Blender Beginners Masterclass The Cookie Factory

1. Blender Beginners Masterclass the Cookie Factory Introduction: Welcome everyone. It's Neil here from The D Tudor. And I've got a question for you. Have you ever wanted to dive into three D modeling and animation but felt overwhelmed by where to store? Or maybe you've tried before only to get stuck on complicated tools or boring tutorials that just didn't click. While you're not alone, I've worked with thousands of students who've had the exact same struggles, and that's exactly why we've created this course to make learning blender not just approachable, but also fun and rewarding. Let me introduce you to the Blender beginners master class, the cookie factory. Isn't just a course. It's a full journey into Blenders stylized three D world. Where you'll create, animate and render an entire cookie factory from scratch. If you like many beginners, you've probably faced one or more of these challenges. You're unsure where to start with Blenders tools and interface. You find it difficult to stay motivated with generic, uninspiring tutorials. Or maybe, despite your best efforts, your models just don't love the way you imagined. Seen it time and time again, and it's really frustrating. You want to create something amazing, but there's road blocks get in the way. That's where this course comes in. It's designed to solve those exact problems. I giving you a clear, step by step path to success. So saying all that, what makes this course different? Here's how it works. We start with the absolute basics, even if you've never opened blending before. I'll walk you through everything from navigating the interface to creating your very first three D model. We'll start building the flour mill, the first machine in your cookie factory. You'll animate its rotating parts, add in shaders, and set the foundation for the rest of your project. With every new machine, you'll learn new skills. For example, in the mixing machine, you'll master animation cycles and noise to simulate flowing batter while also learning how to avoid repetitive texture. The sprinkler machine, you'll dive into Blender'sPicle system to create dynamic chocolate sprinkles. By the time we reach the box maker and grab a machine, you'll be working with advanced animations, complex keyframes, and even custom geometry notes to tie everything together. Each lesson builds on the last, so you're constantly growing your skills while working on an amazing project. But this course isn't just about building machines. It's about giving you the tools to succeed. Included in your resource pack is something truly special. The three D Tudor Glen Craft compositor add this is one of the most powerful compositor tools in blender, designed to make your renders look polished and professional with minimum effort. With blend craft, you'll add depth, color grading, and special effects to your animations, taking them from good to stunning. The resource pack also includes custom Jumpton nodes like the conveyor Jumcon node, which simplifies the process of creating dynamic conveyor belts. You won't just learn how to use these tools, you'll understand how to customize them and apply them into your own project. I love most about this course is how fun and practical it is. Instead of following abstract exercises, you're working on something tangible and stylized, only animated cookie factory that looks like it came straight out of a Pixaw movie. And because everything you learn is tied to a real project, the skills you gain are immediately applicable to other three D modeling and animation challenges. Whether you want to create stylized game assets, animated films or just expand your blend portfolio, this course is the perfect starting point. You've been waiting for the right time to start your three D journey. This is it. The blender beginner's master class, the cookie factory is here to help you build confidence, master blenders tools, and have a blast creating something truly unique. Join me today, and let's bring your cookie factory to life. 2. Blender Introduction and Resource Pack Overview: Welcome everyone to the Blender beginners master class, the cookie factory. And this course is aimed at beginners. But saying that, if you are a blender Jedi, there's going to be tons of stuff packed into this course that you will learn, and you'll absolutely learn something new along the way. Now, we have designed this course in a way that makes it approachable for absolute beginners to blender. It will be difficult for sure, as all new things are, including three D modeling, which is one of the hardest things you're ever going to attempt to learn. But along the way, you're going to grab a load of knowledge to go away and create your own models and environments in the future. In other words, it's going to set you off on the right way. You're going to learn the proper pipeline for how things are actually created and how it's done in a professional capacity. Now, everything you're going to need comes from an actual download pack, so we call it the course download pack, and that's a folder that you can download that comes with this course. And that's the first thing we're going to do. We're going to go through this download pack. Now I'm going to try my best not to overload you in the beginning and we're going to go through a lot of different things, but I'm going to try and spread it out a little bit so you don't get overloaded and you can follow along as easy as possible. It will still be difficult, though, and we'll be covering most of the things that are in blender. So in other words, we will be covering the modeling, the basics of modeling, the higher up levels of modeling. We'll also be covering animation, particle systems, shape keys, shaders, rendering, the holster bang, basically from start to finish, but we're going to break it down just to make it a little bit easier for those of you that are new. So saying all that, the first thing then that we're going to discuss is the actual blender version. And you can see here that I've opened this up, and I'm on Blender 4.2 0.3 LTS. And this is, at the time the newest version of Blender. Now I recommend that you get the newest version of blender. That will work on your machine as you know, if you go too far back, so if you go past Blender three and you're running 2.8 or something, there's a lot of things that are not going to be in there that we will be using. One of them is the asset manager, the way that shaders work and things like this. So get the newest version that you can, and I recommend anything from kind of blender three, 3.1 onwards should be okay to actually use. But if you get something like blend of four plus, that will be a lot better. Now, the first thing we want to discuss then is the resource pack before doing actually anything. So make sure you've downloaded the resource pack, and then we'll go through that right now. So once you've downloaded it, this is what you're going to get. So you're going to get animations, you're going to get omg node, human reference, references and textures. So just make sure all of those are there. Now, the first one I'm going to show you then is references. And I'm going to show you this one, basically, it's all of the images of the object. So if I double click this and let it load up, and inside there, you're going to see that we've got the batter maker, the box maker, and these are basically still images of the assets that we're going to create. This then is going to make it much, much easier. If I say to you, Right, let's work on the flour mill guys, and then we can open up that image, and we can work from that. The other great thing that I've actually put in here, as well, is going to be the animations, which are these under animations. So you will see if I come over, let's say, to the flour mill, open this up, and you will see that you've got a full working version of the flour mill to actually use the reference, and it has a turntable. You see, you can see every single part in detail, how it's actually created and how it's supposed to work, which is really, really handy when you're starting out to get an idea of how things are supposed to work. Okay, so moving on, let's close that down. So you've got that. Let's go back to the course pack and next in the list is the geometry node. This is one of our geometrire nodes that we've made in house here at three D Tudor, and this then is going to speed up how you can make conveyor belts. So it's going to make it really, really easy. And geometry nodes is one of the biggest things to hit Blender. It's, you know, just really, really taking off, and it's basically something you can use to procedural model things or get smoke done really easily or fire or make some planks of wood really easily. So we're going to go into Geometri nodes as well. You're not going to have to build any jump nodes or anything like that. I'm just going to be showing you how they work and how it can really, really speed up your workflow. Next of all, then, we've got the human reference, and the Uvm reference, once you've got this, you'll be using it every single time you open up blender, because basically it gives you a scale, and scales really important, and we're going to discuss that a little bit. Well, actually, next, we're probably going to be discussing it next. Okay. Finally, then, we've got the textures in there as well. Now, in this course, most of the modeling has been done with shaders. I'm going to explain to you a difference between shaders and textures. There's only a couple of textures in this course, and I'm also going to show you how you can animate those textures as well. Something really exciting to look forward to. Alright, so that is the actual course pick. Now, what I'm going to do is I'm going to put this down. And first of all, I'm just going to click anywhere off of that kind of splash screen. And then what I'm going to do is just left click on my camera. Now, you'll notice when I left click, you'll notice that we've also got screencast keys down here. So if you ever lost, you can follow these down here. They are pretty good. It doesn't show everything. So in other words, zooming now, it doesn't really show, but it will show all of the keystrokes and things like that, making it really, really easy if I'm moving too fast, talking too fast, you don't understand me, properly, you'll be able to follow along with that. Alright, so, with the camera, let's delete the camera. Let's come to this point light, so we're going to left click on it and delete it. And let's finally come to the cube. And yes, we're going to delete the cube and bring in a new one. We're going to do that, but that's first of all, let's delete it out the way like so. Now what we want to do is we want to bring in our human reference. So all I'm going to do is go to file. I'm going to go to Import, go down to OBJ. And then I'm going to find the file where all of my download pack is, which is in my factory course. So double click your factory course, course pack, and here it is Human reference. Let's double click him. You will notice there's two files in there. One is the OBJ and one is the MTL. We only want the OBJ. The MTL is basically the material that's supposed to come with this human reference. But in actuality, you don't need that all. All you need is this. So let's come in double click it, and here we are. Here is our guy in there. Now, the thing is, why do we use him? If I press one on the number pad, you'll get a front and you can see that each one of these represents a meter. So this guy is between 1.7 and 1.8 meters tall, making him the average height for a human being, especially where I'm from. I don't know where you're from. You might be much taller or much smaller where you're from. But for us, 1.8 meters about the average height, so that's why we use him. So anything then we're creating can use him, stand him next to it, and have a really good idea of what is actually the size of whatever we're creating. And this is really important, guys, because if you're doing anything like particle systems, if you're doing animations, if you're sending it through on a pipeline to someone else who is either texturing or taking it through to a game engine like unreal, you really need to make sure, first of all, that you've got the right skill. So that's why we do that. Next of all, then what we're going to do is we're going to save out this actual file. So I'm going to go to File, I'm going to go to Savas let it open up, and you can see, I've already got one in here. I'm just going to override this because at the moment, you can see cookie factory course. Let's just delete that out the way, so we've got a fresh save. We'll save it as this then Cookie factory course, blend foil, and then I'll go to save as Lo, and that is now saved out. Now, at the end of every lesson, I recommend that you save out your file. So file and you can just save now. Like so. And you can also see that you can just Controls and save it out that way as well. Now, what we're going to do on the next lesson is, I'm going to be introducing you to the Blender blender basic navigation, just so you understand how to get around the viewport a little bit easier. And from there, we'll be moving on to referencing. So we need to start kind of small, not even muddling yet. We need to start at the very beginning, how to get around blender, then move on to references, and then move on to a bit of basic muddling and blender, just to keep it nice and easy for you to follow along. Alright, everyone. So I hope you enjoyed that introduction, and I'll see you on the next one. Thanks, everyone. Bye bye. 3. Blender basics navigation for Blender Beginners Masterclass: Welcome back, everyone to Blender Beginner's Master Class, the Cookie factory. And this is where we left it off. Absolutely, nowhere because we didn't really do any modeling or anything like that. And now, what I'm going to play for you is Blender basic navigation. For those of you that are brand new, make sure you watch this. Lots and lots of useful information of how to fly around the Blender viewport. And for all of you out there already know this, move on to the next lesson, and I'll see you over there. Thanks, everyone. See you on 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. So how do we actually move around the blend of 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 are 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 we want to discuss is actually rotating around an object. So how to do that? First of all, we'll bring in a cube with Shift A, bring in a cube. Now, if I press the middle mouse button and move my mouse left to right, you can see we can actually rotate around. Unfortunately, though, we're not actually rotating around this cube. So to actually fix that, we need to center our view onto the actual cube. We basically want to focus our view onto this actual cube. So to do that, we're just going to press the little dot button on the actual number pad, and then you'll see that we actually zoom in to the cube. 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 I actually bring in another cube, so if I duplicate this cube with Shift D, move it over, so bring in my move Gizmo. And now you'll see if I rotate around this cube, I'm not rotating around this one. So it's fix that, press the dot 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 how to rotate around an object and how to actually pant. We can also come up to the top right hand side here and use these buttons here. So again, remember we're looking at the Yaxis, the X axis, and the Z axis. If we come to our Yaxis 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. If I press one on my number pad, it's going to te me into that white 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's eye 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 YXs. So, for instance, if I press one, I'm going to be going into YXis. If I press Control one, I'm going to be going into the opposite side on the actual Y axis. Can also find these options just in case you forget at the top left hand side here under view. So if I go down to view and go across the viewport, you can see here that this actually tells me exactly what I need to press to get the viewpoint that I've just actually explained. Now, we also have the button on the number pad, which is number five, a number five button in blender toggles between perspective and autographic 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. 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 a press five, the actual squiggle key, which is under the escape board on the left hand side of your keyboard, and that then will give you pretty much the same options as we had before. So we can click the right view. We can actually click the back view. And we can click the left view, for instance, the opposite to what we had before. So instead of pressing one and three, we just press the little squggle line, and then we can actually view whichever side we need to. Now, 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 B to zoom in. So I can grab this one, press the little dot B, and that then will zoom us in. The other great thing about this is we can also come in, shift select them press the little dot button, and then we're able to actually rotate around both of these cubes. Alright, everyone. So I hope you enjoyed this short introduction to the navigation within blender, and I hope from now on, it won't be a struggle navigating around the viewport. Thanks, lo, everyone. Cheers. 4. Blender referencing guide for Blender Beginners Masterclass: Welcome back, everyone to Blend of Beginners master class, the Cookie factory. Now what I want to do is I want to, first of all, introducing you to our referencing guide. And from there on the next lesson, then what we're going to be doing is we're actually going to be bringing in our own references. And I think that's a good place to start because you need references when you're going to be building anything. Whether that's environments, whether it's just a simple prop, you will need references. And within that guide, it's going to show you how to get references, how to arrange them, what kind of software you should be using to collect your references and all that sort of good stuff. Alright, everyone. I'm going to play that for you now, and I'll see you on the back end of there. 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. So 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. So the first thing I want to recommend is that you can use something 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 ref. If you go to the site that's called purerev.com, you will actually open this, and from there, you can actually click Get Pure Rv, 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 Dolly 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 screens or you can actually make it smaller, O. And it's a really, really good program. This really, really handy, highly recommend getting. 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 to a 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're 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. 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 right click and I'm going to copy image. Then what I'm going to do is I'm going to go over to PureRv so I'm just going to open it back up, 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 PUR RVs, 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, is 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 N and you can actually make a note. So let's call this Victorian Trucks. 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. Like, 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 right click Copy Image, go back to my PUREv and then drop the images in there, like so, and maybe make this one a little bit bigger. What I tend to do is I gather a load of images for each of these things. When we're actually building a scene or even just a 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 if I come over and load reason 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 use 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 I 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, you know, early in the morning, or is it going to be at 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 it actually matches the scene. There's no point 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. You can actually do from there then is we can actually come down and we can actually get some screenshots of this or even right click and copy image. There's also, let's say, if we wanted to do a Victorian truck, for instance, to keep 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 ArtStation, but still a very, very good place to start looking for reference in. That leads me on to 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. And again, we can take these actual, um use them for references. And the best thing is about ArtStation is we can also come down and look at things that may be concept art, so 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 ArtStation 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. Let's move on then to one of the things that we really use a lot of now, which you want to 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 3.5. 3.5 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. So you can see now it's given me a lot of things to actually work with here. And the best thing about this is you can also say, give me ten more. And it 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 kind of get ideas and design my scene around there using all of those things and especially Pure Rv. 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 generated. 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. 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 with mid journeys, we can also go and explore. And what you could do is you could look up with a search prom Victorian. Let's put in carriage. And then we can also get ideas from this. So if I put in Victorian carriage, you can see this as what comes up. Now, if we come over to here, we can also see 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 but down. I can grab all of these, for instance, and then what I can do is click the download button and download all of those images. And the best thing is about PUREv 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 sum up, don't do what I did a few years ago, where I just dive straight into blend 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. 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 your 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 pura that, 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. Or, everyone, so I hope you found this useful, and I'll hope you'll take my advice going forward. Thanks everyone. See you on the next one. Cheers. 5. Bringing our first reference and talking about the creative process for Blender Beginn: Welcome back, everyone to Blender beginner's master class, the cookie factory, and this is where we left off. Nowhere again, but we are going to be doing something now. So first of all, what we're going to do is we're going to move our guide to the side. Now, at the moment, you can see, I can't move him. He's got no arrows or anything like that. So what I'm going to do is just press Shift and Spacebar. Come down to where it says, Move. And then, hey, I've got a Gizmo. Now I can move him. Now, over on the left hand side, you will see we've also got these. These also allow me to rotate him, but this is the one that you want to click on if you don't want to press Shift and Spacebar. What I want to do is I just want to move him over to the side. Now, if this tab is bothering you, you can also press T to close that out of the way or T to have it open completely up to you. Now, let's bring in our reference. So what I want to do is, first of all, I want to press Shift D, and this will bring me to the primitives menu where most of the actual primitives will be found. I want to then come down and the one I want is image, and I want to have a reference image. The reason I don't want to background is because when you bring a background image in, it will disappear if you're not straight on view. So when I tend to bring references in, I'm always using the reference one. So let's click it. And what we're going to do then is go to where our actual download is. So factory Course, and then we're going to go to Cours Pack. And the one we want is our references, which is this one here. And here they all are. Now, if you don't see yours like this, just move over to here so you can see now you might see yours like this. Click on these four icons here, and then you'll be able to see them. And the other great thing you can do as well, is you can actually make them bigger or smaller, giving you a much better view of what's in there. Now, the first one we want to bring in is the flour mill, but I'm going to bring it in a way which you shouldn't really do. So let's just double click it. And you'll see now it's come in. It looks nice and that, but you will see it's been a weird angle. We don't really want that. We want things to be straight. So what I'm going to do is I'm going to delete it. I'm going to press one on the number pad. I'm going to press Shift A, image, reference, and now I'm going to bring it in. And the reason is now because I was straight on, blender brings it in in the angle that you're actually looking at. So now you can see I brought it in. It's nice and straight, and now it's really, really easy to use. Now, let's move it over here because we are going to use this as a reference. Now, some people prefer to have references on their other screen. Sometimes I use references in the viewport like this. Sometimes I have them on my other screen. It all depends if you've got another screen and how you want to work. But also, some people in Blender like to use a reference down here. Now, I don't like to do this because I find it clutters up my actual viewport, but I'm going to show you nonetheless how to do that anyway. So let's open this up. So first of all, I want to bring in a new tab. Going to come down right to the bottom of here, what I'm going to do then is just pull this up. I'm going to pull this up like so, and then I'm going to come to my outliner, click on this button here, and the one on one isimageEditor, like so. Now, the image then is going to be this and to bring this in, I just want to click on this little box here, and then I'm going to go to again, my factory course. I'm going to go to my course pack, I'm going to go to references, and I'm going to bring in my flour mill, and here it is. Now you've got it on the right hand side. Now, it's not in the viewport, as you can see, it might work better for some people over there, but for me, honestly, it feels too cluttered, so I'm not going to have it there. I'm going to have it in the viewport, and I'm going to have a reference on my other screen as well. Now, what I'm going to do to get rid of that if you don't want that there is just again, come over to the bottom left hand side here, left click and drag it down, you'll end up with an arrow there, and then it means you can actually take that out of the way. Now, there is one more way you can actually do this, as well. You can also come up to Window, and you're going to click New Window. And then what you're going to do is you're going to come over to left hand side, going down to Image Editor, and then we're going to go to Image open, and we're going to again, open up that reference. So if I come to factory, course pack references for building, and there we go. Now with this now, you can grab and put this over your other screen. That might be also what you want to do. Now, again, you might want to just open it up, open the file up so you've got the image there, so you might not even need to do this. I do find it's a little bit heavier on blender, not by much, but a little bit, and it generally clutters it up again. So that's the reason why I'm actually putting it in my actual viewpod I just find it the easiest way to actually work from. So now we've done that. Let's actually discuss our reference or my references that are put together for this actual course. So before building anything, I always get tons of references, as I've showed you in the actual referencing guide. So I'm going to head to my course pack again. I'm going to go to references. I'm going to let that load up. And within there, then, you're actually going to see once this loads up in here, you're going to see that I actually also have a PUF file, but this one's a little bit different because I wanted to actually work on creating these things myself. So if I open up PUF, so let's actually open that you will see, close that off, that this is all I basically got. What I was focusing on mainly with the references for this course is shapes, how pipes might go together. Basically, I didn't want fully built actual models of, you know, a factory. Not only that, they're also hard to find because this sort of thing hasn't been done that much. And we have to remember that references, you need to get things that have already been built. Or even if you use an AI, it uses references that have already been built really and kind of puts them together. So let's say if you're looking for a fairy on top of a butterfly flying along, it's going to be really hard to find references like that. Why? Because generally fairies don't fly on butterflies, and in actual fact, fairies fly, butterflies fly. So it's incredibly hard to find references on things like this. So when I'm doing this, sometimes I go just to the basics. So just to look for, like, kind of shapes, kind of how gear kind of how pipes are. And that's what I did basically for this actual course. Now, with my other courses, you will see I've got whole towns. I've got environment lighting. I've got all kinds of things, but this is just to show you that you can actually take it down to the basics, get references, and let your imagination fly and be really creative in what you actually want to create. Okay, so let's close that down. So we're just going to close that down. I'm not going to need that. I'm also going to close this down. And what I'm going to do now is just save out my work, like so. Now on the next lesson, what I'm going to do then is, I'm going to introduce you to the basics of modeling in blender. It is something that you're going to need to know. So if you don't know the basics, please watch that. Pay attention. It's just go to show you the very basics, and from there, then we can actually come back and actually start building something, which is what we're here for. Alright, everyone, so I'll see you on the next one. Thanks a lot. Bye bye. 6. Blender basics modeling for Blender Beginners Masterclass: Welcome back, everyone to Blender Beginner's master class, the Cookie factory, and this is where we left off with our reference. And now I'm going to do is, as I said, I'm going to play a basic video on basic modeling in Blender. It is going to give you the very basics. So, together with the blend the basic navigation and the muddling, you should be set to actually start muddling something. Alright, everyone, so I'll see you on the next lesson. Again, if you know all this, move on to the next one, and I'll see you after. 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. So the way that we're going to bring into primitive is press Shift and A, and then what we're going to do is open up a menu, and you can see that we've got all of these things along this actual primitives menu. But the one we want to focus on is the actual mesh. And from here, you can see we can bring in many, many things like cylinders, cubes, planes, and the one we want to bring in just now is going to be our cube. That we brought our cube 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 G, I can actually move it around my viewport like so. If I press S to 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 Edding 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 and side. And if you hover 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. So you will notice at the moment, I've got gizmo here. Now, if you don't have the Gizmo available, coming over to the left hand side, and you'll have this little button here that says Move, or you can press Shift Spacebar and bring in your move tool like so. So now because I'm on faces, I can actually pull out this face like so, if I go to edges, I can actually grab one of the edges and pull this out like so. And if we're on vertexes, I can grab this vertex or grab the second vertex with Shift Select and then pull this out like so. Really, really easy to actually manipulate things once you know how to select each of these parts. Before we go too much in the weeds with actually modeling in this actual Edit mode, let's just jump back into object mode for now. What I want to show you is how we can actually move this actual cube around. So as well as moving it with the actual gizmo here, we can also press G and actually free move this object around or we can press G and Y, too. 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 z axis and move it up and down. To drop it back where we started, let's just right click like so. So that's actually moving the location of it's not a cube anymore, but let's just say it's a cube. We can also scale this in as well with the S but so we can scale it in or scale it out like so. Now we can also press the S but, hold the shift button, and then we have a lot more Finesse on actual scale. We can also scale this up by, let's say, a factor of two, so S, two, enter, and there we go. And of course, we can scale it down pretty small as well. Now the next thing I want to discuss is rotating, because if we rotate it with R and just rotate it around, we haven't got a lot of control over how this rotates. So what I want to do instead is, I always want to press R, then attach it to an axis, which might be the Y, so the green one, and then rotate it either by free hand 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 end button, and I've rotated this round by 90 degrees. Now, if I want to rotate it back, I can press O Y, the little minus button on the number pad, 90, and then we can rotate it back. 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 our transformations is press control. A 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 your transformations, and then most of those problems will definitely go away. Alright, the next thing about resetting our transformations, it makes it really easy then to get something back to how we had it before. In other words, if I press S and scale this down, and then let's press R and Z and rotate it round this way, because before this, I actually reset my rotations. What I can now do is press AlnS and put it back to the scale that it was before I did anything and then ln R and actually reset that rotation as well. So really, really handy, once you've actually reset your transformations in what you can actually. 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 Enterbn, 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. What happens if we want to actually split them up, 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. 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 clustered 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, make sure you're in Edit mode. I'm going to grab the top face. And what I'm going to do is press E, and that then is going to extrude this out. Now, sometimes you will need to extrude something out, and it will need to be along A axis, for instance. So all I'm going to do is go to Edge sect, grab this edge, and then what I'm going to do is press E, and you can see, because it's not tied to an axis, it's floating around everywhere. However, if I press the Xpon, 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. 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 bevelled 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. 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. What about if we want to bevel off vertices and not edges? So, for instance, if I come to a vertice like this and vertice like this, press Control B, you'll see that it bevels off like this. But if I come to one that are the opposites of each other, press Control B, you'll see nothing actually happens. However, if I press control shift and B, then we're actually able to bevel off the actual vertices like so. So that's another handy tip for actually bevel. 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 on the right. Now, I can also, if I press Control Zed, come in, press control law. 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 fins, I can actually type it out on the actual number pad, so I can type out 120, for instance, and have 120 edge loops. To cancel it at any time, just press the escape board, and then that will cancel it out. Now the next modeling technique I want to show you requires two actual blocks or two cubes like this. And all I'm going to do is I'm going to come in and I'm going to select opposing faces like so. And then I want to actually join these together, for instance. So all I'm going to do, I've selected them both. I'm going to right click and come down to it says bridge faces. And now you can see I can actually join those together. Now, if I press Controls head and just go back a minute, you can also do this by coming in and let's say grabbing this and this edge, and what I'm going to do instead is, I'm going to press the F bone like so and come down to the bottom, as well, and then grab both of these and press the FBne like so. Sometimes bridge will not work because bridge has to work with two edges and nothing in between. In other words, nothing selected there. If I come into this one now and try right click and come down to where it says, Bridge edge loops, you will see select at least two edge loops. So we can't actually join up from there, and that is when it's a good idea to use the FBne instead. Now the final modeling technique that I actually want to show you is something called insert. What I'm going to do is I'm going to grab this face here. I'm going to press the ebon 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 I've actually showed. 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. 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 shady 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. So make sure you set it to 30 in case you actually overdo it. 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 at the mono 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, all 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 like. So I would then press Shift Desk 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 Desk selection cursor, keep offset. And now that cube is right next to this actual cube here. From here then, I can actually bring this up, and let's actually just have a quick play around of everything that we've learned. So you can see now if I pull this 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, and we're going to right click then, and we're gonna 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 Shift and click just to select all of this edge going around here and press the S but and pull it out like so. There, then what I'm going to do is I'm going to bevel off both of these tops, so I'm going to grab this top, shift select this top. I'm going to press Control B and actually bevel 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'm going to press the S but to make it a little bit bigger, and then I'm going to press E and pull that out along the axis. Finally, then what I'm going to do is grab this one and this one and 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. Alright, everyone, so I hope you enjoyed that, and I'll see on the next one Cheers. 7. Starting modeling our factory parts, starting with winmill machinery, creating base and first gear p: But Welcome back, everyone to blend it, begin as master class, the cookie factory. Now, what we're going to do is, first of all, before we even start modeling, at the moment, we're in object mode, as you can see over here. So we have wireframe, object mode, material mode, and render mode. Now, within Object mode, if we come over to this little dropdown now, we can see we've got all of these things. Now, some people like working with Mac Cap. Some people like working flat, and some people like working studio. I'm definitely one of those guys that likes working in the studio. I find it really easy to see what I'm doing. However, there is one thing I do like doing. That is, if I come down here, I like putting cavity on. I really find it handy when I'm creating cubes and things like that. Let's actually create our first cube. Now, with your cursor in the center, it's not in the center. So if I shift right, click anywhere around here, move my cursor away, I can then press Shift S, cursor to world origin, and there it is right in the center. Now, if I press Shift A, we can bring in that cube that we actually deleted. Shift A come down, bring in a cube. Now, you'll notice at the moment that my cube looks like this, but the moment I turn cavities on, so if I come down, turn the cavities on, now we can just get a clear distinction of those edges. And that's why I actually like working with cavity on. As I said, some people mess around with all of these things, but for me, you know, working as basic as possible, but with cavities on gives me a really good idea of what I'm actually creating. Alright, so what we'll do then is we'll start with our windmill. So what we'll do, we've got our cube here. We're going to press S and Z, and that's going to squish it in on the Z axis. So we know the Z axis is this way. The Y axis is the green and the red axis is the sorry, the X axis is the red. Now, you can also see not only by colors, but you can also see up here. Generally, this is going to show you which way it's pointing. I find this really handy to use when I'm mirroring something and things like that. So don't forget to look there. Look here for the axis, as well. Alright, so let's pull this out a little bit. So what I'm going to do is I'm gonna pull it along the Y axis. So S and Y, let's pull it out a little bit like so. Now, the thing is when we're creating something like this, we have to think of the art style we're going with. Now, in this one, I wanted something very cartoony, very nice and pleasing on the eye, very colorful. And in actual fact, when I think of hound going to build it, I always have something in mind, an art style in mind. So with this, it was more going along the lines of cocoa melon. Which is the famous kids TV show off of YouTube. I wanted it very colorful and very rounded kind of edges. And that's where I actually got, you know, thought of the art style that I'm going with. Of course, you're not going to directly copy an art style. It's not going, you know, looking exactly like something in that actual show, but it is kind of that art style. And this art style has been done a lot of times before. But with me seeing that, you now know where I'm actually leading to. Now, again, when I'm picking something that's stylized, I will pick games like, you know, Ano 1,800 is a favorite of mine. Settlers is another favorite and that's what I'm actually doing when I'm thinking of the hot style. It keeps me on that hot style, and that's why I have this image in my mind of that. Alright, so saying that, when we've actually now we've actually brought this in, we obviously have a lot of hard edges on here and something about, you know, creating something that's really pleasing on the eye. You don't really want a lot of hard edges. You want a lot of roundness on there. So what I'm going to do now is I'm going to come in, and I'm going to grab each of these edges here. So I'm going to grab this one, this one, this one, and this one. And what I'm going to do is I'm going to press Control B, and what that's going to do is enabled me to bevel it out. Now, if I scroll up the mouse wheel, you can see that I can bring more or less bevels in. Now, one thing I forgot to say before doing this, so I'm just going to right click to take that off. Is that before bedling anything or before inserting or extruding or anything like that, always always, once you've got the shape that you actually want, reset your transformations. And this is because in blender, Blender still sees this as the cube that we actually created. So that, you know, one by 1 meter or two by two meter cube that, you know, we brought in. That's what Blender still sees you as. So when it comes to bevel it, you might not get the results that you're expecting unless you reset your transformation. So we're going to be resetting our transformations a lot, and we're also going to be moving the orientation back to the center a lot as well. So try and get used to that. So first of all, let's press Control A, all transforms, and then we'll reset all of the transforms. Now let's right click and set the origin to geometry. So we're going to set the origin to geometry. It should already be there. Then we're going to press tab to go into Edit mode. Now in the blender basics of modeling, you should now understand the difference between object mode and edit mode. So what we're going to do now we've got all of these edges is press Control B, and now you can see they're actually beveling off the right way. From there, I'm going to scroll my mouse wheel up and get some nice rounded edges like so I'm going to left click and there we go there or now now nicely beveled off. Bypress tab now you can see what they're going to look like. Now, the other thing is now I've showed you that I wouldn't bevel anything off, and I mean anything off until you've built out the actual model. And the reason is because now if I want to actually come in, and let's say I want to pull it out this way, it's much harder to pull this out. Now it's beveled off, much harder because you've got a lot of geometry to actually work with. So what I'm going to do is I'm going to press Control E. I'm going to go back. And I'm going to leave this as is until I've built the whole thing out. So I'm just going to build the whole thing out. I'm going to build a little windmill on top, as you can see here, basically all of this, including up to this kind of back bit on here as well, even this part here. And once I've done that, then we're going to make it nice and round and, you know, round all those edges. First of all, though, we want to make sure everything is to scale. So let's carry on working on this. So we need this bit along here. So all I'm going to do is press Shift D again. I'm going to bring in another cube. I'm going to press the S bone. And then what I'm going to do is I'm going to pull it up like so, and then I'm going to press tab. I'm going to grab the face. So at the moment you can see, I can only grab edges because it's on Edge select. If I select the face over here, then I can grab this top face. Now, you will also notice in edit mode, there is no movement tool. Now, when you first of all, go into Edit mode or object mode, the movement tool or the Gizmo will not be there. So what I tend to do is every time when you open up blender, you bring in the move tool, then it'll be like that until you move to another tab or until you re open Blender. So if I press shift spacebar bringing my move tool. There it is. If I press tab, I've got a move tool as you can see. If I go to modeling, move toll disappears, as you can see. So let's go back to layout, press the tab button. And what we're going to do is pull this down, and I'm then going to pull this further over to here. I'm going to grab the back one, pull it further over to here, like so. Alright, so that's looking pretty nice so far. Now we need this part on here, and we also need a big gear that's going to go in there. So I think what we'll do is we'll bring in the gear first, and then we can kind of build around it. So if I press Shift, at the moment, you will see that I don't actually have a gear or anything like that. And this is because the gears are part of the inbuilt add ons within blender, and these things you actually need to turn on. So what I'm going to do is I'm going to go over to edit, and then I'm going to go down to preferences. And then what we're going to do is we're going to go to add ons. And now what I want to do is I want to bring in the extras. So if I come in, I'm going to go to search, I'm going to put in extra, like so, and we will see that we've got extra mesh objects. We want to just tick this on, like so. And let it tick on. And then we can close this down. And now what we want to do is we want to bring in the gear. So what I'm going to do is I'm going to press Shift A, I'm going to come on over, and I'm going to go down to where it says gears, like so. So come to gears. And then what I'm going to do is that I'm going to move it up. Now, I've got all of these presets over on the left hand side, and you can see, though, the moment I move it up, all of those disappear. So what I want to do instead is, I want to even if press control's E, it's not going to come back. So what I want to do is delete that out of the way. And instead, I want to press shift day coming over, bring in a gear again. So bring in the gear. And then what I'm going to do is you can see we've got a location here. I'm going to move it up on the z axis, and now you can see I can actually get that into the place where I want it. So we can see that we actually want this a little bit smaller, as well. So what we can do is now we can turn this down and then I can also move it along this screen, which is the Y axis. So let's move it along this Y axis. So it's just sticking out there, and there we go. And now you can see that I can drop it down, as well. And the reason I'm doing this is I want to drop it down just so it's nearly sat on here. But I also want to do this because I want to make sure that I've also got another pot in here. So, in other words, I forgot I need another pot like kind of C shape in here. So what I'm going to do is I'm going to move this up now, so I'm going to move it up a little bit, like so to where I want it, so I want it. Let's think somewhere somewhere around there and make sure that it's sticking out. And what we can do now is we've moved it around. We've got it into the right place. Are we happy with the size of it? Do we want it a little bit thinner, for instance? So we can come in. We can turn the thinness down. We can turn the base up. We can even turn how many gears there are on here. You can see a number of teeth on here, for instance. But we're going to keep this pretty simple. We're going to keep it something like this. Now, the other thing is that when you're moving it, so let's say the radius, you want to bring out the radius. You can also hold the shift board, and what that'll do is make it really, really slow, whichever way you're going. It's really, really handy to actually make things bigger or smaller. Alright, so we're going to leave our gear there for now. And then what we're gonna do is on the next lesson, we're actually going to create this sport, put our gear in, and then we should have this part built up here. Alright, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 8. Attaching gear to the windmill of our machine, creating aditional detail to the gear surface for Ble: Welcome back if you want to begin as master class, the cookie factory, and this is where we left off. Alright, so now let's bring in that C section. So what I'm gonna do is I'm gonna press Shift A. We're going to bring in another cube. So Shift A mesh, let's bring in a cube. Let's bring that cube up then. So we definitely gonna want it a little bit smaller. So I'm just gonna fit it just on top of that, just so it's just in there. I'm gonna press the S button then to bring it down. I'm gonna pull it down then, like so, making sure it's fitting. Now, I definitely want it to fit a little bit easier in here. I don't want it right up to this edge. So I'm going to press S&X and pull it in, like so. And now I want to focus just on the bottom. So what I'm going to do is I'm going to press tab. I'm going