bit. They're actually just in there. And there we go. I think that looks much, much bare like. So I'm just wondering whether to pull this bit down as well. So just make sure if you're in this view, not straight on that, when you pull them down, you are a little bit careful and you pull it down on the gizmo and there we go. All right, that's looking good. I don't want to mess around with it anymore. The thing we'll do now is object convert and mesh. I'll then right click, shade auto, smooth. And then what I'll do now is I'll mirror it over to the other side. Control A or transforms the origin three decursor. Then we'll add in a modifier and a mirror. So let's mirror it over the other side. Double tap the A, and there we go. We've basically finished our subway entrance. Apart from we need just a couple of things on here. All right, so let's bring in, let's bring in a mesh. We'll bring in a cube. We'll make it smaller. We'll pull it over to this side. We'll pull it up into place. I'm going to pull it up into place here. And it's up to you whether you want it going over the top of here. So like this or inside. I think I want mine inside, so I'm going to press Essence Ed them like so I'm going to make it a little, tiny bit smaller just so it's fin on there like so. And then all I'm going to do now is come in, press the born in and then pull it up into place. Just make sure it's in there. And finally then I should be able to now join it to this. So if I press control J, join it over. Double tap the eight, and there we go. We're basically done with it. I think, I'm hoping. I don't think there's any more things we need to do. I'm just looking to make sure, you know, the post in here for instance, they all line up making sure everything lines up now and I think we're actually done. So what I'm going to do is now. I'm going to hide my guy out of the way, hide my floor out the way. And we should be left with this. And we can see the booleans on here. Let's hide those out the way as well. And then what I can do now is I can hide these out the way, because we've already leveled these off. We've already leveled this off as well. So let's hide this and this out the way. No, hide them out of the way. Let's then come to the other parts. And nothing on here should be beveled. That is what we're looking for. Let's have a look and make sure we've got a mirror. No bevels on here. No bevels on here. No bevels on here. All right, so what we should be able to do now is press box select. We can then come up to object. In fact, before we do that, just press just to make sure everything's there. Come up to object convert mesh. And then what we can do now is press control all trans fat, You know what? We'll press H to make this a little bit easier because if not, we might be going in and selecting absolutely everything on here. I think what we should do is bevel it all off after. So what I'll do is I'll press Altage. Bring back all these but get rid of the floor and then we should have everything back in here. From there. Then now we'll save out our work. And what we'll do now is focus on bringing in all of our materials and textures. And then what we'll do from there is we can actually bevel everything off and join it all together. All right, so let's do that. So we'll grab these first. We've got bevel on, we need this bevels. Fine, It's just this one. This one's going to be a little bit different. So on this one what I'm actually going to do is I'm going to apply our bevel, that's because when I join this altogether, then it should make it a little bit better. Yeah, I think we'll do that. So what I'll do is I'll press control A and join that. And then what I'll do is come now, press a smart UV project. Click Okay. And let's see what this is actually going to look like. Sometimes they end up a bit of a mess when you've joined all your bevels up and sometimes they end up. Okay. So what I'll do now is I'll bring in stone flags. So stone flags, let's bring that in, let it load up. And let's press dot to zoom into it. And let's have a look at that. And actually that's come out pretty nice. Let's put our rendered view on, see what that looks like. Yeah, and I think that's come out pretty nice. So we're okay with that? That's great news. All right, let's hide that one out the way then. And let's come to our steps. We're going to just grab our steps Smart UV project. Click Okay. And then what I'm going to do is I'm going to click down now, stone those stone flags. Join them all together, and there we go. All right. Now let's grab this one. This one's also going to be stone, so we're going to make sure, first of all, we've got a bevel on here, which is fine on this one to grab it all. Smart UV project. Click okay. And then grab my steps control L and we're going to link materials like so. And there we go. Now we can hide both of these out the way because we don't actually need anything else on here. Sorry, any other stone on here. Hide those out the way. Next of all, let's think what we're going to do next. So we're going to grab this. So this is all this makes it a little bit more difficult. What we'll do though is we'll, we'll grab both of these, both of these parts. And I think also we'll join it to this as well, making sure no modifies on press control J, we'll join it altogether. Right click, shade, auto, smooth. And then all I'll do is I'll come in with these parts first. So these parts first I'm going to press U Smart UV Project, click Okay. And the first one I'm going to bring in actually of the materials is going to be my green metal. And the reason I want to bring in green metal is because when I bring it in, all of this is going to be colored which is going to make it, it would be harder to do it the other way round. Now let's click the plus down arrow. Let's click the down arrow, black metal. And what we're going to do is click a sign on these. And you should end up with something like that. And that's what we're actually looking for. And now we're going to do is hide those out the way. And from here. Then now I can press A to grab all of this. And I'm going to press Smart UV Project. Click okay. And we are already on Green Mal, so as you can see now this is what it's going to look like. All right. Now you can see that probably this, if I go to the UV map, is probably going to be, I don't mind the roundness because that's fine on things like metal. But the problem is, you can see it looks kind of low resolution. To fix that, what we want to do is we want to bring it out. So bring it out like so. And then that then should fix that resolution problem and we should be okay. Now the other problem we might have is too much of copying. So what we're going to do is, in other words, because we brought it out so far, it's just repeating the actual texture. So it's a tiled texture. So what we want to make sure of is if we come to our render view, let's have a look what render view looks like. And we can see, if we look around there, it's looking fine. You wouldn't even be able to tell. Finally, then let's come back and what we want to do now is grab both of these, both of these here. And what I'm going to do is black metal, click a sign, and there we go, double tap the A. And now you can see it's looking really nice Now, did I unwrap those? Did I Smart UV project? Click. Okay. There we go. Now they're unwrapped. Now they're looking better. And I'm just also wondering, Yeah, I think we've reset the things. You know, I'm just gonna go down over. Look. Yeah, they look absolutely amazing as you can see. Al right, They're looking really good. Now let's save out our work before we're doing anything else. And then on the next one, then we should be able to get all of the textures and everything on here ready to go. Alright everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 119. Mastering Texturing for Complex Walls: Welcome microphone to Blender for the Environment Artists Guide. And this is where we left off. All right, so now let's just put this on the shader a minute or Material view and then world is, I'll come to these, I'm going to minus this off. Minus this off. And the one we want is going to be green wood. So green painted wood. That is the one we want. Let that load up and then we'll do the same thing on this one and this one. And I actually come in and grab all of three of these control L and I'm going to link materials. Nope, it's not going to work. But what it means is I can minus this one off. So minus it off like so. And then come onto this one and minus this one off, like so. All right, that's done. Let's have a quick look at what that looks like. Making sure that wood looks good. Yes, and there we go. It looks pretty good. And now what we'll do is the wood, or go on these parts as well. So I'm going to do is I'm going to grab them all. Press a Smart UV Project. Click Okay. And then click the down arrow. Green painted wood. And then we'll do the same thing on these now a U Smart UV Project, click Okay. And the down arrow, green painted wood. You can also, obviously you apply them. So you can come in a Smart UV project, click okay. Grab these ones then and just press control L link materials. We can do it that way as well if we want to. Now finally we're on to now we've got the inside of here and we've got this, Mel, let's do all the metal first. So we'll come to these posts over here. We'll unwrap these because these are going to be wood smart, UV project. Click Okay. And then what we'll do is we'll add in now the wood. So I'm looking for green wood. I'm just wondering. Actually, no, we won't. We'll do the metal first or could we hide that out of the way? Yes. Okay. We'll do it green painted wood. So there we go. And now let's come in, hide those both out the way. And then U smart UV project, click Coka plus green metal this time. So green metal, click a sine and there we go. That's looking cool. Now let's think about just hiding these out of the way. Hiding out the way, this, not that one. We don't want to hide the other way there. This and this. And this is what we're left with. And now let's come into these. So I'm going to press a smart UV Project click, and here we are. This is what this looks like. And because it's met again, the swells don't make any difference Down arrow, Black metal. Hide it out of the way. So H to hide. Now finally the sign. Let's do the sign. So we're going to press a smart UV Project. Click Okay. And then finally what we'll do is we'll come in, bring the down arrow, black metal. And then all I want to do is grab this one. So just this piece here. I'm going to press a just click wrap and then spin it round, so R 90. And then what I want to do now is plus and we're looking for the sign, if we're putting sign street signs is the one we want. Click a sign and then that'll pop in. And the one we want is the Piccadilly one, of course. So if I now press the S bar and I should be able to bring this into some sort of place where I want it. So something like that, wrong way round. So 180, spin it around. Let's then pull it out just so we've got a bit of edging on here and X, pull it out. Like maybe we've gone a little bit too far. One way what we'll do is we'll just press G, X, and move it over slightly. And there we go, I think we just need to squeeze it down, or out and y, let's squeeze it out a bit and then let's move it down a little bit. I guess. There we go, like, so now we've got that little bit of edging going around here ors wondering about this part now. So this part on this side seems a little bit out as you can see. So maybe I will press SNX and just bring it out very slightly. We can see we've got a bit of metal this side now. I want this looking around because it is a center point. So that's why I'm spending a little bit of work making sure that everything is good. And I think now that is good to go. All right, that's good. Now let's hide the other way. And now we're on two. This part here. Now this part here is a little bit more complex because it is brick. So what we're going to do, first of all, we will come in, press Oltshifting, click and shift click, right click, and mark a seam. Then from there when I'm going to do is I'm going to come to the top. I don't actually need the top and I don't need the bottom. So I'm going to actually delete those out of the way because it will make it much easier in the long run to actually, you know, fix this thing. The one thing we do need though, we do need this bottom here. So let's make sure we've kept that. And then what we're going to do is just delete these. So delete and faces. All right, now what we want to have it doing is we want the bricks to come all the way to here. So if I come to here and then if I come to this part and then right click and mark a scene. And I'm hoping that I can line the bricks up. So they come now all the way to the back and then line up to the back. So this is really hard to do and line them all up, but it's worth doing it, because it's going to make it just so much better. What I'm going to do now is change this and we want it on bricks, so let's bring in bricks like so. And now what I want to do is come in and unwrap them. So I'm going to grab this one, L, L, L. And you can see that I don't want to do that one yet, so let's just take it off. So L, L, and L. And then what we're going to do is U and unwrap like so. Now first of all, let's get our bricks to be the right side. So what we'll do is we'll bring back our bookstore. So bring in our bookstore, let it load up, and then what we can use that for is the actual bricks. So you can see here, these are the bricks if I press one, now I do have a good idea of what these are going to look like. So I can see that these bricks are a little bit smaller than these, which means what I can do is I can just grab the whole thing because they're all unwrapped the same scale. And then what I can do is I can bring it in and make sure my bricks are going to be the right size. In other words, the right size of these bricks on here. And these look about right. Now. From there, what I can do is I can now make sure everything is going the right way. So we can see here these bricks. These bricks, the bricks. Let's have a look. And these bricks are all you pretty much going the wrong way. The other thing is as well, we will need to unwrap these bricks as well. So I'm afraid, I think I'm going to have to put in because we will be able to see this at the top. And so I need to make sure that that is also going to be the same. So control shift and click, right click, mark scene. And I'm hoping now I should be able to select this L and U and unwrap. And that's what we're going to get. And we've got our bricks. And now what I want to do is I want to make sure they're all the same scale. So let's come in now, grab them all like so even if you know what, let's just do them all together. It's gonna make life so much easier for us if we do that. So what I'm going to do is I'm going to come all the way around here. Right click mark, same old shift and click, right click mark Sem. And then what I'm going to do is I'm going to grab everything except these bomb parts. Because these bomb parts aren't going to be bricks. So what we'll do is we'll just hide those out the way like so. And now we should be able to grab everything like so. And then we can come over and we can just press you and unwrap this time. Unwrap like so. And there we go. Now we can see everything's unwrapping really nicely. We didn't have to use Smart UV project. And the reason is, of course, is because we've actually marked all the seams on them. So now we can press one, and now we can line up our bricks, making sure they're all the same. Now you can see these are a little bit smaller than these, so all I'm going to do is press S, bring it down, and just get them to be ran about the same size, which will be something like that. Now, from here then let's make sure these all line up right rotation. Let's do the right rotation first. So I can see this one. This one, this one, this one. This one looks absolutely fine. Like, I'm actually happy with that. And then this one and the back is also fine. So now I can come in over on the UV side, R 90. Spin them round. Now we know they're all the same size. We just make sure then that the kind of line up nice. So you can see here, these ones aren't lining up very nice. We need to make sure they line up well. Now there is another way you can actually do this. You could come in and make sure these ones are unwrapped against each other, so you can see we can unwrap them like that, or what we can do is we can line them up. So all I'm going to do is I'm going to try and line them up. So if I press G and Y, we should be able to hold in the ship bun, line them up like so we know they're the same size. And there you go, you wouldn't be able to tell that. And then the same on this side as well. So all I'm going to do is gos, grab this one and then I'm going to press and Y and line them up holding the ship bun, and there we go. All right. The back as well looks like it's lined up near enough perfectly with each other. And yours, looking at this side and looking at this side. This side looks lined up perfectly. And this side a little bit outboard. I'm not going to worry about that. I think with this now, everything is pretty much done on the bricks and now all that's left is the actual floor. So what I'm going to do is I'm just going to come in, press tab ol, tag, bring back everything. And now we've just got the floor. I'm going to press you unwrap. And now let's come in and change this. I'm going to click plus down arrow. Let's go with the floor floor. We haven't got loss, so let's go to Asset Manager. Let's see where our floor is. So here's our floor and let's drop this into like so. And then what I'll do will go back to modeling. Now let's come round and assign our floor. Now your floor to start with is going to look like that. And the reason is with this, we've actually got three materials on there. Now, with this, I would say that we don't actually need the three. So what I'm going to do is I'm going to call it cobblestones. I'll do that. What I'll do is I'll click plus I'll click New, and I'll click Floor Cobbles. Let's call it that. From there then what I'll do is I'll click on this floor. Click the little down arrow, Copy Material. Click on this one down arrow, Paste Material. And finally then I'm just going to minus this off. I'll minus this off. And then come back to the floor and click a sign. And there we go. All right. We can also see for some reason that this also got assigned to our floor and I don't want that. So all I'm going to do is come all the way around because I want this to be brick bricks sign and there we go, al right. So on the next less and then what we'll do is we'll work on this floor. We'll get that done. And then I think we've pretty much got all of this done. Alright everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 120. Completing the Subway Model with Final Enhancements: Welcome back everyone to Blender Fall The Environment Artists Guide. Now what I want to do is I want to go over to my shader. Now if we come over to shader, and you will see this is the most complex shader in the whole thing. So if I, Jaws pull out of here, you can see this is the shader. Now basically this shader works via vertex painting. And you can see that we are basically basing it on a color attribute. So you can see here, these are the colors red, blue. You can also see one down here that plugs straight into the other shade. So in other words, we can use black, we can use white, and we can use red. And we can use blue basically to paint on two vertexes. All we've done here is we've brought in three different textures, one being dirt, one being cobblestones, and one being stone slabs. So we've got three of those in here. So basically all I need to do but this one, because this is a floor cobbles, is I just need to unplug one of these and plug it straight into my material output. Just so I'm only using that one for this, you know, Subway down here. Now, once we come in to do the floor, you will see how this works exactly. But we don't need to go in and show you how it works right now, because we're going to save that for a bit later on. But now though, let's find the one that says cobble. So this one's dirt. As you can see, if you have over there, it says dirt. Let's go to this one then. This one says Stylized Tile. Let's go to this one. And this one says bricks. So I'm fairly sure it's this one. But let's see. So what I'm going to do is I'm just going to take this and I'm going to plug it directly into my material output. And there we go, there is our actual bricks and that is what we want. Now of course you can see that These don't look right. It's the UV map, I think is massive. So let's come in, grab both of these, and let's pull this out. And then what we're going to do is we're gonna press A. Now if it's coming up with this map, don't worry. Instead, just come in and select this one. And then it'll change it over for you. And then what we can do is we can come in now. And I'm looking, I don't think this is unwrapped at the moment because it looks way, way too big on this scale, or the scale has been altered. So we can see, if we come back, this is the scale on this one, you can see that because it's going on the floor. We alter the scale to make sure that it fits that huge, huge part of the scene. So instead of making this smaller, if it's ever that UV map, by the way, where it looks tiny and yet this is, you know, seems to fit properly, then just come in and put these on one. Now there's an easy way of doing that as well. We can come in and just drag down, put it on one. And there you go. Now you can see that's exactly what you want. You can also see on here that the Z has been rotated round to 90. If I put this on zero, it's just going to rotate the UV map. So from there then I can just press the S one and pull it out and get it to be the right size that are one. And I think something like that actually is looking pretty nice, so I'm not going to mess around with it anymore. What I'm going to do now is go back to modeling and there we go. Now finally, let's press old H. Bring back everything on here. Let's hide the floor out the way at the moment. Let's hide our guy out the way as well, and this is what we should be left with. So now let's come in, join all of this together. Now the problem is, have we got any more bevels on here? I'm fairly sure. Now, you know, we've pretty much everything we've been through and we've checked everything. All I'm going to do is just remove this bevel off because I'm going to bevel everything once I've joined it altogether. So remove that bevel off and then come to this one. Just make sure there's no bevels on. What I'm going to do to make sure there's nothing else on there is go over the top to grab everything. And now what I'm going to do is I'm going to make sure grab this one because this one has no modifiers on. Then I'm going to go to object, come down and convert a mesh. Nothing should change. And then what we can do is we can press control J and join it all together. From there. Then we can press control all transforms, right clicks to origin, to geometry, and then right click and shade auto, smooth. And there we go, we should end up with something like that. And finally, now we're just going to bring in a bevel. So add modifier, generate bevel. And now what we need to do is just make sure this devil's working. It probably won't work. It probably won't work because of the fact we've got tons of geometry in here. If you put it on, you'll see it's very, very slight. So what we're going to do is we're going to go down to what it says Geometry, turn the clamp overlap off and then put this on. Naught point naught, naught three like so. And hey, press do. Now we've got a bevel on everything including the steps, all of the bricks, everything like that. And now it should, the moment of truth. Let's press Alt H, bring back everything. And then we're just going to put it onto rendered view. And let's have a good look at what that looks like. And there we go. You can see that looks beautiful, really thin with the scene. If we bring back our coffee shop as well. There we go. Really, Really nice. All right. Really, really happy with that. We've still got some room, actually, if we need to know move our bookstore a little bit. This way you can see it's really, really coming together now. And I think, you know, having them pretty close together, like this, is actually the best way. Because I think this would be much more natural, you know, than having the bookstore all the way over here and a huge empty space on here. Not only that, if you have huge empty spaces, you need to fill them up. So just take that into account. Alright everyone. So what we'll do now is we'll come in, we'll hide our bookstore, we'll hide our coffee shop. And also the coffee shop. It's annoying me, I'm going to just call it coffee shop one like so. And then what we'll do now is we'll hide our floor. And I'm going to come over the top, I'll hide my little guy. I'm going to put it back onto object view. I'm going to go over the top now. I'm going to press B, select it all. So I'm going to press F two, and I'm going to call it Subway. And then what I'm going to do is I'm going to press M and I'm going to make a new one, new collection. Let's call it Subway enter twice. And there we go. Now we've got a Subway. I also as well, going to put my Subway near my coffee shop. So I'm going to drag this up, put it there. And also you can see Subway Don's can that bookstore. Let's drag it up. Put my bookstore there. Let's rename this like so. And finally, now let's see if we can bring everything in. So if I bring in my coffee shop, I can hide my Subway out of the way. I can bring in my Boolean. So my Booleans are here. You can see that we've got another part here. What is that to, actually? Oh, that is. I think that's to the bookstore. Let's have a look. So bring in my bookstore. Yeah, you can see for some reason that's not on the bookstore. I think I'll just press M and put it into bookstore. There we go. Now I should be able to double tap the and now I should be able to hide my Boolean. Hide my bookstore out the way if I want to. My ground plane. Where is my ground plane? Let's press all tage. There's my ground plane. So let's hide that out the way if we need to, my human, I can hide. And then we've got my assets. Now I think what we'll do on the next lesson is we'll actually start bringing in some of these assets to start filling out this scene a little bit. Because we've got most of the assets done, we can start placing them in front of here. We can start with the, you know, actual bus stop, placing that in front of here. And really get a feel of how this is going to look like. Because I think at the moment it's going to need to be maybe a little bit more this way once I've got my tree in there. So maybe a little bit more this way and maybe a little bit less this way. In other words, move it over a little bit is what I think. All right everyone. So I'll leave it here. We'll save our work. And on the next one we'll get started on that. Okay? Thanks everyone. Bye bye. 121. 3D Lesson 120 Incorporating Trees and Greenery into Victorian Scenes: Welcome back everyone to Blend for the Environment Artists Guide. And this is where we left the off. All right, I'm just going to make sure I'm saving w my work. And then what we're going to do is we're just going to go over to object view. We'll go over to that. And what I'm first of all going to do before bringing in any of these assets is I'm just going to pull this out a little bit. So you can see though, the problem I will have is if I pull this out, I'm going to pull this out. And I don't really want to do that. So what I'm going to do is I'm just going to press, go over the top of it. And then I'll bring in now where is it? We'll bring in mesh bisect. And we'll just cut this over here, make sure that it's set to zero like so. And now I should be able to come down to this edge. So edge select, come down to this edge and just pull it out a little bit like that without affecting this part here. Because we've made a boot lead in there, of course. All right, so that saves a little bit of wick. It might be a little bit too far out. I think though actually this is about right now. All right, from there then, let's come over to our asset manager. And what we want to do now is we want to close up the pillows and we want to bring in our tree. So all I'm going to do is just zoom out a little bit and I'm going to set the tree on top of here like so. And what I'm going to do now is I'm just going to, in fact, we'll leave that tree there. Just I'll move it over here actually, and then I'll get a good idea of the kind of scale of it. We don't want this one over here, over here to be too big or anything like that. Now, we brought in our tree. Let's go back now to modeling. And then what I'll do is I'll grab my tree and what I'll do is I'll press M, and I'm going to put in my assets like so. And now let's think about our actual lights. So what I'm going to do is I'm going to bring my light, I'm going to press shift. I'm going to then move it to the side, go over the top. Seven, go over the top. And I'm going to put the light roundabout here, something like that. Make sure that it's actually in the floor so you can see is it in the floor, is it poking through? No, it's not. Let's bring it down a little bit, Make sure it's just poking through on the ground plane like so. All right. One light in and that's looking good. Make sure always that your guy, you know, he's gonna walk down, make sure of the view of where the actual light is. And I think actually that light is in a really, really nice place. Okay, so now let's bring in our newspaper stand. So what I'm going to do is I'm going to grab my newspaper stand again. I'm going to wear press shift D. Then I'm going to press shift, bring it over. And then I'm going to rotate it around ours. 90, rotate it around. I'm going to put it then next to my Subway. Something like that. Maybe that's a little bit too close. Also, make sure that it's jawed in the ground plane. You can see perhaps it's not in there enough. Let's bring it down just in the ground plane like so. And then let's grab this part here. And what I'm going to do is rotate it round. Said rotate it round. And that looks really nice. Now let's think about our bus stop. So we'll bring our bus stop again. We're going to press shift, bring in our bus stop, and we'll put it round about here, over here. And then I think we've got a very, very nice view that towns coming together. And then what we'll do is we'll grab our bench shift again. Let's bring this Ram. And I imagine this is kind of a road, but we just can't see it. So what I'm going to do is just put my bench in here. If I press one, just want to make sure it's in the center of there. I'll just grab this, put it in the center, like so double tap the A. Yeah, that's looking cool. And then what I'll do is I'll come round to the back of this building. I'll put a couple of benches in here, so we'll grab our bench again, shift D, brewing it over. And I can imagine this part round here probably lead onto some small park or something like that. So D -90 just to give you ideas in case you want to build this out a little bit further. I mean, once you've got a few buildings, it's not that hard to build it out. Just make sure this is nearly to the back of the wall. I did think of putting some plants here and things like that, but honestly I built out so much on this course that I really didn't want to do any more on it. Now what we'll do is we'll think about our tree. So I'm going to bring first tree over to here. Actually, I'll put it back in. I'll press shift. I'll bring my first tree over to here like so. And of course I can see that this is probably going to be way, way too big. So I'm thinking probably actually, you know what I think? Actually, that looks pretty nice. As long as people can they walk past it, that's the thing, they're going to be able to walk past it. Look, maybe let's look. If we pull it up to there. Yeah, something like that. Into the ground. You can have it a little bit higher because you're going to have some dirt here anyway. But I think something like that looks pretty nice. All right, let's press shift, Let's bring it over then. I'm going to make it smaller straight off the bat. And then what I'm going to do is just pull it over here, and this tree is going to go like it's hanging over. This part here. I'm also going to rotate it round. Just rotate it around. So what I want to make sure is that it's not actually touching there. I'm going to make it a little bit smaller. Rotate it a little bit more if I can. The thing is if it's actually going really in there, we can actually delete some of these off as well. So don't worry about that. Now let's put it into the into the May think actually that's looking good. I'm just going to press tab. Then what I'm going to do is look at all of these. All I'm going to do with pieces like this, I'm just going to press, just grab them. All You can see even these over here, Press control plus right click control plus your keep pressing it so we grow more. And then we're just going to press Delete. And then just do the next lot C all of these, then right click control plus and then delete. And there we go one more bit, I think these parts here and delete and us. All right, se look, make sure nothing's coming in the top. And there we go. We've cut all of those pieces away. Let's look in. Pretty nice. All right, now we can still walk down there. Then let's bring in one more, which will be this one here. Again, shift D, let's bring it down. Let's put it in the center. In the center, near here, I think. So let's pull it down. We'll line it up actually with this other one, we put it that way. Spin it round, so ours 90 then I think I'll have it in place like there. And then I'm just going to put it, press seven to go over the top. I think I'm going to have it lined up with this one, but just here like so maybe pull it out a little bit. We'll tap the there we go. I'm thinking that's looking pretty nice. I'm happy with the bush in there. All of that is looking pretty good. Now, what we need to do now is first of all just make the block where this tree is going to go into. I think I'll make a round block for this. Actually, I'll grab my tree, press shift desk. Custer selected shift day. And then what I'll do is I'll bring in mesh cylinder. Let's put this on something like 18, so something like 18. Let's make it the size that we want it. First of all, let's press Essence Head. Bring it down to the size that I want it. Maybe something like this I think will be fine. Yeah, something like that. And then all I'm going to do is press the little question mark, isolate it out. And we'll just make a quick part on here. Now, I think I've showed you how to put edge loops on. If not, it's called Loop Tools, it's on the add on. Edit Preferences, Add Loop Tools, Loop Tools. This one here. Just make sure you've got that on. Then all I'm going to do is press, I bring it in and then I'm going to press right click, Looptols and Bridge. And you should end up with that from there. Then let's actually split these off. Shift click, every other one. So you can see here, every other one isn't working, sometimes it doesn't, don't worry about it. We can have it a little bit different on them, it won't make any difference. It's just some stones that have been put together. So it's perfectly fine to do that. So let's press Y to split them off, A to B. Select the mole mesh, clean up, and then fill holes. Finally, then let's come in, press control all transoms. Right click, shade, auto, smooth. And let's come in, add a modifier, Generate, and we're going to generate a bevel, and we're going to turn this up to 0.3 And we're also going to increase the segments on these. Now you can see that when I've increased them, they don't quite look right. So if that happens, you'll bring them up like so. And now I can see they look a lot more like stone. And that is pretty much what we're looking for. Finally, then, even with these, let's just come in, put it on random, pull it up just a little bit. Bring in your mouse. If you can't see the circle, it's just because your mouse is not there. Grab this one, pull it up like this one's probably a little bit too high actually. So let's bring it down there. The other a bit uneven, and finally, now grab them all, and we're going to go to mesh transform and randomize. And let's set this all the way down then to 0.1 or not 0.2 so not 0.1 Have a look at that. Yeah, and the thing that looks pretty cool Now, lastly then let's just bring in a circle, mesh circle. And what I'm going to do is I'm going to put this on something like 18. I'll bring it in, then I'm going to press Tab. And now I'm in edit mode. So you can see I'm in edit mode. Press the button and now I can bring it up to where I want it. Let's just turn that, bring it up to where I want it. So now I'm going to do is I'm going to press, I ring in the insert. And now you're going to do is press control And bring in a few edge loops like left click, right click. And now you can do is you can grab the center of it, make sure you've got proportion editing on, and then just pull it up. Maybe that's a little bit too much. As you can see, it's probably a little bit too much. Let's right click auto, smooth. Yeah, it's not going to work like that. If that happens, just press and line it out a little bit. And Z out, there we go. Now we can see that's looking a little bit there. I'm not going to worry about this in the middle. The tree is going to be there anyway. But you can see it's just a little bit of lumpiness and that's what I want. Finally I'm just going to put this on to smooth and then I'm just going to lift up all the thing like. So there we go. So that's going to be our dot. So on the next lesson then what we'll do is we'll put these where the trees are. We'll have a quick look at what it looks like. And then then we can actually start on our butcher's shop. Alright everyone. It's really, really coming together now. I hope you're really enjoying the course so far. I know it's long, I know it's pretty hard. But by the end, you will have learned so much about how to create everything. Alright everyone. Thanks lot. Bye bye. 122. 