to come in Facelck is this one. You can also, by the way, you've got vertices, edges, and faces here. You can press one, two, or three to select each one of those on the keyboard. And what I want to do then is bring it down to where I want it. So I want it somewhere around here. And then what I want to do is I want to bring this out just a little bit. So roundab there, and obviously, I want to bring this to the back like so. Now, I'm happy with how chunky this part is now, but what I want to do now is I want to pull it up. All the way. So, in other words, I want to bring up this first of all. So let's bring up our gear. So we're going to bring up our gear a little bit. Now, I think my gears a little bit too thick. So instead of trying to, you know, create a new gear, all I'm going to do is press EM's head and bring it in like so. And now I think I'm happy with how that gear is, you know, put there. Now, one thing I can see is if I go over the top of it, I can see this part of my gear is slightly sticking past here, so I'm just going to pull it back just into place just so it's still stuck out like so, and then bring it up just a little bit. Alright, that's looking good. Now, as I said, we've got it in the right place. What we want to do now, though, is we want this part to be all the way up here. So what I'm going to do is I'm going to come into this part, press the tab, grab this top face, pull it all the way up. Like so. And this is roughly where I want to. Now, the other thing is, I want to now put a break in here, which is quite easy but hard if you don't know how to do it. So what I'm going to do is I'm going to press Control off. That then we bring in an edge loop, and you can see when I bring the edge loop in, wherever I move it along here, it moves to the top or to the side. I can also scroll my mouse wheel up. That will bring more of them in. But for now, we only want one in let's keep it simple. And what I'm going to do is left click. And from there, you can see that I can move it around like so. What I want to do, just click right click. So I can even put it here. Left click it or you can just press right click and what they'll do is drop it right in the center. Now, luckily for me, if I press three on the number pad and go to sideview, it's basically in the middle of here now anyway. Yours might not be. So just press the tab but, go to this part here. And what you want to do, you gear basically, is you want to put this right in the center of that actual edge loop is. So I can't see at the moment. So what you need to do is you need to just go to wireframe and then you'll be able to see this now this actual you know, where this sectual edge loop is. And from there, you can move this gear up or down wherever you want. From there, what I'm going to do is I'm going to go back to object mode. I'm going to come then to this cube here. And then what I'm going to do is go back in. Now, the thing is, you might have not selected this now. So we want to make sure that we're selecting this. So Alt Shift and click we'll select it going all the way around, and then we want to press Control B. And what we're going to do is we're going to bevel it out. Now, you can see at the moment I've got all these lines in there, I want to scroll my mouse wheel down, and I'm going to bevel it to round about here. Like so. And now you can see we've got a gap each side. Now, if you're not happy with, you know, you want a little bit more gap, which I do. I'm going to press Control's E. Control B again, pull it out and make it a little bit bigger like so. Now what I want to do is I want to make sure that this has a gap. So the gear, you know, it's stuck out a little bit. Is it stuck out a little bit too much? I think it is. So I'm going to come back to my gear now. I'm going to press the S bone jaws to pull it back in and just get it to the right size that I want. So and's head, pull it out a little bit. Like so. So scaling in n's head to squish it down. Wherever you want to. Okay, from here then, let's come in, and we'll make one more edge loop because we obviously want it to fit in here. So what I'm going to do is I'm going to press Control, left click and right click. And now we can see that this is not in the right place. But before moving this left or right, what I'm going to do is I'm going to come to my facelet, grab this face, shifts like this face, shifts like this face, and then what I'm going to do is press delete and faces. Now you can see that we've got a gap there, but we've got loads of holes in our mesh. So we need to fix that. So what I'm going to do is I'm going to come in. I'm going to grab this edge here so you can see I'm on Edge select here, grab this edge with Shift select, press the F button, and then I'm going to come up to this one and this one, press the F button. And unfortunately, you can't do them all together because you'll end up with a mess of a mesh, and then grab this one and this one, press the Fb, and there we go. Now, we do have a new problem. In that, our gear is stuck in this mesh here. We don't really want that. So let's come to Face select. Make sure you've grabbed this face then, and all you're going to do is pull it back. Like so, just so that actual gear is fitting in there. If you press three, you can go to side view, and then you can see just how much room you've actually got on this now, it's pulling back just a tiny bit, like so. Now, what we're looking for here, basically when we're doing this, we don't want to make this bit too thin. If it's too thin, obviously, this would collapse, so we don't really want that. The other thing is, as well with this gear, we want to make it actually animate and moving around. So when we're thinking about that, it can't just be just stuck in the air. Spinning around. I actually needs to look as though it's actually attached to this mesh here. So the way we're going to do that is we're going to come to our gear now. And what I'm going to do is sometimes it's really easy to work on something if you're isolating everything out. So in other words, if you're isolating this gear out, you will then it make it much easier to actually work with. So there's two ways of doing that. I'll first of all, show you the question mark. So if you press question mark on your keyboard, you'll see it zooms in and it isolates it out, which makes it really, really easy to work with. As we go later on in the course, I'll show you more and more ways of doing things and why you might want to do it that way. Because isolation works for, you know, it basically turns off all the lighting. So you've got once you isolate something out, later on in the course, you might want the lighting there, so there are other ways to do things. Anyway, let's actually isolate it out for now. And then what I'm going to do is I'm going to come in now. I'm going to go to Edge lick. And what I'm going to do is I'm going to grab this edge here. So Alt Shift, and click, make sure it's grabbed all the way around there. I'm going to grab this edge here, Alt, shift, and click, make sure it's grabbed all the way around there. And what I want to do is I want to fill this in. So I'm going to right click, come down to bridge edge loops and fill it in. Now I want to do is I want to make sure that I've got two edges in here, so I'm going to press Control R. So what I'm going to do is I'm going to left click and then I move it up and down, right click to put it in the center, and then I'm going to press Control B, and now I've got full control how much I want to pull that out, which is much, much easier, like so. From there, then, what I want to do now is I want to fill these in, so both of these faces. What I'm going to do is I'm going to grab this bomb, Al shift and click press the F but for face, and then grab this one, Alt Shift and click, F button, face like so. And now we've filled that in. We've gave you a little bit of relief going around there, front and bottom, and now this is easier to work with. So now what I want to do is I basically want to create a kind of column going up and one going down just so it's attached to the actual machine. So what I'm going to do is I'm going to go to face select again, make sure, select the top face, shift, select the bottom face, and then I'm going to use I. And this is basically going to insert. So if I press I now, I can basically insert this and bring it in. Like so, and there we go. Now what we want to do is we want to basically bring it out, so it's got, you know, kind of a rod going through there. So I'm going to press the E button. And when you press E, what you're going to be doing is extruding now. You need to be very careful when you're pressing E, because what you don't want to do is press E a few times because then you'll end up mesh with mesh over the top of each other, and we really don't want that. So what we're going to do is we're going to press E once, and you'll see we get this line. Don't move your mouse or anything. Just press the end button. And now it looks as though nothing's happened. But the moment I press S and Z now and pull this out, you will see that now we can actually pull that out into the column that we need. Now, the other thing is, if yours didn't pull out, so let's press Control Z to go back. Let's come up to these two interlocking links here. You will see that we've got one median point and one individual origins. Make sure this is on medium point when you pull it out. So S and Z, pull it out, and there we go, like so. Now, if I press tab now, press AltaH or if Altage doesn't work because we didn't hide it, press the question mark, and there we go. Now we've got this gear into place. Now, the moment it looks a bit messy, there's lots of kind of, you know, edges on here and in here. We're going to talk about that in a bit. That's to do with how we're gonna shades move and all that sort of good stuff. But the first thing, as I said, we need to do is we need to make sure that we've built this out. So that's the first thing that we're doing. So on the next lesson, we're going to carry on building this up. We're going to get these two little points in here. We're going to, you know, kind of fit everything together on this one, make it really nice, and then we can start, you know, kind of smoothing everything, beveling everything, and making it look really, really nice. Now, at the end of every lesson, make sure you save your work, so file and save, and I'll see you on the next one every one. Thanks a lot. Bye bye. 9. Adding a cylindrical tank to the side of a windmill, creating pipes using blender built in mesh addo: Welcome back everyone to Blend Beginner's master class, the cookie factory. So now, if we take a look at our reference, let's make it a little bit bigger with this. We can see that we've got these two bits on here. We've built this bit up here. We've still got a windmill to build, and we've got this little part over here. So I think what we'll start on is this little part over here. So let's start on there. We want it right next to this part here. I'm going to do is, first of all, I'm going to bring in a cylinder this time. So Shift A, mesh. Let's come down to where it says cylinder, and let's bring in a cylinder. Now, you can see at the moment, we've got all of these vertices on here. Now, I don't recommend ever leaving it on 32. I think 32 is way too high. The difference is, so I will show you, we bring this over. So I'm going to put this one here. I'm going to bring in a new one. So Shift A, I'm going to bring in a cylinder, and we'll put this cylinder down on something like eight. And then what we'll do is we'll bring in one more cylinder. Shift A, bring in one more cylinder, and we'll put this cylinder on something like 24. Now you can see the difference between them. You can see if I come to this one, right click and I'm going to shade auto smooth, you can see it shades off really, really smooth. If I come to this one, right, click and shade auto smooth, we can't actually get any smoothness on there unless we turn this all the way up, but we're still going to end up with the top of it looking like this kind of jagged, and we don't really want that. This is very, very low things, you know, where you've got a mobile game or something like this. Now, this is the happy medium. So if I come to here, right click, shade auto smooth. You can see we've got a little tiny bit of blockiness along there, unlike this one. You know, you can see the difference between them. And I think to use a cylinder, we should be aiming 16-24, any lower than that, and you end up with this kind of real blockiness that we just don't want. Alright, so now I'm going to do is I'm going to delete each of these. So let's delete them. I'm going to grab this part here. I'm going to press shifts, cursor to selected, and then I'm going to bring in a cylinder. So Shift A, let's bring in a cylinder. I'm going to make sure that my vertzs are on 24. Okay, so let's come in then. And what we want to do now is pull this to the side. We're going to make it a little bit smaller. And then what we're going to do is we're going to press n's just to pull it out a little bit. And we can see from this that it's going to be in this bottom part here. So you can see it's this part here where it's going to be in, so it needs to be at the side of here, like so. And we can see that it's probably dropping not all the way down here. So this is a little bit low as you can see. So instead of squishing it down, let's press tab, come to the bottom. And what we'll do is we'll pull that up then to the bottom of there like so. Now, as far as the top part goes, I would say that it needs to start just after here. So this top part in here, which is this part here, we'll start it just after there. And the way we'll do the top part is we'll press E for extrude, enter again, and then press the S borne, and then we should be able to pull it out, like so. And then what we'll do is we'll press E for extrude again, but we'll just pull it straight up. Now, if it's not following the z line straight up, press Z, and you'll see that it freezes it. Press z again, and you'll see now that it pulls it up along that z axis. And we're going to pull it up to round about here. And then what we're going to do is press the S bone and bring it in to get that nice top that we're looking for. Now, however, we do have one problem in this, and that is the fact that, as you can see, this bit here kind of needs coming down a little bit. You can see that when I brought that up, I didn't equate for the fact of it's too hard edge. Now, you can see it's too sharp along this edge, and we don't want to go for that. So all we want to do is press Control Z. And instead of doing that, we'll pull it down to here, like so. And then what we'll do is we'll press E and then bring it up and then press the S board. And now you can see that's looking much, much nicer on the top there, and let's bring it down like so. Now, I can also see that from here, this is near enough, a little bit off the top of it, and you can see mine's right at the top of this edge here. So what I'm going to do is I'm going to press tab, go to this part, grab the top. So bowl for these parts here, and I'm going to pull them up, like so, making it a little bit bigger. And now I think that this is fitting in place. Now I'm going to do is just going to grab it all. I'm going to press the sponge to make it tiny bit smaller, like so, pull it out this way. So we've got room or two pipes that go to go in there. So we're going to have one large pipe coming through here and one smaller pipe kind of coming round here. Now, there are ways of shrinking things down. Along the width. So in other words, if I want to make it so that this is a little bit thinner along here, I can come in, press Alt Shift click to grab it going all the way around the outside. And instead of pressing the S bone, which is just going to bring it in like this, I can actually press alters, and then I can bring it in like so and make it a little bit thinner. And then on here, I can also do the same thing. So lns, bring it in like so, and that is a much better way of trying to bring it in rather than actually using just S for scale. Alright, so now we've got this. What we want, first of all, is an outside on this part here. So what I'm going to do is I'm going to come in, press the tab but, control on, left click, bring it down. And then what I'm going to do is Alt Shift click, going along here. So Alt Shift click, E, Enter. And then instead of pressing S, I normally press AlterS and bring it out. So holding the shift but then, you can hold it out and bring it wherever you want. So I think I'm going to be happy with something like this. All right. So finally, then, probably want a little bit of a relief on the bottom. So in other words, I just want to pull this down just a little bit, like so, and there we go. Now, when we get to things like this, it's always a good idea to shade things off smooth because then you're going to have a great idea what everything's going to look like. So what I'm going to do is I'm going to right click shade auto smooth and there we go. Now, you can see, you'll always get this. In the top of here, you've got kind of these little ridges going in. You will get that all the time when we're using quite low polygons. So when we brought in that actual cylinder, I showed you, we brought it down to 24, and you can see now it's looking a little bit jagged. Now, luckily for us, when we bring in our Shader, when we bring in the lighting, you won't really be able to see this because it's metal anyway. Okay, so now let's put a couple of bands going around here. So I'm going to press the tab but, I'm going to press Control, and this time, I'm going to move my scroll, my mouse wheel up once, left click, right click, and then the bars are right in the center of where I want them to be. From there, then I'm going to press Control B, and then I can pull them out, like so, and then I'm going to press E, enter, lanes, and then I should be able to bring those out. Like so, and there we go. Now, right, click again, shade Auto. Move just to make sure it's smoothed off. Now, let's put a little top on here as well. So what I'm going to do with the top is, I'm going to grab the face, like here, I'm going to press E to S, pull it out, and then E, pull it up, and then S, pull it together, like so, and there you go. That is what you end up with. And I think, actually, that looks a little bit better than how that top is on there. Alright. From there, then what we want to do now is want to bring in or pipe. Now, there's many, many ways of bringing in pipe, but I always find, one of the easiest ways is using the extra. So if I press, let's just put it or cursor, we'll actually put it over here. So I'll put it over here. I'm going to press Shift A then. Come over to mesh, and you will see that you've got one that's called pipe joint. So I'm going to bring in my first pipe, which will be a pipe elbow. Now, these are really important because what it actually helps you do the joints where this joint is, if I come down, first of all, and you can see the angle here, as I turn this up or down, we can actually move this to let's say 90 degrees. So let's put it in 90 degrees. Now, this actually just to create mesh is actually quite hard to do. So doing it this way with the pipe joints makes things much easier. The other thing is, as well, I'm freely able now to bring my actual pipe joint down, and now I can actually just use that and put that in there now. So what I'm going to do now is I'm going to move it with this over here. So with this control panel over here, I'm going to move it into place because then I can make it smaller and bigger and anything I need. So first of all, we'll move it on the Y, so you can see the Y locations. Let's move it over. Let's press either three or one, so press three. Let's rotate it round. So we can rotate it. This is the Y, which means the X is running down there, which means I want to rotate it by 90 degrees. Now we can see it's the wrong way around. So let's put -90 instead. Like so, and now we can see it's actually getting there. Now I can see it needs to be much, much smaller, so let's bring the radius down. Let's bring it back then, so we're going to follow along that X axis. So move it along the X. Let's put it into place. Now, the next problem with guys, obviously, this pipe is too long. So what we can also do is turn down the start, and we can also turn down the end. And now we can start fitting this into place. So again, with the X, I'm going to move it down. I'm going to move it along on the Y, so along the Y. And then we're going to move it on the z and put it into place. And what I want it doing is drop in riding this bomb part down here. Now, what I've got to take into account when I put the end to this bomp, I'm also going to have an edge on here, so coming out here. I'm also going to edit an edge on here. You can see I'm not going to have a lot of room if I make that. So what I'm going to do is just turn down the radius, holding the shift bone just a little bit. And then I've got all of this wasted mesh in the inside of there, as you can see. If you want to see it bet, just click on this, and then you'll be able to see exactly how that looks. And then what I can do is now pull this back. So it's the start. Let's pull it back all the way to around there. And then we can see that's only slightly in there. And now that's looking much, much easier to manage. Alright, so let's turn this off and have a good look at what we've done. And, yeah, I think that's looking about right. Now, what I want to do is before doing the thing is, once I press Shift, as you can see, I bring this out, and you can see now that the problem I've got, is that I can't actually move that round anymore. So that's the problem that we have. So we don't really want that. So what I'm going to do is instead, I'm going to leave out the way. I'm going to leave this as it is. And for this part that's gonna come out here, I'm going to create that myself, so we'll do that ourselves. But we'll do that on the next one. As always, let's save out our work. So file, save out our work, and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 10. Creating windmill machine vertical extention, starting to model the windmill blades for Blender Begi: Welcome back on to blend the beginner's master class, the cookie factory, and this is where we left it off. Alright, so let's deal with this pipe first. So what I'm going to do is, first of all, I'll come in. And basically, I want to bring in an edge loop at the end of here. Now, if I bring an edge loop, so if I press Control R, you can see that it's going along that way, and I can't really straighten this up. So the easiest way I've found is just to bring in your edge loop, and then what you want to do is to straighten up, you just press S, followed by the axis, which is the X axis, press zero. And then what they'll do is straighten it up nicely for you. And I tend to use that a lot because it makes things really, really easy, actually. Now straighten up and move there along here. I'm going to do the same thing with this one. So I'm going to press Control. Left click, right click. And this time, S, Y, zero, Enter, and then I'm going to move this along here, like so. Now I'm going to do both of these together, so I'm going to grab all of this, Alt Shift click. Come around to this one, Alt Shift, click, press the E button, Enter, Alter s, and then we're going to pull them out. Like so. And now you can see we've got those actual pipe joints that we actually wanted. Now, the other thing that you might want to do as well is you might want to bevel off this because it might be a little bit too sharp. So this edge going in here. So let's come in, all shifting, click, grab it going all the way round. Just make sure that you've got it actually grabbing all the way round. And then what I'm going to do is press Control B, and then I should be able to bevel this off. Now, once I press Control B, I can then scroll my mouse wheel up and get some nice bevel on there. Left click, tab, and there we go. Now, if I press, right click and shade at smooth, you can see now that's how the pipe joint looks. Now, there is another way, as well. If I come back and I press Control B and pull this out like so, I can also then go over to this side, and what I can actually do is either increase my segments, I can drop them down. I can change the width of this however I want it, so I might want it more rounded. I can also change, you know, whether it's an arc or not or whether it's sharp. Or I can also change how it's actually beveled off. We're going to talk a little bit more about this, you know, as we move forward, we can also change the shape as well, so you can change it in or out, like so, and make it however you want it. So I think something like that looks pretty nice. I'm actually going to put this on 0.5 again. Just get it back to our had. Alright, so that's looking good. Now let's press tab, and what we're going to do now is we're going to right click and shade At smooth, and that then is going to make sure it's all shaded off smooth. Now, the reason I did that is because we're trying to keep this to that particular art style. And, you know, if we have a really hard edge on, like, pipe there, it's not going to look fitting for the rest of the model. Okay, so now we've done that, let's sort out this pipe here. Now, the thing is, I've already got a pipe there, but I do want it a little bit thicker so you need to decide I'm going to take this pipe and kind of reuse it onto this bit or I'm just going to make a new pipe. I think for me, I'm just going to make a new pipe. Now, first of all, I want it to be level with this one here. So what I'm going to do is I'm just looking, can I make it level with that one? I think I can. So what I'll do is I'll just grab this one here, so I'm going to press Alt Shift and click Shift D. And then I can bring it over into place. And then what I can do now is, so I've duplicated it, I can come to this edge, Alt Shift and click, and then pull it out like so and put that in place. Now what I can actually do is make this a little bit thicker with Alt shift and click, and then I can just press ts and bring it out a little bit, so it's a little bit thicker than the other one. And then finally, I can press Control R, and let's move it over. So I'm going to press left and move it over to here, and then I'm going to press Control R again and move it over to here. And then I'm going to press Alt Shift click on each one of these. And then I'm going to press E, enter lanes, and then I should be able to bring them out. Now, you can see what I want to avoid is it overlapping these. Now, I can see that you know, on this particular one, I think I should move these bars up a little bit and make them a little bit uneven because I think it's going to look much, much nicer if it fits in properly. So let's actually sell that out. So I'm going to come to this part. I'm going to grab this one, Alt Shift, click, this one, Alt Shift, click Control plus. And what that's going to do is it's going to save me the time I than select all of these. So Control Plus is going to grab kind of the next faces on. So now you can see it's grab this one and this one. And now I can simply pull those up a little bit like so. Now, let's get this now more into where it should be. So what I can do is I can come and you can see these are joined together as well. Do I really want that? No, not really. So what I'm going to do is I'm going to press L, and I'm going to separate it off now from this mesh over here. So I'm going to press P, selection, separate it off. Now, this is the point where if I grab this, you can see the orientation is still over there. That's not very handy for me. So what I'm going to do is I'm going to press Control A, set all of the transforms, right click Set origin to geometry, and now it's back there. From there, the I can actually isolate both of these out. So if I grab this one, shift select this one, press the question mark. Now they're isolated out, and now I can actually move this more into the center where I want it. So you can see I can move it up there, and now that's actually fitting really, really nicely. Now I can press the question mark, bring everything back. Double tap the A. And what that's going to do is it's going to make sure if I've got things selected, if I double tap the A, it will deselect everything like so. And there we go. Well, that is that bit. Actually done, that is looking pretty nice now. Now we've done that part. What we can actually do now is focus more on getting that block. So this block up here for our actual windmill. So let's focus on that. So first of all, though, I want to make sure anything I'm bringing in is right in the center of here, not over here where my cursor is. So I'm going to come to this block first. I've already got these two selected. If not, just select them both. Press shifts and cursor selected, and it's just going to put them where we've got these two selected, like so. From there, then I can press Shift A and bring in a cube. I can make it a little bit smaller then. And then what I can start to do is pull this up. And put it into place over here, like so. And then I'm going to pull this up now. So I'm going to edit mode, grab the top face, and pull it up to where I want it, like so. Alright, this is looking so far so good. The only thing I'm worried about at the moment I'm just wondering whether I need to pull this out further over here. You know what? I think, because I've got a gear here, as you can see. So the question is, how far out do you want to pull it? So let's actually go to that now, and we'll actually fix that because the good thing is about this, I'm going to show you how to fix problems as you come over them. I can see that this is a little bit thinner. Now, of course, I could come in and press SNC and pull the whole thing out, but then I've got to also take into account I've got to move all of the other stuff. So there's many ways to do this. I also come in and grab these faces like so, and I can pull them out this way, like so. That's another way I can do it. I think with this one, the easiest way to do it is to grab all of these. So all of these, except the gear, we don't want to grab the gear or anything like that. And what we want to do then is press S and X and pull them out like so. And then of course, we've got the problem of the gear. Now, the gear is, you can see here, we want to keep we want to bring this out. So all of this gear we want to bring out, but we don't want to make this any bigger or anything like that. We just want to bring this out. So we're going to come to our gear. We're going to press Alt Shift and click going all the way around, and then we're going to press Alterns and I should be able to bring it out. Now, you can see, it's kind of not coming out the way that I want it. So instead, W'llds I'll press the Sp, and I'll pull it out, so we've got gear on the sides. And then Wilds, I'll press EnsEd and do it that way again. Whichever way is going to make things easier, whichever way is going to work best, do it that way because it's going to be much easier, you know, once you learn how to do all of these different ways of doing things. Alright. That's looking so far so good. Now, this has pulled out enough. I'm a lot happier with how this looks. Now, before we actually put our, you know, big windmill on there, we've got to take into account that we've got this part in here. So this part in here looks really, really nice, and we really, really want to get that in. Now, the thing is when we're doing something like that, it honestly is easier if we put this bevel on first, go to make it much easier, which means before I actually do that, I really want to create this windmill. I want to create these gears in there, you know, and forward planning thinking how I'm going to actually do this. So let's actually start with this part here, so you can see a windmill here. And to create my windmill, I'm going to create in separate parts. In other words, I'm not going to create this all in one mesh. You don't need to do that. Create in separate parts. It's going to be much, much easier for you. So the way I'm going to do it is I'm going to I've already got my cursor. It should have been in the center, but it has been moved out around a bit because, obviously, I've stretched this out. So I'm just going to make sure it's in the center by grabbing this part here, press in shifts, cursor center, press in the tab bottom, Shift A then, and bring in a cube. From there, then I'm going to make my cube a little bit smaller, like so. I'm going to pull it out. And then I'm going to make it a little bit thinner. So S and Y. And then finally, I want to it's going to be roughly around here. So this is going to be the center where the first gear is. The other gear then is going to be down here. Now, the thing is with the windmill, it's not directly in the center, but we can still use it to kind of realize how big this is going to be. So wherever we put one windmill, the tops going to be up there. So I want to make sure if it's here, it's going to be all the way down here. In other words, do the bot part first. It's going to make your life easier. So what I'll do is I'll grab the bon pot, I'm going to pull it all the way down here, like so. We've got a good idea of how big this windmill is going to be. From there, then I want to make sure, as you can see here, it gets thinner as it goes to the center and thicker as it goes to the outside of it. So what I'm going to do is I'm going to press S and X. I'm going to pull that out, like so, and now we've got the first part of our actual windmill. Now, I'm just going to pull this out just a little bit more just so I can see what I'm doing. And on the next lesson, then we'll start beveling these edges. We'll start bringing out then this end here, as you can see, and we'll actually start finishing this windmill off. Alright, everyone, so I hope you enjoyed it. Again, as always, make sure you save how you work, and I'll see you on the next one. Thanks a lot. Bye bye. 11. Adding detail to windmill blades, creating decorative roundness for stylized effect f: Welcome, M, everyone to Blend Beginner's master class, the Cookie factory, and this is where we left it off. Alright, so let's now come to this part here. So I'm going to press the question mark to isolate it out. I'm going to press tab to go into Edit mode. I'm going to come to my edge ect. I'm going to grab this edge and this edge. Now, as I've said before, we need to bevel off these edges, but before you do that, always make sure Control A or transforms set origin to geometry, and now go in and bevel these off. So Control B, let's bevel them. Like so, and you can see, I'm fairly happy with these. You can really mess around with these and create whatever type of windmill you actually want. But for me, I think I'm happy with how these look. Now, finally, before I actually finish, I want to bring this top pot in a little bit, so I'm going to grab this one here. I'm going to press S and X and pull it in a little bit like so. Now the thing is, if I press tab now, press the question mark, if I come in now, I can see that. This is going to come down to here, which means that this has to be lifted up a little bit because we will have a center point in here. So we're going to have a center point in here, and I need to take account for that. So what I'm going to do is I'm just going to lift this up a little bit more like so, and there we go, now I think I can get my center point in here, and that's what I really want to do before actually finishing. And so I'm going to come in now, grab the top of here, press shifts to selected. And then what I'm going to do is press tab because I don't want to bring in a new mesh that's joined to this already. I want to keep them separate. So if I press Shift D and bring in, let's say, a cylinder now, you can see that it's part of the same mesh, and we don't want to do that. We want to save ourselves a little bit of time. So what I'm going to do is press shift I'm going to press tab first, press Shift. And then I'm going to bring in a cylinder like so, and we now it on 24. I'm going to spin this cylinder round. So RX 90, so 90 degrees. I want to make it smaller, and then this is going to be where my windmill, hopefully, is going to fit, so you can see it's going to fit just in there. Now, let's see, first of all, if this is big enough, I don't think this is big enough. So how am I going to determine if it's big enough? First of all, I want to pull this up a little bit. So we can see if I put this on, you can see if I grab this, let me just try and grab this. There we go. Let's press one again. You can see that it's up into them. We don't really want that, so we want to pull this up, like, so just so these are just in there because we've got one going this side, one going top, and one going this side as well. So now it's feeling a little bit better. The other thing is, I think this is a little bit too small, so I'm going to make it a little bit bigger, and now we can see they're fitting in much better, and then I'm going to move it up. On the z, just a little bit like soap. Now, I think that's gonna fit in much, much better. I'm going to turn this off. And then what I'm going to do is squish it in a little bit, so S and Y, pull it in. Like so. And now I want to do is I want to make sure that this windmill is going to fit going around. So first of all, I want to grab it. I want to come in and grab this face and this face, and I want to give it a relief on there just to make it look a little bit nicer than what it did. Now the problem I'm going to have, if I press the Ibn, you can see that it's going to be a long way in before it goes past this part here. So if I press I, you can see if I put it there. Now we can actually got that relief, and it's starting from there. I don't really want that. So instead of what I'm going to do is press Control R, and I want to bring in an edge loop. Now, the problem I've got with bringing in an edge loop now, because I've beveled this off already, we have got a problem, and this is the things that you need to work on knowing how to solve problems. So instead of that, what I'm going to do is press one. I'm going to press A just to make sure that all of this is selected. Press one again. And then we come to mesh, we're going to go to bisect, and I'm going to bisect this through. Now, when you bisect now, you'll get a line going all the way through, as you can see. Now, what you can do is with the bisec tool is you need to set this to zero. So you can see here the X axis is set to not point non five. It will always be one that's a little bit higher when you do it. If I set this to zero, you'll see that that got straightened up. You're also able with a bisec to move this up and down, which is really, really handy. And the other thing is you're able to clear the inner or the outer. Now, we won't be using this right now clearing that is. You can also fill in as well once you've cleared it. We're just using it to actually bring in an edge loop, even though we've got, you know, the problem with the bevel. So this is how you can fix. From there, then I just want to bring it up a little bit. So just to there. And now let's come in. We should be able to grab the front. And the back. And now we should be able to press the e button and bring it in really nicely like so. So now you can see we've got that really, really nice relief there that we wanted. Okay, so that's looking nice. And before we finish, the other thing is, we can also bring this up a little bit, if you want it a little bit higher, like so. And I think, yeah, that's looking very nice, except the fact that I need to grab both of them, bring them up a little bit. There we go. Now, let's come in and grab this one and this one. And now we actually want to make that relief. So all we're going to do is press E, enter, alter Ns, and pull it out. Like so, press the tab button, and there you go. That is the relief on there. Now, if I press right click and shade auto smooth, then it's going to smooth off those bottom parts, and that is what I'm looking for. Now, let's work on this center part. So what I want to do is basically, I want this part. Yeah, I think it's actually close enough. We just want the front and the back. So let's do the front first. So first of all, right, click shade auto smooth. Let's come in then to Edit mode, grab the front, and all I'm going to do is press the Ibar and then I'm going to pull it out, so E, pull it out. And then finally, I want to bevel this off to make sure it's nice and smooth. Again, before beveling, control A or transforms, set origin geometry. And now let's come in, press Control B, and let's bevel that off, like so, and there you go. Looking pretty nice. Now let's come to the back because we will need a back that's going to come out into some kind of gearing system. So what I'm going to do is come in. I'm going to press I for insert, and then I'm going to extrude that out into this part here. So we've got a back on there now, as well. Alright, that's looking pretty good. We want to keep it simple as well, guys. We don't want to go over the top with these things. So we're not looking at really, really intricate, you know, robots. We're not looking at intricate factory parts that are going to make, you know, Henry Ford Proud or anything like that. Nothing like that. What we're going to do is focus on simplicity and brightness and things like this. Alright, so now we've got that. What we need to do is we need to make sure that this windmill is going four so it's got four, you know, what they called now four fans to it. Okay, so how we're going to do that is we're going to come to the center of here for a shift desk, cust or selected. And then what we're gonna do is we're going to come to the first kind of bleed. And then all I'm going to do is I'm going to press, um, I'm thinking the easiest way to do this. There's many ways of doing anything. I'll show you the first way of doing it. So the easiest way, basically. I'm going to write cliques Origin three D cursor. And now, when I move this around, so R Y, you can see it completely goes around this point here. Now, what that means is, I can press Shift D, and then I can press R Y, 90, and there we go. Now it's perfectly in line. And it's moved from this point, which makes it really, really easy. It's also handy to understand how orientations work for when we're actually animating this, as well. So this is kind of the basic introduction to it. Now I'm going to do is, I'm going to press Shift D R Y, 90, shift D, R Y and 90. And there we go. Now they're all on there, and we can see we've near enough. Got our windmill set. Now, what I'm going to do is I'm going to join all of these together. I'm gonna press Control J. Join them all together, like so. And that is looking pretty nice. Now what we want to do is we know where this is going to go in now. So we know like this part here is where we're going to have our pulley, so our pulley system. And once we've got our pulley on there, then we can actually round this off because we can see exactly where it's going to be rounded off. Now, for our pulley system, let's make a new part then for that. So what I'm going to do is I'm going to use this orientation where my cursor is. I want to press Shift D. I'm going to bring in then a cylinder. I'm going to leave it on 24, rotate it round. So RX 90. Let's make it a little bit smaller because we will need it bigger than this at the back, so you can see it needs to be bigger than this, and I want it a fair bit bigger. So what I'm going to do is S and Y, pull it in, first of all, pull it into place. So round about here. So we've got a little bit of a gap. And then what I'm also going to do is I'm going to press S and Y, pull it out a little bit more, like so, and then I'm going to make it bigger Again, so let's press tab, Alt, shift and click, going all the way around, alter ness, and let's pull it out like so. I also want to make this a little bit thinner. So going to come in, Alt shift and click. So going all the way around this part, alter ness, bring it down, like so. Now, let's make this pulley then so it actually looks like pulley. So I'm going to come back to this part, right click, shade Auto smooth. Tab Control R to bring in an edge loop, left click, right click to make sure it's in the center. Control B, scroll down, so we've just got one on there, like so and then I want to either bring this in or bring these out. On this occasion, I'm going to bring these in. When we bring in something in or out, we can also use extrude. There are exceptions when it might make things difficult and we'll come across those further on in the course. But for now, we're going to press E, Enter, and then alternS and bring these in like so. And now you can see we've got a pulley system where we can actually put our cable going on there. Now the thing is now we want to also make sure that we have another pulley down here on the next lesson, so we'll create another pulley, and we're also going to move this to the side. So on the next lesson, we'll move this all over to the side. We'll pour another pulley system in here, and then we'll actually be able to animate that eventually once we've got everything running. Alright, everyone, so again, save about your work and I'll see you on the next one. Thanks a lot. Bye bye. 12. Creating gears and belts to attach the windmill to for Blender Beginners Masterclass: Welcome back, everyone to Blend Beginner's master class, the cookie factory, and this is where we left you off. Now, what I want to do is I want to grab all of this, including the sensor so make sure you've grabbed it all, press one to go into the side view, and I'm just going to pull them over then to this side like so. So something like that. And then I want my next pulley system to be roundabout here. So it's actually on show with the actual fans going past it. So the way I'm going to do that is, I'm probably actually going to use, I'm going to use this pulley here. I'm going to press one. I'm going to press Shift D to duplicate it. Pull it down, and let's put it round about here like so. And the other thing is, this one is quite big. So let's make this one a little bit smaller, like so. A difference in scale always makes things look more realistic. This, I would say, also needs to be a little bit bigger. I think at the moment, it's still a little bit too small. So what I'm going to do is I'm just going to press S, pull it out, and then I'm going to press S and Y and pull it in, like so. And what I want to make sure is that the belt can still go on there. So instead of now grabbing I want to make sure that the bell is going to be the same scale for them both. Now, that is going to be a problem at the moment because of the fact of this one in here is going to be much thinner than this one in here, as you can see. So instead of doing that, what I'm going to do now is I'm going to re grab this. I want to press Shift D. I want to bring it down. Pull it to the side, like so. So we're going to have it round about there. And now we want to make it smaller, but without altering this scale. So if I scale, you can see this gets much, much thinner. We don't want to do that. So what I'm going to do is I'm going to grab the center with Alt Shift, and click in face leg. So Alt Shift click Alt Shift click, Alt Shift click. So now you can see the only ones we've not got selected are the backs and the inner parts of them. And now what I can do is I can press alters, and I can bring it in that way and make it smaller in that way, so I can press tes, like I say, tes and now it's going to be smaller, and yet we've still kept the same gap. The other thing is, we should have also, as you can see, the gaps the same. We've also kept them at the same level, and that is what I wanted. Now, let's come in, and what we'll do is we'll pull this out, and then I'm going to press the eye button and bring this in like so. And then I'm going to press the ebone once more and bring it in. And what I want to do now is, I want to if I press one, I want to keep some of these here. So in other words, if I grab this one and this one, I want to keep those as gears, like, kind of at the front. So I think with this, I'm explaining it wrong. So what I'm going to do is the two center ones in here, if I grab them going one, two, three, four, and then miss these two, and then one, two, three, four, miss these two, one, two, three, four, miss these two, and one, two, three, four, and then miss those two. So you should end up with something like this. Grab the center part then, and then what you want to do is you want to press E and pull that back like so. So you're extruding it back, holding the shift boon wherever you want it, and then we're going to get that nice relief on there that makes it a little bit different from this pulley. Okay, that's that part done. Now we're on to probably the hardest part of getting the actual bell onto here and making it look quite nice. So what I'm going to do, first of all, is I'm going to hide this out of the way. I'm going to also hide this part of the way, and then it'll leave me just these pulleys on here that I can see now. Now, what I want to do is I want to grab both of these pulleys. I want to press Control J, join them together, it's going to make things much, much easier. And what I want to do now is I want to grab this as it's just going around the corner. So just coming round here. We're going to grab this, and we want to go to this part here, let's say, where the actual, you know, bell would be going. If I press F now, we can see now that the bell is going to be going round like that. And actually, if we look from all angles, that actually looks pretty realistic. Now, don't worry. We're going to make it look even more realistic. We're going to grab this one now, and let's try grabbing. Let's try this one here. Press the F button again, like so. And you can see the problem is on that one. Is it's actually going through there, and we don't want that. So what we're going to do is we're going to take this one off, and we're going to join it on let's say this one here. So let's try that. F, and let's have a look. Is that going to look good? I think it needs to be the next one, so we'll take that one off, put this one on, press the F button, and there we go. So now we can see, is this one right? The belt is going to go round here all the way around. And actually, you know what? That's looking pretty nice. Maybe we could get away with putting it on the next one here. So, again, we're going to have a look. So if it's this one here, and then this one here. So what I tend to do is I grab this one, and I'm going to grab this one because this is the one that I want to put on. I'm going to right click and I'm going to mark a scene. And now you can see, when I come in and delete that off, so delete bases. Now I can come in and grab exactly the ones that I wanted. So this one here, this one here, press the FB, and there we go, now I think that's looking much, much better. Now, once you've got it, come in, Press A, controlle and then we'll clear the seams, and there you go. And then right click and shade Ato smooth. And there we are. We've got our belt on there. Now, of course, if you wanted this belt to move, you want to be able to actually have some control over this belt. So what I'm going to do now is I'm going to duplicate this belt, make it so it's actually its own object, not so it's attached to this, because, you know, we need it to actually look a little bit, you know, different from this. So the easiest way to do that is to come in. What we're going to do is lt, shift and click. If you can't lt shift, click, you're going to control, click, Control click, going all the way around, control, click going up to here, and then come in. Control click. So you just holding control, clicking, going all the way around, like so. Now, of course, we don't want to delete this, and we don't want to just separate it off because that means that we're going to have holes in our pulleys. So