3D Lesson 121 Updating Renders with New Environmental Elements: Welcome back. Around to Blender for the Environment Artist Guide, and this is where we left off. All right, let's now come in and what we'll do is we'll grab this press and unwrap. We can just unwrap. It's just a simple face. Then we can come to these, press a smart UV project play. Okay, and finally then what I'm gonna do is I'm just going to press all te, bring back everything. They'll let that load up or a question mark to bring back everything that might be easier. And then what I want to do is I want to come to where it says my rock one on here calls floor cobbles. That's the one that I want. So let's come to that one first and what I'll do is then I'll come to this and I'll type floor cobbles. That's the one I want to put on there. If I put it on their shade of you now, just want it's a load up. And at this point because we have so much in the scene, it's just probably better off that if your computer is slowing down or something like that, that you just hide some of this stuff. We don't actually need to see all this stuff right now. We're going to look at it in a bit, but not right now, just in case that happens. Just, you know, hide some of those things. So let's bring it up like, so what are we going to do now? Plus new for dirt like so. And I've got my caps locks on for some reason, so floor dirt like so. And then come to this one. Copy material, paste material like so. All right, let's hide this one out of the way now. We should just be left with that. Let's go over to our shading panel. And then what I'm going to do now is come and find my dirt. I think it was down here. So look. So down here is dirt. And what I'm going to do now is take this, this point here and just plug that straight in. Press a little dot on to zoom to it. And there we go. There is our beautiful dirt there. And now what we'll do is we'll come to this part. I'm going to come to my shader. And what I want to do now is stone and stone flags and put that on. And there we go. Now all we should be able to do, we've got a bevel on here. Let's apply that bevel. So we're coming over control, Grab my dirt, grab my bevel, Press control J. Then join them both together. And finally all I'm going to do now is go back to modeling. Let it load up they like. So press control or transforms, right clicks the origins, geometry. And then I'll just press Shift D. And I'm just going to bring one over here that you can use for your assets. So I'm going to put that there. And then what I'm going to do is I'm going to put M and put it in Assets. Now for these parts here, I'm actually going to fix these in a minute. So I'm going to grab this part here. I'm going to press Shift, bring it over then to my other tree. And then what I'm going to do is I'm just going to zoom in with a little dot born. And then let's just put it into place where I want it or something like that. Rotate it round as well just to make it look a little bit different. And there we go. That's that one in now the things in the scene, so let's just put it on object modem in it. At the moment, all of these are in assets. And I want to have something that says Scene Assets. You can see these are in here as well. Let's come in and grab all the stuff that we want to put in our scene assets. So if I come in, grab this, this, let's grab this, Bob one, let's grab this, let's grab this. And then I'm just going to keep working my way around grabbing all of the stuff that I want. So all of these. And then let's come to this and this and this and this. And let's press M and what we're going to do is going to make a new collection and we'll call it scene assets, just to split them up from my other assets. Like so, close that up and there we go, double tap the A. And now we should be able to come in, hide our scene assets out of the way. And there we go, that's looking pretty good. And what we'll do now is we'll hide our assets out of the way. Like so. I'm also going to make sure with the assets I'm going to tick off rendering. We definitely don't want this to be rendered with the actual scene. Now finally, let's save out our work after this. We're going to be starting on the butchers, but let's actually see what we've actually done here. So the first time viewing this, we can see now what it actually looks like. So you can see if I move this out of the way. So shift right click just to move that cursor. Let's turn off the interlocking links. Let's press the end Born as well to hide that panel out of the way. And here we go. This is what you should have at the moment. And you can see it's looking really, really nice now, Do I want this pulled out a little bit more? I think I do. So I'm just going to pull that out a little bit. I don't want it too close to there. I'm actually really, really happy with that. Now the thing is let's put it onto object mode. Let's turn on our Interlock in links. And what we're going to do now is just press zero and we're going to get an actual view of this. I'm going to actually take a render of this, so I'm going to come in camera to view and just make sure I always do this kind of intermittently just to see where we are with this. I'm going to make sure that I've not got these parts in there. Just a view like this thing. Again, what I'll do is I'll put it onto wire frame. Always save out your work before doing that. So save it out and then now let's come over to the render panel. Surrender render image. And let that render out, and let's see what we're going to get. All right. So we can see I've still not hidden these parts away. Oh, well, I forgot about those. Never mind. What I don't want to do is make sure that that is not in there for some reason. Hey, that's not very good. Let it render out, we'll fix those problems. Not really any problems. But you can see once this is finished, it's taking longer to actually render this out now. But you can see just how nice this is now. I think obviously we need a better render. We're kind of around here, we can't really see our subway or anything. I think I'll turn it around in a minute. Just get a final look on this. So initialize. And there we go. And that's looking beautiful. All right, that's looking really nice. Let's close that down. Let's first of all turn off camera to view. And then all I'm going to do is I'm just going to have a look at why this looks as though the tree is stuck out and it's because the tree is in the air. So let's pull it down. And there we go. Double tap the. Now what we'll do is we'll come back to my camera camera to view. All I'm going to do is I'm going to turn it around. I've got a bit more of a view of what things are, so I'm going to put it on object mode just so I can see. Now I actually, you know what, I think this is a better view like this, like this, I think we'll make bad view in a little bit. There we go. So we'll take one more render, they're not in the view anyway. These Booleans, I'm just going to turn that off as well so they're not in the rendered view. And then finally wire frame again, I always say out before I hit that render board just in case render image, let this load up and then we'll have a good idea. The trees in now you can see that's looking really nice and it's going to look even better once we've got this floor in, in you'll see it really start coming together. Then let this load up. And then once we've actually finished this, then we can make a start on the butchers. The butcher's shop honestly is really, really easy in comparison to the perfume shop. We're going to leave that one to last. So I think we'll do the butcher shop, then the car, and finally the perfume shop, and then the floor. And then we have a completed scene. We've got pretty much everything we need in this now. All right, so that's what it looks like so far on a low setting render. And you can see it's really, really nice. All right everyone, so let's close that down. Let's then just take off my camera view off. Let's come back over to object mode. And then what we can do now is we can bring in our gray box. So let's have a look at our gray box and the one we want to bring in. We've got a bookshop. Let's bring in our butchers now. So this is where our butchers is going to start. First thing I'm going to do is I'm going to close that up now. I'm going to hide my coffee shop, hide my Subway. I'm going to keep my bookstore on, and I'm going to hide. I think I'll hide my scene assets. So we should be left with something like this. And then we just prepare and bring our little guy over to our butchers like so. And there we go. All right, so from here then, what we'll do is we'll start on the next lesson. We'll start bringing in the doors. First of all, we'll bring those in and then I think we'll start on the windows. And we should make a relatively short work of this because we already have a lot of the skills now to actually create this. All right everyone, So I hope you enjoyed that. And I'll see on the next one. Thanks. Bye bye. 123. Initiating the Butcher's Building Project: Welcome back everyone to Blender Full the Environment Artists Guide. And this is where we left the art. So what we're going to do now is we'll put the first door in, and then we'll put the second door in around here. And from there then we can kind of build this actually around. The windows are actually the same, it's just the inside of the windows. So once we've got the right scale and things like that for the windows, then we can actually create the bullion that's going to go behind them. So let's first of all come to this door here. All I'll do first of all is press Sir Shift Day. I'll bring in a cube. And my cube's gonna come over here. I'm gonna move it over. Then I'm gonna shift right click just to put my cursor there. It's gonna make it a little bit easier to let the cube and then press Shift Day. And I'll bring in a cube again. And there we go. That's much easier to actually work with. Alright, let's make it a little bit bigger then. A bit higher to where we actually want it. So what I'm going to do is press one. I'm going to pull my cube up to my ground plane. And then all I'm going to do is now come to the top of it. So I'm going to grab the top of it like so, and actually pull it up to the height that I actually want it without proportional editing on. So something like that. And then what we'll do is we'll get the right size now. So I can see it's just a normal door, so we don't need it too wide. So, and X, let's pull it out just a little bit like so. And even that might be a little bit too much. So something like that thinks about the right height. Now the next thing I want to do is I just want to bevel off the end, which means I'm going to have to make it a little bit taller. I want this door to be a little bit rounded. And they also want the gap going in as well to be a little bit rounded. So what I'm going to do is I'm going to come in, I'm going to grab both the tops of these. And then I'm going to press Tab Control or transforms right clicks at origin geometry. Then I'm gonna press control B and just bevel it off. I'm gonna turn up that bevel a little bit to something like that. And then what I'm gonna do is come over to the left hand side where the bevel operator is, put it on super clips. And that's basically what I want, something like that. Apart from the fact I want it to come out not like this, a little bit more on the actual width. So I'm going to pull this first of all that way and then kind of mess around with the width, and then turn this down a little bit, maybe maybe to something like this, sort of roundness and maybe even that's not quite right. So let's get it a little bit more. Turn it up one, maybe let's mess around then. Bringing it over. Something like that, I think is round about what I'm actually looking for in this. All right, from there then we've got the right height. What I also want to do with this as well is if I press control A and reset all my transforms, I'm going to spin it round so ours head 90. And then what I also want to do is I want to pull this into place like so. And I want to actually bring it up on a step. So I want it not only to go back far into the actual building, but I also want to put a little step underneath. So if I press three, you can see here if my guys over here, let's put him there. You can see he's just got to step up a little bit to actually get into the actual butcher shop. I'm going to pull it down a little bit. I feel like that steps a little bit too high. And from there then, I'm going to measure how far back this is actually going to go. I would say if you think about we're going to have a board on here. And how far back do you think it should go? Maybe a little bit further back. So S and X, let's pull it back a little bit further. Like so, something like that I think's gonna be absolutely fine. The other thing to remember, if we press Tab, we can see this is where our actual line is gonna go. And feel like this actual up here probably has to go just above this part. In other words, when we bring our piece of wood in, we need to sit them on top of there. So just take that into account when we're actually building this out. All right, so that's the first door. Now what I'll do is I'll grab this again. I'll press shift, and I'm now going to bring in the second door. But the first thing I'm going to do is just get the correct height. So I'm going to spin it round, so zed 90. Let's spin it round. And then what I'll do now is I'll come in and I think to make this a little bit easier is I'll just yeah, I think I'll just take the top of the bottom of here. So I'm just gonna if I can come under the bottom. So I'll just grab the bottom. I'll press selection. Grab the top of this, press Delete. And then I'm just left with this bottom. And from there then, all I'm going to do is just press and pull it up. Because this one wants to be just a kind of standard door, a cheap door, actually, because it is the back entrance for the butchers. But the other thing is I want it to be the right height first of all. So if I put this down, let's say to the ground plane, So part it down to the ground plane, you can see that this is the height that it's going to be. This is the width it's going to be. So we know that that's correct. The next thing though I want to do to prepare this is I want to bring my guy to the back here. So something like that. And then what I'm going to do is bring the door back to here and jaws to have it. So it's jaws sticking out. Now what I want to do is I want like a few steps actually, leading into this. So I'm going to pull it up to maybe a little bit this way, a little bit like, so. And then what I'll do is now I'll press Control. Or transforms right? Clicks at origin to geometry. And bear in mind that it doesn't matter how far back it actually goes because the thing is, the door is going to cover it up anyway. So just take that into account. Now let's press shift S cost selected. And then what we'll do is we'll bring in a step cube. Let's pull it out to where it's actually going to go. So something like here, let's surpress and x just to pull it out to the width they actually want it. So something like that. And let's also make it a little bit thinner so and z and a little bit wider this way so it can actually step on it. So something like that. We'll put that in place and then what we'll do is, well, I think we want three or four steps on here, something that looks, you know, reasonable. So what we'll do is we'll grab that, we'll come in and we'll add in another modifier. This time it'll be an array. And then what we'll do is we'll set this to zero, set the z value to one like so, or minus one in this case. And then what we'll do is we'll set the y value, so we'll pull it out something like this. Now what I'm looking for here, if I bring in three or four like so you can see that they're going to come out way, way too much. So these steps are going to have to go in a lot more than what they are at the moment. I'm not, I don't want them popping out this much. They only want to be, you know, very, very small. So what we can do to do that is we can pull them back. So if I press tab press and Y and then I can pull them back to where we actually want them. What we have to be careful of though, is of course, is that you will still be able to stand on them at the moment. You can see there will be very, very small steps like this. Now we are going to have some steps kind of going over the top of them, but we still don't want them coming out too much. The other thing is, if we're not happy, you know, with three, sorry, four steps, we can actually delete one and then make them a little bit wider. And we can still get away with that, or we can pull them down. So in other words, if we pull them down like so, or in fact, what we'll do is instead is we'll pull them back. So this top step is going to be kind of in there like so just make sure as well that they're actually on the ground plane. You can see at the moment they're not on the ground plane like so. And then what we can also do is we can press S Z and pull them down if needed as well if we need to do that. So let's pull them down and let's look at what that looks like and actually think that's going to be about right. I think I just need to pull them out a tiny bit more so S and Y pull them out a little bit, just so his feet balance on there a little bit better than what they did. And yeah, I think that's looking, I think that's looking good. The one thing I can say is they're probably a little bit too wide. We don't want them wider in this case than the actual door. So all I'm going to do is press S and X and pull them in to something like that. And there you go. You can see now when we've got the posts up there, the steps are going to be looking about, right. All right, from there then what we can do now is we can make sure that our door then is going to cut this part away. So we can pull it down just a little bit, just so it's on top of there, like so. And I think that is looking just about right now from here. Before we do anything, the best thing we can do to position our doors correctly is bring in our actual window. Because at the moment, this one is way, way too, over here. But we need the window to come in to tell us like this is the size that we need it. So all I'm going to do is move our guy over here. I'm gonna grab him. I'm gonna press shift desk, Ursa selected. And what I'm gonna do is I'm gonna make a window. But this time we're gonna make it a lot more simple than what we've actually done before because it is a butcher's after all. So all I'm gonna do is I'm just gonna press Shift Day. Bring in a cube. And then what I'm going to do is I'm going to make the window part first of all. So what I'm going to do is I'm going to press and y and pull it back where I want it. And then I'm going to put it into the place where I want it. And then what I'm going to do is I'm going to bring it up slightly higher than this window, so that's where it's going to be, just slightly higher than that. And then we're going to press and X and pull that out into place like so. And the thing roundabout here should be about right. And then I'm going to pull it down, so I'm going to come to the bottom and measure out where we actually want my window. So I imagine someone looking into, you know, the butcher's window and imagine it being fairly low, like you see at the butcher's. So let's pull it down a little bit more. Something like that. And now I've got this. What I should do. I should come in and just bring the top down now because we know the height is just going to be above the actual door. And I think something like this height looks about the right height that I'm looking for. And from here then what I need to do is level this out. So first of all, let's press control, or transforms set origin geometry. Press the tab button, and then we're going to come in and we're going to level these parts. So if I press control B now I should be able to level those out now. Don't worry, this is not what we look like, not what we want or anything like that. All we're going to do is turn this down to one, and now we've got control