instead of doing that, let's just press Shift D. And then what we'll do is we'll pull this out, and there we go. Now we can get rid of these two, so we can press bleat and faces. And this is what we're left with. That's exactly what we wanted. Alright, so now we need to give this some thickness. So first of all, though, let's grab the whole thing with L. So L basically selects all of the islands that you want. And then what we're gonna do is we're gonna press S and Y and bring it in a little bit. And now I'm going to separate it off. So P, selection, separate it off. So now we've got these. We've got our belt before we do anything because we're going to add a modifier in here. We're going to press Control A, all transforms right, click Set origin to geometry. Now, let's bring in our modifier. So one window is over the right hand side, where this little spanner is, click on it. Add modifier, come down to generate, go down to where it says, solidify. You can see it solidified going inwards. We want to solidify it going outwards. Now, it's a good job it did this because you can see, Hey, what's going on here? This doesn't look right. The reason it doesn't look right is the fact that wherever the normals are facing is where the solidifier is going to push it in or out. So what does that mean? Generally, on a piece of mesh, you will always have if you come over here, you'll see face orientation, you will always have a front and a back. And this works to make sure that when you send something through to a game engine, for instance, you don't be rendering out the front and back at the same time. So to optimize, we basically say, right, this is the front, we only render this. Or when we're using modifiers, it only takes in the front or the back into account. So how do we change that round? There is an easy way to change that round. All you're going to do is just press tab A to select everything, and then shift N. And what they'll do is recalculate the normals for you as you can see. If I put it the other way around, you can see it goes that way, or it goes that way. But now you can see that belt is looking pretty nice. From there, then, we can go back, turn off face orientation. And then what we can actually do is drag this over and put it into place, like so, and you can see now if I put that in there, just how nice, if I hold shift. But if I pull it over and hold the shift bone down, just how nice that actually looks. I can easily make it a little bit thinner if I need to. But actually, I think that's right. Now, from there, then I can actually change the thickness of this so I can bring it down, holding the shift bone, bring it down slightly, like so, making it look even better. You might want to make it stick out a little bit on there. So I'll think a little bit more, so I'm going to grab it. And what I'm going to do is just pull it out just a little bit, and there we go. It looks a nice thick belt that's really going to turn this thing. From here, then I can press TH, bring back everything, and double tap the A. Now, I would say when using a solidify, I'm happy with this. I generally leave modifiers on right until the end. So right until the end when I've actually finished the whole of the model, I recommend you do the same. You might move something around. You might not be happy with something, and that's why you want to leave these. Now, the other thing is at the moment, as you can see, these pulleys aren't actually into something. So what we need to do is we need to grab the back and make sure these are in. So all I'm going to do is, I'm just going to hide this part of the way. I'm going to come to the back here, I'm going to press the Ib. I'm going to do this one first. I want to press E, like so, and put it back in, and then I'm going to do the same thing with this. And I did them separate because I want them to be different sizes. I'm going to press I, bring this one in, press the E but, and pull it out. Now I'm going to press TH, bring back this part and just make sure that these are in now, you can see here, this one's in and this one's in, and there we go. That's looking quite nice. Okay, so on the next one, then what I want to do is I want to make sure that we've got that band going over there. I think we can actually put that in there. And what I can do now before doing the back part of this is I can get away with tidying all of this up, beveling them all off just before we do the back part of this. So in other words, this back part which is this p on here. Just before we do that part, we might as well tidy this up because we know pretty much now that we've got the kind of write scale that we want. We might want to before finishing, pull these out. So if I grab all of these, I'm going to just come in and grab each one of these grab each one of these, each one of these and just pull them out a little bit, just making it a little bit more chunky than what it was. And I think now that's looking pretty cool. Alright, so let's save our work, and on the next one, we're going to start at, you know, tidying all this up, rounding off these edges, all that sort of good stuff. Alright, everyone. Hope you enjoyed that, and I'll see you in the next one. Thanks a lot. Bye bye. 13. Adding smaller decorative detail to the stylized windmill machinery using extrucion a: Welcome back, everyone to Blend Beginners master class, the cookie Bac tree, and this is where we left off. Now, I think this is a good time, first of all, just make sure everything's okay. I think this actual ply here, I think, needs to be a little bit thicker. Now, you've got to make sure when you're doing this that we haven't got this part selected here. So, what am I going to is, I'm just going to press Shift H this time. So Shift H will dd everything else out of the way, except this, and then I'm going to come into here and press. Now, you can see we have a problem there that we're selecting the whole thing. Now, there is a real good technique to actually stop that happening. All you can do is you can press Alt Shift and click on this one, Alt shifting, click on this one, right click, Mcasin. And now, if you come in, and you select this with L, it will only go up to the seam. It's important, though, you select it in face select, but it will only go up to the seam, which means now I can press S and E, and I can actually make this much, much thicker, like so. Now, if I press old age to bring everything back, you will see now that is fitting in place, much, much nicer than what it was. Alright, so that's looking good. Now what I want to do is I want to bring in these parts here. So let's come in, and I'll grab the front of here. So I'm going to press Tab, grab the front, Shift S, cuss to selected. Tab, Shift A, and then we're going to press Shift A and bring in a cube. Let's press S. Like, so we'll bring it out. Round about here. Pull it down to the floor. And then what I'm going to do is I'm going to pull it up and I want to round it so it's on there. Now, the other thing is, I've got a lot of wasted mesh in there, as you can see. Don't really want that, so I'm going to press tab. I'm going to basically put this on so I can see on the inside, and then I'm going to pull it forward to where I actually wants. So Ja stuck in there like so and then turn it off and it just makes it really, really easy to work. Now, the other thing is, you'll see that I'm going to have to pull it all out. But first of all, I'm going to pull it up all the way. Up to round about here, and then I'm going to grab the whole thing and press L, and then just pull it back holding this if burn into place like so, and then just make sure I'm happy with that. First of all, I think I need to make it a little bit thinner. So Sax, let's make it a little bit thinner, like so. And then what I'll do is I'll come to this edge here. And before we bevel, we need to make sure reset all the transforms. But this time, I've got my cursor here, and this tells me it's in the center. So I'm going to right click and set Origin 23 Dcursor. And the reason I want to do that is because I'm going to mirror it over this side once I'm actually happy with it. So I'm going to come in now. Grab the top of here, press Control B, and then round it off, like so, left click. And there we go, and I think that's looking pretty nice. Alright, let's press tab. Let's right click, shade Auto smooth. And then what I'm going to do is now add in a modifier generate and we're going to add in a mirror. And because the mirror is based on the orientation of the actual object, it will move it over perfectly over this side. Now, with the mirror, you can also whenever you alter apart. So for instance, if I come in, I grab, let's say, this side. I can pull that in. It will pull it in on this side as well. And the other thing about the mirror is, if I want to move this, so let's say I want to move the whole thing. Let's say I want to move this to the left. If I'm moving object mode, it'll move the whole thing. But if I come in, grab the whole thing in edit mode and then move it, you can see now we can actually control how we're moving it based on that center orientation. Alright, so that's looking pretty cool. Now let's come in and think about now tiding all of this up before we move on to the other parts. So first of all, let's come in and round these edges off. So again, come in, Control A or transforms right clicks origin to geometry. And then what I'm going to do is grab this one, this one, this one, and this one, I'm going to press Control B and round them off, like so, press the tab button, right click, shade or to smooth. Alright, so that's looking pretty nice. Now we need to make sure that everything is rounded off. So First of all, we want to make sure this is rounded off, this part here, this part here, and this part here round off. Now, let's do them separate just to make sure we've got control over them. So first of all, we'll come to this one. Again, reset all the transforms Origin, geometry, press Control B, round it off. Just around about there. I think that looks good, and then we'll come to these two. And I'll do I think I'll do all of these together. So one, two, and three. Press Control B, and let's round them off. Like, so, right click, shade Atos move, and now you can see that's looking pretty nice. Now, one other thing I want to do on this part here is, I want to bring this in to make a relief system because you want to make things interesting. You want to make sure that it's colorful and things like that. You can't really do that if you've not got any reliefs on it. So what do I mean by that? If I come in and I grab, let's say, this one, this one, this one, and this one, I can now come in and actually press the IBU and bring those in. And what they'll enable me to do, as you can see, it's enabling me now to actually bring this in and pull it out. Now, the thing is make sure that when you bring this in, you have got offset even on. Just make sure that's on when you're bringing it in with the eye button like I just did. The other thing is don't bring it in so far, where you're going to actually start breaking the mesh. So be very careful on parts like this. You really don't want to bring it in, it starts breaking it. In other words, if I press Control's, press the eyeb. If I bring it in too far, you can see it starts breaking that mesh. We don't want that, so we want to bring it far enough so that it looks nice and it's nice and even going all the way around. Now, once we've done that, what we can do now is we can press E, pull it out, and there we go. Now, what I'm going to do now is I'm also going to put a relief on this side, but I'm only going to put it in the top because we've got already things there. So I'm just going to grab this. I'm going to press the Ib. I'm going to bring that in like so, and then I'm going to press E and pull that out like so, and there we go. Now, you can see this one stuck out a lot further than this one. You could have done them both at the same time. I think, though, having a little bit of difference in them is better. I'm going to pull it out a little bit, so it's not so obvious, but a little bit of difference, I think, is better. And as you can see, that's why I've made them. You know, this one's all the way down here, this one's down to here, and I think that just makes it look much, much better. Alright, so what about this bo bit you might be asking? Well, the thing is, once we've actually done all these, we're actually going to be beveling them. So at the moment, I'm going to leave that as it is because I don't want it that rounded like the other parts, and I'm going to come up to this part here now. Now, the first thing is on this, I want to make sure I bevel kind of the top of it. So I need to bring it up a little bit more than what it is, so I'm going to bring it up. Like so. And then what I'm going to do is I'm going to press tab, Control A or transforms, set origin to geometry, and now let's come in and grab the top. So we're going to grab this one and this one, we're going to press Control B, and you can see now why I did that because then it gives us more room. So like this, that's looking pretty nice. Right click. And, you know, the one thing I forgot before that, I really need to put kind of a bottom in here, I think. Because if I try now and press Control R, you can see we've not got that, which means that we'd have to go in and use the bisect tool again. So, you know what? We'll make this easy for ourselves. So we'll just press Control Z. We'll press Control R, bring in a new edge loop, and this time, we'll just bring it down to round about there. And now what I'll do is I'll come in, grab both of these, press Control B, bevel them off. Like, so, press the tab but, right click and shade Auto smooth, and there we go. Now, let's finish this off. So what I want to do now is, I want to bring this in like kind of from here and all the way around there. So what I'm going to do is press Control. Left click, right click. You can see on here how it is. Press Control B, as we've done many times, scroll the mousewheel all the way down, then get it to where you want it. Now, we do want it quite chunky. So something like this, and just make sure that this is still fitting in there, which it is. Alright, also, make sure that this one is still fit in there, which it is. Now, let's come down to this. So this one here. Control click going all the way around to this one. And then what you're going to do is press E, Enter, and then I'm going to press Alter Ns and bring it in holding the Shift but, like so. There we go, now, the thing is, you can see that these are they stuck in? Let's see if they're stuck in. That one's stuck in there, and that one's just stuck in. So you know what? They look pretty nice, so I'm going to turn this off. And there we go. That is looking pretty cool. Alright. So now the one thing we've got that I didn't do is I didn't put a part of the pipe on here. So I'm just Yeah, it's because I moved them out. That's why. So if I click on this, you can see. So what I really want to do because I've pulled it out a little bit, I think I want to move all of these out. So I'm going to move all out. A little bit. And I can also see that this, this here, and this one here, I need them. I don't want this thing hanging out too far. Or it would just bend over. So what I'm going to do is I'm going to grab this one and this one. I'm going to press the tab button and I can't see in there at the moment, but if I put this on, then I can see in there. And what I'm going to do is I'm going to press Alt Shift and clip going around each one of these. I'm going to press Control plus because I want to grab this bit, because if I don't grab that bit, you'll see if I bend them. It bends like this. We don't really want that. So let's press Control Plus. And then what I'm going to do is now I've grabbed them, I can actually turn this off, and then I can pull these out. So now you can see they pull out really, really nicely, really easy for me to actually do that. Alright, so that is that bay as well. Now, that is all looking nice. Now before we move around to the back bit, it's time to actually do discuss our bevel modifier. But we're going to do that in the next lesson because we're running out of time. And the reason is we always like to keep these lessons around the ten, 12 minute mark, and that is just to keep you engaged. Any longer than that, you might want to go and grab a coffee or something like that. It's better to actually keep them around the ten or 12 minute mark. Alright, everyone, hope you enjoyed that. I'll see you on the next one. Thanks a lot. Be bye. 14. Working on windmill attachments for Blender Beginners Masterclass: Welcome back, everyone to Blend the Beginner's master class, the cookie factory, and this is where we left off. Alright, so now we've got this. Now what we want to do is our bevels that we spoke about. So the thing is, you don't really want to be joining all of this together. And the reason is because we're going to be having parts that are actually animated. So when it's something like this, we need to bevel them off separately. So let's come to this part first. Adding a modifier generate a bevel. And you'll notice when we bring in this bevel it comes in like this. Now, I always tend to have either not point, note, note three or not point note, note five. Now what I also tend to do is, you will see on certain parts you will have problems with the bevel. So for instance, if you come to something that's a lot more complicated, like this gear, like these parts here, you might have problems with the bevel not working. So what I always do is I come in, I'll go to geometry, and I'll turn the clamp overlap off. And what that means is it will basically cross them over. It will stop blender bevel in something if the actual edges cross over. So what it means is that you can get away with doing it as long as you're very careful and you keep this very low. So if I put this to note point note note three, you will see now we've still got a bit of a bevel on there. And let's put it to note, point, not not five, like so. Oops. No point, not not five. There we go. Now we've got a nice bevel on there, as you can see. The clamp overlap is off, and now what I should be able to do is I should be able to apply this to the rest of the model with no problem. So how do I do that? You always grab the first one, which is the one that you want the modifier to go onto. You're going to grab the second one, which is the one with the modifier on. You're going to press Control L, and what you're going to do is you're going to copy modifiers, and there you go. Now you've got that beautiful bevel on that part, as well. Now we need to do the same. Now, when I do this, I tend to work in chunks. You can see this one's got a mirror if you copy modifiers, you will basically remove that mirror and just add on the bevel. So if you've got something with a mirror on, just apply it first. So Control A, apply the mirror. You can also, instead of hovering over and pressing Control A, you can also come down and we can actually hit the apply button there as well. Like so. And now I can do is I can grab this one. Grab this 1 second. Press Control L, copy modifiers. And whoops, that was the wrong way ran. Grab this one, grab this one, con troll L, copy modifiers, and there we go. Now, let's work our way up. So as well, this obviously needs to be shaded and smooth. So right click shade Auto smooth. And then what I'll do is I'll grab this one, grab this, C troll L, and copy modifiers, and there we go. Let's see. Yeah, it's actually working on that. We'll try it again on the clamp overlap just so I can see that actually I can show you that's actually working. So that's beveled off now. Now let's come to this one, and we'll do same thing again. So Control L, copy modifiers, and there we go. Let's try turning. Now, I've not got anything I can show you. I wish I would have showed you with the clamp overlap, but not at the moment, maybe I'll be on this one. We'll see. Alright, so now you can see, they're all beveled off really nice and beautifully, and now we'll just work our way up, so I'm gonna come to these. Now, you can also come to all of this. Just make sure you've got no other modifiers on. So I can basically grab all of these. I can grab the bell, and you can see I've got a modifier on there. So I'm just going to click Down arrow, apply that modifier. And then what I can do is I can grab this last press Control L and copy modifiers. And what will happen is I'll copy the modifiers to all of these parts. So all of these now have the bevel modifier on, as you can see, even on these. Now, the other thing is sometimes when you're doing this, you'll see something like this where it doesn't look like it's not going on properly, and the reason is because we haven't reset the transformations. I would say, once you've actually got the bevels on, let's go back, grab all of these parts. You know what? We'll do that again. We'll do that again before applying it onto all of these parts, so you can see no bevel on. I'm going to grab all of these. Including these, I want to press G just to make sure I've grabbed it all, as you can see, and then right click to drop it back in place. I want to press Control A, all transforms, right click Set origin to geometry. And now from here, I'm going to grab this part last, and then I'm going to press Control L, copy modifiers, and there we go, everything is beveled off. Now, let's see on this one. I I turn clamp overlap off. Nope, still contrary. I will find one where I can show you that we're actually working on, you know, properly. Alright. Let's double tap the A, Let's have a good look round here. That's all looking really, really nice now, and we've just got these parts to do. So again, let's make sure we've got no modifiers on or anything like that. Let's grab all of these, press Control A, all transforms, right clicks origin to geometry, grab this one last. Let's press Control L, and we're going to copy modifiers. And then, we've got loads of beautiful bevels on there now. And this is looking really, really nice, and you can see exactly what we're going for. It's got that really, really soft look that's exactly what we're going for. We don't want any hard edges. We want it to look really soft, and you're really going to see this pop out once we've actually finished this model. And I know this model, it's taking, you know, a fairly long time to create, but we want to make sure with the first model, we do everything as we're going to be going forward, and I'll show you the right way and the right pipeline to do things so that when you come to create your own models, you can actually do that in the future. Alright, so let's pull this out a little bit. And what we're going to do now is we're going to create the back of this. So this is where the kind of flour is going to come out, and then it's going to be going down. So first of all, I want to create where the actual the conveyor belt is coming out. So we're not going to bring the conveyor belt in yet because that will overcomplicate everything, but we're certainly going to create the base where everything's going to be coming out. I'm going to do is, I'm going to come to the back of here. I've got my cursor here. That will do because we know it's in the center, so that's good. Let's press Shift day. Let's bring in a cube. I'm gonna pull the cube over. I'm going to pull it up into this part here, I want to press S and X, squish it in a little bit, and this is where I want my actual flour to come out. Now, the thing is I want it probably down a little bit more. So something like this, and then I'm going to pull it into place, like so. Doesn't mid if you're overlapping a little bit on any of these parts 'cause I'm gonna put another pot in anyway. And this is basically going to be where my flower is going to come out. So once I've actually got this leveled up now, so the size that I actually want it, I'm going to want another block in here as well. So I want another block, kind of be, you know, supporting it, giving you relief, making the model interesting all of that stuff. So shifts cursed to selected, Shift A, let's bring in another cube. I'm also going to save a work just in case you didn't save yours on the last one. And then what I'm going to do is I'm going to pull this back into place. Now, of course, we need this much thinner. So S and X, let's pull it back into place like so. And then what I'm going to do is I'm going to I think this, this is going to be round about the right size. This part here, I mean, it just needs to be pulled back a little bit. So let's pull this back a little bit into there. And then it looks like it's actually slotting into there. This bit's on here where I can put another piece, then that'll be supported there. And then I want this bit going up here. Like so, and then I can have a kind of n coming into here. So we'll do the vent next. So we'll now press Shift A, and we'll bring in another cube. We'll press S, and we'll bring it up. And then what we'll do is along the X axis. So S and X, let's pull it in. Like so. Let's pull it over, like so, and now let's start to have a little bit of fun with this. So let's pull it down. Now the thing is when I'm beveling something, if I come in now, press Control A, all transforms, set origin geometry, do what we normally do. So if we come in and bevel it with Control B, we can see that it bevels all the way back to there. Sometimes you don't want that. Sometimes you really want to control how that bevels working. The easiest way to do it is bring in an edge loop. So control our left click, tells Blender, I don't want it to be beveled any further back than this, or if I bring it forward any further back than this. What it means now is if I press Control B, you'll see it goes up to that point and you've actually got control of how this is working. So if I bevel it off now, you can see exactly the control that I've got, that's looking pretty nice. Albeit, I think I need to press Essen'sEa and just bring it down a little bit into there, and there we go. Now, let's think about this bomb section. So I think we'll have another box under here. So a box under here, coming down to just just above this edge here. And then what we'll do is we'll put kind of a strut going along here to support it. So shifty let's bring in another cube. Let's bring it down to round about there. So it's just underneath. Then let's grab this face and let's pull it back. So let's make sure that this, first of all, is all the way back into there. And then let's also make sure that it's not sticking past there. We really don't want that. So all I'm going to do is press S and X and bring it in to round about there. Then what I'm going to do is, I'm going to come to the bottom, I'm going to pull it up to round about here. And there you go. It's fitting in nicely. Let's also make sure that this is sat on there, like so. So it's sat on there perfectly nicely. And then I think on the next lesson, we'll add in a stroke coming from there to there and then we'll kind of do this part here, which is, you know, those parts where the conveyor belt is going to come out. Now, the first thing I want to do before doing that is I'm going to introduce you to collections. So we're going to do that on the next lesson, and I'm going to introduce you to collections because then you'll understand, like, how we can put these things in collections and keep everything nice and neatly organized as we move on from here. Alright, everyone, I'll play that for on the next one, and I'll see you on the next one. Thanks a lot. Bye bye. Thank 15. Blender collections and layers basics for Blender Beginners Masterclass: Welcome back, everyone to Blend and Beginner's master class, the cookie factory. And what I'm going to do now is I'm going to play a short introduction to collections, and from there, then you'll understand when we come back on the next lesson, we'll start putting these into some sort of order to make sure we know what has been done. Alright, everyone. So I hope you enjoy this, and I'll see you 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 them collections over here, and this is basically how the old blender used to actually handle layering. 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. 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 what 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 u 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. So 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 then click New collection, and I'm going to click Sphere like so, press Enter or hit the Okay button, 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 end 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 this cylinder in the cube. Now, if you don't want that, you can press the end button 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? Well, what you can do as well is let's say we want to change the name of this cube. We 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 en 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 M button again, drop them in a new scene. So a press 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 geometry nodes, 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 came review. So the cam review basically means that if I click this off, when I actually 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. I will all be hidden out of the way. Now, the other one we've got is this little tick Bon. If I select this, you will see that it just turns both of them off, so it won't be visible in the viewpot 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 viewpot, 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. The other thing is, if I turn this on, I can also do a search here for let's say cube, so if I type in 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 abon 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 N bourne 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 if I go all the way to the top and then 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. I have 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 we're going to do is just close hide the butcher shop out of 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 butchers shop. And then they'll be hidden out of the way, leaving the other parts that are left, which I actually missed. So butcher 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, what 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, up to a maximum, I think, either nine or zero. So you can see very, very easy once you put them in collection 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 them. It'd have to be a very, very big scene to have more than ten collections. Within the collections as well, you can also add inner collections. So if 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. Alright, everyone, so I hope you enjoyed that. I hope you found it useful. Thanks, every one. Cheers. 16. Creating exit box for flour to come out for Blender Beginners Masterclass: Welcome back, everyone to Blend Beginner's master class, the Cookie factory, and this is where we left off. Okay, so now we've learned about collections. Let's put that into practice. Now, you can rename things. So if you press F two, you will see that you actually come up with an object name. Now, in this particular one, it's not so important to be naming everything. It really doesn't help because we're not going to be joining everything together. We're gonna be animating a lot of things. It's way more important to put things in collections. So, in other words, if we press M, we can then make a new collection. As you've seen on the introduction to collections, you can now come in, make a new collection, and we'll call it the flour mill. Like so. And then we're going to drop that into there. Now, you'll see if I click this up, we've got the flour mill with this cube in here. What I tend to do then is I come to the flour mill, hide it out the way. Then what I'll do is I'll go to this bit. So, put it in the flour mill, hide it out of the way. And the reason I'm doing all this, by the way, is to make sure that whatever I've bevelled off and already finished, I'm not redoing it. That's why I'm doing this. So now I'm going to come to this part, flour mill, M, flour mill, and just basically put everything in. You can also grab many things at the same time, so you can grab all of these, like so and flour mill. Grab both of these, flour mill, and there you go. They're all in there. I also tend to put my little guy 'cause you will end up losing him. Trust me, putting him his own. So I just put him in a human reference. Like, so enter Enter again. And now I'm never gonna lose him because he's always there. You can also do a search from him as well just in case you do lose him, cause trust me, guys, you are gonna lose him at some point. Alright, so now let's think about these parts here. So I think we want a nice. I think we'll have a relief on the back of here. So let's do that first. So what I'm going to do is I'm going to grab the bag, I'm going to press I, bring it in. And then what I'm going to do is just pull it out just a little bit like so. And then we'll put a strut going from here to here just to kind of hold this part up. So what I'm going to do is I'm going to first of all, make sure my cust is in the center, press shift a bring in a cube, make the cube much, much smaller, and then let's put it into place where it's going to be holding this up. So S and Y, like so, and then we'll put it into there. Like so, and I think I'll also drop this down a little bit, and, I think that's about the right side. So something like that, pull it down a little bit, and there we go. And then we'll do is, I'll press Shift D. And I'll make sure it's following along this line. I'll spin it round, so R and X, 90, and then we'll put this bit up into place along here, like so. And then what I'll do is I'll join these two parts together. So I'll press Control J, join them together. And then what I'll do is I'll come in, I'll grab the front or the bottom of this and the front of this. I'm going to press the Ibn to bring them in. Like so. And then what I want to do is join these together. So you will see though, when I brought this eye in, you can see it's messed up. And the reason is, I need to reset all my transforms. So let's resell the transforms. Now press the I, and now they're going in perfectly. Now, with these two faces still selected, we can right click and we can come down and we can go to bridge faces like so, making that really, really easy and a really nice strut that's holding that all into place. Now on the original, my strut was much, much thinner, but I think you can't actually see it there. It was much, much thinner, but I think this one looks much nicer, and, yeah, it's done a lot better. Alright, so we've got pretty much all of that finished. Now we need to think about the inside up here. So what I'm going to do is I'm going to come to this part. I want to press the Ibonn first of all, to insert it. Now, the one thing I didn't check again, I need to reset all my transforms. So set origin to geometry, press the Ibon to bring it in, like so. And then what I want to do is now I want to bring that back. So I'm going to press E. And this is where obviously I need to bring it back right back now into there. I want to just hide that out of the way. Now, from here, what I want to do is I want to now use this bottom part to create, you know, the kind of flaps where the flowers going to come through and things. And I also want to make sure that my conveyor belt is going to come from here as well. So I need the flaps coming quite low down to round about here. So what I'm going to do is to do that. I'm going to grab this edge here because this is the perfect length of this anyway. I'm going to press Shift D. And then what I'm going to do is I'm going to press E and then Z and pull it down, so it's going to be down to there. And then what I'm going to do is I'm going to press E and Z and pull it all down to here. Like so. All right, so now I've done that, what I can do is I can grab it all. I can pull it this way, and then I want to press P, separate it off, tab, grab it again, C troll A, all transons right. It's a origin to geometry. Now I want to do is I want to separate these two parts off. So this part here, I basically want to extrude this out. So E extrude it out like so. Now, what tends to happen as you can see, it's extruded it out and it's actually took the back off. Now, luckily for us, on this part, we don't really need the back on it, but just take that into account. If you ever extrude something that way, it might remove the back on there. So just take that into account. Alright, now what I want to do is I want to pull this forward, and you can see, it's still attached to there. So all I want to do is press Y, and then it's just going to separate that out, like so. Alright, then what I'm going to do is bring this in. So S and Y, bring it in very slightly, and then we're going to press P selection and separate that off. So now I've got these two separate pieces. Now what we want to do is we want to create this kind of rounded part on here. So the easiest way to do that, it, first of all, to come in, press ControlR and bring in a number of edge loops. So let's say this many, left click, right click. And then this is going to dictate how wide these actual flaps are. The other thing, of course, is we need to separate these off. So what I'm going to do is I'm going to come in. I'm going to grab this one, this one, and this one, press the Y but, and now all of these are separated off. Now, what I want to do is I want to make sure that they're not actually touching each other, so I'm going to press A to grab everything, and now they're all separated off, I can actually come up, put this on individual origins. Press S and Y, and you'll see I can bring them all in as far as I want now. Now, of course, I don't want to bring them in that far. I just want to bring them in a little bit just so they're not touching like sos and I've got a little gap down. And what I want to do also is I want to make sure that I've got a beveled edge on this bottom here. So what I'm going to do is I'm going to press Control A, A transforms, resettle the transforms. Put the origin to the center. And then what we'll do is we'll grab all of these. Now, instead of just going and grabbing amle, you can see there if I press three, I'm going to the wrong side, let's press Control three, and then we go to this side. Press the B button, and what you can do is you can actually drag and grab them all at the same time. So just these vertices down the bottom, and from there, then what I can do is I can press Control B, and nothing happens because when it's a vertice, we need to press Control, Shift and B. And there we go. Now we can round all of those off. And there you go. You can see that's looking pretty nice. Now, of course, these need some actual limb depth to them. Now, if I come in and press A and press E, you're going to see that it's gonna probably. No, it didn't. I actually didn't, so he did it right. So actually, that's going to work. So I was going to use the solidifier modifier if they didn't come out and if it deleted all the bags, but in actual fact, it's worked. So again, it's always about knowing what you can use to get away with things. Let's right click then and shade Auto smooth like so. And let's then drop these into place. So I'm going to pull all of these back. Now remember, one thing we said is that we need a gap on the bott for our conveyor belt. Now, I would say at the moment, this is looking a little bit small gap, but I really don't want to. I need to pull these up here and give a gap like this, not, shrink them down. If I shrink them down as well, I'll lose some of that bevel on there, and I don't really want to do that, either. So what I'm going to do is I'm just going to pull them up there, and then going to press Control three. I'm going to press tab. I'm going to make sure I can see through there. And then what I'm going to do is I'm going to grab all of these. So B, grab all of these, and then just pull them all down a little bit just to make sure they're more in line, like so. Alright, that's looking pretty good. Double tap the A. And I'm just looking if I'm happy with how those are. I think we've got a little bit of a gap down there and there. You know what? I think that's looking pretty nice. Now, let's come in and just bring the rest of our flour mill back. And again, what we'll do now is we'll grab this part. We'll grab this part, this part, this part, this part and this part, and finally, this part. And we'll go Control A, A transforms, right click, Sarogin geometry. Right click, then, shade at smooth. And then finally, we'll make sure we grab this one here. And we want to copy this bevel, so Control L, copy modifiers, and there we go. We're done. That's looking pretty nice. Now, we have got, as you can see, on here, a bit of unevenness on this actual bevel here. So let's try first of all, Control A, right click, Shade Auto Smooth. That's not really working. So sometimes I tend to just turn this down, and there we go. Now that's actually working. So you can see that's looking much, much better. If you've got an edge here like this, what I also tend to do is I will bring this part in, so I bring it in just a little bit. Press the E born just to make a little bit of relief on there. And it makes sense why that actual edge is there rather than, you know, trying to get rid of this edge. We could get rid of this edge. We're not going to do that right now, but you can see now all of this is looking pretty nice. Alright, so now all I want to do is I want to put all of these into this one here, so flour mill. So if I grab all of these, press the bn, flour mill. I can see what I've got left. Press, flour mill, and there we go. Now bring them all back. Double tap the A. And basically, that is the flour mill, pretty much done guards. So now what we'll do on the next lesson is we'll actually start looking at bringing, you know, being able to turn our render on, being able to put our lighting on things like this, which are really important. So what I think I'll do is on the next lesson, I'll give you an introduction to rendering in Blender cycles and EV. And from there, then we can actually start messing around with the cycles engine, turn it on. It's a bit in depth for this point in the course, but I think it's really important to know. And as we go further on into the course, I will show you more tips and tricks about rendering in cycles and EV. I also think that cycles is still best render engine out of EV and cycles, although I know some of you will struggle using cycles all the time. So you'll have both options there, really. But when you come to render out, make sure we're using Blender cycles. Alright, everyone, so I hope you enjoyed that. I'm going to save out my work. And on the next one, as I said, I'll introduce you to that. Thanks, everyone. Bye bye. 17. Blender rendering cycles and eevee basics for Blender Beginners Masterclass: Welcome back, everyone to Blend Beginnings master class to the Cookie factory, and this is where we left it off. And now we want to be able to do is we want to actually be able to bring in our Cycles render engine. And if you can see, at the moment when I bring my lighting in, nothing is happening. We have no lighting in here. We have no real EV or cycles on here. We're going to set all that up. But first of all, I'm going to introduce you to rendering in cycles and EV. And then when you come back, we'll get some lighting set up. Alright, everyone. So I hope you enjoy this next one, and I'll see you after it. Bye bye. Welcome everyone to the IV and cycles part of the course, and this is a full guide on both the EV and the cycles renderer. So the first one we're going to approach is the actual EV. And you can see the moment I have a scene setup 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 sun and I have a hero l 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 EV. Now, the first thing I want to discuss is not the sampling. We'll come back to that in a minute. It's actually the ambient occlusion. If we turn our ambient occlusion on, you will see that able then to actually make much, much better shadows within our actual scene. So, for instance, this actual cube 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 distance is and turn that down to 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 turn it off and on makes a real difference to how your scene's actually going to look. Basically, what I'm discussing here is the setup 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. Now we're actually going to discuss the other powerful thing with EV, 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. Let's just go back to my ground plane now and just turn it back down on the actual roughness. So let's turn it up a little bit, like so. And then we've got some reflections, and let's move over to the next part. So we can see at the moment we have this light, but it doesn't look very good at the moment. We can see it has got a bluish tinge reflection to it. But if we come back over to Eve 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 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 it's going to have to it. You can see the range that we can put on there as well, and you can also see that we can turn up this intensity all from within the actual EV option. There are a load of options within EV, and to go through all of them, honestly, would be like doing another course. But what I want to show you is just one more thing within EV, which is where we have shadows. If we open this up, we will see that these shadows actually come with their own resolution map. And at the moment, they're on 512. The higher I turn this 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 better in the actual view pot. So now all of Deans, I brought an actual camera in place, and I just want to show you one more thing before we hit that render but. If we come back to our monkey and we click on our light, so let's click on our light here. You can also come over to the right hand side, and you'll have something that says shadows. Just open that up and click on Contact Shadows. And you will see now just how much nicer, especially around these eyelids, how that looks, so you can see the difference and how that looks. So all these things together, including the ambient occlusion, the bloom, and the screen space reflections, can make for a really, really nice render. Now, it's important to remember, 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 with EV, it's not like cycles where it builds up and up and up, and then you actually get your final render. It actually is just there. So 1 minute it's not the next minute it is. Now, depending on how many samples you actually ask EV to actually render out is how long it's actually going to take. So you can see at the moment, this has took around 3 seconds, and this is another reason why you might want to use EV because it's very, very fast at rendering things out. So let's close this down now, and let's move on over to our cycles render engine. The first thing to 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 denoising, 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 renderer, 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 under 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 you might not be able to actually click this on. I might be down to Coder. This Optics X is the CyclesXRnder engine, so we do have a new version of cycles in Blender four onwards, and it's called CyclesX as well as come in with a host of different features, which will increase the quality of your renders. It's also, much faster than the old cycles. If these options are actually great out for you, that means that you just haven't got a graphics card that actually supports it. I do know that QDa, I think, is anything from Nvidia's second series and the Optic sex is anything from the high end of the second series, and certainly on the third series of Nvidia. 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 cycle. All you need to do to enable that is, again, just put it on Optics ex and take both of these on. So I like to tick both of these on just in case blender can use both of them together to speed up performance. So once you've got those ticked on, or you've got your Kubia ticked on, then what you can do is close that down, and then you can come over to where it say CPU and put it onto GPU compute, and you'll see just how much faster that actually is. If I now move around, you can see how fast this actually speeds up, and that is because we're now using our GPU. Alright, so now let's go through a few of the options. So you will see under light paths. We've got a lot of options here. Now, all of these options will change the way that you're seen actually looks like. We won't go through these, but these are where all of the light options will actually be from the transparency to the glossiness of the actual scene. So you're free to mess around with these. Just be aware. The higher you put these, the more performance is actually going to take. The other thing you need to know is that sometimes when we're dealing with certain shaders within blender, they won't be able to be rendered out in EV, 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. 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 use 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. Finally, the next thing we want to discuss now, we've gone through that is the actual color management, and you will have this within EV, as well. I've just saved two cycles. Now, if you're using Blender four, you will have a view transform that says AGx and this is the new actual view transform. This one is supposed to be the most realistic. If you're using older versions of blender, we'll have something called filmic, but I recommend with a new one using AGX. Now, you've also got a look which you can actually change, which is really handy, especially if you're doing stylized scenes. And you can change this look to something like very high contrast, or you can change it anything in between. So you can have base contrast or let's actually let's put it back on AGX. Let's put it on something like a medium, where's medium. So medium high contrast. And you can see now this scene is looking really, really nice. Now, you can also see a few other problems with blender cycles. One of them being, we don't actually have any ambient clusion. 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 compositor. So this is why you really need to think when you're rendering out a scene, whether you want to render it out in EV or cycles, EV is much, much faster and everything is there straight off the get go. Cycles is much, much slower, needs a lot more performance from your machine. And on the back end, we also have to go into the compositor to get a really, really nice image. Before we finish and actually render this out, it's also very important with lender 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 setting this at 200. Lapping is then, it's got a noise threshold on there. I'll hit near that 200, and then the noise threshold will kick in and basically denoise your actual image. In other words, get rid of all those fly flies and things like that. Now, if we come up and what we're going to do before hitting the render bun, I also recommend if you're working in cycles that you put this onto wireframe because then it's going to save on performance, and it's not going to be rendering it out in the viewport, as well as trying to render it in the actual render. So let's put this on wireframe. What we're going to do then is come over to render, Render image. And here we go. Now, you can see it's very, very different from how actual IV 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 IV 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. So that's the difference, everyone. Now, the final thing before I finish is, I want to show you just one more thing that's important that you can do with both EV or blender cycles. And if I come to my camera, and all I want to do is just hit camera to view, and I just want to put my actual camera in this position just so I can see the background here. And then all I'm going to do is I'm just going to come down to where it says, film, open that up, and you will see one that you've got here that says transparent this is how you create an image with a transparent background. If I know 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 EV or Blender cycles, and we will be discussing, as well, of course, the compositor in Blender cycles. Thanks everyone. Choose. Okay. 18. Setting up lighting and first material for windmill for Blender Beginners Masterclass: Welcome back everyone to Blend Beginners master class, the Cookie factory. And so you've already seen then how we go about doing cycles in EV. So what we're going to do now is we're going to go to edit preferences, and we're going to go down to system. And I want to make sure that these are set to Optics x. If you have it, if not cued it. And unfortunately, if you don't have any of those, it's going to be none. Make sure you've got the right graphics card and the right CPU. And then what you need to do is close that down. Go over then to the right hand side. You've got IV or cycles. Let's put this on cycles. So I'm going to put it on the cycles render engine. What I always tend to do, is I put denoise on. This is pretty heavy on performance guides. So if you're ever struggling with performance, make sure to turn this off. It's one of the easiest things you can do. And also, I always put maximum samples up to around 200 just in the beginning. You might want to reduce that, you know, if you've got a lower end machine. Alright, so now you can see that it's looking nice and all that, but we've got no lighting in here. Now, everyone talks about bringing suns in, bringing point lights in, or even bringing HDRIs in. Honestly, when I work, the easiest one I tend to bring in is a sky texture. I think it's the best thing in blender, actually, for lighting. So I'll show you how that works now. So first of all, let's go over to our shading panel. Now, when you first click on your shading panel, it's going to take a little bit of time to load up, and now we've got it on here. So what I'm going to do is I'm going to go first of all. Now, this is the objects where normally we're putting shaders and textures onto our model. But what we want to do is we want to first of all, come and put this on world. Now, the world, as you'll see, is this. So this is the world. So what I want to do is I want to first of all, come into my background, put it onto render, and then you'll see the difference. And if I delete this, so delete this out of the way, everything goes black. From there, then I want to search and I want to look for sky texture. Bring in your sky texture and add that in. And straightaway now, you'll see even straight off the bat, it looks really, really nice. You can see it's well late. You've got some nice shadows in there and things like that. And the other reason why I want it while I like using this I put this on render, is because of the fact, if I go back to wild, you can see it's really, really easy to rotate your sun. So if I bring this round, you can see I can rotate it as easy as anything. I can also lift up the elevation, drop down the elevation, and that is why I like it so much. So from here then, let's put some settings in. So Sunsize is basically, if we look over here, we should be able to see a sun somewhere have a look, let's drop this down. Then I got a good idea. Where is our sun. There's our su there. Let's bring it up a little bit, a little bit. Now, the sun size, you can see, if I now go over here, I can increase this to massive amounts. I tend to turn this down right down to 1.5, so I can barely, barely see it. The sun intensity, I tend to turn this all the way down to something like note point note five or something like that, or even lower. Actually, you can go even lower with this. And now you can see this is like a sunset or a sunrise. Now there is a sun elevation. Let's put this on something like 75 to give us more of a daytime scene. Let's set the sun rotation. Let's put it on 45 or something like this. And there we go. Now, let's come to the altitude. The altitude, basically, the higher you go up. So if I put this on 20,000, for instance, you'll see it's really blue because it's really high up. As though you're in, you know, top of Mount Everest or something. I tend to leave this alone. Unless I want a certain field. So if it's an icy continent or something like this, then I'll mess around with the altitude. And then finally, we've got these. These do a lot of different things. As you can see, I can change the sky. I can change the dust, how it's going to look, and I can change the ozone, as well. So if you put in no point note five, you put in 1.769, and finally, you put in 6.923. These are typically what I have on in the beginning, and then I'll go and play around with these once I've actually finishing the bill. But for me, you know, getting these things in, rotating it round, so I've got a good view of everything, these are kind of what I have. You know, there's not too many horse shadows in there. You've got a good view of the model. And once you start bringing in materials and things like that, which we're going to be doing soon, then you'll really get an idea of how the models going to look, and that is the most important thing. I also find with the sky texture, it is quite low on performance. You know, it's lower than HDRIs. It's much lower than bringing in, you know, light sauces, suns, you know, point lights and all these things. So I find it incredibly useful to work with this. Alright, so now we've actually built this. We've actually got all of our bevels in, everything's done basically for it. I think it's now time to actually come in and just make sure, first of all, let's put this up because I moved from layout to modeling, and I forgot to actually tell you that layout is when you actually want to use the timeline for animation, and modeling is when you want to get rid of that timeline and have nothing there. That's basically the difference between the two. So now you can see I've got my flour mill. If I hide all of that, everything is hidden, which means that everything because we know we put them in those collections because they're all beveled off and things like this. Alright, so now we're going to do is we're going to bring in our first actual material. So let's head on over to our shading panel. Now, typically, in my courses, I tend to use a lot of ambient occlusion. I think it really, really helps you in the beginning because it really helps your model stand now, you know, and it really adds a lot of shadows in there. And it really gives you a good feel of what your actual model is going to look like when it's actually composited and rendered. So what I'm going to do is instead of world, I'm going to put this to object. So what I'm going to do then is I'm going to hit New, and we want it to be actually on this one, so I don't know where I put the one on. Let me just go back and take that off. Alright, let's click on the bomb one. We're going to click No. And basically, we want this to be a beautiful orange color. We want it bright. We want it saturated, things like that. So what I'm gonna do, first of all, I've got a principle in here. At the moment, this is the thing that controls everything. So you can see, if I change the color of this, it will change the color of this part here. So I'm just going to put it back, though onto white because I'm going to show you another way of doing all this. So first of all, then, let's bring in our color. So I'm going to go Shift D, I'm going to search and I'm going to go to color, and the one on one is mixed color like so. Now we don't actually want this as a mix. What we want to do is we want it as a multiply. And the reason we want it as a multiply is because we're going to bring some ambient occlusion in there. So what I'm going to do is I'm going to press Shift A, search ambient occlusion. And basically ambient occlusion is how dark the crevices are, how light the edges are and things like this. It gives a lot more depth to actual models, even on simple shaders like this. So let's bring that in. And then what I'm going to do now, I'm going to bring in a color ramp, so shift a color ramp. Like so. And then this is going to say to Blender, how much darkness do you want in these little crevices and things like this. So I'll show you quickly what that does. So if I plug in my color into the fact of the color ramp, and then I plug in the color into the bottom of this one here, and then finally, I plug this into my base color. There you go. Now you've got a little bit of difference, you can see I bring this up now, you'll see now we're starting to get some real variation in those crevices. I can bring this back as well and drop that back or, you know, whichever I like. So what I'm going to do is I'm going to bring this just to the end of where it says linear, and I'm going to bring this blacku just to the start of where it says linear, like so. And you can see already now we've got some actual depth in there. Looks much better than what it did before. Okay. So now we want to actually give this a color. Now, on here, we've also got this factor. So we can turn this down all the way up, and you'll see this controls how much of this is actually being put onto the model. I want to put this a 0.450, like so. And then what I'm going to do now is I'm going to bring in my color. So we're going to have a nice, kind of orangy type, red color, something. Something like this for now. And what I'm also going to do, as well, is I'm going to mess around with the roughness over here. So you'll see that if I come in and turn the metallic up, you'll see now it goes much, much darker and it looks much more metallic. Now, what I'm going to do is I'm going to put this on no 0.44, five, like so. And we've also got roughness which we can turn all the way down or all the way up. And, of course, this is the shine that we're getting off the model, so you can see all the way down. All the way up, we've got no Shine basically coming off there. So I'm going to put this on naught 0.427, something around there. And then the rest of it, I'm going to leave the same. Now, all I need to do now is basically decide on the color. So luckily for me, over the other side, I've actually got a hex, which is a hex number. And if I come in now, grab this one here, I can actually come in, go to my hex. And if you put this number in this BB 942f, press the enterbun, there you go. That is the color. I have actually got my own model that I actually created for this actual course. So now we've got the first color. What we want to do now is create another color. So if you come over to the right hand side, where our materials is, you can see that it's just called material Ooh one. We don't want that. So let's call it yellow or factory yellow, something like that. So we'll call it factory yellow, like so. Now I want to do is I want to click the down arrow, copy material. Come to the next part, which is this one. I'm going to have it orange, and I'm going to click new Down arrow and over here, down arrow and paste material. And then we're going to call this factory orange. Like so. And then, again, I'm going to give you the hex value of that one. And it's up to you if you want to change this, there's no problem. Press Control V, Enter, and there you go. Now we have orange and yellow, and they're looking pretty, pretty nice. Now, again, it's up to you whether once you've actually got all of these materials on this one, we're going to have most of the materials then for the rest of the build. So that's basically done there. So once we've done that, you can then come in and change them if you want them a different colour, if you want them a red or if you want them a lot more metallic or anything that you want. But just bear with it. Let's paint this one first. So let's get the shaders on this one. And then after that, we can come in and actually change them if you want to. Alright, everyone. So I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 19. Working on metal parts of the shader for Blender Beginners Masterclass: Welcome back, everyone to Blend Beginner's master class, the cookie factory, and this is where we left it off. Alright, so one thing I want to do before carrying on then is just change the specular. So the specular is basically how the light interacts with things, especially if they're metallic or if they're glossy. And all I want to do, as you can see on this orange e is just bring it down a little bit. You can see just a slight variation there if I bring that down. So I'm just going to bring it down to not 0.1, like so, and I'm also going to do the same thing on this yellow, as well. So let's open up the specular not 0.1, and there we go. I just think it adds a little bit more to that yellow. All right. So now let's carry on. So what I'm going to do I can grab both of these, grab this one with Shift selegPress Control L link materials. And generally, speaking, when you're actually creating things, you will have to unwrap things, but because we're using a shade in this way within blender, it means we don't have to unwrap anything. But don't worry further on in the course. I am going to show you how you can mark seams and unwrap things properly. You will need to know how to do that, and there is a whole section in the course about doing things like that. Alright, so carrying on, let's come to this part here now. Now, this, as you can see, has two materials on. So one will be orange, you can see here, and one is going to be this yellow. So let's actually put those on now. So I'm going to come in click this little down how, we've got factory orange, and I'm also going to come in, click this little downhu, so click Plus first, click the little down out and factory Yellow. Now, obviously, I want this to be the factory yellow. Now, the easiest way to select all of these, there's a couple of ways. We can either come in, press Alt Shift and click going all the way around, and then right click and what you're going to do is mark a seam. And the reason we're going to do that then is because then I can actually come in, press L, and it'll just grab the island. I come over then to the factory yellow, click a sign, and it makes it really, really simple to do that, as you can see. Now, let's come to the other side then, so I'm going to do the same thing here. So Alt Shift and click, right click Mcasin. And because we've got such clean lines in here, which we really have, it does mean that making, you know, selecting these edges and things like that is a lot easier. Generally, you'll find the worse the mesh is, the harder it is to actually select them in that way. Now, let's click on factory Yellow, click Assign, and there we go. Now, let's move on to the actual metal, then. So with the metal, I want it to look like metal, but I want it to have a little bit of noise in there as well. So let's click New. And what I'll do is I'll call it let's call it metal light because I do want a couple of these. So metal light, and the other one will be dark. So metal light. And then what we're gonna do is we're going to bring in we'll actually make a new one, actually. So what I'll do is I'll press Shift day. We'll bring in the ambient occlusion, like we did with the others. So ambient occlusion. Let's drop that in. Don't need to do anything on that. Then we'll bring in the color Am. So color Ramp. Let's bring that in. Let's, of course, plug in the color to the FAC, and let's bring in, as well, a multiply. So shift day, let's bring in a multiply, which will be mixed colors. So a mixed color node. Basically, then you can change that to all of these different things. So instead of it being on mix, we're going to multiply that ramp with our actual noise. Now there is a formula of what it actually does. So basically, it takes color one, multiplies it by color two, and then you end up with something that's a lot more than what it was before rather than just adding or overlaying it. Alright, so let's serve, first of all, what we'll do is we'll plug our color ramp into the bottom of here. And what I'm going to do is I'm going to set the white just to the L on here, and then I'm going to bring the blacku and I'm going to set it just to the L on here. Alright, so far so good. Now, if we plug this in, not a lot should happen. And now what we're going to do is we're going to set this again down to nought 0.45 oh. And now I'm going to bring in a noise. So if I zoom in a little bit on here, you will be able to see if I bring in a noise texture. So all of your noise textures are going to be under here. You can see all of these noise textures here, ways, Veroni. Let's pick the noise texture for now, so we're going to pick the noise texture. And then what I'm going to do is bring in a color ramp. So let's press Shift A, and we'll bring in another color ramp, so color ramp, like so And then what we'll do is we'll plug the fact of the noise into the color ramp and finally the color into here, like so. And that's what I'm talking about. There is that noise that we actually wanted. Now, the thing is we don't want it so obvious, but before that, we want to actually make sure that all metallic is on because this is after all metallic, we want to see what we're actually doing with this. So what I'm going to do is I'm going to turn the metallic up all the way up. And then what I'm going to do is the roughness, I'm going to put on note 0.3, like so. And I'm also going to make sure yeah, the specular on this, I'm going to keep the same. So everything like this, you can see now we've got this color on there. Now, let's come in to the noise, and you can mess around with all of these, so you will see if you move the scale up, so you can see just what that actually does. If you increase the detail, really have a play around with this. And then once you've done, just actually bring in another one. So just bring in a new noise texture and plug it in, and then you'll have a good idea of what this does. Now, what we're going to do is we're going to put this up to roundabout here. We're also going to then change the color of this. So if I come in, grab this. I'm going to change the color up to a kind of grayish color, like so. And now you can see when this loads up, we've got a little bit of noise. It's very, very slight, as you can see on here, a bit of noise, and that is what I'm looking for. So that is looking pretty good now, and I'm happy with that metal. It's got that kind of, you know, that theme that I'm actually going for. It doesn't look too realistic or anything like that. It looks toy like, and that's exactly what I'm going for. Okay, so now let's come to this part here. So this part here we have. So let me just get it. This part here. We'll have two on. So what I'm going to do is I'm going to first of all, come in. I'm going to give you the metal light. And then what I'm also going to do is come in, and I'm going to make a new one, and we'll call it metal dark. Like so. And then what I'm going to do is come to the top one. I'm going to copy it. So copy material, come to the bottom one, paste material like so. Okay, so what I want is the top off here, this band, this band, and this band all to be a different color. So first of all, what I'll do is I'll come into this top here. And what I'm going to do is grab it and you can see it grabs the whole thing. That's not something I want. So instead of that, I'm going to actually mark some seams in. So let's come in. And what I'll do is Alt Shift and click going all the way around there. And I tend to do the bottoms first. So if I move this up, you can see I can grab it here. And if you're struggling, by the way, doing this, just put it onto object mode, your wheels, be able to see much, much better. And then I'll grab the top of this one, bottom of this one like this, like this. And now, right click, Moxin, there we go. Now I should be able to come in and grab just the top. Just this band, just this band, and finally, just this band, like so. And then all I'm going to do is Metal doc, click a sign. Now, it is Metal doc, so we will need to change this a little bit over. So what I'm going to do now is go back to rendered view just so I can see what I'm doing. And the only thing really I want to do is change the darkness of this, so I'm on Metal doc. So let's coming over, and what I'm going to do is just turn this down a little bit like so, and there we go. It's slightly slightly darker. And what I'm also going to do, I'm just looking if I need to change anything else. I'm going to bring down the roughness just a little bit to not 0.241, something like that. And now you can see we've got a clear distinction between these, and I think that's looking better. The one thing, I think, though, is that the top of here might want to be dark as well, so I'll also do that. Now, you know, put in a seam in there. There's an easy way of doing this. At the moment, you see, I'm struggling, zooming in to where exactly it is. So what I tend to do with something like that is I'll just use my face select, click on any face, press the little dot but, and then that will zoom me in, and then I'm able to come in now and add in a seam. Now, of course, I can't see this seam again. So what I'm also going to do is if I come over to my little span it, I can turn off the bevel just for now, turn on the object mode, and now I can actually see what I'm doing. So Alt shifting click, right click, Mark a seam, turn the bevel back on. Come to face select, grab just the top of it, and then we're going to go over to materials and select the metal doc, click a sign. And, Hey, press dough, press the tab button, and there we go, That is looking pretty nice. I'm just wondering, is that metal doc? I think the top was dark, so I need to thought I need to put it on metal. There we go. Alright, that's looking better. That's exactly what I want. Now, let's do the pipes, then. So the pipes, I would say just have them dark. I wouldn't go, maybe, maybe. Let's have a look first of all. Okay, so let's come in. We'll grab both of these pipes. We'll grab this one last. Always the one last that you want the materials to be. Link materials like so. And then I'm wondering if so let's have a look what it looks like. So what I'm going to do is Alt Shift and click going all the way around, conto plus, just to move it up one. Metal dark, click a sign, press tab, and let's have a look. Do we want it like that? Do you think that's looking better than what we had before? Yeah, I think it does. I think it does. I think we should do that. So all I'm gonna do Alt Shift click. Grab it. Control plus. Metal dog, click a sign. Now, let's come to the other one, so I'm going to grab this one. I'm going to grab this edge here, press a little dot button, so I can actually come around and work on this. And then Alt Shift click, grab them both. So can come round here as well. Alt Shift, click, Control plus, metal dog, click a sign, and there we go. Double tap the A and then see what it looks like. That's looking fantastic, really, really happy with how that is. And now on the next lesson, what we're going to do is we're just going to carry on. We're going to get this fully textured up. We've basically nearly you know, we've got the base of all of our materials now, so it's going to be really easy. Should just make sure you save it out of the way. The other thing is, as well, we really don't need these on the left hand side here. I do find it much, much harder to work with these. So all I'm going to do is I'm just going to pull this over and I'm going to pull this over as well. And then we've got just more room to actually work with, as you can see, and I think that's much, much easier. And again, now I'm just going to save it out and it will save out like that. Everyone. I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 20. Tweaking shader coloring to add decorative touch to the design for Blender Beginners : Welcome back, everyone to blended beginner's master class, the cookie factory, and this is where we left it off. Alright, so let's carry on working our way up. Now, let's put it on material mode. You can also put it on there because now we have a good idea what things are going to look like, Anyway, so let's come in, and what we'll do is we'll grab this one. We'll go to this. We'll press Control L, and we'll link materials. And what I want to do is I want this part orange. So this part going around here. And this inner part on here, I want to have it in yellow. So what I'm gonna do, you can see, it's already grabbed, actually, for me, which is really handy. So I'm just gonna click a sign on the yellow, and there we go. And now let's come to these part here. So I'm just going to hide these parts out of the way with H so just grab them, press the H board, hide them out of the way. And then, of course, we've got these two pots here. Now, on these two pots, I want them to be the light metal. Same for this one. So all of this to be the light metal. I don't want the different colors, I don't think. So all I'm going to do then is just grab this and this press Control L, and I'm going to link materials, and there we go. That's the light metal on there. And then what we'll do is we'll come to the actual rubber now. So this will be black plastic stroke rubber. So let's actually bring that in. So all I'm going to do is I'll click New. I'll name it on here and we'll call it Black. In fact, you know what? Yeah, we'll call it rubber. I think then we'll have a good idea which one this is. And then what we'll do is we'll come in, and first of all, we'll bring in our ambient occlusion. So shift day ambient occlusion. If you want, you can just copy it straight from the other one. I'm just going to make it a little bit different. So color ramp. Sometimes it's just quicker just to plug it in, so let's bring in that multiply then, so mix, color, like so, drop the color into the bottom, drop the result into the color, and then let's move these up. On this one, I'm going to put it right where the is somewhere around here, and then bring this down to the the A somewhere around there. I'm also going to make sure then that the color is going to be kind of you know what? I'll grab the color from the hex. So my color will be this. So come to your X, Control V. There is going to be my color. Press the enterbn. That's not looking right at the moment, so it's because we need to bring in the metallic a little bit. So let's do that now. So I'm going to put the metallic on not 0.445, not 0.427. 1.5, and let's go down to the speculate as well, and we'll put that on not 0.155, like so. Alright, let's put it onto Render view, and let's have a look. Now, I can see. It's not quite the color I'm looking for. Definitely not. So I do want it a little bit brownish, darker than that. And I'm just wondering because I need to put this down to not 0.45 oh, like so. And that is still not the color that I want. And the reason, of course, is because I've still got it on mix. So let's put it on to multiply. There we go. That's the color I want. That's looking very nice now. Alright, so let's press TH, bring back the parts that I've not done yet. And now what we'll do is we'll come to these parts. Now, we need a blue and we need a yellow. So first of all, what I'll do is I'll bring in the yellow first. So I'm just going to click the down arrow and I'm going to look for one that is factory yellow. So this one here. And then what I'm going to do now, you can see, if you haven't gone grab, by the way, just come in, grab all three of these, like so, press Control plus. Click the little plus but new, and then we'll call this factory blue. So factory blue, like so, and then we'll click Copy. So copy material, paste material, and there we go. And now all we're going to do is change this yellow Sorry, this blue. So we want the blue, and I'm just going to come in and grab the color now for you guys. Let's copy this. And let's come over to my yellow. Click V, press the Enter, so it's this number here. And then all I'm going to do is click Assign, and there we go. Alright, so you can see now that's looking really nice. That's exactly what we want. And now we can just work our way around to the side. So first of all, we'll come to this part here. This part is just going to be orange. So all I'll do is just grab this part, press Control L, and we'll link materials. Then we'll grab this part, grab this metal, press Control L, link materials. And now we're going to come to this part here, and I'll grab the orange again, control LL and link materials. And then the bottom part we'll make you can make this yellow orange totally up to you. I'll grab this part, press Control L link materials. I'm going to grab this part now. I'm going to come round to my pipes. Press Control L and link materials. Now, on this part here, I want these edges to be you can see at the moment, metal light. I want these parts to be metal dark. So I'm going to press Alt Shift and click Alt Shift click, CachowPlus Metal dot, click a sign, and there we go. And now we're onto our rubber, and we're also onto our back room, as well, which I'm going to also discuss. So first of all, though, let's put this on rubber. So we're going to grab this part, grab this part, press Control L, and we're going to link materials, and there we go. We're going to then grab this part, hide it out of the way. And we're going to grab this part then. And I want it to be on the metal doc, so metal doc. And there we go. And now I'm just going to hide this out of the way because we want to do this back part here. So I'm going to grab this pot again. I want to click plus new, and I'm going to call this hole. I always bring in a hole, and all I want it to be is extremely, extremely dark. So what I'm going to do is I'm going to grab this pot. I'm going to go to my hole and click a sign, like so. And then all I'm going to do is make this as dark as I possibly can. So if I grab this now, come to the white, bring this down, and then all I'm going to do bring the metallic up, bring the roughness up or down, whichever let's put it on ground there. And now you can see that's extremely, extremely dark. Now, I'd probably bring this all the way up, actually, because that means then it hasn't actually got any shine on there or anything like that. Now, if I press saltH, you can see now in there. That's looking pretty nice, actually. Now, you can see, though, the metal on this part here isn't looking right. So this metal dark, it's looking a little bit stretched and things like that. Now, generally, the reason for that is that it's stretching along this. That could be that we've not reset the transformation. So let's try Control A. So I'm going to grab it. Control A all transforms and set origin to geometry. Now for ones where it's not working like this, you can see on the metal like this one here, I would say that this noise probably not correct. So what do I mean by that? I mean, it's probably a little bit dark. So what I'm going to do is I'm just going to come to this one, and we can see this is the light metal. I'm going to bring this down slightly. So what I'm going to do is I'm going to bring it down, so bring it down, bring it down, so it's just there. Now you can see it's just there. And if I double tap the A, it's looking a little bit better. I'm just wondering, I don't actually want to do that. I'm just wondering if I want to make this a little bit darker. So let's make it a little bit darker. So that is bringing through this noise a little bit. Let's come in and bring this a little bit darker then. Not too dark, like so, and let's see if now we can bring this noise back a little bit while still keeping that metallic look. Now, let's have a look at this. You can see it's looking a little bit better. It's not looking 100% better. I'm just wondering now if I can pull this back. Alright, so we did have a little bit of a crash there. So not to worry. Let's come in now and let's see if we can fix this. So we're trying to do the actual color ramp. So I think let's, first of all, bring this back a little bit like so. And then we go, we've still got the same color. I think though it's not dark enough. So what I'm going to do is I'm going to come to this one. And I'm going to increase the darkness of it. Is it going to do that? Let me have a metal light. That's increased the darkness on this, as well. There we go. And now let's have a look at that. Alright, so that's looking much, much better now and we can see now it's looking better here. Now, on this one, is it metal light or is it metal dark? So, this one is metal dark, as we can see. So what I'm going to do, first of all, I'm just going to make sure. You can see it's a little bit darker on here, but the problem is the noise is a little bit too high. So what I'm going to do, I'm going to first of all, see if I can bring that noise down. So for instance, if I put the noise to zero, you will see it completely clears all of that off. So what I'll do is I'll just bring it up very slightly. Like so, double tap the A. Let it load up. And now we can see we've got noise on those little bits, but it's much, much smaller, and I think that's looking much, much better actually than what it was. I'm just going to look at this metal part here. And yeah, that's looking much, much better. Alright, the only thing is, is it looking metallic enough, look. I still think it needs to be a little bit darker on this metal. So let's go back to metal Light, and what I'll do is. I'll do instead of doing that is I'll just drag these over. Instead, I'll bring in a master control. That then we'll show you how to actually do that. So let's go to search. The one we want is called RGB curves. So if you come to RGB curves, now you can drop that in here, and what that'll be now is a master control. So if I bring this up here, much lighter or much, much darker, depending on what you want. So let's have it somewhere just a little bit darker than what we had it. Like so maybe, maybe a little bit lighter. Let's have a look. Maybe something like that, and there you go. It's looking much, much better now, as you can see. Alright, this is looking good. Now, we've got one bit that we need to replace, so I'm going to click down, and we're going to go to metal Light, and there we go. And that is, basically, the windmill or flour mill actually finished. Alright, everyone. So on the next lesson, then what we'll do is we'll move on to our next one. So our next one be we'll have this part here. I'm not sure if I need this one. I'll bring in another one as well. I'll show you how to do that, and then we can make a start. On the next part, which is going to be I think it's the batter machine, actually. I think it's the batter. So that one's an interesting one. And when we've done that, then what we can do is we can start getting our first conveyor in there. Alright, everyone, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 21. Creating another device for factory, batter maker for Blender Beginners Masterclass: Welcome back everyone to Blend and Beginner's master class, the cookie factory, and this is where we left off. Now, let's go over to modeling because we don't really want to be in shading. Make sure you've saved out your work as well. Now, the first thing I want to do is just move this over. So at the moment, I've got no move tool, so shift space, Bob, bringing my move tool. Let's actually leave this one here. I'll press Shift D, just to duplicate it and bring it over. And then what I want to do now is I want to go to the right hand side, and I want to reopen a new one. So at the moment, you can see the images flour mill. Let's close that and let's open a new one up, and let's find where these images are. So we've got our references here. And let's click this on so we can see what we're looking for. And the one we're looking for is going to be. Let's find it. Where is it? This one here. So this one here is the one that we've got. Now, again, you can't see too much on here, so make sure to bring in your or have a look at your animation. And then you'll have a clear understanding of what you're actually going to be creating here. So we'll create this in three stages, really. We'll create this part here first. Then we'll create this part, and then we'll create this part going on top of there. So three stages, that's how we'll do it. Alright, so now, first of all, what we'll do is we need to make sure that the flour that's coming along this conveyor belt is going to be roughly the same size here to make sure everything's fitting nicely. So that's the first thing we'll do. So what we'll do is we'll come to this part here. We'll press Control A all transforms, and then set origin to geometry. And then what I'll do is, I'll press shifts and cursor to selected. So cursor to selected. And then what I can do is I can bring in a cube now. So Shift A, let's bring in a cube. And you'll notice my cube has come under collections as well, so you can see my cube here. We don't really want that, but we'll sort that out in a minute. So the first thing I want to do is bring it up and make sure it's roughly the right size of these, as you can see. Now, the other thing is, when I need to bend this round a little bit, so we want these kind of tops of it, bent round a little bit, and then I want to put in this part here. So I'm going to do that now. So I'm going to do it though in two stages because I might not want this part in the inner part bent as much. Let's see, actually. Let's see. So let's come on. Let's go and grab this edge and this edge. Let's press Control B, and let's bend them round, so left click and let's have a look where that looks like. Let's press Tab, right, click, Shade Auto smooth. And you know what? I think that's actually going to look. Okay. Let's pull it over here. And what I want to do now is make the inner part of this. So what I'm going to do is I'm going to grab the inner part. So this part here, I'm going to press the I for insert and bring that in. And you know what? I think that's actually going to look pretty nice. So let's bring that in a little bit. And then what I'm going to do is pull this back with extrude. So if I press E, I should be able to pull it all the way. To here, given the illusion that my conveyor belt, which will come from here is actually going into somewhere. Now, the only thing I'm not happy with is the fact that, and this is what I said. If you understand how to fix things on the flight, it's going to be much easier for you. I don't think this part is thick enough, so this part here. So what I'm going to do is I'm just going to come in, alt shift and click, and then alt S and just bring it in, holding the shift button, and we should then just be able to bring it in a little bit more. And I think now that's looking much, much nicer. Alright, so far so good. Now what we need to do is we need to bring this down to the floor. And the other thing we need to make sure is that we're using this part here. So you can see this part here, we can actually sit that on here. So we've got it in the right level. If we press seven to go over the top, we can see that if I move this, we've got it in the right level. It's just how far do we want it to come, you know, from here to here with a conveyor belt? And also, where do we want it to place? So what I'm going to do to do that is I'll grab this bomb part so shift D. And I want to put this right level where I want it. So if I press seven, I can go over the top then and put it roughly where I want it to be, which will be somewhere around here. Now, again, the problem we have is we now want to sit this on top of here. So let's put this on top, and then I'll tell you what the problem is. The problem we're going to have is we need to bring this in. Now, bringing them in on here, you really don't want to just press S and Y and squish it in because what'll happen is it will squish in that bend, as well, and you really don't want that. So what I recommend you do First of all, you get this level with it. So we move this now to be more level. We make sure that this then is sat right on top of there, which it is. And then from there, now we can bring it in and move them around because we want it to be the same length coming all of this way. You can see one, two, three blocks, the same length all of the way. Alright, so let's do that now. So what I'm going to do is I'm going to come in I'm going to go and grab this coming from here, all the way around from here. So Control click all the way around from here. Shift Spacebar, bring in my move tool, like so. And then all I can do now is pull it out and you can see we've got the right length. Now what we need is the same distance. So I'm going to grab this one around here. This one round here, and then I'm going to drag them over into place like so, and you can see it's much, much neater now. We still keeping that actual shape that we wanted, and we can bring them over like so. Alright, so far so good. Now what we want is these parts here into here. The other thing is, how long is the conveyor belt going to be? I think, actually, if we look at this, the conveyor belt coming from here to here, you might need a little bit more. So all I'm going to do is just pull it back a little bit like so, and then I'm going to grab this part and this part. And you can see that this part here, is separated, so I'm going to grab this part and this part and press Shift D, drag them over, and then we're going to rotate them round. So R, Z 180, rotate them round, and then let's put them now where I want them. So if I bring them down into place, so drag them down into place where I want them, and they should fit in there rather nicely, which they actually do. So double tap the A. And there we go. That's looking pretty nice. Alright, so that's looking good. Now, the next thing then we want to do is we want to make sure that we've got this part over here. So all I'm going to do with this part, it's basically this we'll basically just have a couple of holes in. So this part here, a couple of holes in here, and then we've got this part running down here. So let's do that next. So what I'm gonna do is I'm gonna press Shift D on this one. I'm gonna drag it over to where I want it. So let's say somewhere around here. We'll have a box then in the center, and we also need to make sure that we've got rid of this part here. So what I'm gonna do to do that is I'm going to come first of all, and I'll probably just split it straight down the middle. It's going to be so much easier if I do that. So all I'm going to do is press Control lot. Left click, split it straight down here, right click, Mark Sam, come in, press the L on this part, press delete bass, and there we go. And then what I can do is I can come in now, Alt Shift click, and I just want to fill in the face. F. And there you go, as simple as that. Now we need to do is just drag this out a little bit. We want it. So somewhere like this, that's looking pretty nice. We've got enough room then to put this pipe on that's going to go up there. So what we'll do now is, first of all, we'll drag this bit out a little bit just to where we want it. So Control click going all the way around. Now I want it about the same gap as what we've got here. So if I pull this out, that's then going to be around the same gap. And now we need a cube in this part here. So let's come in, grab all of this face, shifts, cursor selected, Shift A, and bring in a cube. Now, I don't want to bring in a cube while I'm in edit mode, so I want to press Tab, Shift A, bring in a cube. Press the S born, bring it down, pull it up into place. Like so making sure that it's in both of the sides. So S and X, pull it out, double tap the A, and there we go. It's as simple as that, and now you can see we've got all those things that we actually need. Alright, so now what we want to do is we want to actually focus on this part here. So these are kind of this ramp that's going to go down there. So how do we do that? This looks quite complicated to get these parts in, but actually it's really not. So what I'm going to do is I'm gonna press Shift A. Bring in another cube. It should come in right where that cursor was. Press the S bon. And then let's bring it up and put it into plate. So instead of, you know, having it from this view, what I'll do is press Control and three. Let's see. Yeah, Control three. And there we go. Let's bring it down a little bit, and let's pull it over. And all we're going to do is just focus on the first one. So I'm going to bring it up, pull it over. And that looks about right where I've got that. And then I'm just going to put it into place. So now I basically want two. So I want one, this side, and one, the other side. So to do that, we'll bring in a mirror modifier. First of all, though, we need to tell Blender where we actually want this to be mirrored from. So come to this big space here, press shift desk, cursor selected, and then come back to your cue. So here's your cue. Press Control A, all transforms. Right click Set origin, two, three D cursor. So now the origin is right in the center of here, which means that when I bring in a mirror, so generate a mirror, it's going to put it over the other side, once a pot on the Y, turn off the X, and there we go. Now, from here, we can actually make these things quite easily. So all I can do now is I can come in, grab the tops off here, and we want to have them slightly rounded off on the top, so Control B, round them off. Like so. And then we'll also round them off just on the bottom just a little bit, as well. So Control B, round them off just a slight bit on the bottom, like so, and they look perfect. Now what I want to do is I want to actually come in and what do I want to do? I want to actually boolean. So I want to boolean these out of this. So, in other words, making a big gap in these parts so that my batter can flow down. Now, first of all, let's pull them in a little bit further, like so. Alright, that looks quite nice. Okay, so let's say about our work, and on the next one, then we'll get used in that booleon and we'll create these parts and then we'll actually motor on to create this part here, which we can't see too well, but I will talk you through that, so don't worry. And then from there, then we can create the top of this, and then we'll have two parts of this actually done, and then we can make a start on the actual conveyor belt. Alright, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. An 22. Creating conveyor locations for batter maker for Blender Beginners Masterclass: Welcome back, everyone to Blend Beginner's master class, the cookie factory, and this is where we left you off. Alright, so there's a few ways of using Boolean. I'm going to show you the most simple ways so you can get your head around with it. Later on, I'll show you a more complex way of doing it. So the first thing is that at the moment, we've got the mirror on these. Let's come to this part then. And what I want to first of all, do, as always, before adding the modifier, make sure you reset all your transformed set origins, geometry, adding a modifier. And this time we're looking for Boolean. Now, what is the Boolean? So this will be the part that cuts the whole into here. So I'm going to come first of all, where it says object. I'm going to click on this one here. Just click it on like so. Now, nothing's happening at the moment. You can't even see anything, but if we put it on fast, hopefully, if I put it on, let me just make sure. Cube oh nine let's just hide these out of the way. And then we go, There is Boolean. So let's come back to this. I'll just go through that again. I just had to make sure that they're run. So first of all, we'll come back to this. So we've got it on difference. We put it on fast. I normally use fast because exact doesn't always work so well. So if I come into these hide them out of the way, you can see here it's worked. If it doesn't work, if it's, like, you know, you've got a piece of face over there. Sometimes that will happen. Just make sure you put it on fast. Generally, you always put it on fast for that reason. Alright, so let's press altage. Bring back these pots. And now you can see that what I really want to do now is apply this. So if I come in, press Control A and apply that, now, basically, we've got this part, and we've got this boolean now. But why I want to apply it and not delete these is because of the fact I actually want to use these to make kind of an outline along here. Now, the other thing is, you might want to keep your boolean on to make sure it's the right size and things like that. So what I'll do is first come back to here, press Control Z, and let's just make sure we bring back our boolean, so there's boolean now. And before I apply that, it's always worth, first of all, measuring everything up. So what I'm going to do, first of all, is I'm going to press Shift D, I'm going to bring these out. This is like forward thinking. This is how you should be thinking. I'm going to press S and X and bring these in now. Now, these are not the boolean, of course. These are the boolean. And now I can hide these out the way. We've still got boolean there. It's just not applied. And then what I can do now is I can come to these parts and create this kind of metal outline that's going to go on these. So how am I going to do that? I'm going to come to the front of this one and the back. Remember, this one's mirrored, so that's fine. Press the eye button and bring it in. Now, as I said, with these, sometimes you will end up with this happening. So you can see here, all of these have actually tried to crossover, and we really don't want that. So there's two ways of fixing this. The first way is of merging all of these vertices. And the second way, which sometimes works, if I press Sir Controls Ed, if I press E, enter S, it actually brings them in much, much nicer, as you can see. And this sometimes is much, much easier. Now, we can delete this so we can delete these faces then come and bridge all of this. But I will show you a better way of doing it. If you go up to Edit and you go to preferences, you go to add ons, and the one you're looking for is called Loop Tools. Loop tools. Here it is, click it on, close this down, and this is going to be one of your best friends because this is so useful. Now I've got these faces selected, I can right click Loop tools, bridge, and there you go. It's as simple as that to bridge anything like that. Now I can right click and shade Auto Smoove, and then I can press, no, I don't want to press. It's still a mirror on there. So let's bring it in and pull them back into place. Like so, and there we go, now we've got what we wanted, and I'm just wondering if I want to pull them in a little bit further. If I go into here, you can see we've got a big gap there. So actually, you know what? That's looking pretty nice. Yeah, and I think I'm actually happy with that. Alright, so now let's move on to our batter. So what I'm going to do is I'm going to bring in shifted. Let's bring in a cube, first of all, press the S button, and let's bring this into place. Now I want this right in the center of here. So I'm going to pull it down into the center somewhere. And then what I'm going to do is I'm going to press S and Z. Like so, and sometimes, sometimes it's really worth actually working probably with a plane rather than a cube on something like this. So let's change this then into an actual plane. So to do that, all I'm going to do is just grab the top, press Control plus, delete faces, and then I can pull this back into place like so. Then what I can do is then come with edge lit, grab this edge, I'm going to pull it out to where I want it. So somewhere like here. And then what I'm going to do is pull this down to where I want it, which will be round about here, and then what I can do is I can pull this up into place just above there, like so. And I'm also wondering, yeah, I think I'll be able to hide that in there. And then what I'll do is I'll press E and X to extrude