over the actual width. Let's have a look. This one here, that's what I'm looking for. And we should, if I put this on once, have a look, Yeah, that's not what we want. We're not after that. What we're after it is the actual width. So this one here, I'm going to pull two, maybe two there. And then finally what I'll do is I'll pull this window back now. So if I pull this window back. So that is really what I'm actually looking for. Just a very slight difference. And I'm looking also at the side. I don't want it to be that much at the side. I think it only needs to really come out a little bit. The one thing I'm thinking maybe a little bit more, so maybe jaw a little bit more roundabout there like so. And finally then I've got to remember that I need to boolean inside of here as well. So what I'm going to do is just press the x ray on. Now, grab this part here. This is the size of the window. That's exactly what I want. Shift D, pull it out. And then I'm going to press P selection. And just leave that over there, just for now while I deal with the rest of this window. And we'll do that on the next lesson. All right everyone. So I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 124. Addressing Window Mesh Issues in Victorian Buildings: Welcome back everyone. To blend for the Environment Artists guide. And this is where we left it off. All right, so let's first of all do our windows. So what I'm going to do for our windows is I will come in face select. I'm just going to grab all of these windows like so. And I'm going to press then is the eye button eye again, just to bring those in to get the thickness of these actual windows. Thinking something like that is looking pretty nice. And then what I can do now, I'm thinking the easiest way to do this is probably to take these and maybe bring them out or we can bring our windows in. The problem is if we bring our windows in. So in other words, if we go a alternates and bring our windows in like so it's much harder then to actually split these off as you can see. So we're going to have to split down here and then we have to go in and fill all those holes in. That makes it a little bit harder. So rather than do that, what we can actually do is split these off from here. Split them off and then pull them out. That makes it easier. So if I come in and grab this one, let's grab this center one and let's grab this outside one. So let's press Selection. And then what we'll do is we'll come in and grab this one. This one and this one, And then selection. And then what we'll do is grab this one, this one. Any others that are not touching, for instance, selection. And then finally these ones on the inside. This one and this one, and I think this one and then selection. And then just hide the rest of the window away. So if you hide all of that away, you should be left with something like this. Just make sure everything is there that you actually need from there. Now I can come in and join all of these together. So I can join all of this. Press control J, and there we go, that's what we're left with, control a. Then all transforms, right clicks at origin to geometry. And now from here we should be able to bring these out. So if I come in adding a modifier, generate, bring in, then a solidify, let's pull it out the other way. So bring it out and we can see that we've got some splits there. Now, sometimes sometimes that happens and we can get around actually fixing that. You can either bring them back, so if you bring them back instead, you'll see now that those splits aren't as obvious. And then we can move it out like so, where you can see that we've still got a problem in the split still being there. So how do we actually solve that? Unfortunately, we're going to have to do this another way. Then we're going to have to come in, grab everything, and then go to Mesh. And then what we're going to do is we're going to come down to clean up, Merge by distance. And then we've joined 40 vertices together. And now what we'll see is that when we bring these out, they're all going to be kind of, they'll come out together. Now, can we actually bring a seam in and split them off that way? That's another thing that we could do. So let's actually bring in a solidify now. So all I'm going to do is I'm going to come in, add modifier, generate a solidify. Let's bring it out then. So bring it out, and you can see now there is no split on there. It just means I'm going to have to split off all of these from there. Let's bring in our window now because we can bring that back and make sure that we're happy with the thickness of this. You can see at the moment this is way, way too thick and we don't want that. So let's pull it back a little bit. So back holding the shift button, something like that, I think looks much, much better from there then now we can split it off. And it's still easier than joining it altogether. But before I split off, what I'll do is I'll come to the top of my building. And then what I'm going to do is I'm going to pull out the top of it. So let's think about doing it this way. So if I press and pull it up like so, and then again pull it up. And now what I can do is I can grab it going all the way from here. So not all the way around, just all the way to here. And then I can press to alternS, and now I can pull out that top bit like so. And you can see that's looking really, really nice for the top of it. Now we can do the same with the bottom part as well. So I'm jaws going to come underneath and I'm going to press, pull this out. And then what I'm going to do is I'm going to press and pull it all the way down to the floor. And this part is actually going to be the brick. I'm not going to need this bottom bit under this. I'm just going to pull it up to the ground plane, press delete and faces just to let that off. And now what it'll do is we'll add in this part under here. So I'm going to, again, I don't want to grab it all the way around. So you can see I'm grabbing it all the way around all the time. I might as well come in and just delete all of this up to ear. So delete faces, we're not going to need them. The other thing is we're going to already put in a hole in this part here anyway. So we're certainly not going to need the back of this. And now I should be able to press out shifting, click, and then press to alternates. And now I should be able to bring it out to my heart's content. Let's put offset even on, on this one like so. And also let's come in and pull this down a little bit. So I think it needs to be a little bit thicker. Or what we can do. Instead of that, I think I'll do it a different way. We'll press Controller, Bring in an edge loop. Pull it out slightly. And then what we'll do is we'll come in now and grab this, going all the way round to here. And finally then just press and pull it down. And I think that now looks yeah about the way that I would actually want it. All right, so let's now move back onto this part that we've got here. Let's first of all isolate it. So we'll just press the question mark just to isolate it out. And then what we'll do is we'll apply, so even thickness on, Let's apply the solidify. So control a. And now finally let's think about actually splitting these up. So what I'm going to do is we've got these holes here. We might as well come in and just delete those for now. So just come in and delete the faces. It will make it easier. And now finally what we can do is we can old shift click and just split these off. So all I'm going to do is I'm just going to come to some of these parts and I'm going to press Y and H and hide them out the way. And then old shift click out, shift, click on two of these like so Y hide them out the way. And then we're going to be left with these. Now, I would like to split these off as well, but these are a little bit harder to fill in, to be honest. So what I'm going to do with these is I'm just going to select one side of them. So select one side. Now there is an easier way, a cold. Just grab these here, these here, these here. Press control. And we can do it that way as well. And then we can just press Y. And then we don't need to hide them out the way, because everything's split off. Now Holton H, bring everything back. Now we all do this one step at a time. So what I'm going to do is I'm just going to grab everything. I'm going to go to mesh, clean up, and then we're going to fill holes. That's going to be great for these ones here because they're obviously quads that they're going to fill. But the ones on the inside, if I hide these, you will see that it doesn't fill them in. Has it filled them in? Let's have a look. It might have actually filled them in. I'm not actually sure. I don't think it has. Easiest way to see that. Let's have a look. Sometimes you can end up in a bit of a mess with this. I'm going to press control la now. Or transforms set origin geometry. Now we'll see if we've actually filled in these. These are the ones I'm worried about. If I come in and go into generate and bevel, you can see that we've got bevels working all the way across here. It's these ones that aren't filled in. This is what I was worried about. So what I'm going to do is I'm just going to split these off now. So if I come in and grab all of these and isolate those out as well, so press a little question mark and let's isolate them out. In fact, we won't do it that way. We'll just press shift H, then they'll isolate them out. Now you can see that these, for whatever reason, the bevel is not working on them, and the reason the devil's not working on them is because they're not actually together. These, you can see here, they're not actually joined together. So what you want to do is you just want to grab one side of them. So let's always grab the right hand side, come round, and then what you're going to do is just hide those out the way. And then what we're going to do is we're going to fill these in. So we're going to come in, we're going to grab this one and this one and press the button. And then this one. Just this one and this one. Press the F, and then just work your way round. So face, and then this one here. This one and this one and, and face now press Oltates, you're going to bring everything back. And you can see now we're actually starting to get bevel on these parts here, these ones. However, on the right hand side, they're not actually going to be like that because we need to come in now and grab the ones on the right hand side and do exactly the same thing as what we've just done. So shift H, hide everything else. And then all we're going to do is come in, grab this one and this one. And now you can see that the bevel in off because they've actually got a full face on them. So, and then like so. And then what I'm going to do is press Lth and then grab everything. And you'll see all we have to do now is come up to mesh, clean up and fill holes. And there we go from there. Now you can see that's looking pretty nice. And all I can do now is put this on naught point naught three. And now you can see that this has turned out pretty much perfectly. If I bring everything back with a little question mark, double tap the and there we go. Just how easy was that to do? Now finally, for this one, just before we finish, all I want to do is come in, grab the back of it, and just pull it up slightly like so it is going to have a canopy going over the top of it. And now what we'll do is on the next lessons, we'll actually get this imposition so we can actually bevel it all off, join it all together, get the textures on and things like that and the actual glass. And then what we can do is we can also put the front transparent, you know, this kind of bull butcher sign on the front of it. And then what we can do is we can get it round to this side and place it where we want it. Alright everyone song. I'm going to save out my work and I'll see you on the next one. Thanks a lot. Bye bye. 125. Adding Final Details to the Butcher's Shop: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left it off. All right, what I'm gonna do is I'm just gonna pull out my guy a little bit. And then what we're going to do now is let's get some actual materials on this building. So what I'm going to do is put it on material and then what I'm going to do is start to unwrap this the same way we've basically been doing with everything else. So let it load up. There's a lot of shaders in here. Now what I'm gonna do then is come to this part first. I'll press L, and you can see that it drops all the way through there. I don't really want that. So what I want to do is I need this window. So if I come in, I can see that this window here, you're starving to look around, making sure that's right. And this window, and this window, and this window, and this window, I'm going to separate them off. So P selection, separate those off. Hide this out the way. And then now what I should have left is this. Now let's actually see. You can see here, this is the issue that's joined on these party and we don't really need that. So let's press a little question mark. And what we'll do is we'll just come in and actually delete these parts out of the way because we shouldn't need them. So delete faces like so let's press a little question mark again, then bring everything back. Press Altage, and we should, if we press Tab and Altag, bring back the windows. We should be left with something like this. Now we just need to be very careful that these windows are actually into the wall. I'm thinking that we might want to think about, you know, having a piece of wood there. Because at the moment, there isn't anything supporting this window, They're just straight into the wall. I'm not sure whether that's the way that we want to go. So I think what we'll do is once we've got all the materials in, we'll build a little part on each side of these and that then we'll support the canopy that's also coming down. All right, so let's come in. We'll come to this part. First, press L and then what we'll do is Smart UV project. Click Okay. And then what we'll do is bring in a new material. And the material that we want is blue painted wood. So if I bring in my blue painted wood like so let that load up. And there we go. Then we'll come to these parts here. We'll press a Smart UV Project. Click Okay. And then again we'll add in the blue painted wood. And we also as well, I'm hoping blue painted wood. There we go. Now what we'll do is we'll also come into these parts and we'll come in and add in a modifier. So I'd modifier generate bevel and let's put it on naught point naught three. So, and there we go. Alright, so that's that bit. Now the other bit we need to think about is this part round here. So if I come to this part and then what I'm going to do is I'm going to come and just press you this time on wrap, sorry. Material plus down arrow. And we're looking for brick bricks. And let's have a look. And we'll click a sign. And there we go. And obviously we've got to turn those round and get them the same size as here. We'll do that now. If I press three, I should be able to get clear enough view of what these are going to look like. The only problem is, of course I need to be in my UV map. So let's go over to UV map. Let's press three again. Go into the side view, and then we go to zoom out a little bit. And now we've got both of them in the way. And then what I should be able to do now is press the Tab button. Just make sure I'm grab them all, Press R 90. And then what I'm going to do is pull these in to make them much, much bigger like. So you can see we need to make them much, much bigger. Something around about that size looks about right. And now all I want to do is just squish them up. So basically we want the mortar to be underneath and at the bottom, so all I'm going to do is press S and Y, and I'm going to pull them back a little bit. And then I'm going to press and Y, and try and line these up best I can. And then finally S and Y again, pull them in and try and get more lined up like so. And there we go. That is looking pretty nice. I'm going to check them next to these. And I think actually we've got that roundabout, right? All right, from there then what we want to do is we want to put this on rendered view. Let's have a quick look at the wood before we carry on, and then we go the woods looking absolutely fine. I can see it's got some nice detail on there. The wear on there is pretty good. So now let's go back and what we're going to do now is we're going to come in to my actual Windows, press a Unwrap, because they're just plain Windows, basically. Let's click the down arrow. We'll go to Glass Blast, Let windows, and here we are. Now let's come to this one first. And what I'm going to do is just press S and shrink that down. And then I'm going to put it right in the center. I don't want any dirt around these, I don't think, because they're too big actually. So we don't really want that. So what I'll do is I'll grab all of these now and do the same thing with the. So I'm just gonna grab them all. Press the S button and then I should be able to just drop them in place like so we've got a little bit of dirt on there as you can see. And maybe maybe even that little bit of dirt. Let's try and get rid of that. So I'm just going to put them. Over here, shrink it down a little bit more. And there we go. Now before we carry on, let's again once again go over to rendered view, have a quick look at what that looks like. And yeah, I think that that's going to be absolutely fine for double tap. The I think I can actually work with that again. Now. We just need to make sure that we're going to bring this in with the boolean. But before we do that, what we're going to do is we're going to grab the front off here. Now I'm going to press Shift, just to bring it on top of there. I'm going to pull it out a little bit. And now I'm going to do is I'm going to click the plus arrow. And I need a new material. So I'm going to go over to my asset manager. And I'm thinking that if I come over to where my materials are, so let's have a look for my materials. Here they are. Let's click the down arrow. We've got backdrops we need, let's see if we've got one. I'm just looking what it's called, actually. So I'm going to posters. Yes, this is the one where it says posters and this is the one where I want the butcher's sign. So let's click and drag, and drop that in place. Let's then zoom to my window with the little dot born. Let's then go back to modeling like so. And let's click a sign. And now I'm going to do is go over to my UV editing. And what I'm going to do now is pull this out, of course, so if I just press you again and unwrap, I can pull that out like so you can see this is what it looks like. We need to, of course, spin it around, so our 180 spin it around. And then what I'm going to do now is put into place and X, let's move it into place like so. There we go. If I now press tab, double tap the you can see we can actually already see through that Now before carrying on, I'll just go quickly to my shading panel and show you why that is. Let's head over to the shading panel. Let's press dot on my window. So let's grab my window. Here it is. Press the dot born. Let's come over as well to this material which is a butchers sign. If I come out, you will see that not only have we got all of the self that we normally have, we also have an alpha coming from our base color into the alpha and the new blend. It used to be much more complex than this, by the way, but the new alpha works just simply by plugging in your base color into the alpha. And