this out along there, like so. Now, most of this is going to be into the mixer anyway, so we can hide it in there. We just need to make sure that first of all, this is level, and we've got it the way that we want it. So I think first of all, the size of this needs to come in this way. I'm going to expand it a little bit. So S and Y, pull it out. Make sure that you're pulling it out on individual origins. And then what I'm going to do now, I've got it level with everything, so that's looking good. So finally, then let's turn it into a three D object. So first of all, though, let's come in, press Control R. Left click, right, click to add an edge loop along there. Press Control B, and then we're going to scroll it down just so we've got two. And then what this will do is that'll make the edges for me. Finally, then I can press L. I can press E. I can pull it up like so. Now, you can see that it's pulling up in a weird direction. So let's press z and z again, and then it'll pull up nice and straight for you. So you want it relatively thick, like so. And then finally, then let's do these parts here. So let's come into face let, grab this face, this face, this face, and this face. And again, we're going to press E, and we're going to press Z, Z again, and then we're going to pull it up like so. And there we go, that's looking pretty nice. Now, I'm wondering whether these are a little bit too thick, so you can see these or maybe a little bit too thick. So I think they are. So what I'm going to do is I'm just going to pull these down a little bit. We have got a mirror on. And again, it comes down to the same thing. Once we've done something, can we actually fix it? And yes, we actually certainly can. So Alt Shift and click Control plus, keep pressing it till we get all the way around to this side. And then what I'm going to do is pull this down like so. Now, you will be asking, Hey, what about though the boolean that we've put in? No problem. We can do the same thing on there as well, because we actually kept that boolean on. So tab Alt H, bring back everything. Here's my boolean. And now I can do exactly the same thing. But this time I'll go from here, going all the way around to here. So control selecting all the way around, and now I can actually bring that boolean down to be just in place like so. Now, you can also see that my boolean on this is actually a little bit into the side here as well, and I don't really want that. So what I'm going to do as well is I'll grab the whole thing I want to press S and Y and just squeeze it in a little bit like so. And also, the bottom of this boolean is poking through here, and I'm not so sure that I want that either. So all I'm going to do is I'm going to grab this. I'm going to go Control click, Control click, and then we're just going to move it up a little bit into place. And there we go. Now we've got boolean done. We can hide that out the way, and there you go. Now, you can see it's fitting much, much better, albeit it's, you know, squeezed in a little bit of the sides, but you know what? I don't think anyone's really gonna notice that, actually. So we're gonna leave that like that. If you want to move it around a little bit more, I've showed you how to do that now, so you should be able to do that. Alright, so far so good. Now, obviously, we need this on this side, as well. So all I'm going to do, then is select this one. Control A, or transforms right, click Set origin, two, three D cursor, add in a modifier, and we're going to bring in a mirror, so another mirror. Put it on the Y, turn off the X, and there we go. We've got on both sides. And finally, finally, we're going to need actual texture. Now, we don't want to put the texture straight onto the metal. We want it raised above it. So all I'm going to do to do that is I'm going to grab this one and this one. I'm going to press Shift D to duplicate it and just pull it up a little bit, and then that will be my batter, so you can see we've got just a simple plane for our batter on each side. Alright, so this is pretty much this done. Of course. We've not got bevels on or anything like that, but we will be doing that on the next lesson, I think. And we'll get a bevel on these parts because I think that's important. You know that already there's a bevel on this part and this part is just these parts where there's none on. Same for this part, and this one already has one on. Alright, everyone. I hope you enjoyed that. Make sure you save about your work, and I'll see you on the next one. Thanks a lot. Bye bye. 23. Creating upper tank for batter maker for Blender Beginners Masterclass: Welcome back if you want to blend the beginners master class, the cookie factory, and this is where we left off. Alright, so first of all, then, let's put all of these in their own group cause at the moment, they're in collection. We want them to be in the we'll call it water adder. So all I'm going to do is just shift, select all of these, press the button. New collection, let's call it water adder right. So enter Enter, and there we go, now we can actually close that up. We can also move these around, so it can also put this above human reference. So now you've got flour mill and water added, and there we go. Now, the next thing we want to do is we want to actually add in a bevel. Now, sometimes because we've got, you know, things on here, we want to make sure we do this right. So in other words, we've got the Boolean still on here. So let's do it one at a time. So we can come to this one. We can grab this one. We can press Control L, and what we're going to do is copy modifiers, and there we go, now you can see, is there a modifier been added on there? Let's have a look. It's been added, for sure. The clamp overlap is off. So all I'm doing is just checking if it is. And if you really want to check, just turn it up, and then you'll be able to see. And that has been added on there, so that's fine. Let's now do this one. So we'll grab this one, this one, Control L, and we'll copy modifiers, and there we go. And finally, this one, let's see if it actually works. So control L, copy modifiers, and yeah it's actually worked as well. And then we've got these two parts. So this part here, this part here, grab this part, Control L, copy modifiers, and there we go. Now you can see what happened. The mirror actually disappeared because we actually copied the modifier. So what we want to do is apply that mirror. No reason why we shouldn't apply that Control A. Now let's see on this one as well. This one also has a mirror on there, so let's press Control A, then what we can do now is grab both of these. Grab. I'm just looking as well, as you can see. When I did that, it actually took off the the Boolean. So I'm gonna have to go back. Sorry about that. So let's go back a little bit before we do that. There we go. Now, let's apply or we'll come to this. We'll apply the Boleiu. We'll come to the mirrors then. We'll apply the mirrors, and we'll come to these parts here, and we'll apply the mirror on these. Now we can grab all three of these. Grab this one here, press Control L and copy modifiers, and there we go. Now we've got the bevels on all of those. Finally, then we need to get rid of these booleans here. So let's just grab them both, press delete, and there we go. That part is now done. Alright, so now we're on to the next part, which will be this part over here. So it's a bit hard to see. And now I'm just going to pull these back a little bit, J so you can just sew. We have a little bit more room so we can actually see what we're doing. Okay, so the main part, actually, is this part going up here. So I'm just wondering whether it'll be easier to actually create probably be easier to create this part, this part first, actually, because it's gonna be right in the center of here. So let's do it that way. It's gonna be easier, I think. So we'll come into this part, and what I'll do is I'll just grab the top of here, press shift desk, cursor to selected. And then what I'll do is now I want a simple pipe with just a few bolts going around it. So how am I going to do that? First of all, I'm gonna press tab. I'm gonna press Shift A. I'm going to bring in a mesh and a cylinder, not a cone. Let's press Shift A again. Bring in a mesh. Cylinder. And you'll notice my cylinder again because the re open up blender comes in at 32. We want this on 24, so let's turn it down. And then what I want to do is I want to put this right down to round about here. I'm going to squish it down, so S and, squish it down. Put it on top of that, and I'm thinking probably make it a little bit bigger because there is a machine going in there, but make it a little bit bigger, like so, and that looks kind of bulky like this one here. And then what I'm going to do is I'm going to write clay and shade Auto smooth. And from there, what I'm going to do is I'm going to jaws going to create just this pipe here. So first of all, I'm going to come in, face select, grab this top face, press the eyebone like so, holding the shift, and then E and pulling it up into place. Like so. Now, I just want to make sure that I've got enough room for bolts that are going to go round here. So let's get those bolts in first. We've got already our cursor in here. So what I'm going to do is I'm going to come to the top. I'm going to grab the top, shifts, cursed or selected. And the reason I've done that is just so I can actually see what I'm doing. Then what I'm going to do is press Shift, I'm going to bring in then a cylinder. And for this cylinder, I'm just going to put it on something like six. So if you put it on something like six or seven, you will have then the bolt kind of It looks like a bolt, basically. That is what I want. So what I'm going to do then is I'm just going to press the S but, bring it down. I'm going to press seven to go over the top, and where do I actually want this? At the moment, I can't actually see where it is. I can't even see if it go through there, but if I put on wireframe, I should be able to see now where it's going to go. So you can see if I move this up here, I can see now that they're going to be going into there, like so. Alright, so that looks about the right size. Now, if I put this back on, I should be able to press Essen'sad and bring this down. And this I want looking like an actual bolt, but a very, very simple bolt. It's up to you whether you put a top on here. I think sometimes it's worth doing that, actually. So all I'm going to do just grab the top. So the top of here, press the I button and then press E and just give it a top on there, like so. I think that looks a little bit of a better bolt. Now I want to do is I want to actually distribute this round here. So at the moment, we know we've got our cursor in here. Let's press Control A or transforms. Right click Set origin, two, three D cursor. Now, it's up to you how many bolts you need. So all you need to do is just a little bit of calculation. If you want six bolts going around there, it's 360/6, equals 60 degrees. If you want more, then you can do that. So what I'm going to do then is I'll go over the top, so seven to go over the top. I'll put it back on wireframes and I can see what I'm doing. I want to press Shift D and then RZ 60, shift D, or Z 60. And there are other ways you can do that, this, but trust me, this is the fastest. And there we go nice and evenly out. Now we can see if we put this back on. They look nice and even. And what I tend to do now is I'll grab all of these, and before joining them together, I'm going to put them like that. So control, sorry, Control A, all transforms right click. Set origin to geometry of them all, and then all I tend to do is just come in Z and just spin them around just a little bit. So and z, spin them round, and then and z. Spin them round and finally, and z, spin them round just so they're not all facing the same way. They look a little bit different. Okay, so far so good. Now, let's think about this top pipe. So I think we've gone a little bit too high with this top pipe, so I'm just going to pull it down just a little bit, like so, and then I want to make a little edge going around here. So let's press Control to bring in a edge loop, bring it up. Like so. And then let's bring it out. So Alt, shift, and click, E, enter, lanes, pull it out, holding the shift button, like so. And then we need this inner part here because you can see we do have this kind of pipe going in there. So let's bring this in. So what I'm going to do is press the Ibn and bring it in. Like so. And then what I'm going to do then, I also want to bring it down a little bit, like so, and then bring it in. So now I'm going to bring it down, like so, and you can see now that's looking actually a lot better than what it was before. Okay, so now we've still got our cursor in the center, which means now we can actually create this part here. So this part here, we're just going to be pumping supposedly the water into this part. So what I'll do, first of all, is I'll press Shift A. I'll press my I'll bring in another cylinder. I'll put it on 24. The good thing is about working with either 24 or you're working with seven for, you know, for the little bolts and things, you're always aware like what you actually need it on. So I only tend to work on, as I said, seven for bolts, 24 for, you know, round things and 16 if I want it low poly. That's the way I actually go with it. So if you remember those, you can actually do that every time. And not only that, if you work with, um except the bolts, of course, if you're working with even numbers, it's really easy then to, you know, create things like we have done for this because we work with even numbers. Alright, so now let's make it a little bit smaller than this. And what I want to do is I want this to actually be in there because I can pump this then up and down and put in water in there. So what I'm going to do, I want to select the bottom of here, so I'm just going to pull it up a little bit. I'm going to pull it in then. So S, pull it in, like so. And then what I'll do is I'll press L, and I'll be able to pull this down now into where I want it. So somewhere around here, and then what I can do with this, maybe maybe a little bit more or maybe it needs to be a little bit bigger, let's just see. So I'll pull it down a little bit more. Grab this part, pull it up, like so. Okay, so let's actually create this bit. So this bit here, I'll just simply press D, enter, S, and bring this out, like so. And then what I'll do is, I'll press E again to pull it up, like so. E again, S, to pull it out, and then E to pull it up like so. Alright, that's looking pretty good. And now what I want to do is I want to have a band in the center of it. So control, left click, right click, Control B, pull it out, like so, and then E, enter ln S, and then we can pull it out like so. Now, the thing is I want this to be slightly bevelled out like so. How would I go about doing that? That's a good question. I also want this one to be slightly beveled in. So I want it to kind of go like this. So the way that I'm going to do that is, first of all, bring in some edge loops so Control, left click, right click. And then I'll grab this one here. So Alt Shift and click, like so, and I'll come up to something called proportional editing, click it on, and then just pick whichever one you want. So we want to kind of spherical look. So we'll grab this. We'll press the S button, we'll scroll our mouse wheel back in, and then we should be able to just bring it out a little bit, like so. Now I want to do the same thing along here as well. So I'm going to press Control. Left click, right click, because it is dependent on how many edge loops you've go there. Control. Two, left click, right, click. Control ar, two, left click, right click. Grab the center one, Al shift click, and then S, and then you can s, pull it out. And make it a little bit more rounded, like so. Right, click, Shade Auto smooth. And there you go. You can see now that's looking, fitting the style that we want. You can see it's coming in, sloping down, and now it actually looks pretty nice. Now, we've got the next part, which is this part here, and we basically want this to be I forgot the name. It's the musical instrument where you push them in and out. We basically want it to be like that because we're actually going to be adding on that animation. So on the next lesson, we'll actually get that done. Let's come up to file and save that out. And yeah, we're really motoring along now, guys. Alright, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 24. Continuing with upper tank modeling for Blender Beginners Masterclass: Welcome back everyone to Blending Beginners master class, the cookie factory, and this is where we left you off. Alright, so let's create now this I still can't remember the name of that musical item, but you basically push them together. It's some kind of organ or something. Anyway, let's put it on here. So what I'm gonna do is press Shift Desk. Cust selected. Shift A, let's bring in a cube. Let's make the cube a bit smaller just so it fits on there so you can see if I pull this up, we want to have a little bit of a space around there, maybe a little bit bigger, around there. And then what I'm going to do is just grab the top of it. I'm going to pull it down. So I just want to make sure without proportion editing on. So make sure that's turned off, pull it down, and this is kind of where we want it. So I'm just checking out, making sure everything's right. Now, for the rest of it, I'm going to pull it back up now because this is where I actually want to go. And then what I'm going to do now is I want these two little gaps in here. So the easiest way to do that is control law. I'll have a bigger gap at the bottom. So kind of a bigger gap around here, let's say, and then what I'll do is I'll press Control R. Left click, I want to gap here, and then Control R, bring it down to a gap here, and then Control R, a gap, maybe around here. So you can see I've got a big, we've got a smaller, and we've got a big. So a little bit of variation in there, and then all I'm going to do is I'm going to press Alt Shift and click, like so I want to actually bend bring these in now. I'm going to press E, Enter for extrude, and then Alter holding the Shift bon. And bring them in, like so. Now, with these, I think that it needs a little bit of help with the actual bevels on these parts here. So I'm actually going to give it a hand with those. You can bevel it off once you've done that, as well. So all I'm going to do is I'm going to come in. I'm going to go Alt Shift click. And try and go all the way around. For some reason, blend doesn't like when you do Alt Shift, click on the bottom. So you'll have to go around there. Alt Shift, click, l shift, click, Alt Shift, click. And I'm going to leave the top one. I don't want to do that. And then before we do anything, we always always reset all our transformations. So in object mode, reset all your transformations, reset the origin, press the tab bon, press Control B, and then you're just going to bring them in a little bit like so. So something like this, press the tab on, and that is what it should look like. And I think now, it's looking a little bit more flimsy, and that's what we want to do because there's a lot of bending here. So, yeah, that's what we're going for with this. Alright, so now we've got this part here. So first of all, let's make this big drum, and then we can decide, you know, where the kind of cube is going to come in that's going to hold everything here. Alright, so let's bring in, first of all, A, cylinder. So bring in a cylinder 24. Rotate it round. So RX 90. Let's get that rotated round. Let's pull it up into the place where I want it. So first of all, I'm going to want it round about here. So round about here. And you know what? This actually might be it might be a little bit too big, so let's make it a little bit smaller, like so, and let's pull it down. Now what I want to do is I want to bring in a cube because then that's going to give me an idea of scale on this. So what I'll do is I'll bring in a cube and pull it up there. So Shift D, let's bring in a cube, and let's pull it up into place. Let's press S and Z like so, and let's pull it into place. So it wants to be in front of there, and it wants to be up. And then what I want to do is bring it in now. So S and X, bring it in. So it's just just on the sides of there, and then I'm going to move this part forward. Like so. And now I think that is looking pretty good. And I also think it's looking round about the right size for this bit here. So for this bit, I think that's round about the right size. It looks as though it's, you know, usable. I think what I'll do is I'll just bring it forward a little bit like so. And I think I'll just make a tiny, tiny bit bigger, and there we go. Alright, so now we need to think about bringing this back. How far back does it go? We definitely know that it needs to come back past this point here. That's for sure. So what I'll do is I'll come I'll grab the back of it in face select, and I'm going to pull it over here to be a fairly big drum. And then what I'm going to do now is I'm going to press the IB and bring it in, and then I'm going to press the E button. I'm going to go over the top and now I can see how far past I need to do it. E, bring it round about to the edge of this part here, something like this. And then what we'll do is we'll press Control. Left click, right, click Control B, pull this out. Like so, and then enter Alness and then we'll pull this out to where we want it. So maybe I've gone a little bit far, so Alts, bring it back if you want to. And I always think when you press Alts and bring it back, it looks better anyway, because it actually bends it in. If I press S Control's Ed and press just the S but, you can see I can pull it in properly now. But if I press Alts, I can actually pull it in and bend those a little bit, and I think that's actually looking better. All right, so so far so good, let's right click and shade Ato smooth. Let's also then pull this back a little bit, so I'm going to grab this on the face, like so, and pull it back just past this point here, so round about here. And then obviously I need it to go into the drum so I'm going to pull it up into place like so. Alright, that's looking pretty nice. Now, we obviously want a front on this drum. Now, you can use, you know, you could kind of put a circle in here. So what I could do, I could actually make my circle. So if I press I, I can bring in then the circle and then put it where I want it, like so. That's an easy way of doing it. You could also just make another cylinder. But I think for us, I think I'm actually going to just do it that way. Sometimes it does cause problems with bevels and things like this. But I think on this occasion, actually, it's not going to do. Also, what you could do is, as well, you can press E and pull this out. So now we've got that actual drum pot that we wanted. And then what you could do is you could press Control plus and then press Y or P and separate it off, and then re add a face on here. You can also do it that way if you really, really want your topology to look nice. For me, I'm not going to do that. All I'm going to do now is press I to bring it in again, press the E bun to pull it out, press the tab but, and there we go, it's as simple as that. Now, that's looking pretty nice like so. Okay, so working our way back now. So we need to come now to this point here. So you can see now we need to think about how we actually going to do this. So the first thing I would say is bring in a new pipe. So if I come to this part here, what I'm going to do is I'm going to press Shifts, cursor selected, and then I'm going to press Shift A, and I'm going to bring in a new pipe. So let's come down too. It looks like my extras are not on there. So all I'll do is edit preferences. Let's put in extra again. So extra Extra mesh. Click that on. Let it load up. Save out more work so we don't have a crash shift day. And then we've got now our pipe joints, so pipe elbow. Let's spin this round, first of all, so we'll go to Z, put it on 90, spin it round, put the angle on to 90 instead of 45, turn the divisions down to 24, and there we go. That's looking pretty good. And now what I need to do is obviously make it smaller. So make it smaller. And then what I'm also going to do is I'm going to pull this out now. So if I pull this along, you can see here we've got the Y axis. So let's pull it along the Y axis like so. And now we just need to recognize where it's actually going to go. We also need to drop this back so it's into place, and we also need to think about the scale. I think it's still a little bit big, so I'll make it a little bit smaller. And then the end and the start lens. So I'm going to pull it up to round about halfway on there. So something around there. And then the other angle, I'm going to pull, not that one. This one here, I'm going to pull this back into place round about here. Now, again, the moment I click off this is going to disappear. So just make sure you're relatively happy with it. We can do a lot of work on there from this, but I think for now, I'm going to be relatively happy with that. So what I'm going to do now is start the actual box down here. So I'm going to press shift, bring in a cube. And then what I'm going to do is bring that down to let's say round about here, like so. I'm going to make it a little bit thinner. So S and X, bring it in. Like so. And I'm also going to make it. Yeah, it's probably about wide enough now, I think. Yeah, I think it's actually make it a little bit wider, so S and why let's pull it out a little bit. Like so. And then what I want to do is now I want to bring it down to nearly nearly the same point as here and then pull it out and then go down. So what do I mean by that? So I'm going to come in. I'm going to delete this face out of the way. So delete faces, and then I'm going to come in and grab this edge here. I'm going to press E and X and pull this out along there. So I want some pipes coming out of here. And then what I'm going to do now, I want to extrude this down. So should I could have really got away with leaving that face in there. But you know what? I'll just go Alt Shift and click now, and then I'll press E and Z. Pull this down straight down, like so. Now you can see if I come to the side of you I've gone way, way too far, so let's pull it up into place, like so. And there we go. And I also think at the moment, this is a little bit too low. So you know what I'm going to do? I'm going to grab this face and just pull it up a little bit like so. Alright, that's looking pretty good. Now, before we finish, let's just grab this part, press Shift D, enter, move it over into place. So we can get away, I think with pudding it like that. I'm going to move it over then into place. So this bit here is there. And then finally, I'm just going to come round. Grab this and this with Control click and then pull this into place. Like so. Now, we'll want a front on this, which I'll do on the next lesson. But I think this is really, really starting to come together. Obviously, we still need a long way to go before we finish this, but I think you're getting a lot more skills now to actually create things, but more importantly, fix things if they actually go wrong. That's a big part of this actual course. Alright, everyone. So I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 25. Creating extention for batter maker tank, modeling, modeling liquid creator tank for : Welcome, Mike, everyone to Blend the Beginner's master class, the cookie factory. And I did say, as we move on and on, by the way, I am going to show you more ways to actually do things, easier ways to do things and basically up that complexity. So first of all, with the complexity, let's grab one of these bolts. And what I want to do is, first of all, I want to press Shift D to duplicate it. I'm just going to drop it there for now. I'm going to comb to the center of my pipe then, I want to make sure that I'm going to put the cursor right in the sense. What I want to do is just hide this out the come to the bomb part. You know what? We won't do it that way. We'll press Control R. Left click, right click and then S Z zero just to even that out, so, press Tab Altage and you can bring back this now. Now what I want to do is I want to come back to this part, so I've got my cursor in the sense so Alt Shift and click, shifts, cursed to selected. That then is going to put it right in the center of there. Next of all, then what I want to do is I want to bring my bolt and drop it right in the center. Now, first of all, make sure all the transforms are recep set origins, geometry, press shifts, and selections cursor. Now, we can't see our bolt at the moment. So let's hide our pipe out the way, and here is our bowl. Now we want to do is bring in a circle. So shift A, curve, bring in a circle, like so, make the circle a little bit smaller, like so. And then what we're going to do now is we're going to attach this bowl to this circle to stop us having to, you know, kind of shift D and rotate it around. So the way I'm going to do that is now, I'm going to go to my I'm going to press Add modifier, generate an array. Now, generally, when you're adding just a simple modifier on, it will be under generate. And when you're deforming anything like mesh, like where you're using curves or simple deform, it will be under deform. And the other thing is, we can also use something that's called modifier stacking, which is adding not one but two, three, four, five modifiers on top of things to actually get amazing results. And this is one way. So this is a simple modifier stack. So what I'm going to do is go to generate add an array. I'm going to put it on something like five just for now, so five, and let's change the X factor to something like three, like so. And then what we're going to do now is we're going to also add in a curve modifier. Add modifier, deform this time and go to curve, and the curve is going to be this curve here, and you will end up with something like this now. And now it's really, really easy to just increase this amount, as you can see. And also the best thing is, if I bring this curve in, we can actually bring these bolts in like so to wherever we want them. So you can see really, really handy to actually do now what I tend to do is I'll press AltH, bring back my pipe. Let's go to our pipe now. And what I'm going to do now is bring this out. So I'm going to press Alt Shift and click, eat, enter Alterns and bring this out a little bit. And then what I'll do is I'll come back to my curve now, press the Ebone bring these bolts in so they actually fit in. Let's also lift them up, so we're going to lift everything up onto there, like so, and you can see they're a little bit in. We can also come in as well and grab our bolt, so it can come in, grab just my bolts. And you can see it's right in the center there. I can press A and S and make them a little bit smaller, press the tab born, and now you'll see they're fit in much, much nicer. Now the thing is, you can see they're a little bit out over here, so it's a little bit uneven. So let's decrease one of those and then just increase this amount. Holding the shift button, and then you can actually even them up as you want them like so. Really, really easy way to do that. Now, once I've done that, I don't just finish there. What I do is I'll take this. I'll press Shift D. I'll drag it over, and I'll save this out now because then it'll save me having to do this on other parts. If I need to do this. I've got my bolts there. They're already set up. All I need to do is actually just bring them in. So what I do once I've done that is I'll press the end button, new collection, and we'll call it pots, like so. In fact, you know what we won't call it pots. We'll put a reuse pots. We'll call it parts and then re use, and then we'll have one just for parts, which will be things like the cookie and things like that. Alright, so that's done. And what I can do now is just hide that out way. We're not going to need that. And now you can see that we've got our bolts in there. And what I can do now with these bolts, actually, is come over and apply these modifiers. First of all, though, you know, when you're applying modifiers normally, you're always coming in, pressing Control A, Control A. When you grow a lot of modifiers on though, you really just want to apply them all in one fell swoop. So there is an easier way if you come over to object, convert, and just convert to mesh, and there you go. Now I can actually delete this part out of the way. And there are your bolts. Now, of course, I need to bring them down a little bit to make sure they're in there. And now we can actually start work on the rest of this. So let's first of all, even this out a little bit. You can see this is not needs rounding off a little bit, so we'll come in. We'll grab this part, Alt Shift click Control B, and we'll just even it out just a little bit, like so, right click, shade at smoove and there we go thing that looks better. And then now we'll work on this bit here, so we'll get this part in here. So what I'll do is I'll press Control R. Left click, right click, and then S and X or Y, and zero. Now let's move that over there, like so. And then what I'll do is, I'm thinking whether to, you know what? I'll pull it out a little bit, like so, and then I'll do something else. I'll go Alt, shift, click, E, enter, alternes. We'll pull that out just a little bit. Control R, left click, move it over a little bit with the shift button, and then lt, shift, click. Like, so E, enter Altern. Pull it out like so, and that looks much, much better. Now, let's bring in another edge loop along here. So control. Left click, right, click, S X or Y and zero just even it out. Control B then just to pull it out and pull it back one. Like so, and then eat ter alters and pull it out, like so. And then what we'll do is we'll do what we did before with alterss and we'll just bring it in just a little bit like so, and that looks really nice. Let's have another one then on here. So control. Left click, right, click, S S zero, and then move it wherever you want it. So something around there, Control B, pull it out, and then eat to Alters pull it out like so, and then finally alterna and let's pull it in a little bit like so, and there we go. You can see just how easy that was. So now, we've done one part, you know, saved out our part over here. We're also going to do that with another part, but let's first of all, get this in place. So what I'm gonna do, I'll first of all, create something along here. I'm thinking that, do I actually want to bevel off any of these parts? That's the question you have to ask yourself, or are you going to be happy with just a bevel on there? So, in other words, if I come in and I resettle the transforms on this, like so, grab this one, press Control L, and copy modifiers. Am I going to be happy with it just beveled off like this, or do I want to actually bevel it off a little bit more? I think actually on this one, I probably want to bevel it off a little bit more. Let's give that a try. What I'm going to do is I'm going to grab all of these edges. I'm going to press Control B then and just pull it out and increase it up, like so. And then press tab, and there you go, now you can see that's round off, right, click, shade Auto Smooth, and that looks to me much, much nicer. Now the problem is when you're working like this, is that this is going to cause issues when you come to bevel off the next pot. So if you see here, Control B, it's going to cause a few issues and points like this. Do we really want that? So there are a few ways around this. And what I'm going to do now is just go back and show you how to do this. So basically, if I come in and go to select, and what we want to do is, where is it mesh, select sharp edges. So I want to select. Where is the sharp edges? There we go. Sharp edges, like so. And now what I should be able to do is press Control B and bevel them all off in one go, like so, press the tab button, right, click Shade to smooth. And there you go. Now you can see, they're all bethered off really nicely, and that then is looking a lot smoother. And I think, actually, it's looking better like that. Alright, so now what we want to do is we want to we want to make a gap in here. We want to make a part that's going to go round here as well. So we'll do that part first. So what I'm going to do is I'm going to come to this face here. I'm going to grab this face then. So shift D. Let's grab this face, like so. Now, at the moment, you can see, we've got no bevels in each of these, which is really handy because we didn't want any. So all I'm gonna do is just grab this point and this point. I'm going to press Control, Shift and B, and pull that out and just make a little bit of a bevel there. And then what I'm going to do is press L E to pull it out, like so, to give us that relief on there. And then L to grab it all, like so, let's pull it back into place. And then what I'm going to do is make it a little bit smaller. So S, make it a little bit smaller, pull it down into place, drop it back, maybe a tad, like so, and there we go. We've got that relief on there. Now we want another bit on here as well. So what I'm going to do I need three pipes on here, actually. So I'm going to grab this part here. I'm going to press the I boon to bring it in, like so. Not quite that far. I'm going to press S and Y to bring it in a little bit more. So something like this. And then what I'm going to do is instead of using this, all I'll do is press Shift D. And then I'll press E and then I'll pull it up. So basically, I duplicated it. And the reason I did that now is because I can grab it, press P selection, and there we go. That now is separated off and I now can just pull that back in. So it's already got the bevel on there. It's already got this modifier on there, as you can see, which makes my life a little bit easier, actually. Alright, so we'll save out our work, and on the next one, we should be able to get this in. We should be able to get the pipes in, and probably probably we'll end up with most of this actually done. But you can see it's coming together quite nicely. I'm really happy with how this is turning out on this part, and then we can actually start with the conveyor belt once we've got the materials everyone. Hope you enjoyed that. I'll see you in the next one. Thanks a lot. Bye bye. 26. Creating pipes using curvature techniques as well as pipe joint mesh primitive for Bl: Welcome back, everyone to Bleed and Beginners master class, the cookie factory, and this is where we left it off. Alright, so we want some pipes going from here. So you can't really see around there, but you will be able to see on that animation going from here up into here. So let's first of all, create this part here. So what I'm going to do is I'm going to come in. I'll actually isolate this out, so shift H, isolate it out. And then what I'll do is I'll come in. I'll grab these sides over here. And then what I'll do is I'll press Control B and just bevel those off, like so, and then I'll come into the center point. This just this center point here, I'm going to press the I button to bring it in, making sure that I don't go past those points. And then what I'll do is I'll press E and pull that down like so. Alright, so that's that part. Let's press Altag, bring that part back then. Now, let's do a similar thing to the inside of here. So all I'm going to do is I'm going to press I. I'm going to bring it in. So roughly, so it's around about the same size here, so you can see it's not far off, that'll do. S said, let's pull it down like so. And then what we'll do is we'll pig it up into place like so, and then we just press E and pull that back, and that's where my pipes can go. So something like this looks pretty good. Now what we'll do is we'll actually bring these pipes in. So I've got my orientation already here. I recommend probably putting it around about here, actually. So shifts, cuss to selected, and then shift A. And what we're going to bring in now is a curve. So I always recommend bringing in the paths. I find them much easier to work with than Beziers, so bring in your path, and here's our curve. Now the thing is you can move curves around. You're not going to lose the curve functions or anything like that. The curve function is over here. You can see here's the data function for the curve. Click that on. Nothing's going to happen, even if you make it smaller like now, first of all, let's get it point in the right way. So if we spin this round on the Y, so Y 90, let's spin it round. And curves are really, really easy to use. The best thing ever. So let's come in now increase that geometry with just a simple. Where is it? Depth. Let's increase the depth. Like so. Can really now get this curb how we want it. So if I go into Edi mode, shift spacebar, you can see now I can actually move this curve around exactly where I want it. The other thing is I can make it a little bit thinner if I want, so I can bring this down. And the last of all the things, I can also turn down the resolution of this. Now, I'll quickly show you don't actually do this, but when I convert a curve, you can't press Control A. You have to go to object, convert, and mesh, and then you'll convert it. Now, you will notice that this curve now has all of these polygons in there really, really not needed. So let's press Control's E and go back, and let's put this on six, for instance, and then we'll do that again. Convert, mesh, tab, way less polygons, just enough, actually, I think, to make it nice and round. So let's go back once more, so control Ed. Let's put this on six. So make sure you've got on six, and now let me show you how we get this curve in place. Now, generally, when you're using curves, it is easier. If you're using proportional editing, I find it easier anyway. Let's pull it into place, though. And the main thing is we want this curve to be in place here. And we also want to make sure that once it's fitted into place, we can reuse this curve again. So what I'm going to do is I'm going to actually pull this over with proportional editing on, so it's smooth, move it over, pull it down, pull this out. And as you'll see, now it starts to pull the whole thing down, pull it into place. Like so. And the first thing I tend to do is when I'm pulling it over, I'll bring it in. I'll get it into the right place before doing anything. So into that center look on there, pull this one up, like so, and you can see already just how easy it is to use. Like, so like so, and that's looking around about right. And I'm just wondering if it's a little bit too thick, but I don't actually think so I think that's about right. Now, once you've got your curve, press Shift D, duplicate it, bring it over to the side. And what you're going to do now is press M, and you're going to put it in parts to reuse. This means that when we need some more curves, you know, in anything, so some more cables, we've actually got this ready and ready to go, like we have with the actual bolts. So let's put parts to reuse and now we can come back to this part. And what I'm going to do is gonna have three. So shift D, bring it over, Shift D. Bring it over. Now, of course, we don't want these to all look the same. So what I'm going to do is I'm just going to grab them all. I'm going to press Control J because you can use curves together. I want to line them up then, so I'll grab this one. I'll turn off propulse editing just for now and move it over a little bit, turn it back on. And one thing we want to do is make sure that connected only is on. The reason is, if I grab this, press the GB and bring this out, you will see that it's messing around with all the curves. We don't really want that. So what we want to do is put connected only on, and then it'll only mess around with this curve. That's all connected. So this one here. Now what we can do because we've done that is I can actually bring this down. And actually start moving them into a different plate. So in other words, I can grab it, pull it out, I can grab this one, pull it down like so, and just make them look a little bit different from each other, like so, and then I can move this one out. Like so we can also move this one probably a little bit more over to this side. And now you can see they're looking a little bit different from each other. Alright, so I'm happy with how those curves look. Now what I want to do is I want to convert them and actually make them look like pipes. So what I'm going to do is I'm going to go to object, convert to mesh, and there we go. They're all converted. And now I want to do is I want to make these little parts here, as you can see, into some sort of, you know, bolts or something like that. So what I'll do is I'll first of all, come to this part here. I'm going to press Alt Shift and click. I'm then going to press let's press E, Enter. Alter nest, but make sure that you've got portion leading off, so alter ness and pull these out, like so, and then you've got that part on there. Now we just need to do the rest for the same. So before doing that, now I've got that, what I'm going to do is just go back. I'm going to press Alt Shift click to grab the mold around where I want them. So let's say around here, around here and around here, and then eat and alter ness, pull them out to where I want them. And then just press. Right click, Shade Auto smooth. You can see it's a little bit too high on these because we had it on six. So let's just turn this up a little bit. And there you go. There is your pipes all done for you. Alright, you might want to come in and move these pipes a little bit further in so you can see here, for instance, we might want to come in and grab this one, for instance, put proportional editing on, Concho plus just to grab the whole thing, and then just pull this in a little bit, just so it's in there if you want to. Okay, looking good so far. Now, let's think about our other pipes that are going to go down here. I think, I think this is with this pipe, we're probably going to have to do it in a few, you know, a few bends is what I'm thinking. So what I'm going to do is I'm going to come to this part, and I'm just going to grab this part, shift desk, c selected. And then what I'm going to do is I'm going to press Shift A. In fact, we'll do it in object mode. So Shift A. Let's bring in a mesh. And what I'm going to do is I'll bring in another pipe joint so pipe elbow. We'll get it. You can see at the moment it is down to the right scale of this, which is really great because that's what we actually need. So let's actually bring it down. Let's pull it all the way back then, so length, start, and length end. Let's pull that all the way back. Let's make it even smaller at the moment. So something around there. Let's spin it round then, so we'll spin it round on the ad, but it'll turn it wrong way round. So -90, and there we go. Let's move it out, then, so we want to change the location. Now, the Y location is that way, so let's pull it back. To where we actually want it. So we want it somewhere around there, and then I'm going to pull it all the way up to there. So if I move the location now up to here, let's move it on the X, as well, across to here, like so. And then what we'll do is we'll bring it back a little bit. So length start, length end, so we'll pull it into there like so. And now what we can do is we can actually join this together. So in other words, I want to now use this to create the rest of my actual pipe. So how exactly am I going to do that? So you can see, I've got a bend on there. I want another bend, kind of, you know, this coming round and going round to the other side. So let's see if I can actually do that. So I'm going to press Shift D. I'm going to bring it down. And then what I want to do is, I want to press Z, and let's I'm just thinking which way I want this, so I want it to go down from here, and I want this one to go round there. I'm just wondering if I can actually move it around there, actually. So Rs 100 and not RS R Y, 180. And then that's pointing up that way. And then I can press RS -90, and then that's pointing round that way. That's what I want. So now those two can join up. And then what I can do is now I can bring this and point it into that one down there. So if I press Shift D, bring it over, and then I can press R Z 180, and then it's pointing towards there, and then I can press RX -90, RX -90, and then it's pointing in towards there. Now, where exactly do I want this? So let's grab both of these. Let's pull them down like so. And then what we'll do is we can move this one now into there, so it's lining up with these points. All right, that's looking good. Now, let's do the next one. So what I'll do is I'll grab both of these, and I'll also grab this one here. And then what I'll do is I'll press Shift and I'll move these over two here. And then what I'll do is grab both of these, and I'll pull them up, like so, and then finally, I'll grab this one, and I'll pull it into place over here. Now we know that these are pretty much level with each other. So all of these are level with each other. And now what we can do is we can join all of these together, like so, and then I can press Control J, join them all together, and there we go. Now, finally, the last thing we want to do, I really don't want them stuck in, you know, kind of this f, especially on these ones. So I'm going to press tab, I'm going to put in this X ray, so I can actually see it's on here. And then what I'm going to do is now, I'm going to go and then Alt Shift click, then Alt Shift click on this, like so, and then let's pull them back without proportional editing on into place where we want them. And then we'll do the same thing on these, as well. So l shift, click, oh, shift, click, and pull them back. And then let's just turn that off. And there we go, now we can see they're looking much much better. And now let's join them all up. So I'm going to come in. And then Alt Shift click, Alt, shift, click, right click. And what we're going to do is bridge edge loops. So bridge edge loops, and there we go. Now there is another little trick, so shift, click, Al, shift, click, and then just press Shift R, and then that'll repeat the last operation. So o shift, click. Oh, shift, click, shift, and then O shift, click and oh shift click and shift R, and there we go. Now you can see, if I right, click, shade Auto smooth there we've got our pipes in done, really, really nicely. So now what we want to do on the next lesson is we want to obviously put some little joints in here on things. I don't think on these smaller pipes, I need to, you know, bend these. I think it's only on the big ones, but we'll put some joints in on the next ones, and then we've just got this dial on here to do, and then we're pretty much done with this. I think what I'll do is I'll actually take a little piece of these actually and use it for my dial rather than creating another one, as well. Alright, everyone, so I hope you enjoyed that. I'll see you on the next one. Let's save out our work, and I'll see you on the next one. Thanks a lot. Bye bye. Thank 27. Enhancing 3d detail of batter maker, adding ridges onto pipes, adding measure arrow f: Welcome back everyone to Blend Beginner's master class, the cookie factory, and this is where we left it off. Okay, so let's now make a little part that's going to come up and out of here. So all I'll do to do that is I'll press Alt Shift click going along here. So Alt Shift click Control plus Shift D. And then what I'll do is I'll bring this over here. I'm going to press the Spawn then just to shrink it down like so, and then I'll rotate it round on the Y. So R Y, 180. Let's spin it round. Let's pull it up then into place. So it's going to be stuck just in here, like so. And then what I can do is pull this up now. So we've got an actual pipe joint that we managed to make just from this. So lt shift and click, like so. And then I'll pull it up. Like sew into place. Alright, that's looking cool. Let's press Shift