as long as the rest of the, if I click on here, you'll see this comes in with either a PNG with just this on so it has transparency. Or it's black one or the other. And then it will pick up that alpha and give you something like that. From there, then what we can do is we can actually grab this. Now press shift space bar, Bring in the move tool, and then I can place it right on top just before you go in. Hold the shift button down, bring it back, Double tap the and there you go. You can see now that's exactly what we're looking for. So that looks really nice on the front of there. And now what we want to do is we want to create all of the rest that's going to be going around here before we create the Boolean going in the back. So I think it's important that we create the kind of wooden parts that are going to come up here and support this actual canopy. Also, we need to think that it's going to come up to this part here with the wooden parts. And then the canopy is going to be coming kind of from here and dropping down. So let's go back to modeling now. And then what we'll do is, well, once again put this on object mode. And I think at this stage, actually we can probably get away with joining all of this together, so we might as well do that. So press control J, join it altogether. Right click, shade, auto, smooth. And now let's just make sure everything's still on there. You can see that this, when you click on it like this, you'll always get this. It's just because within the material view mode, you won't see the actual transparency. So don't worry about it. As long as you click Render, you will see as soon as it, there you go, it comes actual back light. So all right, so let's put that on there. One of the other things as well that I do recommend being as we've bought trees in, and we didn't really talk about that, is if you come over to the right hand side, especially on cycles. If you come down to where it says light pass, this transparency wants turning up. I'm going to actually quickly show you why that is. We did bring some trees in, let's bring in our assets, let this load up, and then you'll see, okay, it's not on assets, it's on scene assets. There we go, Let those load up. Now what I'm going to show you is if I put this camera view in the viewport here, put on the render, you can see we've got all of this darkness down here and this is affected because of this transparency here. If I turn this down to zero, you'll see that's what happens. And if I put it on something like 25, you will see, you get a much, much better visual on the trees. There's not so much darkness. So if you go back to eight, you'll see that huge difference. We've got all of this darkness around there. We really don't want that. So I normally set this to around 25. It does also impact things like the butcher's window. It makes them much clearer. There's not shadows on them and things like that. So definitely, definitely make sure you put that on. All right. So on the next less and then we'll start building the wood round here. We'll also save it out and I'll see you on the next on everyone. Thanks a lot. Bye bye. 126. Modeling the Butcher's Canopy for Realistic Shadowing: Welcome back everyone to Blend for the Environment Artists Guide, and this is where we left it off. All right, let's go to Material View. Let's actually center our actual view by pressing the little dot. And then what we'll do now is we'll hide this out the way this is the Boolean. So let's just press M and we'll just put it in our bullion just so it's out the way and we know where it is. And then what we'll do is we'll come in, grab this, press shift desk selected. And then all I'm going to do is bring in a cube. I'm going to bring over the cube to this side. I'm going to bring it down then and pull it back over to here. I want it to be nowhere near as thick as this. It wants to be a post, but not as thick as that. So I'm just going to pull it back like so. And then from here then, what I'm going to do is I'm going to pull it up now to something maybe like there. And then what I'm also going to do is I'm going to press on it and then pull it back a little bit. So I think instead of pulling it all back, all I'll do is just grab this and pull it back like so. And I can see that it needs to be pulled up before it comes back. So we can see here, if we pull it to there, I think that's going to look much, much better. And then what I'll do is I'll grab the top of it. I'm going to press and pull it all the way up now into place. And I'm also going to shape this a little bit from the top. The other thing is I can't really see where the gap is on here. So what I'm going to do is just come into here. I'm going to then go with my x ray. So this one here. And then what I'm going to do is just come under, grab either the top of this, so you can see if I pull this up now, now we've got a little gap and we can actually see what we're doing from there. Then we know that there's going to be a post going over here, which means that these parts here now can come up to here and then we can shape them. Now we want them. So what I'm going to do is I'm just going to turn off my x ray again and then just pull this up so it's going to be roundabout there into place. And then from here what I want to do is I want to shape this part. So what I'm going to do is I'm going to press control left click. I'm going to bring it in the center, so left click, right click. And then from there then I'm going to reset transformation control all transoms. Right click, set origin to geometry. And then we'll come to this top bit. And I'm going to press control B to be level that off in the way that I want it now. I'm going to pull it down to there. To start with, I can mess around with this with the operator panel over here. I'm going to turn up the amount then of bevels and then all I'm going to do is I'm going to mess around with the width now, and more importantly, mess around with the actual bend so we can see. Now that's the bend that we might be happy with. And I think actually, once we've got our canopy on here, I'm just wondering if I should drop this down a little bit before bending it in. Let me just have a look at that, see if I can go back. So control Z, let's go back and then what I'll do is I'll just put one I think. I'm just wondering if I can start from here and bend it round. So what I'll do is I'll press control, bring it up to the top here. Press control, bring this one up here. So basically what I want to do is I want to devel off this part. So I'm going to press control again. Left click, right click. And then grab this part and press control. And hopefully I should be able to bend that in now. Or bend it out, let's bring it in. You can see they're not actually playing ball with what I wanted. So how I am going to level that off, I'll do one more thing. I'll actually bring it back. So now we should be able to bend that like so. And that to me, is looking much, much better. I'm happy now with how that looks and I think once we've got our actual, you know, our canopy in there, it can actually come like from the sides here to cover a little bit more of this window. All right, so now let's think about our actual canopy. But before we do that, let's just finish this bit off here. So are we actually happy with how this looks? And I think to be honest, let's make it look a little bit better than it is. So what I'm going to do is I'm going to come in to this part here, ol shift and click, pull it down a little bit. And then all I'm going to do is press control B. Pull it down so we haven't got as many edge loops. Put it to around there. And then we're going to press alternS. Then what I'm going to do is pull it out very slightly like so make sure offset even is on. And let's have a look at that. And I think that looks just that little bit better than where it did before. All right, so happy with that. Now let's come in and what we'll do is then we'll unwrap this. So let's press, let's press Smart UV Project. Okay. And some of this is going to actually be hidden by the actual, this kind of plank of wood that's going to be in there. So we're not going to see all of that going up there anyway. And what I'm going to do now is I for Smart UV project, click okay. Let's come down then. Bring in our material and it'll be blue painted wood, which is this one here. Which is the same one as this one. And then we'll add in a modifier, So geometry, not a geometry node. Generate the bevel, put that naught point, naught naught three like so. There we go. Make sure that our bevels on there so we can see our bevel on there. We have got some breaking on the mesh. And again, sometimes this can happen, Joe's going to check out it's this bevel that's causing this issue. So sometimes we might want to bring it all the way back just a tiny bit. And if we're still getting broken mesh on there, it might be we have to come in and fix that. So some occasions we have to actually come in as I've said, press control a, just do apply that press a little question mark and then what we're going to do is just fix that. Because you can see it's only this side really, which is a shame. But we can come in and fix it by going in and grabbing, let's say this one. And I'm looking now, where is it going to go to? It's probably going to go to this one here. So if we grab this one and this one, right click, and we're going to merge at last. Let's merge at last. And there we go. That's fixed that. And we'll do the same thing on this one. So we'll grab this one. This one last right click, You can press Shift R as well. Shift R will also work for you. All right, let's right click Shade auto, Smooth. And then what I'll do is now I'll just put it back onto Material View. Little question mark to bring it back. And there we go. That's all fixed now. All right, now we've got all that. Let's actually mirror it over the other side so I can grab it again. Right click, set origin three Dcursor and then add modifier generate and a mirror. Let's bring it over to the other side like so. And now finally we can actually put in our actual canopy. So all I'm going to do is just press shift day. I'm going to bring in a plane and then I'm going to bring up my plane to where I want it. So probably you have to remember that it's going to go back to the wall and then it can probably come out a little bit. But the main thing is that it needs to be supported from here. It has to actually go over there. If I pull it out, let's say to here. And then what I'll do is I'll pull it back to where I actually want it, so something like here. And then what I'll do is I'll pull it down a little bit just to get that right size that I actually want it at the moment. It's coming out this far, maybe a little bit further. So something like that. Maybe the back of it wants to come up a little bit. And then what we'll do is we'll just bring these parts in. So I'm going to press and X bring them in. And then what I'm going to do now is I will bring in a few edge loop control. Let's bring in a few edge loops like this. So left click, right click to drop in place. So I've got nine edge loops on there. Then what I'm going to do is press control and bring up this edge loop all the way, probably up to here. And finally then let's bring out these now. So I'm just going to grab this edge, this edge. Press the born enter and X and I'm going to pull those out into place. Just be careful that we're not actually going into the wood there. So it's actually going over it. As you can see, I've gone probably a little bit too far there. So I'm going to press S and X, pull them back a little bit. I also want to make sure that there's a tiny, tiny gap on these parts. Now I might be able to come in and put it on normal, and then I can follow those that way, like, so finally then let's come in and what we'll do is we'll bring this edge down. So we'll bring this edge, so if I press E and Z and Z again, because we're on normal. So just now put it back on Global and then pull them down because we've already extruded them and we should end up with something like that, which is fine. And then finally what we want to do is we want to bring these down now. So I'm just going to click every other one, like so. And then we're going to press and Z and bring them down and do exactly what we've been doing before. So down, something like that. And then this one here, like so. And then E and Z and bring them down. Now, we could have these ones a little bit different from the other ones. We could make them like you've seen in medieval type markets and things like that. We could do that with these, I think we will. Actually, what we'll do is we'll grab this one and this one press H to hide them out the way. Come to front view or the other opposite view to front. And then what we'll do is we'll make sure that we're on vertex select. And what I'm going to do as well, I'm going to put on wire frame just to make sure I can grab them all. I know where they're coming from, so it's around about here. So what I can do then is I can just drag with my box elect with B, put it back on object and I should have more selected like so from there then let's press control shift and B, and we should be able to pull these up like so. And I think actually that's probably going to look a little bit bare. If I turn this up now, I should now be able to mess around with these like so. And I think that's looking a little bit bare actually. Yeah, I'm kind of happy with how that looks. All right, so let's press ol tag. Bring back the other parts. Let's press Tab, and this is what we should be left with. And I think it looks a little bit more like a butcher's. So just make sure then that you're happy with the height, how far it's actually coming over the window, how far it's actually coming out. And on the next one then what we'll do is we'll get these sides on. And the other thing is we don't really want these really, really hard angles on here. We definitely don't want that. So we'll round those off a little bit as well. All right everyone. So I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 127. Finalizing the Butcher's Window with Advanced Techniques: Welcome Micron to Blender for the Environment Artists Guide. And this is where we left off. All right, first of all, then let's level this off. So I'm going to come in with my edge, select. I'm going to select this edge and this edge. And hopefully, let's press control. We should be able to level that off. Now, of course, it's going the wrong way. We need to pull it out a little bit. So let's bring it out. So let's have a look at what that looks like. Right click, shade, auto, smooth. Yeah. And that's going to look absolutely fine. I mean, I know it's got a little bit of a hard edge on there, but that's what you'd expect anyway. So I think that that's coming out fine. So now we need to think about is actually creating the poles that are going to come down here. So what I'm going to do, first of all, I'll bring in this start pole, so I'll use my center. So the moment I've got this in the center, I'm going to press shift date and I'll bring in a plane. I think they'll make it a little bit easier, so R x 90. Let's spin it round so we're going to bring it into place where we actually want it. So it's just going to be a simple pole structure. I'm going to put it roundabout up to here, so we really want it into there. Let's bring it up a little bit because that top pole is going to be right right at the top. You can see it's not fitting in at the moment. Let's bring it in a little bit more and X, let's put it right here now we can see what we're really doing. And then what we'll do is we'll come down, grab the bottom of this, and pull it all the way down. It fits nicely at the side of there, as you can see. And that's looking good. Now let's come to the top part. First of all, control shift, and let's level that off. Then we'll come to the bottom part, control shift and B, and level this one off. Although I want to level this one off a little bit different. So all I'm going to do is bring it in like so. And there we go from there. Then what we can do is we can press L and then and pull it out a little bit, a little bit of metal and then L, grab the whole thing like so. And then let's just put it back into place. Alright, so far so good. Now we need our actual poles that are going to come out. The thing is we could make it so that it's all joined together or we could make it in two parts. But I always recommend just going with something simple. I think simple is better option. So I'm going to grab this and I'm going to press Shift S Custer selected. And then what I'm going to do is I'm just going to press tab shift and we're going to bring in a cylinder. And from there I think we'll have this cylinder on 16, so very low on the vertise count. Let's press the S then and bring it all the way down like so. And the top one is going to be the main support, so that one needs to be a little bit thicker, so something around that thickness, maybe a little bit smaller, might be okay. Let's bring it up then spin it around so R, y or x 90 into place. So we want it right at the top of there. And we need to make sure that this is going to be supported. So first of all, we're probably going to have to pull that up a little bit, and then from there I'm going to have to pull it along now. So I'm going to grab the top of here, so the front face on here. And pull it all the way out to where I need it and then drop it down. And then just keep pulling it out until you're happy with the way it wants to be. So maybe something, something around here. And if it is too thick, just grab it going all the way round. So Alt shift and click, and then you can just press alternates and squeeze it in like so. And I think actually that's looking pretty good. It doesn't have to actually go onto the thing. You just got to make sure it looks like it is. So I can see here. It needs to be pulled down a little bit. And there we go. I'm just wondering if I should pull it to the left a little bit. I think so. Just to the left. And I'm wondering now whether I should pull all of this up a little bit, and I think I should. So I'm just going to grab all of these, pull them all up, and there we go, to think that's absolutely perfect. Now finally the last one, then all I'm going to do is I'm just going to grab this one. I'm going to press Shift D. I'm going to bring it down. I'm going to press Tab. I'm going to select all these, going all the way around, so Alt Shift and click. I'm going to press alternates and make it a little bit thinner like so. And then all I'm going to do is just put it into place, so maybe something around here. I can see this is probably a little bit thin. Now, I'm going to pull it up. First of all though, let's get it into place where you want it. Maybe something like that. A shift click again then, and then all I can do is Alts and pull it out to the right thickness that I want it. Then what I'm going to do is grab both of these. Right click, shade, auto, smooth, double tap the A. There we go. All right, that's looking pretty good, I would say probably still needs to come down this bit from the back. So I'm just going to put x ray on. Come round to the back. Then all I'll do, take it off and then I should be a to now pull it down to where I want it like. So. Okay. All right, so now what we can do is we can join all of these together. So this one, this one and this probably, this has got a Bevlon. So we're probably going to be joining that last. So if I joined this up last, press control J, join them together and then it's going to mirror over the other side, so everything's going to get mirrored. And finally I'm just looking around now making sure everything's fine. And I think actually we're nearly done with that. The one thing we need to make sure that we're going to do before doing anything else is just give this a little bit of thickness. But I recommend before we do that, let's just unwrap this part first and get the materials on properly. So on this part here, this wants to be metal, so I'm going to let my shaders all load up again. And then what we'll do is we'll get the metal on here and get the actual red and white canopy on here. We've got a red and white one, I'm not sure if we've already used it yet. I think we've used a blue and white on the coffee house. So let's come in, grab this and this, and then what we'll do is Smart UV Project. Click Okay. Material plus down arrow and black metal. Click a sign. And there we go. There's the black metal on there. And it's also over the other side. Now let's come to this and what I'm going to do is click New and then going to Not New, sorry, we don't want to actually click new. What we want to do is first of all, come to Asset Manager, That will be easier. And then we've got cloth and all I'm going to do is just drag and drop this onto there. Back to model in then. And now I should be able to unwrap this. Now we can see that's not what we want really. It doesn't actually look too bad, but I think we want them going down this way. Actually what I'll do is now I'm going to bring in some seams, so well, I think we'll bring it up to here. We don't really want it going across this part here, so we're going to just grab it going to here. Just making sure to where does it touch? Where does it touch? It's probably going to be, I'll test it. I think it's right in there where it needs to go. Right click Market. If I come in and face Select L, that's actually fine. That's what I actually wanted. Then what we can do is we can come to this one. Now what we're going to do is grab it here. Alt shift and click, right click, and mark a scene. And then what we'll do is Alt Shift click going all the way along here, so we can unwrap them independently of each other. Which actually will make it much, much easier. Now we can see that these parts in here, then we need to select both of them. As you can see, I think there's two edges on there. I'm not actually sure if there is or not. Let's have a look. Right click, mark seam, and then just grab each of these. I think there will be. I'm just going to test it. I'm going to select just one of them. Right click and mark a seam. And now I should be able to come in hopefully and select each of these independently, which I can. Now what I should be able to do is select the whole thing, you unwrap. We'll end up with something like that. Let's now go over to my UV editing. This is what we're going to end up with if I now. No, I won't. Actually, I won't press seven, I will just go over to here. So what I'm going to do is I'm going to press R 90 and spin those round. Now what I'm going to do is just come to each one. So I'm going to grab this one first. I'm going to press G, and I'm going to put it in the white. Then this one will put in the red, put it in the red. Then this one will put in white. Again, put in the white. This one should already be fully in the red, which it is. This one's fully in the white, which is this one. Let's put in the red, then just work your way along. So if it's not moving correctly, just press the dot on and then you're able to move around it. This one I'll put in the white. We'll use that white just so it looks a little bit different. This one we'll put in the red and just work your way around like so you can see already. It's becoming very nice. All right, let's put this in the white, this one in the red, and this one in the white. And just see, and now it comes along so you can see, not quite lined up, which is a shame. Which is a shame. But that's sometimes the way it works. I'm not going to go back and build the whole thing because they don't line up quite right. So let's put it on there. And there we go. There is our actual butchers finished. And I think not my butchers, my canopy butcher's canopy finished. And I think that's looking pretty good now from there. Then what we need to do now is we can come in, add in a modifier, and it's going to be a solidify. Now you'll see that makes a huge, huge difference on there. Let me go back to modeling now, just to check out what we've got. Let's put it onto rendered view. So we've got a really good view now of everything. And there we go, I think that's absolutely fine. We're pretty much finished with this. We can join it all together on the next one. And then what we can do is we can bring it, put it into place over here. And I think actually that's going to be good. Yeah, we'll do that on the next one, then we'll join it all together. Bring it over to this part here, get this part in, and then we can build around this bottom part, really these faces, by the way, it's only two faces. The back one is just going to have a chimney on it. So it's actually pretty simple. The butchers probably the most simple one actually. All right everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 128. Resolving Material Bugs in Blender: Welcome back everyone. To blend for the Environment Artists guide, and this is where we left off. All right, now what I'm going to do is I'm just going to put it on object mode and I'm going to bring in my bullion. And then what I'm going to do with my bullion is I'm going to first of all press control all transforms set origin to geometry. I'm going to press tab A and then, and let's pull that back. And then what I'm going to do is I'm going to pull this into place then where we actually want it. Now I'm thinking that for this we're going to make it a little bit smaller than the sides of this, sorry if I press and X and just pull it in a little bit. And then from there what I'm going to do is I'm going to keep the height that is here, albeit I'm just going to pull it down a little bit. So if I come in and put it on this x ray, then I should be able to pull it down a little bit like so. Now if I turn this off, what I'm going to do now is I'm going to keep this as it is and I'm going to come in to this part here and I'm just going to split it off. So I'm going to split this one off with selection. And then I'm going to grab this one. So this part here, selection. And now what I'm going to do is I'm going to use that boolean. So let's come in and grab my Boolean again. I think it's this one here, which it is. So I've got this here, which means I can now select it. So if I come to this one now let's come in, add, modify it, generate a Boolean and then the Boolean if I click on this cube now, should be like there. And there you go. That's what I'm looking for. All right, so now I'm going to do is I'm just going to apply that with control A. And finally now let's come in and just make sure we can join all of this together. So what I'm going to do is just put it on material because I just want to make sure that nothing changes once I actually join it altogether. All right, so let's press G. First of all, we can see we need to join these parts, so let's join this all together. So all I'm going to do is just press G. I'm just going to make sure I've grabbed everything, which I have press control J, enjoying everything together. And that's one problem that I forgot about. I need to actually apply that mirror. So let's come up. We also need to think we've also got a solidify on here. And I'm just wondering if we've got a bevel on there. So we've also got a bevel on there. I need to apply the solidify, so let's apply that with control A. Let's come then to the mirror and press control A. And then from there, let me just check and see if we've got our bevel on which you can see that we have. Which means that we might as well apply this bevel on here as well. So let's press control A, and finally now we can actually join all that together. So again, just to make sure we've got everything, press control J. Join it all together. Right click, shade, auto, smooth. And there we go. And finally, now I just want to make sure that if I hide this out the way, so hide the cube, that this is still looking the way it did. So let's go on to rendered view and just have a quick look and make sure that's all looking good, which it is. All right, so now what we'll do is we'll grab this, we'll go back to Material View. And then what we'll do is we'll press Shift D and we'll also, I think, grab the cube. So if I bring the cube back, then what I can do is I can grab the cube at the same time. And now I can drag them out like so from there, then let's spin it round so as head -90 let's press three so we can go into the side view like so. And then let's think now where we're actually going to put it. So I'm thinking something like that gives me enough room to actually put a post up here and I think that's going to be the right place. So we've got a door here and then we've got, you know, the window here. All right. So let's from there then pull it back into play. So jousted into the wall like so. And then what we'll do is now we'll come in, grab this wall, and then we'll go to our Boolean again. So add modifier generates a Boolean. And then from there we'll click on our cube once more. And there we go. Now let's apply that with control A. Let's actually delete our Boolean now. So press Delete. And now we should be able to come in and hide both of these out of the way, and this is what we should be left with. All right, so now what we're going to do is we're going to pull these back. So let's come in and grab all of these like so. And then all I'm going to do is I'm going to press F. So to fill those in, I'll do this one at the same time. So I should be able to grab them both and do this one at the same time. So if I press like so, and then what we'll do is we'll grab this one and this one. I'm going to press the eye button to insert like so. And then what I'll do is I'll press control. Bring in a few edge loops like so same on this side, then control law like so. And then finally let's come in and do this one first. I'm just going to pull this into place, so let's put proportionality on and let's come in and bring it out. So something like that I think looks pretty good. And let's do the same now on this one, so I don't want to go back too far. And then finally, let's write click shade auto smooth. Now I'm just wondering if I want to actually smooth these parts off as well. Sometimes it's worth actually doing that. So to do that, all we need to do is just press Alt Shift Click. I think what we'll do is with Shade Auto Smooth. I think instead of that, what I'll do is I'll just press control and I'll just see what it looks like if I go to shade smooth. So let's shade it smooth. Yeah. And I think it's still going to be a bit of a mess like that. So what I'll do instead is I'm thinking I'll come in and I'll just grab each of these. Come in. Shift selecting control, selecting shift control and then control B. And I'm just going to turn down the bevel. And there we go. That's look in bed, you can see it. Not so hard edge and that's what I want. Let's come to this one now then. So shift control. Shift control, like so, like so. And so let's press control, pull it out. And there we go. All right, so now from here then what we can actually do is we can bring in, well, first of all, we need our wall on here as well. So the best thing I think to do is just to come in and actually we need to basically split this off from this part. So if I come in, I'm going to come all the way around here. So I'm just going to click control, click, right click, and mark a scene. And then it will make it really easy to grab that. And we'll do the same on this one as well. So if I come in control click, going all the way around like so. Right click and Marcom and there we go. And now what I'll do is we'll first of all do these parts here. We've kept them joined. You might want to split yours up. It might be easier that way, but I think actually this will work okay for me. So what I'll do is I'll come in now to my material and then what I'm going to do is just minus that off in object mode. So minus it off. And then what I'll do first of all is bring in the brick. So bringing in bricks like so. And then with this bit now I'll just come in and grab it. So L and then we're going to press wrap. And then finally now I want to bring in one of the others. So I'm just wondering, have I actually got it? So let's first of all click plus click the down arrow. We've got adverts, we're looking for butcher sign is one we've got on there. So, I'm just wondering, do we have shops? Here we go. This is the one that I want. Shops one. Let's go over now to UV editing and we'll be able to see exactly what this is. The moment I assign this now to here, this UV map will change as you can see. And this is the one that I want. The two that I want is this one here and this one over here. Let's do this one here first. If I press A over this side A, and then shrink it down, let's put it into place, let's shrink it down a little bit more so like so. And then I'm Jaws thinking that this floor needs to probably be a little bit lower, so going down here. So to do that, all I'll do is just press and y and go the other way. So there we go. I think that looks pretty good. And now we'll come to the other side as well. So all I'm going to do now is I'll grab this wall. And this wall, I'll press control L, and then we'll link materials like so now we'll come into this part. And then I'm going to press L. I'm going to click on Shops one, click a sign. And now let's grab this one. We'll unwrap it first. Unwrap, and then, and then bring it down. Now because of the actual way that this one is, so this series pointing this way doesn't really look right. I'm going to turn this round, I think I'm going to make it a little bit smaller. And then all you can do, you can come up to UV, you can go down to mirror, and we'll mirror on the X. And then we'll turn it round the other way. All right, so from here then, let's actually think now about our bricks. So what I'm going to do is I'm going to grab, I think I can grab both of them at the same time. I think I can. So we've unwrap them. Let's spin them around first, so R 90. Spin them round. Let's press three so we can get a good size in. We've got them both together, which means we can actually do them both together. And luckily for me, actually, these actually look the right size. It's just that the bottoms of them, I need to pull it up a little bit. So all I'm going to do is just press and Y and pull it up so that mortar is just sat on the bottom of there like so. And then I'm going to squash them in a little bit. You're just a little, tiny bit. And then and Y, and bring them down a little bit further, holding the shift born like so. All right. They're looking very nice now. Now, I'm just wondering why that has gone black's. Look I'm not actually sure why that's gone black. Let's look. This is what it should be like. I've got something in front of it. Let's see if I unwrap this again. Click a sign. Look, I'm just going to put it onto my Material mode just to check why that is. So let it load up. There you go. Maybe it's a bug. I'm not actually sure why that is. I'm going to save out my work. And then on the next one, what I'll do is I'll make sure this is actually working because at the moment it's actually black when we go into the render. I'll check that out while when I finish this actual lesson. And then on the next lesson, I'll have the answer for you, no problem. So hopefully yours, not black, but if it is, I'll come back with an answer. Thanks a lot. Bye bye. 129. Crafting the Main Door for Victorian Butchers in Blender: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left off. Alright, so I've done some checks and it doesn't seem like there's any issue. If I press ol tag, bring back these parts. So ol tag, let's bring them back. Double tap the A and let's put it on rendered view. You will see now that it's actually working perfectly. And you can see now just how nice that butcher's looks. So now it's time actually to think about these doors now, because we basically need to boole this one in and boole in this one in. So let's go over to modeling then. Let's work on this one here. I basically want a post. If I bring this over going up the side of here, just next to this, then I want it going over here. I'm thinking I'm going to bring my post in first. And then I can see how far back this goes. We can see we've got a post here. I need a post next to it. So all I'm going to do is shift A. Let's see where that E came in, so it's coming over there. Let's press three. And then what I can do is put it into place, something round about there. And let's then pull it back, and then we'll have a good idea. If I put one post there on one post here, this should actually fit into the actual scene in a nice way. What I'm going to do now is I'm just going to hide this out the way for the moment just while I build this post up. And then what I'll do is I'll come in, we'll bring this up a little bit without portion editing on, let's bring it up to round about here. Then what we'll do is we'll press Enter and pull it out then like so. And then I bring it in and then E. And I'm thinking of going all the way to the top or making it a little bit thinner near the top. I could also do that. Actually, I'll just bring it all the way up to the top. I think this is going to be fine. I'm just wondering how far you stuck out. It is. But yeah, I think we'll bring it all the way up to the top. Like So here's the but just the butchers after all. We don't want to go too, We're crazy with it. The other thing is I'm going to actually shrink this down a little bit. So I want to press Alt. Shift, shift, click, shift click, going around all of the sides. And then from there, and then from there, compress a test. Bring it in, holding the shift button. So from here then, I'm wondering if that's going to be okay. I think it will be. Let's then press al tag and bring back the actual door. And then what I can do is I can press Shift D, bring it over the other side now, so roundabout here. And now you can see that we've got our, you know, kind of archway for our door. And from there then we can put a piece going over there. I'm just looking to make sure that's not touching there. And I think, yeah, I'm actually happy with that. So let's come in then and grab our wall once more. And I'll come over to my modifiers, adding a modifier, generate a bullion. Let's come in then and grab my billion like so. And hopefully that will go far enough back what I want. Yes, it should have gone far enough back. Let's come in then and actually press control. And then if I come in now, hide that out of the way. That is what it should look like. So that is exactly what I want. All right, so now what we can do is we can come in, we can hide both of these out of the way, like so. And then I can come into this part. I can press Alt Shift and click, going all the way around. Shift, click, shift, click. Just make sure you've grabbed them all. And then and X, and then just pull them out like so we'll have our door I think round about there. I'm going to press just to fill that in, like so. And finally as well, I'm just going to unwrap these parts as well. So I'm going to come in and