desk because it's selected. Let's press then Shift A. And what we'll do is now we'll bring in a cylinder. We'll have it on 24. So 24, we'll spin it round. So R Y, 90, we're going to make it a lot lot smaller just so it's going to fit on there. We're also going to squish it in on the X, so S and X, pull it in, and there we go, and then stick it right on top of here, like so, and that looks about right. And then what I always tend to do on things like this is I'll pull the back in. So I'm basically going to come press the ebonne Press the E bone, and then from there, we'll bevel it off. But first of all, always reset your transforms. So set origin to geometry, grab the back of it, Control B, and make it a little bit rounded. Right, click, shade Auto smooth. And there we go. That's looking pretty nice. And we also on this, we'll also need a little bit of glass, as well. That's another thing that we'll actually need. So we're also going to, first of all, bring it in. So I'll come in. I'll press the Ibn to bring it in. I'll press E to pull it in, like so. And what I'm also going to do then is I'm going to make a little pointer on here, so I'm going to press shifts, cursor selected, and then we're going to press tab, and then Shift A. Let's bring in a cube. So we'll bring in a cube, make it smaller. The other thing is, every time I bring in a cube, it's always going to be this size. Now, you can make it smaller. If you turn down the cube size over here, you are going to if I put this to one, every time I bring in a cube, now, it's going to be this size when I bring it in unless I reload blender or something like that. So I'm going to press the S bum. I'm going to bring it in right to there. We still want to see it. That's the main thing, so they are going to be a little bit chunkier than what you would actually think. Then what I'm going to do is I'm going to press S and X. I'm going to pull it in. Pull it onto here, and then I'm going to pull the top of it up, so I'm going to pull the top of it up, and then I'm going to press S and Y and pull that in to there. Now, with the pointer, I'm going to round off the bottom of it. So what I'm going to do is I'm going to round off this part here. So I'm going to press Control B. Just round it off a little bit on there. And then what I'm also going to do is just put a little point on the front of here as well. So I'm going to press Shift A. We'll bring in a cylinder. We'll put it first of all, won't put it on 24. It's too high, so we'll put it on 16, like so, and then I'll squish it down and then rotate it round. So, Y, 90. Make it much, much smaller, like so, and then I'm going to pull it out, and then I'm going to press S and X and then pull it out a little bit more. And then all I'm going to do then is just bevel off the top of this. So if I grab this now, I'm going to press Control B. You can see it's not beveling off properly. That's because I need to reset all my transforms. Press Control B. And there we go, right, click, Shade Smooth. Alright. So now we've got a center point for this as well, which makes it really handy. We can join this up with the other part. So press Control J to join it up. And then what I'm also going to do because I actually want this part, all of this part, basically, especially the pointer. So I'm going to bring the pointer over here. So shift D, bring it over here. And then what I'm going to do is press M, and we'll put it in parts reuse. So I've got that now. And then what I'll do is I'll come to this part. Now I want to actually put this glass on here. Now, the glass part, you're actually going to it's going to be over the top of here. So what I'm going to do is I'm going to come in. I'm going to press O lt Shift click and I'm going to press F. And then what I'm going to do is I'm going to press P to separate it off. So now and that are separated off. Control A or transforms right clicks origin geometry. And now I want to do is I want to basically make it like a kind of bubble, so rounded. So the easiest way to do that is just press I bring in an insert near enough to the center and then press Control R, and bring in some edge loops like so. Left click, right click. Now, grab the center, and all you want to do is proportional editing on and put it on the sphere. And now you should be able to bring this out. So if I bring this out, you can see it comes out like that. Like that, like that. And there we go, right click Shapes Move. And there is the glass from on top of there. So you can see that's looking pretty nice. That's exactly what we want. Alright, so now we've pretty much got the glass on there. We've got everything on here. I'm thinking, what else? Then we just need to finish, I think, just these parts here. So let's actually do that now. So what I'm going to do is I'm going to come into these parts. I'm going to press Control R. Left click, right, click, Control R, left click, right, click, grab them both, and then S Y without portion on, actually, SY, zero, and then just pull them back into place. So that's those ones. And then we will do the same on the so Control R. Left click, right, click, Control R, left click, right, click. And then S Y, zero, pull these back into place like so. Now, let's do them all together. So Alt Shift and click going all the way around here. Same on these, and then E enter alters and pull them out to where we want them, something like this. And then we'll come now, and we'll add in a few along here as well. So all I'm going to do then, we've got obviously two here. We might as well I'm just wondering whether we might as well use these. We'll have two in this one. I'll move this one up. So we'll just move this one up, and then I'll add in another one, controla left click, right click. And I'll leave these two here like this as well. So now I can come in and just use the ones I've already got to actually come in and just adding a bevel, so I'm just going to zoom in just so I can see what I'm doing a little bit easier. So I'm going to press Control B then, drop it down, like so, press the EB, Enter, Alter Ness, pull them out, like so. And it's up to you whether you press Alts again to bring them in a little bit. Like so. And, yeah, I think they look really nice. Alright, this part now is pretty much done. Now, all we need to do is make sure that everything is beveled off, and then we need to make sure that we've got all of the materials on there. So let's go one by one, first of all, then. So we already know if we're coming over to our little spanner, this is actually all beveled off, so that's cool. This one's all beveled off. This one's all beveled off. Now, the thing is, do we actually need these parts really beveled? Probably not. Probably not. We don't probably need those pipes beveled or anything like that. We probably also don't need these beveled off either. They're two small parts. Now, this one here I would say, yes, we probably need it. So all I'm going to do is grab this one. Control A all transforms, set origin, two geometry, grab this one then. And all we're going to do is press Control L, copy modifiers, bevel it off, like so. And I think, yeah, that's going to look good. We'll just have to see once we've got it in because I'll show you another trick that you can use you know, to keep this smoothness on here. So we'll do that now, actually. So what I'm going to do is I still want. I don't want this so smooth. So all I'm going to do is Alt Shift click. Old shift click, right click, Marker Sharp. And there you go. You can see now you've got that hard edge back in there, really, really handy if you want to keep something nice and sharp. Hi this out of the way. We're on to here now, grab this, grab this part, Control L. Copy modifiers, that is beveled off now. And let's work our way down. This we definitely want beveled off a little bit. So grab this part troll. Copy modifiers. Let's hide this out of the way. And then we've got these two here. So definitely definitely want all of these beveled off. So I'm going to grab all three of these C troll. Copy modifiers and just looking at this part it doesn't beveled off very well, so I'm just going to hit Control A, all transforms set origin to geometry. That's that one. That's that one. This one, look, let's press Control A. There we go. Set origins geometry. And let's also look at this one, Control A, set origins geometry, and there we go. And I think the rest of them actually are beveled off. Let's bring everything back. And daddy's looking now pretty nice. Now what we'll do is we'll put it onto our material view. Let everything load up. We'll actually save it out. And then on the next lesson, then we'll get all of these materials in. And yeah, I think this is looking really, really nice so far. Okay, so we'll do that on the next one. Alright, everyone, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 28. Working on batter maker materials and shaders, adding color to machinery, creating gl: Welcome back, everyone to blend Beginner's master class, the Cookie factory, and this is where we left you off. Alright, so now, let's start adding in. We forgot actually something on here, so let's actually finish those off. So all I'm going to do Control R two. You know what? We'll actually do that a little bit different. A I'll do is I'll go for one and then left click and right click drop you around the center. Control B, and let's pull them out. So I'm going to have them somewhere around here, and then all I'm going to do is re grab these Alt Shift click Alt Shift click. And actually, we don't want to go all the way down what we can. We'll do Control B, and we'll pull them out first. So we'll pull them out to there. And then what we'll do is we'll come now to the end of here, to the end of here, shift, click here, and then Control click here. And then all we're going to do is press E, enter AlternS and pull those out a little bit like so. Now, I might have gone a little bit big on those. So instead of pressing Alts, I'll just press S, and bring them back a little bit. And the other thing I can see is they're shrinking a little bit on this side, so I might just bring them down. Wave shift, holding shift just to bring them down to straighten them up a little bit, like so, and there we go. They're looking much, much better. Now, from here, let's actually, first of all, before we do anything else, come in and just give these an edge loop. So Alt Shift click. They're going all the way around to there, as you can see, Alt Shift click. Alt Shift, click, all, shift, click, round the other side now Alt Shift click, Althif click, and then finally down under here, right click and then mark a seam. And then I'll make it easy then to split this up. So what I'm going to do now is I'm going to on here, we should have factory yellow. So let's first of all, join this up. So I'm going to grab this one. I'm going to grab you know what? We'll do it the other way. We'll just add in one. So let's come in, factory orange, and then we'll come in. We'll grab this. So L and L, and then we'll add plus, down arrow, factory yellow, click a sign, and there we go. Now, we want factory orange on here, so I'm going to grab both of these. Grab this one last, Control L, and we're going to link materials like so. And now on these parts, we want them to be metal. These will be dark, and these will be light. So we'll come to these first of all. Now, of course, we need a new material for a batter. We'll add that in. Don't worry. So first of all, though, we'll click on metal light. And then what I'll do is I'll come to these parts here. So mine are already selected, click the plus button. New and we'll call it batter mix. Like so. And then what we'll do is now we'll click Assign. So we know we've got a bar mix ready to go on there. Now we'll come to these parts here and we'll go for the metal doc like so. Then we'll come to this part here. It's going to be metal light. So metal light. Now, I'm wondering with the bolts, do I want them dark or light? And I think actually on these, I'm going to join them all together. Like so. Make sure I've got them all, press Control J, and then what I can do is I can put these on metal light, as well. Now, we'll come up and we'll have this obviously be metal, and I'm just wondering if the bottom of it I want on dark. So I think we what I'll do is first of all, I'll put this on metal light, and then the bottom part of it. So what I'm going to do is just press Old shift click going around, Control plus Control Plus and Control plus plus B, Down arrow. Now Doc, click Assign. And yeah, I think that looks perfect like that. You might want to put another one on there, completely up to you. Now, this one is a new one. So what I'm going to do is click the Down arrow. We're going to go with factory Blue. I'm going to click Plus, New factory. Red, like so. Down arrow, cupping material, down arrow, paste material, minus this one off then, like so, and then coming over to your shading panel, and all we want to do put this on render view, dot to zoom into it. And then I just want to change this now for a red color. Maybe, maybe that's a little bit too red. So drop it back Js to tad like so, and there we go. We've got a nice red color in there. And now let's carry on working our way up. So the rest of this machine, I would say, needs to be metal. So we can add this, this, this will all be metal. We'll grab this. Finally, Control L, link materials. There we go. Yeah, I think that's actually looking nice. Let's have a look. Yeah, that's looking pretty nice. I'm just wondering whether they now want to have these, you know, a little bit darker. Let's see, actually. So what we'll do is Alt, shift, click Control plus, plus button, down arrow, metal dark, click a sign. And, yeah, you know what? I think it's gonna look better with, though. So Alt, shift, click Alt Shift click, Control plus. Down arrow. Metal dark Ops, wrong way. We won't do it that way. We'll go back. You can see it won't actually go back, so we'll do that again. So Control plus, and we'll go Metal light. And then plus down arrow, metal dark, click a sign, and there we go. That looks easier way of doing it. I think I think on these parts, let's have a look. It looks a bit weird on this part here, so you know what? I think I'll just put it I think I'll minus that off, actually. So I'll minus it off in object mode. I'm just going to leave that. I'll leave that band on there. That band on there looks quite nice. I'm also wondering about the front of this. I think I'll come to the front and do the same thing. So Control plus, metal dark, click a sign. Yeah, and I think that looks better. Distinguishes it a little bit better. Now, let's come to the bolts on here. And let's go down, meet Light. And now we're on to this part here. So these parts here, if I go down, we've got one that says rubber. So let's put those on rubber so let's do these ones now. Now all of these parts are going to be metal light. So down arrow, metal light. This part here is going to be blue. So if I click the down w, it's going to be factory blue, and this part on the front of here and this part here are going to be yellow. So if I come to this part here, press Control plus just to grab it all, plus button, down arrow, factory yellow, click a sign, and then this one here will also be factory yellow. Like so. Alright, so that's looking pretty nice. Now the last thing is, let's have a look. I think it's just this one, so we've got the bad to do. We've got this to do, as well. So let's come to this. Now, the first thing is, I want it on I think we'll have this on metal dark, actually, just to distinguish it off. So I'll come to this part. And what I'll do is I'll click the down arrow and we'll have it on Metal dark. And I'm wondering if I want, you know, I'll leave this as it is. Now, we've got the glass. I'm just going to hide that other way because we want the back of here to be a white color. So what I'm going to do is I'm going to click, I'm going to, first of all, bring a new one in, and I'll call it factory white. So factory white, like so. And then what I'll do is click the down arrow, and I'll paste the material in because it should still be that blue that we had from before. And then what I'll do is I'll click on this, click a sign, like so. And then what I'm going to do is come to my factory white and just put this so you can see, is it going to be Let's click a sign. There we go. And then I'll change this now. To white. Like so. I'll also bring this up, and there we go. And then I'll put this on the kind of rubber. I think it was. Not like that. Let's minus that off. Down arrow. You can see now that's come in there, and I'll show you how to get rid of those in a little while. But let's for now put it on rubber, and there we go. And I'm just making sure this little spot then I'm going to click Control plus, and we'll put that plus down arrow, metal light, click a sign, and there we go, as distinguish it off. Let's shift right, click to move our cursor out of the way. And now, finally, we've actually got our glass. So let's make some simple, simple glass. So all I'm going to do is press Altage. Bring back my glass. Let's click New and we'll call this glass. Like so. And then what I'll do is now, first of all, to make glass, it's very simple. You have a transparent and you have one that's called glass, of course, and they are actually like the principals, so they're actually shaders. So you can't plug them into the principal. So what you need to do is delete the principal. Bring in a glass. So shift day, search glass. So it's glass BSDF. Bring in a transparency because then you've got control over how transparent the glass is. So bring in transparent. Like so. And then what you'll do is bring in a mixed shader because you need to mix these two together. So shift a search, mix. And because they're shady, you can't use a mixed color. It has to be a shader. So then we're going to plug this one into the top here, this one into the bottom here. And then what I'm going to do is instead of it being a color, I'm actually going to I'll plug this in first just to show you. So you end up with something like this. Now, you can see through there, double tap the A. So you can see through there already. That's looking pretty nice. It's, you know, a little bit. It's not quite see through, but we're going to sort that out. So the first thing is the transparency. If you change this around, you can see you can change what color it's going to be. And you can also change the color on here, as well as you can see. Now, what we're going to do is we're going to use one of these to control, like, how see through this is. The other thing is, if you've got an IOA, you can see the more I put this IOA you can see the more kind of distorted it actually goes. So what I'm going to do is for this one, I'm going to put it on 1.2, which means it's nearly nearly seafood, not quite. We've got a little bit of distortion there, as you can see. And then what I'm going to do is now bring in a noise, so search noise, bring in a noise texture, and I'm going to drop that there. And then I'm also going to bring in a color ramp, so color. Ramp. I'm going to drop that in there. And then what I'm going to do is plug this into the color, and I'm going to drop my fat into this color ramp here. Now, at the moment, you can see if I move this up, we've got quite a bit of distortion on there, as you can see, that's looking quite nice. Now, let's come over to our noise. Put this around 160. And now you can see we've got lots and lots of noise in there. That's looking quite nice. And then what I would say is just leave everything else as is. Now, what I want to do now is I'm going to pull this all the way down. And I'm going to make this a little bit gray. So something gray like this, and let's move it up a little bit, and I think I've gone a little bit too far. Let's have a look. There we are. We've got a little bit of noise in there. That is what I'm looking for. So something like that, you can see you can definitely see that it adds to the glass, and you can see that definitely looks like glass, and I think that actually is looking pretty nice. Alright, so that's that. Now, one last thing I would put this up. You can see if I bring this up or bring it down. We can have it complete glass or not. I'll put this on not 0.525 like so. And now we can see if we move from this side, now we can see that glass. I don't think it's too much. I think it's just about right and we can also see that noise on there that we've put on there, and that for me is pretty nice. All right, so let's save out the file. And on the next one then, what we'll work on is we'll start working on this actual batter and then I'll show you how you can actually have animation within an actual texture. All everyone, so hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. Thank 29. Adding a texture map to our shader for batter for Blender Beginners Masterclass: Welcome back, everyone to blend the beginner's master class, the cookie factory, and this is where we left you off. Alright, so we're on to our first animation. Albeit is textures, but I think learning how to, you know, make textures animated is really important. Now, if you only want to just put the texture on there and you don't want to bother with the animation, of course, you don't have to do that, but I think it's well worth learning. And honestly, it doesn't take that long. So the first thing I want to do, though, is go to edit preferences. And what I want to do is I want to bring in add on called the node Wrangler. This node Wrangler, once you took it on, will make things really, really easy for you. For instance, a lot of the times, you haven't got to go in and set up you know, certain node groups and things like this, it makes things much easier. So we'll be using the node wringer a little bit more as we go on. But for now, let's just tick it on and then we can bring it in. Alright, so what I'm going to do now is click on these. I've got one that's already called batter mix, and now I want to do is I actually want to bring in one of those textures. So if I pull my screen over here, you will see that within there, we have two textures. One of them is called batter. All I want to do is drag and drop this right into blender, like so. So now it's dragged and dropped in there. And then what I can do is I can plug this now into my base of my actual principle. So if I plug this in here, and here we go. Now you can see this batter doesn't look right. And the reason it doesn't look right is because of the fact that these are not UV unwrapped. So before we go anywhere, the main thing is that you'll need to know how to actually add in seams and chops, and then we're also going to go through textures and shaders and how to actually put those onto things. So in other words, UV unwrap. So the first one I'm gonna play you now is proper use of seams and shops. We've done a bit of seams already, but learning how to mark seams on things so that we can unwrap things is really, really vital for actually working in blender, not on actual shaders, like we've been using, but when you bring in actual textures in. Now, these are two deep planes, so we're not going to have to use the seams and shops in these, but it's important because in some other parts of the course, you're going to need to know how to use that. Alright, everyone, so I'll play that for you now, and I'll see you on the next one. Thanks a lot. Bye bye. 30. Blender basics uv seams and sharps for Blender Beginners Masterclass: Welcome back, everyone to Blend Beginner's master class, the cookie factory. And now we need to actually unwrap these. So we need to unwrap these, and I'm going to show you how UV mapping works, what's the difference between texture UV maps and, you know, UV maps that you creating substance painter and how to put them on the UV map space. Alright, I'm gonna play that for you now, and I'll see you on the next one, everyone. If you know that already, of course, move on to the next lesson. That's fine. But I'll see you on the next one. Thanks a lot. Bye bye. Welcome everyone to the shut 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 mot like seams, but serve an entirely different purpose. We use sharps to give us control of how sharp and soft angles are on or measures. This makes them look realistic. It is also important we do this not only for rendering and blender, but also sharps carry on through to other software or games engines we want to use like substance painter or unreal engine as an example. So with all that said, let's get started. So here we are in blender with our starting Queue. 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. So basically, it unwraps like a present. Now, if I come across and I grab this circub and I press Shift D, and then we press Shift spacebar to bring in our Gizmo, and we move it across. And now let's say I want to alter this cube a little bit. So what I'm going to do is I'm going to press the tab button, and I'm going to go into Face 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 going to do is we're going to press Control then come down to where it says, McMs. Now, it's important to remember that it's Controlle to mark Seams in facelect. But if, for instance, we're in EdgeSlt. So if we come to this edge, if we press sir Controlle, you will get this option up as well, MkMs. But you can also right click in Edge Select, and you can also see we can mark Sam this way as well. So for now though I'm not going to actually mark this 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 S 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. Now you can see what's happened. We've actually applied our material to this object, where you can see, it's pretty much a mess. The top of it looks fine, but the t 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 UVunwrapped correctly. So how do we fix that? If we come up to Edge set and we grab this edge, and now I'm going to do is I'm going to right click, come down to mark scenes, and now grab the whole thing again. I'm going to press, unwrap, and now you'll see it unwraps absolutely fine. You can see that woods looking really, really nice actually on this mesh now. So what this does, the seams do is actually gives you control of how this actual texture is placed on this mesh. You also need to take into account that this is basically an infinite loop. So if I come around and I look at this pace and this face, you can see that they're going round. If we have no seam, when I talk about infinite loops, it's basically going 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, Swan going to do, I'm going to come over to the left hand side, the viewpoint of my UV editing, press A to grab everything 90, spin it round. Now, the other thing I want to show you is that where we join these actual seams up is also really important because you'll never ever get it perfect on here where there's an actual seam. So let me exaggerate this a little bit. So I'm going to do is I'm going to press tab. I'm going to make this a lot smaller and I'm going to move it into the center of my UV map, and then I'm going to press tab. Now you can see that these edges don't line up whatsoever against this other side. So this texture here doesn't line up with this texture. And the reason is because we've got a 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. 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 playing textures and materials, try and put seams where you're not going to see them. So if it's on a door handle, for instance, try and put them on the inside where no one's actually going to see them. So always bear that in mind when you're actually marking your seams. So now let's discuss sharps. So if I bring in a new primitive, so if I press shift A, I'm going to go across the mesh, I'm going to bring in a cylinder. Now, you'll notice that this cylinder has all these little edges around there, and let's say you want to make a cup or something, the last thing that you want is all these hard edged faces in there. Now, there are things we can do to sort this out. So the first one we can do is we'll bring in another cylinder. So I'm just going to move this one out of the way. So shift base bar, bring in my gizmo, move it out of the way. Shift A, bring in another cylinder. And this time, we're going to come down to where it says, add cylinder and turn up the vertices to 100. And now you'll notice that we do have a round edge. But the problem is that we've brought in 100 vertices to actually achieve that. And that's not something we want. We want to use as few polygons as possible while still getting a really good looking mesh. So how do we achieve that? Well, there are a number of things we can. First of all, we can come across to this right hand side, and 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 Shade Smooth. Now you'll notice it's actually been smoothed off. But the problem with this is, if I turn up by Auto smooth, you can see if I turn it up all the way, it goes really, really funky, and that is because at 107 degrees, Blender decides that these edges along here needs moving on. So it doesn't give us a lot of control. If we do this on the other one, so if I grab this one, right click, shapes move, Atos 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 up, we're still going to end up with the same problem as what we had before. So how do we solve that? Well, if we come in now, press the tab button, come to the top, grab the top, shifts like the bottom. Press controle because we are in face leg and we'll come in and marker shop. 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, serve a grab this one and this one. And now because we're in Edge select, we can right click. Come down, mark a shop, press the tab button, and now you'll see you've got hard edges on there. So it's very important that you mark sharps, where you're going to actually want hard edges. It's also important that you get into the habit of marking shops 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, one, so I hope you enjoyed that introduction to marking scenes and shops and as they say, on with the show. 31. Animating batter texture to create flow motion for Blender Beginners Masterclass: Welcome back, everyone to Blend and beginner's master class, the cookie factory, and this is where we left you off. Alright, so let's actually unwrap these first then. So first of all, if you're going to unwrap something, you might as well go over to the UV space. And you can see here it's already brought up these parts here for me. This is the batter. And you can see that the battery is a very, very simple image. And it's very, very large, actually. But the way we can do is we can actually make this much, much bigger. So I'm going to do, first of all, is zoom into these with my little dot bon. I'm going to make sure I've got everything selected. I'm going to press P selection, separate those parts out. It's going to make it easier to work with. Press Control A, all transform, click the origin, geometry, press the tab bon, press A, and then I'm going to press U. Unwrap and you should end up with something like this. Now, let's actually bring this over. And what I want to do is, I just want to see what the battery is looking like. So you can see the battery is looking like this. Now, I could come over to this side and pull these out and make them much smaller, like so, or make them much bigger or something like that. But rather than do that, let's actually do this in the shader itself. So we're not going to bother in the UV map. We've unwrapped it. Everything is looking good. Now, let's make sure that we can do it in the UV. Now, one thing I do want to make sure, though, I can see here I'm just making sure that the bars looking. You know what? It's going to be fine. It's gonna be fine. Let's go to shading now. So what we'll do now is, first of all, I need some way to actually make these bigger, smaller, change direction, and all that other stuff. So what I'm going to do is I'm going to grab my bar, and now we've got that node wrangle activator that I can just press Control T. And what that's going to do is set me up a texture and coordinates. And because now I've got texture and coordinates, what I can actually do is change the actual scale of these, so I can come down. Grab one of these and put it to five, and you will see straight away, it stretches it out. And the reason it's stretched is because we've only changed the X value to five. We really need to change all of these to five. Now, rather than going in and clicking on one by one, just left click the top one, drag down to the bottom one, press five, Enter, and there you go. Now you've got your actual batter mix. And it's looking different from each other, and you can see that it's been repeated. And it's been repeated because it says on here that is a repeating texture. And also, we've made sure that this texture actually is repeatable. So, in other words, it is a seamless texture. Now, the next thing I want to do is I want to actually make sure that this when it's rolling, so when it's actually being mixed, so to speak, we actually don't want it to look like it's just a simple texture, you know, just moving along. We don't want it to be like that. We wanted to have a bit of variation in it. So the way to do that is I'm going to actually pull my material output over here. And what I'm going to do then is I'm going to grab all of this and I'm going to press shifty and just bring it up like so. And I'll show you the magic behind this once we've got this in. Now, the other thing I want to do is I want to bring in some noise as well into here. So we're going to do that first. So first of all, though, we'll bring in a mixed shader, so search, mix, shader. So mix shader this one here because we have got a principle, so it can't be a mixed color. And then what I'm going to do is I'm going to plug this into the bottom. This one into the top, and then I'm going to plug this into here and nothing will happen basically because they are exactly the same going over each other. Now what I'm going to do is I'm going to move them along a little bit. You will see a little bit of difference in them. So if I come to this top one here, and I put this let's say on two. So let's put this on two. And there you go, you'll see that it's moved slightly. Now, let's come down to this one, and what we'll do is we'll put this on something like 1.2. So on the X, 1.2. And there we go, now you can see that they've kind of gone into each other. It's a little bit blurry, basically, and that's what we're hoping to achieve, so that now, when we actually set these rolling, they're not going to look the same. And you can try this yourself, you can put this back to zero on each of those. When I've showed you how to bring in the driver because that's what we're going to use to drive these, you will be able to see there is a definite difference in them. Now what I want to do before that is I want to bring in some noise before bringing in actual drivers. So the way I'm going to do that, first of all, is I'm going to bring in a noise texture. So Shift A, search, noise texture like we've used already many times before. So let's bring in the noise. Let's also bring in a color ramp. So shift a search. Let's bring in a color ramp, like so, and we'll drop that on there. And then what I'm going to do is plug the fat into the fac of the color ramp and plug the colour into the fac of my mix shader like so. Now, you will notice when I actually bring this up now, I've got Darker and lighter spots, and that is what I want because I want to have control over that part. So what I'm going to do now is just drop that back a little bit, bring my white down all the way to the black and there we go. We've highlighted those parts a little bit more. The other thing I'm going to do then is I'm just going to change a few of these just a little bit. So I'm going to put this on 6.6. I'm going to put this on 1.5. I'm going to put this on six, not six, so that's roughness, isn't it? You know what? We'll actually change this. We'll change this three D to be four D. So we'll change the way that it sits on the actual on this plane here. And then what I'll do is I'll put the W 6.6, this one to 1.5, this one to six, and find them a roughness back to 0.5, like so. Alright, now that looks fair, as you can see, we can also see I'm thinking that this is probably probably the wrong way around, but we'll see we'll see as we go on. Now, what I also want to do is I want to actually I'm thinking whether I actually bring in a texture and coordinates. Let's press Control T. We can bring in a texture and coordinates. I think that will just make it sit a bit better. You then have control over how you move these, as you can see. So if you want to control that, you can do. I'm going to leave mine for now on there. And now, all that is left is to make this texture move. So the way we make it move, if we come over here, and we go to. Where is it? This one here. So I'm looking out here, so we've got principled here, principle here. These are our textures, and these are the mapping for each one. If we come over and we go to our Y value, so this Y value, you will see as I move this, everything starts to move on this one. If I move the other one, you will see everything starts to move on the other one. This is why we want to separate them. We want some movement in the top and move them in the bott, and we want them to be different from each other. So the thing is, we could set this to zero, and then let's say at frame 100, set it to ten. And what'll happen is, as it goes through the frame, it'll actually start moving. But we don't want to do that. We want to do this as automatically as possible. If you want to do something automatically, you need to use drivers because what it means is, no matter how long the timeline, no matter how long this animation is playing, it will basically just keep going through. On a driver, resetting and it'll be very, very fluid, and you haven't got to add in any, you know, keys or anything like this. So this is a really, really easy way of animating something with textures. Now, as we get a little bit further on into the course, we are going to be using keys to actually put in certain animations from this point, so point A to point B. But for this, we're just going to use a simple driver just to get you started with animations. So what we're going to do to do that is, we'll come into the Y. And what I'm going to press is hashtag frame 40. So if I come in and I press hashtag frame Dash, 40. Press the end but, and now you press Space Board to start the animation. You will see now we've got them animated. Now you can see one of them is going the wrong way around, and the reason for that is on the UV map, that one is actually turn around. So let's actually see if we can see this on material view. Might be easier to see. So let this load up. There we go. And now you can see just how they're moving. Now, what we're going to do now is go to the other one, and you can see this will just keep going. It's infinite, no matter how long you know, the timeline is or anything like that. So now we're going to do is we're going to go to the other one. And what I'm going to do instead on the other one is put it to 50. So one of them's going to be moving slightly faster, one of them slightly slower because basically, frame 40 and frame 50 means that it completes the entire kind of movement in 40 frames, and then the other one completes the in 50 frames. So if I come over to you and I do the same thing, so hash tag, frame, as 50, like so, press the enbne. Now press Spacebar and now you can see they're all moving. You can also see that they're actually disappearing in and out on here. You can see them being mixed up, so they're not all the same. Now, finally, if we come over them and we go to our UV editing, and it is this one here. So if I grab this one, spin it round in my UV maps, just make sure my cursor is on there dead 180. Now press the spacebar, you'll see they're all running the right way. But more importantly, if I come back to modeling, Make sure I'm on shading view. More importantly, you can see that they look entirely different. You can see that some are flowing over the others and they're actually changing, as you can see. Now, you might be wondering what that flickering is. And the reason why that's happening, if we come to layout, we can see that our timeline is ending at 250. So let's go back to it. Let's put it on material view. Now, you can see the moment it's 66. The moment it gets to 250, it's going to flicker because it's going to go back to zero. So if we press Space Bar, you can see everything's fine on there. Everything's fine. We're going to 250 now, and there you go. You can see it jump a little bit. Now, if we set this to 1,000, like so, now you'll see that I'll just keep going, and it'll only flicker once it gets to 1,000, as you can see. So this is looking quite nice now. Now, one thing I just wanted to make sure is if it looks nice on my rendered view, and you can see, actually that is looking really nice. Now, finally, you might want to go in just before we finish, and you might want to set the roughness you know, a little bit more. Let's put it on to roughness. Like, so you might want to set the roughness up a little bit, just to get a little bit more glistening on those things. You might want to set the metallic up a little bit. Just make sure if you're doing it, though, you set it on both because at the moment, you can see, these are both, you know, these are both linked together in a way. Now, what you can also do last of all then, to do them both together. All you need to do is bring in a value. So search value, like so. Drop that in there. And then what I can also do is drop in the roughness, the roughness on here. Like so, so now I've got plugged into both. And now when I turn that up, I can actually turn them up at the same way. Now, what I'm going to do is just take that there. I'm going to plug it in to my metallic because you'll be able to see that easier. So plug it into metallic, plug this one into metallic, unplug this one. And now, if I bring this up, you can see it changes them both at the same time. So that is what we're interested in. So I'm going to leave that in there. You can mess around with that if you want, plug into your roughness. Just make sure it's plugged into both, but it will change them both at the same time, which makes things really, really easy, actually. Alright, so what I'm going to do is save out my work. So I'm going to save it out. I'm gonna go into modeling. And then what we're going to do on the next one is we're actually going to make a start on bringing in our conveyor belt. So this means that we're going to bring in our geometry node that's going to be used through here. I explain a little bit about what geometry nodes are. Alright, everyone, so hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 32. Blender basics asset manager guide for Blender Beginners Masterclass: Welcome back, everyone to blend the beginner's master class, the cookie factory. And now we're going to do is we're actually going to be looking at our geometry notes. Now, first of all, let's actually open up the rummage note. So if we open this up, let it load up, and you will see that this is what you're actually greeted with. So all of this, it looks very, very complicated, but trust me, guys, we've made this rummage note as simple to use as possible. So it might be complicated in the beginning, but after a while, you're gonna get the hang of it. Now, what are geometry notes? So what are they? In blended, the powerful node based tool set that allows you to create and manipulate three D models procedurally. They're great for beginners, they're great for advanced users alike, because they're extremely flexible way to build complex designs without having to go in there and fiddle around with things or create new mesh and things like that. The best way to think of juncture nodes is like ego for three D modeling. And instead of manually sculpting or moving pieces around build your three D objects by connecting blocks which are emetre nodes that each perform a specific task. So if we, for instance, go to this geometry node and we click on one of these parts, you can see what it looks like. Now, of course, this is a highly, highly advanced geometry node, and we've got one of our experts who actually put this together you can see this is how far you can take them. You can also create very, very simple emetre nodes which might just turn, you know, a cube into a sphere or something like that. You can create ones for trees. You can create them for roof tiles. And we have actually 40 plus geometry nodes, which we've actually created in house as well. So now we've gone through what geometry nodes are. If we go back to modeling, how do we actually get these into the blendfle that we're actually using? So there are a number of ways. First of all, you can just press Control C, go to the blendfle that you've got open, so the factory blendflePress Control V, and it will drop in this Jumptre node in there. That is one way of doing it. What I'm going to show you now, though, is the asset manager and how to use that to bring in your Jumptre node. So I'm going to show you that now when we come back then, I will actually create this into its own asset manager and show you then the easy way out to do that and also how you can build up massive libraries of geometon nodes or shaders or models that you can bring into any of your projects in real time instantly. Alright, everyone, so I'm going to play that for you now, and I'll see you on the next one. Thanks a lot. Bye bye. Welcome, everyone to the Blender 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 it's 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 the little plus but. 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 other files on the left hand side. And in this, 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. With this selected, if you come over to the right hand side, you can see here it says tree. If a right click, you'll see here, it says one that says mark as our asset. The moment we actually mark as 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. Now let's delete this out away. And what I'm going to show you is now, if we focus on our actual car, let's press Shift and Spacebar 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 mark as 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 Z -90, like so, right click Mark as 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 have put Control A, all transforms, right click, set origin geometry, and then right click and we come down, mark as asset. And now you'll see it's actually rotated that round for you. You'll also see, as well now if I pull this out, it comes in with all the material. Can actually do some other things as well. We can actually also save out materials. So 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, Mark as asset, the same thing. And then what we'll also do is come to this one and we'll right click and mark as 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's 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 Marks 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. So, 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 nodes 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? So the way that we can do that is we can come up to a new blendfle. So let's open up a new blendfle 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 I saved it in something called Blender Asset Manager, which is here. 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 Blender asset manager, and here are all of those actual files that I actually put in there, as well as where it says assets, geodes 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. The best thing is, if I actually bring in a cube now and just drop that there, shift spacebar 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. 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 the G put into the asset manager. Alright everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Cheers. 