I'll grab this one. Going all the way around here, I'm going to press and wrap. And then I'm going to grab this one and press and wrap. All right, let's go quickly over then to our UV editing. Let's make these the right size, so if I press dot to zoom in and then what I'll do is I'll press the bond scale all the way down. Look at that. That's not scaling. Why is that not scaling? Let's press control A all transforms right. Click origin to geometry and let's see why this one isn't scaling. So we can see here by press G, I need to see why that's not scaling. There we go now it's scaling okay, that's good. And then R 90, spin it round, something like that. And now I'll just come in and grab all of these. I'll put it on material view because it's actually a bit harder to see on the rendered view, especially with the lighting. So then I can come all the way down like so r 90. Spin it around, make it much, much smaller. And I'm just wondering if that's the right one. I think actually I'll spin it back round. So R 90. Yeah, and that's looking much, much bare. Now I can press G and Y and just line them up a little bit bare. Now, of course, the post is going to cover this anyway, so we don't need to worry too much about that. All right, so we've pretty much got everything there. If I press Tab now Tate, bring everything back then. What I can do now is I can use this for my actual door. So I'm just going to create a pretty simple door for the actual butchers. So all I'm going to do, I'm just going to come in and I'll grab this part first. So shift D and then I'll get rid of this part. So L delete Ts and now let's think how we can actually create this door. So what I'm going to do, I think the top part, yeah, we'll do it in stages. So what I'll do, first of all, I'll get rid of this bottom part. So in other words, what do I mean by that? If I press three, I'll come in, grab a knife, bring it over, press a to straighten it up, and then enter. And then from there then what I'll do is I'll bring this part in now. So I'm going to grab this part, press the eye button and bring it in. Actually, you know what, we won't bring Yeah, we will we will bring that bit in. So we'll bring it in like this first, and then I'm wondering whether to split this now. So I will do that. I'll come over and we'll split it like so. And then what we'll do is we'll come and bring another one in. So right down the center. To come to the center again, all we're going to do, we're just going to grab this one. Right click, subdivide, grab this part K, and then all the way down to the bottom. And then Enter. All right, so now we've got this one. So let's bring in these parts here. So all I'm going to do is press I like so. And then I'm going to come to the bottom one then and press the, but on this one I'm going to press again and just bring it in like so. And there we go. That's what I'm hoping for with my butcher's door. Now let's think about creating these parts in wood. The one thing is if I press three, I want to split this top off again. So all I'm going to do, I'm going to press K and then A, going all the way up, and then Enter. And from here then I can split these off. So I'm going to grab this one and this one, I'm going to press Y and H, and then this one, and this one, and then Y and H. Then we're going to go all the way down to here. Now, all the way down to here and here. So Y and H, and then this part here, H, this part then is already split off. So now it's just a question of these parts. So we'll split these parts off like so, so Y and H and then these two Y and H. And then finally, now let's work on these parts. I'll come all the way over here like so Y and H and then all the way this way, and then basically split these two off. Once we split them off, then everything is going to be very easy, just these parts to split off. And we could have gone in and split it using what we did before. Where we go to the actual split select and where is it mesh and separate split. There we go, faces by edges, but I think on this one actually, it would have messed it up, so I didn't want to do that. All right. So now what we can do is we can come out. First of all, we'll bring all of these out. I'm going to bring all of these. One I'm going to do, just grab all those press to bring them out. Then I'm going to bring the bottom out. So I've got the bottom here. I'm going to press, pull it out slightly over where the other part is. Finally, we'll bring these parts out then if I press L on all of these parts. So let's press and bring those parts out. Let's bring these parts out if I bring these windows out to here and then this part out to here, so. All right, that's looking pretty cool Now from there, what we can do then is we can actually bring in some materials. What I'm going to do, I'll come over, I'll grab them all. First, press a Smart UV Project. Click Okay. Open this up, and then we'll do, click the down arrow. We're going to go for blue painted wood. Let's bring that in first. And then we'll go for this wood here. We're going to grab all of these and we'll just give it a different wood. On these parts, we'll look for different wood plus down arrow wood. We'll go for light wood. Let's try that. Click a sign, and there we go. And then we've just got windows. I'm going to grab each of these and I'm going to click down arrow and I'm going to look for glass. The one we want is glass, not lit windows. Click a sign and there we go. Now let's just actually fix these then. All I'm going to do is just press S, make them a little bit smaller, put them into place, like I don't really want any dirt on these anyway. I think they'll be fine without it. And then what we'll do is now we'll come to these parts, so you can see the parts that are not right. So all I'm going to do is just come in, grab all of these, press alternate and straighten them all up. Sometimes that happens actually, it generally means that these are actually joined. As you can see, if I come in and grab just this one and then press Alt, you can see now it straightens it up. Same for this one, like so, and there we go. You can see now how easy that actually was. Now I'm looking on the inside and I'm actually thinking, yeah, that's looking pretty nice. Now let's press control all transforms, right? Click, set origin geometry. Let's now pull this door into place where it's going to go, right in there. Is that too far back? Actually think that's going to be okay. The one thing is that we do need a step on here. I think we'll do that now. All I'll do for the step is I'll probably split this, fire pressure shift, bring it up, and then press control left click, right click. And then all we're going to do is just pull out these ends. If I grab both of these ends, pull them out a little bit like so. And then we'll split them off. Now if I grab this one with Y, and then all I can do is click plus down arrow. And what we're looking for is flag or stone flag. So stone flags like so click a sign and then click a sign on the stone flag. So now finally, let's actually pull these down. So I'm going to grab them both, pull them down into place, press E, and there we go. Now we'll unwrap them again. On the next lesson, we'll get everything on here beveled off. And from there then we should be able to start work on this part and actually move on up to the top. We've still got this door to do over here, but now it's all really starting to come together for our butchers, and this actually is the hardest part. All right, everyone, so hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 130. Modeling the Victorian Butcher's Shop Front: Welcome back everyone to Blend the Fold, the Environment Artists guide, and this where we left off. All right, let's go back on over to our modeling section. And what I'll do now is bring in the first part that's going to come over this part here. So what I'm going to do is I'm just going to grab this one here. I'll press Shift S selected shift. Let's bring in a cube. Let's bring it up. And then what we'll do is we'll put this into place. So first of all, I'm just going to push it over to there. And then I'm going to grab it in edit mode, grab that face, and then let's pull it out over to here. And we're going to have a post on here. So come in round to here. The main thing is though, let's make sure, first of all, don't grow at the right height. I think here maybe it's a little bit too low. Let's pull it up a little bit like so I think that looks a little bit bare. And then what I'll do is I'll pull it up this way as well. So pull it up this way like so. And then finally what I'll do is I'll press control all transforms, right? Serogen geometry, because I want to actually bevel this part. So control B, bevel this part. Not like that. I don't know why beveled like that. Control, there we go. That's what I want. Something like that. And then from there then we can actually control this the way that we want it. We have this one here. Oh, I think something like this is going to look okay. I'm just wondering whether I want to pull this bit out a bit. I think I do. Let's pull this bit out. Not that weight. Let's make sure we're pulling it out the right way, like so. And then from there then, I've actually got enough room now to actually put the posts that are going to go up and over there. All right, so now let's actually finish this part off then. So I want to have one part that's going to be kind of rounded on here. So I think what I'll do is I'll actually use this that I've already got. So what I can do is I can come in, grab all of these for instance. And then what I can do is I can press Shift D and then E pull it out. So just make sure that it's following the x axis. So and x pull it out. And then from there I can grab it all. Press LP selection, separate it off, grab it again. Control all transforms. Right click, set origin geometry. And then what we'll do is we'll just bring in a solidify. You can see that the solidify isn't working properly. And that's just because we need to sort out the normal. So if I press a shift and there we go, now we fix that problem. Now what I'll do is we'll bring it out a little bit more like so I'll change the offset a little bit, just put it into place like so. And finally then I'll also pull it out a little bit on the S and Y just to get that into place like so let's write, Click and shade. Auto, smooth. And there we go. And now let's actually think about this top bit that's going to go on here. So what I'll do is I'll press shift S, Costa selected, shift eight. Let's bring in another cube. Let's pull the cube back. So I'm going to press pull it back into the waxual wall into there. And then all I'll do is I'll pull it up with face elect and hopefully it should go under that part, which it does. And then finally I'll just bring out another part on here just so it looks like it's supported a little bit better. So let's pull it back a little bit like so press control left plate. Let's bring it up like so. And now I will bring it out. So let's pull it out with E. And then let's also level this off. When we've leveled it off, we might need to pull it down a little bit more. So if I press control B, let's bring in a few more. Actually, you know what? That's actually come out pretty nice. Let's right click, shade, auto, smooth. Now finally, let's actually come into each of these and level them off. I'll level this one off first I'll come in add modifier. In fact, what we'll do is we'll just grab all of these first. It'll be easier doing it that way. Press control all transforms, right click, set origin to geometry. Let's apply that. Solidify, we've got that now. And then we can add in a modifier which will be a bevel, let's put it on naught point naught three like so. Let's press control L then. And then what we'll do is we'll copy modifiers. And then finally, let's just make sure all of them have gone on. So we can see we've got bevels on pretty much everything on this one here, you can see that the devil's not work too well. Sometimes that happens as we know. So with this one here, I'm just going to have to come in clamp overlap of like so. And there we go, That's looking better now, right click shade or smooth. And now finally let's put it back on. Shade in. And then what I'll do is I'll first of all grab this one Smart UV project. Click Okay. And then what I'll do is come over, bring in a material which will be my blue painted wood like So now let's unwrap each of these individually. So a Smart UV project, and then we'll do this one. At this point, you really should have a really, really nice workflow. Now, as we've built so much smart UV project, Click okay and then we'll finish this bit off as well, because I actually forgot about that bit. So let's grab all of these. Let's grab this one last control link materials. Double tap the eight, and there we go. All right, let's finish this part off then. If I come in, I'm going to grab both of these smart UV project. Click okay. Now let's come in and add in a Bevel two here. So add modifier generate bevel, let's put it at n point normal three. So could we turn up the segments a little bit? I don't think that's actually going to help. I'm going to bring this down a little bit just to make them look a little bit further apart like so. All right, let's double tap the A. Let's have a quick look then on our rendered view of what that actually looks like. And there we go. It's really, really starting now to really come together on this butcher's shop. All right, so what we'll do next is then we'll get this bigger post in here. And from there we can actually build it across. And then we can actually start over on these steps over this side as well. All right, first of all then let's actually save out our work, let's put it back onto object mode. And let's come in now to this part here. I'm just making sure everything that's got a bevel on and all that good stuff. So what we'll do is now we'll bring a post into here. So I'm going to grab the corner up here. So I'll grab this part, Shift S and Casa selected. And then what we'll do is press shift cube. I'll make it a little bit bigger, pull it down like so. And then we'll bring it up now to that part. So I'm going to bring it up to this part just above it, I think. Something like that. And then what I'll do is I'll press control and bring that just below it. And then what I'll do is I'll press Alt Shift click. I'll press Enter, Alters and bring this out. And you can see it's all nice and even. And then finally what we'll do is we'll press control, left click, right click, control, scroll it back just so we've got a bit. Just one alterns. Let's bring it out slightly on this one as well. And there we go. All right, so that's that post in now this post we can also use over this side. First of all though, just make sure that's in properly. As you can see, it's a little bit out, making sure it's in like so. And then what I'll do is I'll press a smart UV project. Click Okay. And then I'll just grab this one, press control L, and we'll link materials and control L. And we'll also copy modifiers. And there we go. Now if I put this on material mode, that's what we should be left with. Now finally, let's bring it over shift, bring it over to this corner here. So making sure that then we've got enough room in here for my door. And this is why I always check it. You can see at the moment, if I move this, we've still not done our bolling because it's always a good idea to actually check. I can move this over slightly, and I think it actually looks better there. Now let's circle in. What we'll do is we'll grab this part pill, bring it over Z 97 to go over the top. And then what I'm going to do is just press G and I'm going to fit it in some kind of place like so looking at how far this one is out, that looks roundabout, wrong. We need to pull it back a little bit, let's put it into place like so. And we can see now that's fitting in very nicely. And then finally, let's just grab this end in face lect and we'll pull that out into place like so. All right, so what we'll do now, then on the next lesson is I think first of all we'll build out this part. So we'll build out this part and see what we can actually do with it. I think actually, you know what, we'll actually make the door first. I think that'll be more interesting actually. So we'll make this door out of this one of these parts, and then we can actually bully it in. And from there then we can build out these steps and these two parts that are going to go into here. And then I'm thinking if we go round to the other side, we are gonna need a post that's gonna come round here. I wouldn't actually, you know what, we'll put the chimney on last because we'll work on this second floor after that. Because pulling this all together, again, that is the hardest thing when you're creating these buildings. You got to pull everything together right at the end. And sometimes that can be a little bit difficult. Alright everyone. So I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 131. Designing the Backdoor for Victorian Butcher's Shops: Welcome back everyone. To Blend for the Environment Artists Guide. And this is where we left it off. All right, so let's come in and let's grab this door first. What I'll do is I'll just put my interlocking links on so I can see what I'm doing. And then what I'll do is I'll just grab the front of it. Because what I want to do, I want it this size and I just want to create a door out of this. So what I'm going to do is press Shift D. I'm going to bring this out. I'm actually going to press P. Then selection. Just split it off from there. Control lay or transforms right click, set origin two geometry. And then what we'll do is we'll just create now a simple door. I think actually doors by this point should be pretty easy for you to create. All right, what I'm gonna do then is just, I'll bring my guy over, I'll pull him up a little bit in level, in line with my door. Let's have a look at that. So let's press control one. And let's put in to where my door is at the moment. I can't see where it is, so let's put an object mode and there we go. Now I can see how the door is and you can see it will be quite a small door, so, you know, not quite high or anything like that. All right, from there then we can grab our door and what I'm going to do is just press control lot. And again, I'm going to bring all of the parts that they actually need. So if I press control art, I'll bring kind of the where they kick their feet against the door. Sometimes I'll bring that in and then what I'll do is I'll bring in two edge loops now. So lets click right click, control be, let's split them off then. So we've got the, the kind of fixings on the actual door. And then I'll bring in a center bit at the top. So control bring it up. Something like that. And then I want the window to be around here. So control bring up my window to be around this point here. I think I also want, with this one, you know, some parts inside the window. So let's first of all though, think we can use the parts that go inside. And we can also use it for the actual planks that are actually put in there as well. So what I'll do is control two, left click, right click. All right, from there I think actually I've got enough parts. Now when we're build indoors, obviously we visualize what we actually want them to look like. So I think something like this actually looks pretty good. And from here then, what I can do is start to split this off. So if I press Y, split this off, and we can do it a little bit of a