33. Working and customising conveyor track geometry node for Blender Beginners Masterclas: Welcome back, everyone to Blend and Beginner's master class, the Cookie factory, and this is where we left it off with our geometry notes. So what I'm going to do now, first of all, going to press the Little plus button. And when I go over to where it says asset manager. Now, if you don't have asset manager, you can just click on Animation, for instance, and I'll show you actually how to set you up. So if I come and drag this to the left hand side, and then what I want to do is change this from dope sheet to asset browser. Then I'll see that I've got all of these assets in here, and these are from my other projects, of course. Now, what I'm going to do is I'm going to put in current file, and within this current file, I won't have anything because I haven't actually put anything in there yet. Then what I'm going to do is I'm going to go over to the right hand side to where it says conveyor belt. And I want to right click Mark as asset. And what that's done is that's actually marked down my conveyor bell as an asset or a geometry node in there. Now you can see all of these are basically the same geometry node. So basically now I've got that in there, and now all I want to do is save out the file. So file, save it out, and that's it. I can basically close this file down now. I can close it down like so. I can go back then to my actual model, and now I can actually set this up so I can bring that geometry node in. Now, first of all, though, we need to set up something else. So we need to go to Edit. We need to go to preferences, and we need to go to file path. So this one here, then we need to go to plus. And what we need to do now is find that file that we had it in. So if we come to course Blender file, we've got one in there, which will be, let me just have a look. Course Blender file, geometry node. Here we are. This is the one, so Jomich node, click Add Asset. Now, if we can't see it, let's actually click on Blend Files, and then we can see Blender conveyor Jomich node by three D Tudor, and we can simply add this in there, and there we go. Now, if we come in to our asset manager, let's click the Plus button. Now we can't see asset manager on here. So what we'll do again is animation. And then what I'll do is drag this over. And then I'll come over to here where it says dope sheet and put this on Asset browser. And finally, then I just want to put it onto geometry node, this one that we brought in. And here we are. Here is our conveyor belt, and we can just drag this in. Now, before we use this, of course, we need to actually create a port for our actual conveyor belt. So I'm going to do that now. So we'll create that first, and then what we'll do is we'll attach a geometry node to a curve, and then it'll actually all fit into place once we've actually done that. So let's create that first part first. So let's go to modeling. And what I'll do is I'll come to where my little guy is. And I want my jumge node or conveyor belt to run from here to here. So it's the very simple one to start with. So let's come to our guy. Let's press Shift S. So cussed selected. Let's press Shift A. And then what I'm going to do is bring in a cube. And then going to make the cube a little bit smaller on the z. So S and z, let's make it a little bit smaller. And then what I'm going to do is I'm going to just bring up a little bit on the inside. So if I move this over, I want to press tab. Grab the top in face leg, press the Ib. And then what I'm going to do is bring it up like so, and there we go. Something like that. Very, very simple. That'll do for our first kind of conveyor belt. Now what I'm also going to do is I'm just going to drop it down a little bit. It's a little bit too high, something like that. Press Control A, all transforms, right, click Set origins, geometry. And now let's add in some colors, first of all. So I'm going to click Down arrow. We're going to put it on let's put it on rubber, first of all, so rubber on this part, and then the top A, I'm going to grab the top face, press Control plus. Plus down arrow, and we want it on factory yellow. Click a sign, and there we go. Alright. That looks good. Now, what I'm also going to do is I'm going to put this in my part, so I'm just going to move this over here. I'm going to press M, and I'm going to put in parts, reuse, like so, and that then is hidden out of the way. Now, let's bring in a curve. So what I'm going to do is I'm going to bring in a curve. I'm going to bring in a path. And then what I'm going to do now, I actually want to put my geometry node onto this. So I'm going to basically come in to my animation. We'll actually rename this as well. I'm going to double click it, and I'll call it asset manager. Like so. And then what I'm going to do is I'm going to drag and drop this onto here, like so. Now you can see when we first bring this in, it's a bit of a mess. We've got all of these parts that have come in. We don't really want any of those. So what I'm going to do is I'm going to come over now to my little spanner, and here you can see this now has the actual Jome node put on there. Now if I press space bar, you'll see actually something's happening, you can see it looks a bit of a mess, but we've got a conveyor belt in there. So now let's fix that. So first of all, because we've put the conveyor belt on there, we don't need to be in asset manager anymore. So let's go over to modeling. And then what we can do now is we can basically come over again to the geometry node. We can turn off the gears. We're not going to need those. We can turn off the supports if they're on. Don't enable those. And then what you want to do is you want to change basically this conveyor node part. So what I'm going to do is I'm going to come in, take this off, and then that will take those parts off. And then what I'm going to do is I'm going to open up this, and you can see that I've got a part in here. Now, if I turn all of these on, this is the part that we want to use. So this one here, I'm going to call this conveyor belt, so conveyor belt part. So and now I've got this there. I can actually close that up, so close that up again. Come back then to my geometry node, which should be somewhere around here. Now, sometimes that actually happens. Let's go and find it. Where is it? NbsPath. There it is. Sometimes that actually happens where you won't be able to see it because it will be hidden because you haven't brought in the object. Now, I knew where mine was. It doesn't matter if, you know, if yours is in there, show you a different way anyway. So let's just take that off. There's the actual nerves path back. So let's bring in again. So shift there. Let's bring in a path just so you can see. So it leads to the other way. And now I want to do is I can come in, add geometry node, click the down arrow, and click conveyor belt, and there we go. Now, let's start there again. So what I'm going to do is turn off the gears. I've got this belt here. I'm going to turn off the belt, and I already know the part that I need to use. So it's under parts reuse, and it's called conveyor belt. So if I turn off this belt, there we go. Click on this. And then what we going to do is click on this one, and there we go. We've actually got that in. Now, the thing is we don't actually want it double, so we want it flat. So there we go. And then what we need to do now is start messing around with a few of these parts because at the moment, if I press spacebar, you can see that these parts aren't actually together. So what we want to do is now we want to bring these up so you can see we can start intersecting them more, like so. Just so they just intersect. Like so. Now, are they close enough? I don't think so. I think they need to be a little bit closer, so let's click it up. Oops. One more time. So not 0.25. Let's bring it up to Let's try not 0.26. Let's try not 0.27. And there we go, but a little bit less. So not 0.265. There we go. That looks perfect for me. Now, the one other thing that I'd forgot to do on this belt. So if I bring this belt back in, so this one over here is I forgot to add on a modifier. So if I zoom into it, I'll add on a bevel modifier, so generate a bevel. Let's turn that down to note point, note three, something like that, and there we go, now that's looking much, much better, and I can close these down again. And what will happen is now that now is translated there, so you can see it looks very, very nice and smooth. So now it's going well, it's going the wrong way to start with. So I have a couple of choices here. Either I can turn it round or I can just switch directions like so. So now if I switch directions, there we go. Now what we need to do is we need to put this into place. So I'm going to bring this over. I'm going to pull it up into place like so. And when I work with this actual conveyor belt, it's much, much easier if we actually get rid of these verses. So if we press delete, verts, get rid of them, and then what we'll do is we'll pull this into place down here, so we'll pull it down. Into place, like so. And then what I'm going to do is make sure that it's centered and also make sure that it's big enough. So the moment you can see, it's not actually that big. Now we can do everything from this actual jamage node. So we can change the width on here, as you can see. We can change the length on here, like so, so we can increase that length and then change the width a little bit more, put it more into place, and there we go, that's looking a little bit better. Now the thing is, I think, I'll change the length a little bit less. So something like that, and I think that actually looks pretty nice. Now what I'll do is, I'll grab the top of it, and you'll see it's very, very easy to actually work with. Now what I'll do is, I'll put it there, and then I'll press E to extrude so, pull it back a little bit. I'll press E and Y or X and then pull it out, and then I have that going into there. Now what I'm going to do is just pull this up. A little bit, just so it's over there. Now you can see that this one needs also pulling up. Like, so, and we don't want it breaking, so I've actually broke it because I've turned it the wrong way. So what I'm going to do is I'm going to pull them, I think, both up at the same time. So if I grab this one and this one, I'll pull it up, so they're going in there. Like, so let's press the space bar. And there we go. And I also think that I need this pulling out a little bit further. And this pulling out a little bit further. And I just want to stop that just breaking there, as you can see, so I'm gonna pull it back. I'm going, so it's nice and straight without any brakes on there. And we can see that I'm going to have to pull this up a little bit. And there we go. So there is our conveyor belt going into here. Looking really, really nice. Now, of course, the other problem we've got is we don't have any flour on here. We're pressing Space Bar, by the way, that's just starting the animation, stopping the animation. So I forgot to say, press the space bar, start the animation, I'll stop the animation. But anyway, now you can see that the conveyor belts going nice and neatly into here. What I can also do now as well, is I can get rid of most of these. We're not gonna need these because I actually want to change them for something else, anyway. So I'm just going to delete all of those out of the way and get a nice, clean blend file again. Now what we need is some flowers. So we need actually a flour bag on here. So what I'm going to do on the next lesson is we'll create our flour bag and we'll get those on there going down around here. Now, again, once you've done those, we'll have to create other things like, you know, cookies and flat cookies and burnt cookies and things like that, as we work on through the actual course. But what we're going to do now is we're going to create the flour, and then what we're going to do is we're going to start on the basic animations for these parts just so we don't get too stuck in the weeds of just actually modeling. We've got a nice part now. Let's actually get it animated. Let's get the shape keys on and things like that, and then we can actually build animate as we go along. So basically, model put the shaders on, get the animation on, get the geometry node in with the conveyor belt. As we go along, it's going to make things much easier, much, much more exciting. All right, so let's save out our work, and I'll see you on the next and everyone. Thanks a lot. Bye bye. 34. Creating conveyor track using provided geometry node, adding custom flour bags for th: Welcome back, everyone, to blend beginner's Masterclass the Cookie factory. Now, just make sure that you're on layout now, and that is because we want to have this timeline for animation. What I'm also going to do is on this timeline, this is actually set to zero. You can see at the moment we put it on an end of 1,000, which means that when it gets to 1,000 frames, it's actually going to restart at one again. Now, the moment you can see that this is the conveyor bell moving, let's just put it on Object mode so you can see it a little bit. So you can see it a little bit easier. And the other thing is, if I come to this, I will just quickly show you, as well, we'll go through these options a little bit slower and as we work through everything, because as you can see, there is a lot of options down here. But the one main one that I actually want to show you is animation speed. So at the moment, you can see that we're going fairly, fairly nice pace, but I can actually speed that up to something like ten, and you will see now it's rocking along. And we don't actually want it like that. So that's one thing you can actually do as well. Now, we're on to the object. So we need to put some actual objects on here to be going along. I also recommend that you put this on something like 10,000, something like that because then you're not going to run out of time. You're going to be able to see everything moving along. So let's actually do the let's first of all, grab our guy. Make sure that your cursor is selected. Let's bring in then a plane. So we're just going to bring in a simple plane like this, and we're going to use this as our actual flower bag. What I'm going to do then is I'm just going to press tab to go into Edit mode, and when I right, click, subdivide, subdivide, subdivide, and subdivide. A few times. And then what I'm going to do is press E, while I've got it all selected, E to pull it down a little bit. And then finally, I'm just going to give some edge loops on the side, so one, two, maybe three edge loops, left click, right click, like so. Once you've done that, you should end up with something like this. And I want to press Control A or transforms right click Set origin to geometry. Now we need to turn this into a bag of flour. So the way we're going to do that is we're going to come over to the right hand side. And what we're going to do, first of all, set this down to one. You're going to come over to the right hand side where it says physics, and you're going to give it a cloth physics. Then what you're going to do is you're going to scroll down, and you've got one that says pressure, and we're going to put this pressure on something like two and then I'm also going to turn off field weights gravity. And the reason I'm going to do that is you'll see now when I press space bar, it turns into a bag of flour, but it drops straight through the floor. We don't actually want that. So how do we stop that happening? Put it back to one and turn your gravity down to zero. Then you can press spacebar and there you go. You bag of flour is there looking very, very nice. Right click, shade Auto smooth and there we go. Now, you can see it's got a lot of dimples in and things like that. We don't really want that, but we're going to fix that next. So first of all, though what we want to do is we want to actually apply this. So all I'm going to do is go to object, I'm going to go down to convert, and I'm going to convert it to a mesh, and you'll now see that cloth simulator is actually applied. Now, from here, what we want to do is we don't want all of these sharps in. You can see that's causing a major problem for us. So what I want to do is I want to press A, control E, and I want to clear sharps off there, and now you'll see it's much, much smoother. Still not perfect, though, so we want to make it even smoother than what it is. So what I'm going to do is I'm going to go in, grab it all, I'm going to go to vertex. And what I'm going to do is smooth vertices. And you'll see now it actually starts to get smoother. Now, I can also turn this up and smooth it out even more, and I can even turn you up the amount I actually want to smooth it. And now you'll see that looks like a perfect bag of flour. Now, the other thing is, because it's going to be on this convey, the bottom part of it wants to be a little bit flatter than the top part. So what I'm going to do is I'm going to come to the bottom part. So I'm going to grab maybe something like this. And then what I'm going to do is press Control plus Control plus. And what I want to do is I want to flatten that bom pot out a bit, so I'm going to come and use my proportional editing. I'm going to go on smooth. And then what I'm going to do is press EsnsEd and just smooth this out. So I'm going to bring this out ssn Z, bring it out and smooth it off, and then bring it up. And then you'll see that now that's a lot smoother than what it was. I'm going to even smooth it out a little bit more, so essen smooth it out a little bit more. Bring it up. And there we go. Now, it can actually sit onto our conveyor, and it should look pretty nice. Now, you don't need to worry about the size. All you need to make sure you do all transforms rightly set origin to geometry. Now, with these parts here, I'm going to move over to a special place over here, and I'm going to give it a new name. So you can see at the moment we've got parts reuse. We want to just call this part. So I'm going to press M, and I'm going to make a new collection, I'm going to call it parts. Like so. I'm also going to press F two, and I'm going to call it flour bag. Like so. Not bad. Bag. There we go. Flour bag, and then I can close that up. Now let's come back to our conveyor. So we want to put our flower bags onto our conveyor. So what I'm going to do is I'm going to go come on down and you can see where it says object. Now, we've got the object into parts, or we can use our object. So what I'm going to do, I'm going to open this up, click on this, click on flower bag. And then what I should be able to do is object. So click on Object. Press the space bar, and there you go, There is your flower bag. You're going to get one appearing every intervals. So let me explain the intervals. I'm just trying to find where the intervals. Drop intervals, so they're coming over every 1 second or so. Now, you can also see that the size of these is a little bit big. We want to make these a little bit smaller, so I'm going to make them a little bit smaller like so. You can also see that they sat too low down in the conveyor. So what I'm going to do is I'm going to bring up the z. So the z offset, I'm going to pull this up so they sat on there nicely like so. And also the scale, I would like it if they're not all the same scale. So I'm going to turn this up very slightly. And what that's going to do, if I turn the scale down a little bit is it's going to alternate now between the scale of them. So you can see some are bigger, some are smaller, not all of them are the same size. I didn't want them all the same size. Now, they all look the same, though, because they're not rotated. So what we're also going to do is we're also going to have a rotation offset. So now I can actually have them coming over. So are rotated. As you can see, not of all of them are the same, different sizes, different scales, all things like that. That is exactly what we want. Now, you can, if you want to, use a collection. So we're not going to do it on this one, but you can use a collection, which means that you can have all different bags, all different sizes, all of them looking different and things like that. So what we can do is we can come over to here now. We first of all, we can give it a material. So let's do that first. So what we'll do is we'll go to our shading panel. And then what we'll do is we'll press dot to zoom to our little flower bag, which is over here. So let's zoom to this. And what I'm going to do now is I'm going to give you one of the factory blue or something like that. I'm going to click the little down our copy material. And then what I'm going to do is minus this off. Click the new and I'll call it flour bag. Like so. And then what we'll do is now we'll actually paste it in, so paste material, and then I'll get you the color that we actually want it. So the color we want it is going to be this one, which is a nice brown color. So I'll come to this here. I'll actually zoom in so you can actually see what I'm doing. Come to this here. Hex, contro the enter, and that is the color that I want you to have it. Now, of course, the flour bags, the roughness doesn't want to be set so high. And the metallic, we don't want any metallic on there. So we'll set the roughness to 786, something like that, something around here, and that then looks a bit more like a flour bag. Now, the other thing is, let's make a few variations of these flour bags. Now we've got this, so we'll go back to modeling. I'll zoom into it. And then what I'll do is I'll press shift deep and I'll press shift deep. Like so. And then what I'll do is now is move these around a bit. So we'll come to this one first. We'll grab one of them. We'll make sure proportional editing is on, and then all I'm going to do is just move it around just a little bit, like so, making this one a little bit different from the others. We'll bring this in a little bit. In fact, we won't bring in too much. We'll make it a little bit more generic. Okay, like so. And then with this one, we'll actually pull it in, pull this part in, pull this part out, pull this part out a little bit, just make them a little bit different from the others, like so, and then I'll bring that in a little bit more. Like so. And now you can see we've got three different flour bags here. And now what we can do is we can put these all in the same one. So first of all, I'll grab all three of them. We'll press the B and we'll put them into parts. And you can see here I've got a collection seven. Let me just get rid of that. So you can see here they're all in here. I'm gonna move them out because we had them all in parts before. So let's drop them in. And then what I'll do is, I'll get rid of this collection seven, so press delete. You won't have yours there, but you will have in the minute. And now I want to do is I want a right click and I want to put new collection. And this new collection, you notice I right clicked on the parts. We'll call it flour bags. Like so, and then I'll grab all three of my flower bags and drop those in there like so. Now what we can do is we can come back to our conveyor belt. We can click on our conveyor, go to the jut node. And instead of now using object and then the object here, what we'll do is we'll put this on collection, and then we'll turn this off and we'll turn on the collection. So the collection wants to be flower bags, this one here. And now you'll see if I press space bar, all of these flower bags, they're different sizes. They're a different rotation. Everything is different about them. You will see, however, though, this one is a little bit big. So let's see, first of all, if I need to resell the transforms, so control it all transforms, right click SiginTGeometry. And you can see it's still a little bit too big, which means that I can now go back to my objects and just make them a little bit smaller, so you can see here, I need to make them a little bit smaller, like so. And now let's have a look and make sure they're all going in. So that one's a little bit big, as well. And there we go. I think I'm happy with that. So this is our first conveyor belt. And this is the first part of the cookie factory where they're making the flour. So what we'll do now on the next one, I will show you then how to animate something like this windmill. So that will be a very, very simple animation to get this windmill just spinning around really, really nicely. Alright, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 35. Animating windmill and its gear rotation for Blender Beginners Masterclass: Welcome Macon to Blend Beginner's master class, the Cookie factory, and this is where we left off. Now we're going to head on into animation. Now, again, if you don't want to animate, you can move on to the other sections of the course. We are going to be animating each of the parts so that they move and they come to life and all of that stuff. Now, mainly the animation we're going to be using is pretty simple. It's going to give you the basics of animation, and I highly recommend that you learn just these small basics just to animate your own projects. We're not going to be using complex rigs or anything like that, except maybe the claw, which is the end part of, you know, the course. So once you're more comfortable with animating all of these things, you'll probably be well up for actually animating that. Alright, first of all, though, let's come to our windmill. So what I'm going to do, I'm actually going to delete this out of the way. I'm going to move this one over as well. I'm going to move this over to there. And then that gives me loads of room. First of all, let's get ourselves set up properly. So if we come over to animation, let's get it set up. You're not going to need your material view or anything like that on when you're working in here. What I do recommend, though, is over on the left hand side, instead of having it both ways just kind of the same thing coming over. And change this. And what you want to put it on is you want to put it on this graph editor. So put the graph editor on. It will make things much, much easier for you. Then what I'm going to do is just pull this out like so, and you can also pull this one a little bit to the left side and pull this one a little bit to the right as well. And now pretty much we set up. Let's set it then to one. Always start from frame one when you start in an animation. Don't start from frame 40 or anything like that. I also recommend that you turn on not proportional editing. Where is the little channel. Let me have a look. So let's put timeline. This is what we want on timeline instead of the dope sheet. So coming over, let's put this on our timeline, like so. And what the timeline does, it'll give you a little icon here which says Auto key. This is going to make things really, really easy for you when you're actually trying to key things. So what I'm going to do now is I'm going to come to my windmill. I want to make sure that this part and this part are joined together, so control J. And the other thing is, at the moment, when I rotate this, you'll see it's rotating from the center. Now, make sure that yours is rotating from the center. So what I'm going to do is to rotate it from the center. I'm going to grab the center here, Shift S, cursed or selected. Grab my windmill then. Control A, all transforms right click, set origin to geometry or I clicks origin to three D cursor. Now, when I rotate this on the Y, you can see it's rotating perfectly. Just right click to drop that back in place. Now, what you need to do is now you need to start the rotation. So here is where the first rotation will be at frame one. If I then press I, what will happen is it will add in an actual keyframe. So now blender knows this is the starting position. Now, what I want to do is I'll show you both ways, so the easy way and the hard way. Now, you need to decide how fast this rotation is going to go. Now, I recommend basing it over something like 150 frames or something like that. So what we'll do is we'll move to frame 50, which is on here. You can either drag this over or you can actually type it in here. And then what I want you to do is rotate it by 90 degrees. So R Y, 90 degrees like so. And then what you need to do is press I, and now you'll see if I go back press the space bar. This windmill is rotating. Now, you'll see that it takes a bit of time to start, and it takes a little bit of time to stop. We're going to fix that. But first of all, let me show you the other way. So I'm going to put frame one, and going to come to these left click them, you'll notice these are not highlighted anymore. Delete and delete those out the way. Now I'm going to do is put this onto Auto key in. We're going to go to frame 50, so click on frame 50, so rotate it again. So Y, 90, and now you'll notice that it puts those keyframes in for you. So now you can see, press the spacebar all done for you, which is really, really easy. Now, let's go to frame 100. Now, because it is a full 360 rotation, it means it's better off that you're putting in four actual lots of keyframes. If you try and skip those out, it's not going to rotate properly. So just take that on board. Now what we want to do is want to press R Y, 90, and there we go, our keyframes in again. Now let's go to 150, put it on 150, like so. And then what we're going to do is R Y, 90, press the enter button, and there we go. Now, we should have a full now go off from here, all the way around, it keeps going, as you can see. You can see it slowing down and speeding up. And the reason for that is at the moment, Blender doesn't know that it's supposed to just keep going. So it keeps going at the same pace. So what we're going to do is we're going to press A while we're roving over here so you can double tap the A to D select, press the Ab and two select. We're going to right click, and we're going to go down to interpolation mode, and we're going to go on to linear. And you'll notice it moves very slightly. But now when you put it back to one, you press the space bar. And now you'll see it's going at exactly the same speed all the way through, and that is perfect. Apart from, once we get to frame 150, it just stops, and we don't actually want that. So what we need to do now is we need to add in a modifier to tell Blender, we just want to repeat this over and over again because this frame one is exactly the same as frame 150. So once it gets to here, it can start going through the process and just keep spinning indefinitely, no matter how many keyframes. Now, it used to be where we had to copy this, paste it along the time frame, all the way along for infinity. That's annoying. We don't want anything like that. We want to add in an actual modifier. So what I'm going to do is I'm going to come over to here. I'm going to open this up. I'm going to make sure that the objects. So you can see the object, all of these are part of it. If I click on one of these, you can see we've got a timeline in here. Click on this one. We've got another timeline. And basically, this is the graph editor where you can make things fast, slow. You can really play around with this graph and really go in depth, especially if you're rigging a character and you want to walk like a giant, let's say, the work much more solidly, much slower, and you can really refine your animations here. But we, however, don't really want it for that. What we want to do is make sure that we've got our object or this object here clicked on. So this one here, as you can see, and I want to actually open up one of those. So what I want to do is I want to grab all of these, so grab all of these. Click on my modifier, and the modifier I want is called cycles. So if I come down, I've got one that says cycles, and there we go. Now, I want to press Space Bar. I'm going to put this back. Press the space bar, and what will happen is when it gets to the end of the actual animation, it will just carry on going. So I'll just carry on going indefinitely, and that is the best thing about this actual modifier. Now, the other thing is, if let's say I want to speed this up, I can bring if I leave my timeline here, press the S but, you'll see it shrinks everything down to there. However, if I put it down at frame one, press the Sp. Let's say we want to half the speed. So instead of 50, we'll have it over roughly 75. The best thing is now it's spinning fast a lot, but the modifier will still keep it all together, so it'll still keep going. So if you really want to speed up your windmill, that is an easy way of doing it. I think for us, we'll have it on 150, and I think that is really, really that looks really, really great. Alright, so now I want to do what I'm going to do now is I'm going to hide this part half the way, and I'm going to grab this one here, and I want this turning, as well as this turning, as well. So what I'm going to do is I'm going to split this off, so you can see this one P selection, split them off. And then what I'm going to do is I'm going to grab this one and this one Control A or transforms right clicks origins geometry. Now, once you get the hang of this, you can do this really, really fast. So what I'm going to do is I'm going to put this one this one will probably be spinning quicker than this one, just to the fact of the size of the gear. I'd say, these are roughly half the size. So let's come to this one first. We've got automatic on, and what I'm going to do is just press I, and then I'm going to go to 50, then we're going to press R Y, 90, and then it's already put it in for me, as you can see, and then 100. And then R Y, 90, and then 150, and then R Y and 90, like so. Remember, you need to press A to make sure this is all grabbed, right to bring in the interpolation mode and put it on linear. Next of all, we're adding a cycle, so we're going to put cycles on like so. Now we'll do it on this one as well, and you can just see how quick this is. Put it to frame one. Press the Ib, come to frame 50, press R Y, 90. Come to frame 100, R Y, 90, and finally frame 150. And then R Y, 90. And then all we're going to do is, again, right click interpolation mode, linear modifiers, a modifier cycles, and there we go. Now it actually will be working, and you can see this one's also working, turning round. This one's turning round. Now, I did say I want this one a little bit quicker. So what I'm going to do with this one, I'm going to go to frame one and what I'm going to do is bring this down to 100 or something like that, and now you'll see that this one's moving around quicker. Now, let's press lt age, bring back everything, double tap the A, press the space bar, and you can see now this one's moving much, much quicker than these parts here. Alright, so far so good. Let's save out work. And that, guys, is the basics of animation. Most of the things in here are going to be animated in that way. So you've already learned about texture animation with drivers, and now you learned about rotation animations. Now, what we're going to do on the next lesson is we're going to do a couple more animations. First of all, we're going to have this gear turning round. And second of all, we're going to discuss another simple form of animation which is shape keys. It actually is really, really simple once you get the hang of it. And then on this one, we're actually going to be animating this as well with the skills that we've already learned. Alright, everyone, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 36. Continuing with animation for windmill adding horzinontal large gear motion as well as creation shap: Welcome back everyone to Blend and beginner's master class, the Cookie Back tree, and this is where we left O. Alright, so let's do now the gear. So we can see if I move this with G, right, click and drop it back. I can see that I'm going to press Shift H, actually, to isolate it out just to make sure that I've got it right in the center. So I'm going to grab this one and this one. I'm going to press shift desk cuss to selected. And then what I'm going to do is press Control A or transforms right plate, Saurigen to three D cursor. Then what I'm going to do is put it back to one. So back to one, so, then we're going to press I, and we're just going to do the same thing as what we've done before. So 50 and then R Z 90, like so, and then 100. And then, Z, 90, and then 150. And then finally, 90. Like so. Now what we know is right, click interpolation linear, and then add in the modifier cycles. Let's drop it back and make sure that's working. And then at this point, again, if you want to speed it up, then speed it up. Let's press AaltH bring everything back now. Let's see how that's looking altogether. And we can see I like the fact this has turned a different way to this. I think it's quite eye catching. You might want it to say it the other way. You can do that, as well. Let's double tap the A. And now let's come to this part here. So we're going to set here one, First of all, and on this one, we're going to do something a little bit different. What I want to do is just have this expanding and contracting, expanding and contracting. So the way we're going to do this is through shape keys. So it's a little bit different to how you use, you know, just keyframes and things like that. So what I'm going to do is coming over to the right hand side. We can see already we have one called shape keys. And what I'm going to do before I do anything, control A transom set Origins geometry, and let's add in a shape key. So if I press plus, we can add in a shape key, and if I press plus again. Add in another one. So this is the base, so blender stores the base. Once you add another one, you can see now you've got a value, and with this value, you can actually do something with it. So what I'm going to do is I want to press tab, I'm going to come in then, and what I want to do is just grab it around the base, like so, and I'm going to put proportional editing on, so just make sure proportions on and it's on smooth. And then what I can do is I can pull this out, so I can actually pull this out like so. When I press tab again, you'll notice it goes back to normal. However, now I can actually pull this out and put it in and pull it out and put it in. Now, what I also want to do is I want to make it also a little bit thinner. So what I want to do is I can come in and bring it in a little bit, as well. So instead of doing this, what I can do is I can add in another shape key press the tab bun, press the S but, and bring it in like so. And then I press tab, and now you'll see that I can bring this in or out. So what I can really do now is I can use both of these to bring it in or out. So what I'm going to do is well, first of all, I'll put it onto one. And what I'll do is I'll bring it in, first of all. So we'll have it all the way in. So I'll go to this one, bring it in, like so. I'm going to press I and then what I'll do is I'll go to frame 50. So frame 50. And then what I'll do is I'll bring it back to zero, and then I'll bring this one out and bring it all the way up, like so. And then what we're going to do is press I. Now, I need to press I over here. I forgot to say that, I don't need to go back to one and instead bring them all back to here. So I'll go to key frame two, bring that out, bring this one down, like so. Come back to this one and just make sure it's I on there, and then I on here, go to frame 50. And make sure it's keyframed on I on here. Now, what we should have here is it going out, and then we want to come in back in. Now, I've kind of made a mess of this, so you know what I'm gonna do? I'm just going to leave those off. I'm going to restart this. And what I'm going to do is I'm going to make sure that this is on zero. This is on zero, as well. So frame one, it's going to be like this, but I want this to be inward. So I'm going to bring this up inward, so I'm going to press I and then going to go to key frame one, and I'm going to press I. Then what I'm going to do is go to frame 50. Like so. And then I'm going to press this one all the way up, and we're going to press I. I'm going to come to this one, I'm going to bring it all the way down, and I'm going to press I. Now, what we should have now is it coming from here, all the way out to here. Now what we want to do is we want to go to frame 100, and we want to grab all of these, press Shift D and drag them all the way over to frame 100. And now we should have is going out and in. So out and in. And there we go. Now, inwards should be the same as this one, which means now these are exactly the same. Now, let's it's slow at the moment. We've not got interpolation on, but I actually think it's better if we don't. It looks like it's actually breathing, so I think I'm actually happy with that. What I'm going to what I'm going to do now, though, is go to my key, and I want to actually open these up and make sure I can pour modifier on them both. So if I grab both of these, I should be able to add a modifier and bring in a cycle like so. And now if I step this back, now I should be able to press spacebar in and out as though it's actually breathing like so. And I think, actually, that is looking pretty nice. Alright, so that's done. Now, the one thing I just want to make sure is that this is obviously catching into here. So basically, I want this to move backwards and forwards as this thing is moving. So let's see this part, as well. You can see that this is also moving. So let's make sure now that this is okay. So what we're gonna do is we're going to go to frame one. Frame one, like so. I want to make sure that this is over to this. So what I'm going to do is I'm going to, first of all, come on in. Let's add in a keyframe, the basic one. Let's add in another one. And all we want to do then is move this backwards and forward. So at zero, I want this to be all the way back here. So let's press space bar, bring it to move without proportional editing on, so let's bring it all the way back. And then what we'll do is at frame one. What's going on with that? Frame one. There we go. Wait a minute. Yeah, there we go. So frame one is all the way over here. And now we want to push it forward, so we need another one, so plus. And then what we'll do is move this forward like so. I don't think it'll actually be that far forward, actually, something like that. And there we go, now we can move it this way, as well. Now we need to do is match it up so on frame one, we're going to have it, so it's there. So I. And then this one will be I, and now we'll move to 50. So let's put it on 50. And then this one should be all the way back. So let's bring this all the way back. Let's come to this one all the way back to there, and now that's fit in. Much, much better. And now let's press I and let's press I on there like so. Now, let's go to frame 100 and we should just be able to copy this. So if I grab this one, shift D, let's bring it over, like so. And now let's see what that looks like. Let's go from here, actually. And there you go. Now you can see it's all moving together. So now we want to do is grab them all, coming up to this part here. And what we want to do is add in or modify it. So adding the modifier, cycles come back to it. And now you can see it's breathing perfectly in line with each other, and that's looking pretty nice. Now, we have got this one, of course, that we need to do the same thing too, as well. So this is quite easy. We'll put it back to one, like so, and you can see we need to move this a little bit forward. So all I'm going to do is just come in, face select. And as you can see, the more you do this, the quicker you're going to get with it. And then what we'll do is press tab. I'm going to press plus, plus again and plus once more. Then we'll go to this first one. And what I'll do is I'll move this down like so. And then as I move this up, you can see that moves in. Now let's go to frame 50. Like so. And then I want to move this all the way back. I think with this, actually, it's just moving it back. So all I'm going to do now is I'm going to put it on key frame two, and I'm going to move it back to round about there. Okay. Now let's go to frame one. And then what we want to do is move this a little bit in. So we'll come to this one, move it in a little bit, like so, press the I, press the I, and then we'll go to frame 50. Like so, and I'm going to move this all the way back. So let's move this one all the way back and move this one all the way up, and then press I and then press I. And then finally frame 100, we'll just get this shift D, put it to 100, like so. And then what I'll finally do is come to vote for these, modifiers, cycle, and there we go. And now it's press space bar. And now everything is moving in sync with each other. And as you can see, this cartoony looks really nice. And that is that part done, like so. Alright, so now we're moving on to the next part, which is our batter maker. So what we want with this one is we want this rotating round. We want this coming up and down, then this little dial kind of moving backwards and forwards. Alright, so let's do that now. We'll press the pause button and we'll put it back at one. Like so. We'll save our work, and we'll actually start that on the next one. Alright, everyone, hope you enjoyed that. Hope you learn a lot, and I'll see you on the next one. Thanks a lot. Bye bye. 37. Adding stylized animation using shape key for nozzle of batter maker for Blender Begi: Welcome back, everyone to Blend and Beginner's master class, the cookie factory, and this where we left off. Alright, so let's come to this bit. We want this bit to go around like that. We want this bit to go up and down like this, and we want this, what you can't see in here, that little, you know, kind of nod lever. The thing that shows how hot is, we want that to bounce around something like that. Alright, so let's do this one first. So what I'm going to do, first of all, is split this off, so I'm going to grab this piece selection, and then we're going to grab all of this part, and I'm actually going to delete it. So delete faces. And then what I'm going to do is just come to this bit I'm going to grab all of this edge going around here. So Alt Shift and click, press the F bone, and now these two are completely separated. Now I want to do is I want the center of here, so shift s, cursed selected, and now come to this one. Control A, transforms right click, Seragin to three D cursor. Now, this should be right in the center of here. So let's press I to give it the first keyframe. Let's then go to 50. And then let's press R Y, 90, and then let's go to 100 and then R Y 90, and let's go to 150. And then Y, 90, and then finally 200 and then Y, 90. Alright, so we know now this will go all the way around like so. And then what I need to do is right click interpolation mode. We want it on linear. And finally, then let's bring in our cycle. So grab all of these, modifiers, add, and cycles, and then we go. Now let's see if that works, and it should just follow this going all the way around. And it should once it gets to here, restart again. Alright, that's looking cool. That's that bit done. Now we want this bit now, so we'll join both of these together. So join both of these with Control J. And now we want to do is press Control A or transforms set origin to geometry. And what I want to do now is I want to come over to my shape keys again. So let's go over plus and plus again. And what I want to do is move this up and down. So I'm going to basically grab all of this round here. So I'm going to grab all of this with L, and I want this to move up this part up as well. So what I'm going to do is put on proportional editing. I'm also going to make sure that it's connected only is off because then I can move all of this up, as you can see here. So we can move this up and we can move it down. So I want to move it all up to you to squish it in as you can see. So what I want to do, first of all, is put it all the way down to there, like so. And then what I'm going to do is press tab, and then I'm going to press the plus button. And then instead now, I'm going to go all the way up. But what I'm going to do, as well, I'm going to grab it through the top and pull that down, as well. So if I come in and put on this button here so I can actually see through, grab the top of there, turn it off a minute. And then what I want to do is pull it down like so. Now, if I press tab, if I open this up a little bit more, I should be able to pull it up, and I should be able to put it down, like so. So now what I want to do is I want to put it in there. So let's go to one, like so. And what I'm going to do is move this second is move this all the way down like so. I, come to this one, press I. And then what we'll do is we'll go to 50 like so. And what I'm going to do now is I will pull this back. I'm going to pull this all the way up and pull this all the way down like so. I'm going to press I and I like so. Then finally, I'm going to grab all of these. I'm going to press Shift D and drop them at 100 like so. And now we should have, if we put this down, it should come up and down like so. Now I can come in, grab all of these or both of these, add in a cycle, and there we go. And let's see now what that actually looks like. So up and down. And there we go. Really, really beautiful. We've got that bit going. Okay, so now we're on to just this part here. So if I come in, hide my glass out of the way, this is the part, you can see the orientation is already in there. So what I want to do now is set this first vol all the way over to here. So what I'm going to do is I'm going to press R X, bring it all the way over here, like so. It's put in a keyframe. I don't really want that, so I'm going to delete out of the way. I'm going to go over to one then, and what I'm going to do now is press I. And then what I want to do is I want to come to kind of like 25 or something, and I'm going to spin it all the way around. So R Y or RX, like so, bring it all the way around to here, like so. And then what I'm going to do is put it on frame 100 like so, and spin it all the way back round to this one here. So I'm going to grab this one, Shift D. Let's put it all the way back like so. And now you'll see it goes pink and then slowly back down like so. Now what we want to do is we want to now bring in a couple of modifiers. First of all, we want to bring in our cycles. So let's bring in cycles like so, and there we go, now, it should seek cycling through them. Like so. That's perfect. And now what we want to bring in is one more modifier, you can also modify and stack these as well. So the modifier we're going to bring in is going to be noise. We're going to bring in another modifier like so. And you'll see now that when I press it, it's bouncing all over the place. And the reason is I'm going to go back, and instead of doing that, I only want it set in on the actual Y. So well, whatever it is, let's have X, yeah, it's X. So the X X is so you can see location, this one, if I pull this out a little bit, rotation. So we want it on the X only on rotation, and we're going to add in a modifier, and it's going to be noise. And now you'll see that we've got noise bouncing up and down on there. Now I want a bit more extreme than that, so I'm going to put the noise on 1.4, like so, and now you'll see that it's bouncing a lot. Alright, so simple as that to actually have it. And the thing is about the noise, it will be randomized, so it'll look different near enough every time. But you'll see now I press Altage, bring back everything, go back to muddling. And now what we're going to do is have a good look at what this is going to look like. So we're going to press tab, double tap the A, and then we're going to put it onto render view. We're also going to hide out these parts. We really don't want these parts in there. I'm going to put that up, tidy everything up, make sure everything's nice and tidy. I also want to make sure that before we check this, that everything on here should be in the water adder. So I'm going to press M, put it into the water adder, and I'm looking. Why is there another object in there? I don't know why that's in there, so let's get rid of that. So let's do that again. So everything should be in water adder, like so. And there we go. Now, when I turn this off, this one should hide, this one should hide. And this is the conveyor belt. So I want to move this into one that says conveyor belt. So let's go to New collection Cd. The belt, like so, enter again, and now I'll move this as well up. So I'm going to move this right to the top in there, like so. And now I can hide all of these parts out of the way, flour mill, or I can add my water adder, everything can be hidden out of the way. Now, let's see what this looks like. Press space bar. And there we go. So let's look at this. You can see this coming in and out. Now, sometimes, if you want to see this a little bit better, save out your work, first of all, and then put this on cycles. Now, you all gonna have one problem Well, sorry, on IV, you all gonna have one problem, and one of the problems is going to be. You can't generally see through there we've with IV, but I think, actually, we can. So let's have a look now, and now you'll have it in real time. What it's actually going to look like, so you can see the pipes moving back. Everything is looking really nice on that part. We can also see the flour mill. This is moving round. This is coming back down. And then finally, this part here is moving around, and everything is looking beautiful. Alright. That's really cool. Now, let's go to File, Save out our work. And let's go to cycles once more. What we're going to do now is bring this over a little bit, and now we're on to one of the more complicated machines. So the modeling here is a little bit more than the other ones. So what we're going to do is go to our image. Open it up, and the image we want is going to be references, and we're going to put this on so we can actually see what we're looking at. Let these load up. And the one we want is going to be the mixer. So let me see where the mixer is. This one's the mixer here. So, again, you can see, you're going to need a little bit of help from the actual animation, so you can see exactly what this looks like. But this does give you a general overview of what it's going to look like. Alright, so when we come back, we're going to start on this main part here and then build it up, and eventually we'll have this finished. We'll leave the conveyor belt till, you know, after we've actually finished it, what we'll do is we'll just build it up alter here. We'll get the animation in this thing, which is really simple because this is just, you know, drop down, spin round, and go back up, and then we can actually work on this conveyor as we work our way round to the squasher. So we'll need, you know, a couple of different pieces of parts for the actual dough on that part, as well. Alright, everyone. So I'm gonna save out my work, and I'll see you on the next one. Thanks a lot. Bye bye. Un 38. Modeling a mixer machine for Blender Beginners Masterclass: Welcome, Mik everyone to Blend and Beginner's master class, the cookie factory, and this is where we left it off. Alright, let's put this on object mode. And what we want to do now is we want to place where this buyer can actually go into the next machine. So what I'm going to do is I'm going to first of all, will I think I'll use this, so I'm just going to press Shifts, Custer selected, Shift A, and then what I'll do is I'll bring in a cube. I want to bring my cube over. I want to place it, you know, wherever this is going to go in. So we're going to place it into here, so it's going to go all the way into there, like so. And what I'm also going to do as well is this basically is roundabout the same size as this machine, so it's around about the same size, if not a little bit wider. So what I'll do is, first of all, I want to make it a little bit wider. So S and Y make it a little bit wider, so. And then what I'm going to do is I'm going to pull it back because I need to have some room without portion editing on. I need to have some room to put on the bit that's actually going to be mixing it. So that's the first