different way. Instead, if I press dot as well, it means I'll orientate myself around there. From there, then I can pull this out like so. And then what I'll do is I'll come to the front of it. So this part here, control click control B, and just bevel that off like so then from there then we can actually have these planks of wood. But I'm thinking we also need another part going down here. Another piece of wood. Just coming down here. Just up to this point here. So if a press control are left click, bring it down like so. And then what I can do with this part now is this part here again. We'll split it off with Y and then we'll press and pull it out. And then we'll come to this part now, and we'll have it going all the way up to the top. So this one and this one. We'll press Y and then and pull it out to there. And then what we'll do now is add these planks of wood. We also need probably another bit in here, another piece of wood in here. So I'll do that as well. So control left click. Bring it up and you'll see once I've done it this way, how easy it is to actually build doors like this. I'm going to grab this one. And this one, I'm going to press press Y. Let's see if I press Y first. No, I didn't, I didn't split it off. So y and then and pull it out. And actually as well, I'm going to pull these out a little bit further actually because they're not quite out far enough. I'm going to pull it, jaws in front of there, like so. And then I'll grab this one, pull that one out, jaws to there. And then finally this one. And they'll grab here. This end here. Shift select. Control select. And then I can pull that out all the way like so. All right, now we can do these parts. So what I'm going to do with these parts, first of all, I'll split them off from the main part. So I'll press Y, then I'll grab this one, and I'll press Y. And then all of these are split off now. And I can just extrude them out like so. And now we've got this actual top part. So let's grab this. Let's press Y. Pull it out. So pull it out like so. Now the final bit, which is the window. So all I'm going to do with the windows first of all is press the eye button and bring this in. So then what I'll do is I'll split all of these off. Let's grab all of these, pressing Y, this one and this one, pressing Y. And then we can grab them all. Shift select, Control select. And then we can press, pull that out. Now finally, the last part of the window, I can select all of these. Press press I again and just bring them in from there. Then now we can split all of these off. I can press Y to split those off, and then we can grab all of these top and bottom, press Y and split those off. And then what we need to do now is split these off as well. So if I grab both of these, I can press Y, and now I can grab everything. On here and press the bon, and pull them out. And hopefully everything now should actually bevel off if I press control a now. Or transforms set origin to geometry, okay? And let's come in and add in a bevel like so. And we can see straight away that we do have some problems here. So these parts here have some problems. And it's because I didn't split them off shift. Click on each of these, press the Y button, and now you'll see that they're all fixed. The one problem we've got is that we haven't actually filled these in. So if I press A just to grab everything, come to mesh, cleanup, fill holes, and there we go. Now they're all filled in. Now if I, let's try bringing this down to nought point. No naught, three like. So there you go. Now they're actually fixed. And what happened there was when we actually split these parts off, we still had them joined at the corner, up at the top here on each one. So it meant that I messed around with our bevel. Once we split them up, then we had a hole in each of the ends of these ones and we needed to fill those in. So that's what we basically just did there. And there we go, we can see we've got a really, really nice door. Now from here, of course, let's come in, put it on material mode. Let's grab the whole thing. Once we actually load that up again, the more shades you've actually got in here, the longer it's going to actually take to load. Let's press the Tapon, Press a smart UV Project. Click. Okay. Let's come in then and bring in the material which is going to be blue painted wood. So now let's come in and do the light wood on these bits here, we'll do the windows first. On these bits here, click plus down arrow glass, it's going to be the glass not lit. Click a sign, and then these parts here. So we're just going to select the inside of these, not that one. Let's select this one with L. And then all we're going to do is click Plus, and we're going to look for wood, and it's going to be light Wood. Click a sign, and there we go. Now let's finally come into these parts here. Put these windows to the right, so you V editing, Let's press A and G and bring them in some sort of place. I'm not too worried if there's a little bit of dirt on there. So let's go round now and there's our beautiful door. And you can see it really fits the actual scene. All right, so now we've got that. Let's come over and what we'll do now is we'll actually create our Boolean. So I'm going to come to my brick wall. First of all, I'm going to press control or transforms right clicks at origin to geometry. And then I'm going to bring in now a Boolean. I'm going to click on my Boolean, which is this here. I'm going to click fast. And there you go. Sometimes as I've said, it doesn't always work on exact, So just click fast on press control, and now we can delete our Boolean out the way. So delete your Boolean. And now we can actually start to put our actual door in. So let's bring our door, and we'll bring it in to probably something this far in, maybe something like that. I think I think that's going to be okay. And now what we can do is we can actually come to our, you know, our hole in our wall. And I just need to pull that back. So all I'm going to do is grab the bottom of here and the sides of here. And then we're going to press and Y and pull it back into place. And finally on the back, I'll just press and fill that in and then pull it back a little bit. So if I now show you on the inside, you can see that's how far back it's gone. And you can see these bits are actually filled up now on the next list. And then what we'll do is we'll get all of this steps into the place that I want it, put the final parts of the steps on top of them. And then what we'll do is we'll just create some supports going up here and on the side of here. That then is pretty much the bottom floor of our actual butchers. Actually done. All right. Let me just double tap the eight. There we go. And we'll do that on the next lesson. Let's save that our work as well. All right everyone. So I hope you enjoyed that and I hope you're loving the course so far. And I'll see you on the next one. Thanks a lot. Bye bye. 132. Finalizing the Rear of the Victorian Butcher's Shop: Welcome back everyone to Blender for the Environment Artists Guide. And this is where we left off. All right, let's come to our steps now. Now the thing is with the steps, when you put it as an ray, which is what we've got here, it doesn't always work out the best way. So I'll show you the best way to deal with steps, especially when you've used Ray. So what we're going to do is just press shift, hide everything else out the way. Let's apply control, apply Ray. And then all you're going to do now is you're going to pick the top steps and the side of it. So let's just take off this a minute. So you're gonna grab this one like so, going all the way down. And you will notice that when I take them off here, these won't actually be joined. So what I'm going to do, I'm going to actually press shift H, sorry. H. Hide everything out of the way. Then what I'm going to do is I'm going to press A and delete. Delete face S. Let's press Ltage. Bring back everything, and you should be left with this now. Now we can see that our steps, they're not joining slightly, as you can see. If I go to the side view, you can see now these aren't joining. So what we need to do is just make sure, first of all, that these edges are a little bit more in line with these parts here. So now if for bring them this way, you can see now we can kind of line them up like so. And from there we can press a mesh clean up and let's merge by distance naught vertices removed at the moment, let's increase this. So if I increase this, six vertices removed now. So what's happened now is it's actually joined all of these up. If I come in now and try and grab one of these, you'll see they're all joined up now. How do we join or how do we make this an actual block of steps? Very easily as actually. So what we're going to do is we're just going to press sir three. I've grabbed this edge. I'm going to press E and Z and just pull it down. It doesn't matter where you pull it down, two or how far you pull it two. We're gonna grab this one, then we're going to press the button. And then what I'm going to do is I'm going to actually come to the side view. So three, come to the side view and I'm going to come up select it all and then come to mesh, come to bisect, and then I'm just going to cut it over this way like so. So just make sure first of all that it's actually high enough. So, like that. And then just clear the inner and now you can actually bring it down wherever you want it. So something like that. Now the other thing is you can see the y is not point naught naught five, It's not set to zero, so let's set this to zero like so. And from there then you can see we've got a little bit of a tail on there. Let's pull it up just above there like so. And there we go. We can also then come in and fill it in as well. And hopefully then, yeah, it didn't fill it in. I think it's just because it's a two D objects. So I'm just going to click fill off. And now I'm going to do is I'm just going to come to this one and this one, press the F one, and we know now that's perfectly flat from there. Then what we can do is we can press Alt, Shift and click. And we could press F, and that would fill it in. Or we can press Oltef instead of that Oltef, and then you'll fill it in in a much, much better way from there. Then we can go to the other side, press Oltef and fill it in. And there is your stairs. That is the easiest way that you can do your stairs. And it does mean that, you know, creating the top of the stairs as well with the little stones and things is a lot easier. So now we've got that, We know it's easy to unwrap. I can press Oltage, bring back everything. So let all that stuff load up. And once that stuff's loaded up, then we can actually start putting these stairs into place. So you can see now it looks much, much better. I think I'm happy actually, with where the stairs are. So what I'll do now is just create the post quickly. So if I grab my stairs, press shift S, Ursa selected shift. Let's bring in a cube. I'll move my cube over to this side. And then what I'll do is I'll put my cube into the floor like so. And then all I'm going to do is make my cube a little bit bigger. So press the tab button and then I'm going to come up with face Lex, so either three on the number pad and I'm going to bring it up to something like here. I'm not I'm so happy with how far this is coming out into here. I don't really want that. What I want it to do is come out maybe something like there. And then what I want to do is I want to pull this bit probably up a little bit to there. And then pull it up and then pull it in a little bit and then bring it down. I think something like that looks good. And then let's pull it up into place, into place where we're going to go. And I think also at the moment, I can grab the whole thing and just pull it out a little bit like so I'm also going to squish it in. So S and Y squish it in a little bit. And I'm just looking how that's actually supported now. And yeah, I think that's actually good. I'm just wondering whether this angle yeah, I actually, you know what, the angle is good. And all I'll do now is I'll just press Shift and bring it over to the other side just so it's stuck in the actual top step like this as well. And there we go. All right, so now what we need to do is we need to get our steps on top of here. You can also see that this top step, it's not quite level with our ground up here. So we might as well fix that. So let's come to our steps and all. We'll press this essens ad bring it down and then let's pull it down to the floor, just so it's actually level. Now You can see our floor is a little Let's go back. Actually, before we did that, I'm just looking if I can pull it down instead. Yeah, it's just gonna be easier just to pull it down. You can see there. That just makes it easier. Just pull it up a little bit and there we go. Alright, I'm not going to mess with that anymore. Now, what I am going to do though is I think I'm going to come. To this Pip. What we'll do is, well, first of all, take these four steps. I'll press shift D, and I'll just bring them up a little bit just so I can see what I'm doing. And then I'm going to grab this last actual step. And what I'm going to do is just pull it that way a little bit just to make those steps a little bit bigger. Finally, then I'll press control. Bring in four, left click, right click, bring in three, left click, right click, bring in four, left click, right click, and bring in three. So we'll do it something like that, I think from there then let's split every other one. So we're going to level everything off anyway. So we might as well just grab every other one on here, like so. And I think on this one, yeah. Okay. We've got a few more on that one, it'll be okay. All right. Let's press y, like so. And then what we can do now, and I think actually before we grab them all, let's just come in and what we'll do is we'll grab each of these. I just want to pull them out because I forgot. So let's pull them out a little bit. You know, when we've done this as well, I think it's gonna be easier to split them off from the other ones. So if I pull them out a little bit like so, and I think what I'll do is I'll just grab this bottom here. So let's just grab the steps. It's going to be much easier if we split them off like so now I can just grab these steps. And from there then now they're all split off. What I can actually do is press a to grab them all, put them into the bottom press to pull them up and create my steps. And from there then what I can actually do is I can come in and I'm thinking, yeah, we'll probably be better off randomizing them a little bit, but we'll do it first with the random proportional editing. So we'll grab, let's say this one. And then what we'll do is just pull it up like so. And we'll do the same on this one or pull it down even it's up to you which way you pull it. So up and down like so. And I think that's looking pretty good as it is. I don't actually think I need to do anything else on those. All right, so now what we can do is we can grab all of it. Join the C together with control J, press control all transforms right click at origins, geometry. Add in a, modify it and we're bring it in a bevel, we're going to put this on. Not 0.3 And then what we're going to do now is I think we're pretty much finished with that. The only thing we need is another one going across here. So let's put that in fast. So shift S, Custer selected shift, let's bring in a cube. Let's pull this cube up, then let's put it into place. So let's press and X and pull it out like so let's make it a little bit smaller. And then and X, pull it out like so. And I think that is in round about the right place like so. All right, all of that is looking really good now. Now what's left to do is we just need to bring all of our materials in. So what I'm going to do is I'll just grab this one. These two, I'll grab this one as well. I'll press control L. I will link materials control L. I will copy modifiers and then what I'll do is just come to these. I'll press Tab and, and Smart UV Project. Click Okay. And there we go. All right, so now we've got those, They're done. Now let's come to our steps. So what I'm going to do with the steps is I'm going to press Smart UV project, Okay? And then what I'll do is I'll come in and look for stone flags. So stone flags. Let's bring those in. And then what we'll do is we'll come to the actual stairs. And all I'm going to do then is pick plus down arrow and we're looking for brick. So bricks click a sign and there we go. Now we know we're going to have to do a little bit of work on these. We're also going to have to sort out the inside of here. So let's do that first. I think we can get that done in this lesson. So I'm just going to grab all of those. I want to press you unwrap, and then what I'm going to do is just go over to my UV editing. Let's spin them around first of all, so R 90. Let's also zoom in with a little dot born. Let's see, can I actually see what I can't see in this? I'll put it on Material View. All right, now I can see, I think now they're going the wrong way round. So 90, there we go. They're going the right way round. Now press the S born and just try and get them to round about the same size as the bricks on the outside, which is something like that. And there we go. Now let's do our stairs while we're here because I think it'll be easier to do those. We can see at the moment it's pretty much a mess. So what I tend to do with ones like this is I'll come, I'll grab these ones first. I'll press R 90. Spin them around the right way, press the S born, get them down to be the right size. So maybe two on each one. As you can see now going down two, grab the ones that you're not happy with. So this top one's looking okay. This second one. Now I can press and Y and move it into place like so. And then this one, G and Y. Let's move it into place like so. And then G and Y and move this one into place like so. Now let's grab the sides of them. So we can see. We can jaws grab all of these going here. We can't see in there. So I'll just hide these out. The wait a minute, now I shall be able to see the full extent of here. I'm also going to pull this out just a little bit just to turn on this. And now I can actually see in there. So I can grab all of these. And not the bottom but the sides like so. And then this side will do the same thing, so grab the inside like so. And then what I'm going to do is I'm just going to go to the side view. So if I press three, I'm going to press U. And we're going to Project from view. Project from view, like so. And now you can actually go in and what you're going to do is press S, bring them down then to be the same size as the ones on the outside. So something like that. There you go. That's looking pretty nice. All right. I'm happy with those. Now finally, let's have a quick look on our rendered view. Let it load up. Double tap the, let's press all Tate and bring back those two posts. And there we go. There's the back of our butchers. Perfect. Now on the next list, and then we can actually start work on the second floor. We'll leave the chimney till we get right to the top where the actual roof is. But the second floor is much, much easier than this first floor, of course. So let's put it onto Material View. Let's come in then and save our work and I'll see on the next on everyone. Thanks a lot. Bye bye. 133. Starting the Roof for Victorian Butcher's Buildings: Welcome back everyone to Blend for the Environment Artists Guide. Now let's go over to modeling, so it