part I actually need to put in there before doing anything else because that'll give me an idea of, you know, kind of size, scale, things like that. The other thing is, I do want it a little bit higher than this one, so I'm going to put it up a little bit, so as though all of this bars going around then being mixed in. Okay. So now let's press Shift S, cursor selected. Let's press tab to go into object mode. Shift A then, and we're going to bring in a cylinder, and the cylinder we're going to put on 24 again, just in case yours has done that as well, and then we're going to press S and bring it up to where I actually want it. So it's going to be quite large this thing, so I'm going to press S. Something like this. And I think that's actually high enough around about there. I want to right click and shade Auto smooth. And I'm also just going to come in, grab the bottom of it, so grab the bottom face here and just pull it up just so it's in the right place. Turn this off, and then you'll be able to see exactly where you need it. So something like that. And it's just going to come straight out the machine here. I think on this, I'll give it a little bit more room, so a little bit more room on this side. So like so, and now we'll fix the top part of it first. So I'm going to come in, grab this top part, and what I want to do is bring in an edge loop. So I'm going to press Control. Bring in an edge loops can be quite chunky on this end. And then I'm also going to press the I'm going to actually bring it out first, so shift and click. I'm just wondering the best way about going around this. Yeah, I think it'll be better if I just bring out first. So eat, enter Altnes. Let's bring it out. Like, so and then what I'll do is I'll bring this in a little bit. So I bring it in and then drop it down into place where the actual mix is going to go before we get past that point. You can see it disappears there just before that. And then I can put, you know, my what's it called? My dork on there. So now I can come in, l shift and click, alter this and just bring it in a little bit more. Like so. All right. Now, I want this part fairly rounded on here. So what I'm going to do is I'm going to come in, Alt Shift, and click, Alt Shift, click, Alt Shift, click, press tamp, Control A, resell the transform. So set origins, geometry, now press Control B. And then what I'm going to do is turn these up just to round it off, like so, and there you go, now you can see that's looking pretty nice. Okay, so now let's focus on the rest of the machine. So first of all, I want to bevel off this edge and this edge going down here, and I also want to make a gap in this bom part where all of this is going to go on. So I think what we'll do, first of all, is we'll make this gap down here where this actual bat is going in, and also as well, need another part. So I'll also fix this onto here now and not actually I'm fairly sure this is going to be the width of it. I'm just wondering if I need to pull it a little bit further over. I think I do. So I'm going to pull it a little bit further over. I'm going to pull this a little bit further over as well, so giving myself plenty of room. Then I'm going to press Shift D. I'm going to bring this over then into place. So I'm going to put it round about here. I'm going to make sure, as you can see, it's not quite wide enough. Now, if you only need to move it a little bit, of course, you can press S and Y and move it a little bit like. So when you need to move this all the way down here, though, just come in and grab it going from this end. All the way around to this end and then pull this down to round about there, giving yourself a little bit of room. It just squishes it in too much if I was to, you know, squish it in on the X along all of this. So that's why I've done it like that. Alright, so now, let's first of all, come in and as I said, make this bit first. Now, we could come in and use a boolean on here, but I recommend we don't do that. What we'll do instead is, we'll bring in an edge loop, so control. We'll bring it down to where I actually want it, so it will be something around there. And then what I'll do is I'll press Control B. Bring it back just so there's not so many edge loops in there. And something like this, let's bring it down a little bit more. Like so. Let's bring in another edge loop. So control R, left click, right click, Control B. And then what we'll do is pull that out into place, and that should be even on both of those sides like so. Now, before we carry on, let's put all of these into mixer. So M, new collection, mixer. Like so, and we'll also come down and we'll drag the mixer up to under the water adder. So they're all in a nice order. Everything is nice and neatly done as we're moving along. Okay, so now let's come to this part here. Now, what I want to do is I want to before going any further, I also want to add in one more edge loop, so controller so control, left click and bring it down to there. And then I can actually got a place where I can actually bring this up too. So, in other words, I can bring this out. One more edge loop, then, Control R, just in front of here. Like, Sosa just in front of this part here, and then we're ready to go. Now, one last thing though is, I need to drop this down a little bit further. As you can see, this is not all the way down to the ground. We really want it down there. So what I'm going to do is I'm going to put on my X ray and then going to come in, and hopefully I should be able to grab it going all the way from there, all the way to there, from here, all the way over to this one here, turn it off, and then I should be able to pull these down into place like so. Now, this part here, let's fix that then. So what I'm going to do is I'm going to grab this one, this one, this one, and this one. I'm going to press Control Shift and B, and then I'm going to bevel those out, like so, making it a nice rounded type you know, part that's going to be in there. And then I'm going to press E and pull them all the way back. Now the thing is when I press E, then, you can see that I've pulled these back as well. Now, as I said, when you press E, this E is still on there. So you can either press Control Z, and then it'll take it back. Or if you don't want to do that, what you can do instead is you can press A, and then you can come up to mesh, clean up, merge by distance. And what they'll do is it'll remove that extrusion I actually created there. That's sometimes the way to go in case you're not sure whether you've done extrusion or not. Now I can come to this. I can press the Ebn. I can pull it back into place like so, and that's looking pretty nice. That's exactly how I wanted. Next of all, then, I want to put on a bevel on here and on the back, as well. I think I'll do this one first. So I'm just going to grab all of this. I want to press Control B and just bevel it off, increase the amount of bevels, like so, and then I'm also going to come round to the back here. Press Control B and bevel this one off as well. And then finally, I want to pull this out. So I'm going to grab this one and this one. I want to press E, enter Altern, pull this out a little bit, like so. Right click, Shade Auto Smooth, and there we go. I'm just going to make sure. Yeah, cavity is not on. There we go. I can see much, much better now. That is looking pretty nice. That's exactly how I wanted it. And now let's move on to the next part. So we kind of want it near enough lining up with this one. It doesn't have to be exact or anything like that. But what we first of all, want to do is we want to make part that's, you know, kind of gonna come up to the sides of here. So what I'm going to do is first, I will make a smaller one over here. So I'm going to press Shift. I'm going to bring in a cube. And what I'm going to do is I'm going to move this over and down to where I want it. So first of all, I press control, if I press one, I should be able to see then bring it down, and now I can see that stuck in there. If I bring it over, then I can see also it's in there, and then I can make it a little bit wider on the X like so. And now you can see that's kind of fitting where I actually want it. It's level near enough with here. I just probably want it a little bit thinner. So I'm just gonna grab the back of it, pull it in a little bit, like so. And, yeah, I think that's looking quite nice for a base. Now, let's grab this base. Shift D. Let's bring it over to where I want it. So we can see here we want it round about there. And what I also want to do is I don't want it quite the same as this. So what I'm going to do is press S and X and bring it in a little bit like so. And as I always say, if it's too much, so this is way, way too much, come in, grab them going all the way around there, and then let's pull them down like so. Alright, that's looking fantastic. Now, the next thing is, I want to make this slightly higher than this part here. So what I'm going to do is I'm going to pull it up, so it's slightly higher. It gives a little bit more depth to your builds when you're making things different sizes, you're making it on different levels. You're making things different scales, more depth. It doesn't look so uniform when you're doing it that way. Okay, so now we've done that. Let's add in a small kind of gear on here. So what I'm going to do is press Shift, cuss to selected. And then what I'm going to do now is add in a cube. So I'll add in a cube, but I want my cube kind of to be over here. So what I'll do is I'll press Shift A, bring in a cube, make it smaller. Like so, bring it over here now, like so, and then let's bring it up. And there we go. Let's make it a little bit longer. So S little bit longer. And the thing is about this, I want it to be, you know, taller than this machine here. So once we've got this top on, we can make it a little bit taller than this, again, adding depth. So what I'm going to do is just pull this up a little bit, and then I've got something I can put under there now. So shifts, Custer selected, shift, let's bring in now a cylinder. Make sure it's on 24. Let's press the S born, bring it down into place so we can see now it's going to fit in there, a little bit smaller. We just want to make sure that it's strong enough to hold this, so a little bit more. S and Z and let's pull it down, so it's in place in both of those. Right, click Shade Auto smooth. And then what we're going to do now is press Control A, bring it down to here, and then Control A, bring it up to round about here, something like that. And now let's fit it all together. So Alt Shift and click E, enter Alter Ns. Let's bring that out. Like, so, up to you if you want to put your bolts in there, I don't think I'm going to do with mine. And then Alt Shift click, and then E enter alones, bring this one up. And I think I'll have one more bit on coming down as well. So I'm going to bring it in a little bit. So lns, bring it in. And then Control plus. And then what we're going to do is just bring it down, and I'll add in another bit. So I'm going to grab this top bit here, E, enter S, pull it out, and then E and Zed, you want to make sure it's following the axis like so, and there we go, something like that, I think looks pretty nice. Now, let's start with the top part of this sense so once we've got the top part, we can get it moving all the way over to here because this is what he needs to line up to. If you look at this at the moment, it's kind of not lining up to where this is, and we really, really want that line up. So what I'm going to do is I'm going to grab this. I'm going to make sure that my cursor is in the sens. You can see everything is in there. And what I want to do now I want to do a little trick to get it right in the center of here. So what I'm going to do is I'm going to grab all of these, and I'm going to grab this one last. So shift select this one last, Control P, and what we're going to set parent object. Now, if I move this anywhere, you will see the whole thing moves around, which is great because what it means is I can come now to here, shift Des selection. Sorry, cursor to selected. So move the cursor there, grab this one, shift Ds and selection to cursor. And now you can see that's right bang in the center, which means now I can just come round with three and I can lift this all up, so it's nice and level with the rest of it, holding shift button. And now, you'll see that is level now with that. So once I've put top on here, we know this then is going to be level with it. Now, let's put the actual top on here because we need to make it quite rounded on this bit. So what I'm going to do is I'm going to remove all of these of the parents that are set. So oat P, and what we're going to do is clear paren, but make sure you keep the transform. If not, they'll move all over the place. We don't want that. So now if I move this, you'll see nothing moves with it. Everything now is set into where it needs to be. Alright, so now let's put this big chunky bit that's going to be over here. First of all, though, I think this needs to be a little bit wider. So what I'm going to do is I'm going to press S and X, pull it out a little bit, like so, and there we go. I think it looks better like that. Let's move this a little bit more over. To give us a little bit more room, so over like that and make sure he's a little bit more depth on. And then what we're gonna do is save that'll work. And on the next one then, we'll actually bring you know what, before we finish, let's just bring this out a little bit like so. Yeah, let's bring you out. Ah that actually looks better, a bit more depth to it, and then we'll get the top bit on and a bit underneath and get it all together. Let's save out all work once more, and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 39. Continuing modeling for a mixer machine for Blender Beginners Masterclass: Welcome back, everyone to Blend the Beginnings master class, the cookie factory. And the first thing I think we'll do is add in the little box that's going to be on here. I'm just wondering if I've made this a little bit too wide this way. So all I'm going to do is press S and X. I'm just going to bring it in a little bit. And then what I'm also going to do, as well, is I think I'll round this part off. So I'll come in, I'll grab this side and this side. And before I do that, I'll just press Control A or transforms set origin to geometry, and now press Control B and round them off. Now, I don't want it rounded off so much like this, as you can see. So what I'm going to do is I'm just going to pull this around like so, and then I'm also going to pull this two here, I think, and then just try and round it off a little bit more like this. And then on the right, click and shade Auto smooth. And yeah, I think that's looking much better. And finally, what I'm also going to do, I'm going to press S and Y and just squish it down a little bit more like so, and I think that's looking much, much better than what it was before. Alright, so let's put this little box in. So all I'm going to do is press shift day, bringing a cube. And the cube is going to come over here, so let's bring it over here somewhere. Let's press S. And we want to make sure that it's stuck at the side of it. So something like this, let's have a look. And then we've got a pipe coming out of here, into here, and we've got two pipes coming down. And lastly, we want to make sure that if I go over the top, you can see it's not quite there, so I need to pull this out a little bit more, so I'm going to come in. Grab this part, press seven, and then I'm going to pull it just past there, like so. I can also see, as well, that maybe maybe this part here, I could probably do with moving it a little bit more like so. And there we go, now, that looks ready to rock and roll. So now let's think about this top on here. So for this top, all I'm going to do is I'm going to come in. I want to press the Ibn to bring this in. And then what I'm going to do is just press E, and I'm going to pull it up like so. And from there, then I think I can actually put a top on here. So first of all, let me grab the top of here, so shifts to selected. And basically, then what I want to do is I probably want this part here. So if you know what, if I just press Shift D, bring that up. And then what I can do is I can bring this over to here, like so, press the S button. Bring it out, like so. And then what I should be able to do is grab the back of this, pull it over, like so, press L on this and then press E and then just bring it up like so. And I think that will give me relatively a good starting point. So I'm just going to separate it off with L, like so, and P just to separate it. And there we go. Control A, transoms right click, SiginsGeometry, and yeah, I think that's actually going to do it. I think we just need to now pull it down into place. I think it's gonna need rounding off in certain parts. So let's see if it's over the top, first of all. So I need it really pull into here over the top. And I'm just wondering whether this whole thing needs pulling up, and I think it does. So I'm going to do that now. So what we're gonna do is just pull this a little bit closer to it. And then what I can do is now with this, I can move it over, and then I can actually pull this back a little bit because I feel like this has gone a little bit too far forward. I'm going to go over the top seven. I'm gonna pull it back just there. Like so. Alright. That is looking out. Won't it now. We need to pull this top bit back a little bit. So what we'll do is we'll pull this down. Like so. And then what I'll do is I will bring it up so I'm going to press E, bring it up a little bit. And I think what I'll do is I think I'll drag this bit back a little bit like so. Now, what I want to avoid is I want to avoid these parts on here. So what I'm going to do is l shift and click Control B, drop it back a few. Like so. And yeah, that's what I want. And then what I want to do is I want to round this back bit off. So Althift click, Al shift, click Control B, increase the amount of subdivisions, like so. And there we go. This is something that I'm actually looking for. And then what I'm going to do now is I'll actually finish this bit off by rounding off these top parts and these bottom parts. I think I want to a little bit more round. And the other thing is, I'm thinking I want this from bit to go in a little bit. So if I can press Control law, you can see that I can't really bring it in because of the fact we've got this point on here. So what are we going to do to fix that? We've all score points on here as well. So what I'm going to do to fix that is I'll press Shift H to hide everything else out of the way. I'm going to grab this one. And this one. I want to press the J button, and then we're going to grab this one and this one, press the JB. And now we're going to come underneath, grab this one and this one, press J, this one, and this one. Press the JB. And now I should be able to press Control and bring in an edge loop, like so. Now, why did I want to do that? Because I actually want to bring in this part. At the moment, I kind of want to bring it in. So if you go over the top, this pan here will be squished in, so it just brings it all in a little bit. So how I'm going to do that is I'm going to come to this center part, grab it just here, press seven to go over the top. And then what I'm going to do is put portion editing on. I'm going to press S and X, pull it out, and it should, bring it in a little bit for me like so, and there we go, it's looking much, much better. And now, finally, let's come in, and we'll go, Al Shi click going all the way around. And I'm hoping that I can bevel off this top. So Control B, let's bevel it off. Slightly, like so. And this is the part that I'm just going to shade move and see if it gets rid of that. No, it hasn't. So what I'm going to do, I'm going to press Control B, I'm going to increase the amount of subdivisions, and there we go. That is what I want, and now we'll do the same thing on here. All shift, click, Al shift, click, Al, shift, click. Control B. And there we go. That is exactly what I want. Press Altag yeah, and that's looking good. Now, we'll do the sides now so we can see we've already got some sides on here. So what I'll do for the sides is I will come to this one and this one, and I'll also come. I'm just looking where I want it. Yeah, those two there. And now we know it's over here, so this one and this one. So we've got now the same two through there. And what we're going to press is Control Shift and B, and we're just going to bevel those off. Bring back the bevels. We don't want too many. So something like this. And then we can use this now to create the pot that we want. So if I come in now and grab this one and this one, all the way to here, now what I'll do is I'll grab this one going all the way round to here, and then this one and control clicking all the way round. Then I can press E to lns without portion editing on. Press Control E. Alterns, bring it out, and there we go. That is how we got that pot on there, shade or smooth, and that's looking pretty nice except this little bit here. So I'm wondering whether I need to just bevel off this one just a little bit more. So let's just have a look how it's going to look, Control B. Yeah, and I think I'll do both of those. So we'll grab this one and this one and then this one and this one. And all I'll do is Control B. Like so, and there we go. Now, the bevelled off, fine. Now, let's do this top part, so what we'll do is we'll grab this one in face leg. So this one here, going all the way over to this one here, we're going to press the Ibn then, like so. And then all I'm going to do is press the E button just to extrude it out. I'm going to extrude it out actually along there, like so. Now the problem we've got here, as you can see, this is a bit hard edged. We don't want that. So we can either come in and now we can actually bevel it, so I can actually come in, grab these edges like so, and then press Control B and bevel those off. Increase the amount of edges, pull it out, like so. And then we go, But what'll happen is, as you can see, now we've got an issue with that, let's see if we can shade it smooth. No, that's not gonna work. So instead of that, what are we going to do, we're just going to go back instead before we actually pulled it out. And instead of doing that, I'm going to bring it in. And what I've got to be careful of now is that I don't do that. So instead of doing what we just did, all I'm going to do is I'm going to press Shift D, and then I'm going to extrude it out, like so. And then I'm going to bevel it off now. So hopefully, let's see if that actually works. So we duplicated it over there. Then we brought it out with extrude. So Control B, let's bevel it off. And now let's see what that looks like. And there you go, now you can see that's actually working. Albeit we need a few more edge loops. Let's go back once more. Control B, bring in a few more. Chef. And there we go. Alright, that'll do. So we duplicated it, then we straightway extrude it out. So if I come now, I can actually go for this. I can hide it out of the way, and you can see that's underneath it, anyway. So right, that's that bit done. Now, so we've got all of this done. And we need the front of this. So let's do those first before finishing this, so we're going to press Control R. We're going to press two. Left click, right, click. Corn, troll B, bring it all the way down. And then we'll have it just on the front, probably coming from here. So we're going to grab this one, this one, this one, and this one, and then the same on this side, this side, this side, this side, and then I'm going to press Control, Shift and B. And we're going to bevel it, increase the amount of bevels. We don't want all those broken pots, as you can see, every time I do that I'm getting more broken pots. I want to be very careful. I don't get those. You can see if we do it that many, we don't end up with any broken parts. Now, let's see if we can extrude this out. So I'm going to grab this one, this one, this one, and this one. And I think when I extrude them out, they're gonna be quite hard edge. So you know what we're going to do? Instead of doing that, we'll do the same thing as what we did before. So we'll grab all these going all the way over to this one here, and then the same on this one. And then what we'll do is press Shift D. And then E pulled them out, and now we're all bevel them off. So we're just going to bevel them off now, that one, this one and this one, and then around the other side. And this will make it much much easier. So control B, increase those bevels, like so, and there you go. That's one way of actually getting that done. Okay, so so far so good, we've worked ours way all the way around. And the next thing, I think it's nearly time to actually get this mixer on there. So I think we'll do that on the next lesson. Alright, everyone, Sobi enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 40. Creating a mixer hand using radial symmetry for Blender Beginners Masterclass: Welcome back, if you want to blend Beginner's master class, the Coke factory, and this is where we left it off. Alright, so let's make a start on this mixer. So what I'm gonna do, first of all, I'll actually come, and I'm going to I'm going to grab this here. I'm going to grab just this part in the center. So just this part here. Shifty. I'm going to bring it up. And then I'm going to use this as a base form actual mixer, so I'm going to press S, make it a bit smaller, like, and I'm going to pull it up into place. The next thing I'm going to do is press P selection just to split it off from there. Control layer transforms and set the origin of geometry like so. Then I'm going to press tab, A, E, pull it down, like so, and then I'm going to press L and pull this into place. And that's looking pretty nice. And now what we'll do is we'll bring this in, so I'm going to press I, E, bring it in. And then I'm going to bevel off the top of here. So Alt Shift and click Control B, bevel that off, like so. And now what we'll do is we'll bring in this mixer, so I'm going to press I Woops. I to bring it in, hold in the shift but, and then I'm going to press E, and then I to bring it in. And then finally E, let's bring it down. And we can see it's a little bit thick at the moment. So all I'm going to do is I'm going to press I again. Like so, and then I'm going to press E, bring it down into place. Now I'm going to press E to S, bring it out, and then E. And now from here, we need the actual mixer. So I also want to make sure that this is actually split off because this is going to drop down and actually spin round. So I need to make sure that this part here, as you'll see, is split off from the rest of it. So I'm going to grab all of this and this part here, I'm going to press P selection and split that off. I'm going to hide this part the way. And I'm going to fill this facing. So let's come in. Alt Shift click F to fill it in. And then what I'm going to do is press tach and just swap between them. So now I'm going to grab this top part. And what I'm going to do instead is not fill the facing. I'm just going to extrude that face up because then I can use that to actually bring it down, so I'm gonna pull it all the way up there, something like this. Utah, bring it back everything. Okay, so now we need to bring in the next part, which will be the kind of these, you know, the parts of the mix there are going to mix everything up. So what I'll do to do that is, first of all, I'll come to the center so shift desk, cursor selected. And then what I'm going to do now is I'm going to bring in a curve. So I'm going to bring in a path. I'm going to spin this path around, so R Y 90. I'm going to make it more smaller for now. I will be actually making it bigger as we go along. And then what I'm going to do now I want it kind of, I don't want it bevelled so much. So what do I mean by that? If I come in, and the first of all, what I do is extrude it. So if I extrude it, you'll see now it's going to this side like this. And then I'm just going to put it this side. And what I'm going to do now is I'm going to actually try and fit it so it goes to another point. So first of all, let's bring this bit down, so shift D, bring it down to where you want it to go, like here, something like that. And then I'm going to press S, and then E, pull that up, like so. And what we're going to do is we're going to put it round about here. All right. So what we need to do now is we need to make this curve fit in there. Now, of course, this is just a plane of the moment. That's all we can see. So what we want to do is we want to add in a modifier to this curve. So let's go to our modifies tab, add in the modifier, and the one we want is a solidify. And we're going to pull this out, so pull it out like so. And then what we're also going to do is we're going to right click and shade flat. Now we can see we've got something to work with. However, since we brought the soldi fire in, you can see it's moved it off. So it was, if I press Control three, you can see it was in the center, but we can also offset this. So first of all, let's put even thickness on. Set this to note 0.5, and it should. Let me just set this to round about the center. We're going to be able to set this to the center. No 0.442. Let's bring this down a little bit. There we go. Let's put this on -0.5, and now I'm going to work from there and try and center this out a little bit. It isn't so important now we get it perfectly centered, but for now it makes it so that it's easier for us to work with. So now if I press one, now I can see what I've got to work with. And now I can actually make this into how I want it. So I can bring these parts down as you can see, and I can bend them round like so, and then let's bring it out. And there you go. Now you can see it's starting to look like a mixer. And there we go. Alright, that's looking pretty cool now. Now, what else do we need to do this? First of all, it's a little bit too thick, so let's make it a little bit thinner. Not that way. Let's go to the extrusion. So turn this down, and there we go. Let's also turn down the resolution something like seven. If we turn it down too much, you will see it bends too much like that. We don't really want it like that. So what we want to do is put it on round about seven, and there we go. And I'm also wondering if I come in now apply my solidify, which we can't do. So what we'll do is we'll bevel this after. We'll actually give it a bevel, and then we'll get it going around all of these. I think, though, generally, we've got the right, you know, kind of scale for this. The one thing I'm thinking is maybe, maybe we'll bring it out a little bit. So we'll make it a little bit thicker. The other thing we can do as well, is we can come to the bottom of it, put proportional editing on, press Alter S, and what you can do is you can actually bring it in. But you can see it's kind of bringing it in thinner. We don't really want that. We actually needed to go the other way. So what I'm going to do instead is, I'll actually apply this so object, and then we'll go to convert and mesh. And now what I'll do is I'll come in to the bomb because I want this bomb to be a little bit thinner, Alt shift and click, and then what we'll do is we'll press S and Y and bring it in that way instead, like so. Alright, that's looking pretty nice. Now the next thing we need to do is right, click shade Auto smooth. Let's press Control A or transforms right click Set origin, 23d cursor because my three D cursor is in the center, add in a modifier and generate a bevel, and we can see now we're starting to get somewhere. So we can see it's starting to look like a mixer. I'm going to bring that down very, very slowly, like so, and there we go, That is looking pretty nice. That's looking like a mixer now. And I think I'll also increase the segments as well. So I'll increase the segments, bring this down a little bit. I'm just wondering if I can actually do that. If I can do that, let's see. Let's see if I increase these. There. Okay. Yeah, that's looking like a mixer. Alright, I'm happy with that. Now what we'll do is we'll actually duplicate this. And on the original lad, one, two, three, four, five, six, so six, which is 60 because it's 6/360. So what we'll do is we'll press Shift D, and then RZ 60, shift, Rs, 60, shifty. And I'm hoping I did that. And then, Z, 60, and then shift, RZ 60 and shifty, Z, 60. And there we go. Alright, that's looking like a proper mixer now. Yeah, I'm happy with how that looks. I think one other thing I want to do contro la, bring this down a little bit. Alt Shift click, E, enter Alterns without portion editing, so Alts, bring it out. Like so. And what I'm also going to do is put an insert on the song to press I like so, I'm going to press E and pull this down. Like, so just adding a little bit to it, we'll also do the same thing on the bottom of here as well. So I'll go in, and I'll press I and then E, pull this down, and we'll also do the same on here, I, and then E, will pull it down this way. Okay, that's looking really, really nice. I think that's pretty much done. I will join now this and this. So first of all, though, if we join all these together, we've got bevels on there, and we don't really want those on. Well, we do want them on, but we want them all done together. So control J, join it all together. And then what we'll do is we'll go and apply the bevel on here. So apply this bevel, object, convert, and mesh. And why is it done that? Let's have a look. There we go. There we go. Why is it doing that? That's not how it should go. Let's come over there and press Control A, all transoms Saige and geometry. Hover over the bevel, press Control A, and there we go. Now, let's join all of this together with this. So control J. And finally, we got it all joined together. I don't know what happened there, actually. That was a little bit weird. Alright, so now we've got all of this part done. It's all done, basically, except the little part that's going to be over here. So the little part over here is where the other conveyor belts going to be. I don't think I'm gonna put this part on yet. I'm going to do that as the next part. What I'm going to do, first of all, is focus on getting this part done. Over here. So what I'm going to do is I'm going to come to this part. First of all, I'll make a bit underneath this that can actually support this. So all I'll do is I'll come underneath Shift D. And then what I'll do is I'll bring it down into place. I want to press E, pull it up, and then L. And then all I'm going to do now is press S and Y and pull it into place like so. Alright. Now, we need a bit of a pipe on this part, so a big pipe and a small pipe. I want to lift this up a little bit. So L, this one here. So L, let's pull it up a little bit. Like so. And then maybe that's a little bit too high, something like this. And I'll also press S and Y and just bring it in a little bit, like so. Now on the next lesson, then I'll make my little dw that goes on there. I'll put in the pipe that goes on here, the pipe that goes under there. And basically, at that point, then we've fully finished with this, I think. And the only thing left to do really is I'll also need a back on here. But then once we've done that, yeah, we should have this modeled by the end of the next lesson. Alright, everyone, hope you enjoyed that. I'll see you in the next one. Thanks a lot. Bye bye. 41. Working on modeling mixer gadget panel for Blender Beginners Masterclass: Welcome everyone to Blend the Beginners master class, the cookie factory, and this is where we left you off. So what I'll do, first of all, is I'll come I'm gonna split this off because it's kind of annoying me by the two together. Then what I'll do is I'll come to this part, and I think I will come, first of all, I'll just, um yeah, I'll grab I'll grab justice. No, you know what? I'll grab all of this pot. So shift D. Let's grab all the pot. And then what we can do is just press delete and limit to dissolve. All they'll do is just delete those edges for me. Now, I want it to come from this part all the way down to that pot. So I'm going to put it there. Sa like so, and then S and X, pull it in, like so, and maybe maybe this part here has gone a little bit too far down, so all I'll do is I'll bring it up, bring it up a little bit, like so control. Left click, right click, and I've got eight of them on. So make it a round eight. That should be fine. And then what we'll do is we've got two together here, as you can see. So I'll probably say there needs to be an uneven number. So if I press Control R, bring in a few, and then change this to nine, you'll see now I've got one right in the center, and that's basically what I'm looking for. And then what I'm going to do proportional editing on, I want it to be nice and round and spherical. So all I can do now is I can use raise this out. I don't want it touching anything else, so connect it only off, and then I can bring this out. Like so, and there we go. That's kind of what I'm looking for. Like so I might have gone a little bit too much, so I'll bring it back in a little bit, and there we go. Now, the other thing I want to do as well, is while I've got this center, I might as well press S and X, and then I can bring these in like so. And that's looking pretty nice. Alright, now we've got that. I can solidify this, so I'm going to come in, L, P, selection, separate it out. Control A, or transforms, right click Surrogen geometry, and then let's add in a solidify. So generate solidify let's put even thickness on. Let's bring it out like so, and let's put it into place wherever we're going to have it, which will be somewhere around here. Now, let's think about these parts over here. So I'm going to press Shift S, cursor selected. Shift A, let's bring in a cube. So we'll bring in a cube. Let's press S to make it smaller, and let's bring it up into place. Like so. So something like this, I need to make sure it's all in here, of course, so we're going to pull it in a little bit more. And then what I'm going to do is press S and head, pull it down a little bit, and then S and X, like so, and then pull it down a little bit more just so it's all fitting in there. So you can see now that's fill in there pretty nicely. And then what I'm going to do now is bevel off these edges. But before I do that, I don't like the wastedness in here, so what I'm going to do is just press tab, grab this face and just pull it back without portion leditonO course, pull it back, turn that off, and there we go, that's looking much better now. Let's come in and bevel off these edges. So control B, bevel them off. Like so. You can see they beveled off quite weirdly. I don't really like that. And the reason is, of course, I have not reset my transformations. Now let's try beveling those off much, much nicer now, as you can see. Right click, shade At smooth. And now let's go into this pot here. So this pot on here, let's grab this one, and let's grab this one. And what we're gonna do is press the Ibn, like so. And then what we're also going to do is press E, and let's pull them both out. Like so. Alright. And I don't think I want those bits actually rounding off. Now, all I need to do is bring this one down. So shift D. Let's bring this part down into place, and I'm just looking to make sure. What is wrong with that bit? I don't know what's happened with this. Oh, I do. It's because of the extrusion. Let's see. Let's see what happened with that extrusion. There we are. That's what happened. So because we had a slidy thion which I forgot about, it means I need to apply that first in object mode, so control A. Now we can go in and you can see both of them are selected, so let's grab this one and this one. And if I press G now, you'll see that they're not joined, which is cool. So E, enter, alter Ns, bring them out, and there we go, now, it's fitting in properly. And now shift D, bring this down, put it into place. There we go. Alright, that's looking good. All of that bit then is done. Now, let's work on this part here. So first of all, let's do the dialing that's probably going to take the longest amount of time. So we want a little round dial in here, and we're not gonna use this. You know, we're not gonna animate this or anything like that. It's just a nice, sweet dial. So what I'm gonna do is I'm just gonna press Shift S, 'cause it's selected. Shift A. Let's bring in a plane, RY or art x, 90. Press the Sp. And what I'm going to do is I'm just going to grab this and this part here, press Shift H, and I'm going to line everything up. So I'm going to bring this out. I'm going to put it to where I want it, first of all. So I'm going to press Ns, S and X. And this is something I want it. So a little bit more probably ns like so. Alright, that's looking good. Now, let's come in and actually bevel off these sides. So we'll grab each one of these. We'll press Tab first of all, reset all the transforms. And then we'll press Control Shift and B, and bevel that off, like so. And then what I'll do is I'll come in, grab the inner part, press the e board. Don't go too far, remember just far enough, like so. And then what we'll do is delete and faces. So delete faces, and then grab this part, and we're just going to press E and pull it out like so, right clk shade auto smooth, and there we go. Let's put this into place. Now, we need this little dial here. So let's bring that one in. So shifts, cursed or selected. Shift A, let's bring in a cylinder. Let's put the cylinder on 24. No. Let's also make it smaller and rotate it round. So, X 90. Let's bring it into place. Make it a little bit smaller. So something around this size. S and Y, bring it in. Like so put it on there, and then all I'm going to do is grab the inner part, press the ebonne, and then I'm going to press E and pull that back. And then finally, I'm going to round this off. So lt shift, click Alt Shift, clip, tab Control A, transforms right, clicks origin two geometry, tab again, and Control B. Let's round that off, maybe not so much. Maybe that may something like this. Press the tab. Shade or two smooth. And there we go. That's that part. Now, let's put this little dial in there. So simple dial, shift, bring in a cylinder. I'm going to make my cylinder marge much smaller. So I'm going to bring it all the way down. You can see also the depth of it I'm going to make smaller. So when I bring a new cylinder in now, it's going to come in like this a little bit smaller for me or X 90. The other thing is, as well, it's not coming in the center, so shifts, curse to selected, grab this one, shifts selection to cursor, and there we go. And let's bring that little dial into there. So, and I think, maybe a little bit smaller. And then what we'll do is we'll just grab the outside of it. First of all, though, control, bring this edge loop up to there. And then what we'll do is we'll grab this one, this one, and this one, making sure that they're level. So maybe to there, press the E bone, pull it up. Shade or to smooth, and there we go, that's this little dial. Now, let's bring in a cube. So shift a, bring in a cube. Make it a lot, lot smaller, and then bring it over this part. And this will be the little switch that's on there. So I'm going to press S and Y, all the way down into place like so. And then we're just going to grab the outside. We're going to press the ib, and then what we're going to do is bring it up. And then the I again, bring it in. This where we want our switch and then E, pull it back into place. Now all we want is just the switch. Now, the switch to do that, we'll do it actually together. Why not? We'll just press I, bring it in, and then S and X, bring it in like so, and maybe even make it a little bit bigger. So something like this, that looks about right. And then E and then I like so, and then finally E. Like so. Now, I'm just thinking about my other switch. It's going to be a little bit like this. So what I'll do is I'll press shift desk, cursed to selected. Bring in then another a cylinder. I'll come in quite small, because that's where it. Let's put it on 16 because it's only a tiny switch this. So I'll bring it down to 16. I'm going to rotate this round, so R Y 90, rotate it round into place. And then all I'll do is I'll grab both of these and just press the E button, and making sure they're going the right way. If I press let's press its head and just take that off, you can see now that these are not kind of going the right way, and I don't really want that. So what I can do is I can press R Sorry, and then Y and pull it along there. And then what I can do is pull it up like so, and there we go. We've got the nice switch that we want. Shades move. And that then looks pretty cool. I'm happy with that. Alright, so we've got our switch. We've got everything on there. Now let's press Saltag, bring back everything. And here we go. So this is looking quite good. Let's at the moment, hide our flour mill and our water adder. We should have this now. Now on the next lesson, then we didn't quite get there. It was close, but not quite. We'll point a pipe on here and here. We'll also then put in the main pipe which's going to go into this part here. And then from there, we can actually start shading this off. Alright, we'll add in our shaders. Alright, everyone. So I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 42. Refining detail of a mixer, making sure meshes fit nicely together, adding boolean de: Welcome back, everyone Blending beginners master class, the cookie factory, and this is where we left it off. Alright, so let's do the simple parts first. So what I'm going to do is shift a bring in a cylinder. Let's bring this cylinder down then. I'm gonna press the You know what? This one can be this thick, actually. So what I'll do is I'll just bring it into place. I'll bring it up a little bit, like, so the one problem I've got is actually, I brought that in. I should have put it on to 24. So the moment of going 16, so let's put it on 24, and there we go, now let's put it into place. So Jes down. Like, so let's pull it over. And then what we'll do is we'll grab this and just pull it up, making sure it's just into the top of that, like so, and then I'll bring this one over. So shift D rather than bringing another one in. And to make this small, I'm just going to grab it going around the outside so the top and bottom aren't actually grabbed, and then alter ness, and then I can bring it in holding the shift bun, like so, and that's then go to keep that length, but not the, you know, it's not going to destroy the actual size of it. Alright, so that's that. Now, let's come in and think about our other pipe. So we'll bring in Shift A, mesh, pipe joint, pipe elbow. I'm going to bring this down to 24. I'm going to bring down the radius, like so, and I'm also going to put this on 90 degrees. I'm going to bring in the start and end. So the start and end of it really, really doesn't matter because we can expand those anyway. And then what I'm going to do is now, I think that is roughly the right size, so I want to bring it up into where I want it. So something in the middle of there, like so, that's looking good. And then what I'm going to do now is control, left click, right, click, control, left click, right click, and then I'll grab this one, and I'll press S X and zero and then grab this one, and then S z zero. Then we'll pull these down into place. We'll pull this one into place. And then what I'll do is, I'll press Alt Shift and click Alt Shift click, E, enter Alter ands, pull those out, like so. Then finally, just this big this big part on here. I want to bevel it off just a tiny bit. So this one on here, grab it all the way around. Control B. Just a tiny bit like so, right click and shade or smooth. Yeah, that'll do. I'm sure that'll be okay. And then what I'll do is I'll grab both of these, Control J, join them both together. Control, left click, right, click, control, left click, right, click. And then what I'll do is just grab them both. Press Control B, and I should be able to pull them up to where I want them. So somewhere like here, that looks about right. And then what I can do is Al shift click, Al shift click, going all the way around, and then eat enter alter ness, pull those out, and it's as simple as that, guys. And once you've got the hang of it, you can see once you've actually got the way of doing things and the way of thinking through things, you can just see how quickly you can actually work, how quickly you can build things. And you will get it. You will get there. I'm absolutely certain of it. Alright. So we've done all that now. What we want to do is come into our material mode. We want to bring now we've done that. We want to bring back. You know what? We'll just leave it in object mode just for now because I need to check out the bevel. So what I'm going to do, I'm going to grab the whole thing now and hopefully haven't got any modifiers on, so I'm just going to hide them out of the way as I go through and check to make sure there is no modifiers on. You can also see that a lot of these parts, once I've checked these can be joined together, like these tiny parts, especially. So you can see now I don't think I've got any modifiers on even on this. So yeah, no modifiers, old age, bring back everything. And now we can do is we can start, you know, adding parts together. So basically, I'm going to hide this part of the way. None of this part, as you can see, is going to be, um, is going to be animated or anything like that. So what I'm going to do is just press Control J. Control layer transforms, and then right click shade to smooth. That's that part. Let's hide that one out of the way. I can join all of this together. So even this part here, I can join together with Control J, right click, Shade Smooth, hide it out of the way. And then I can join all of this coming down to here. I'm just going to join it with this for now. So press Control J, right, click, shade to smooth, hide it out of the way. And then finally, we've got this one and this one. Let's press Control J, and there we go. Now, is all this joined together? Yes, it is. We can press stage then and bring everything back. And now, finally, let's come in and just grab all of these parts, press Control A, all transforms right clicks origin to geometry like so. Now let's come in with our devil, so I'm going to grab this one and this one, I'm going to press Control L, and I'm going to copy modifiers that didn't work too well, did it? So let's go back what's going on here. There we go. So let's go on this one. Let's try this one. Control L. Copy modifiers, and the reason it's doing that is I don't actually know. I don't know why it's moving that over there, so maybe that's a little bit of a bug in blender. I'm not sure. What I'll do is I'll try and do it this way. So generate bevel. And then what we'll do is we'll put the profile, sorry, the geometry. We'll turn off lamp overlap, and we'll put this on note point note three. And there we go. Now we've got our bevel on I'm just looking at our bevel, making sure that's okay. I think it is. And what I'll do now is I'll grab this one and this one. I'll press Control L. Copy modifiers. And yeah, there's something definitely wrong with how that's working. It shouldn't work like that. So let's see if I can go there we go. So, for some reason, what's actually happening there is it's actually taking a scale for some reason and actually scaling everything down. So what I'm going to do, if that happens to you, grab whatever it is and press LTS, first of all, because then that'll scale it back. The thing is, if you press Alts, even if I rotate it, so if I rotate it like this, because I've reset my transformations, and if I scale it up, for instance, I can now press Alt R. What they'll do is reset that rotation back to when before we set the transformations. If I press Alts, it will scale it back to that, as well. So that's at least that's one good thing about this. Now, what I'm looking at, as well, I'm also looking at If I pull this down here, is this big enough? I think we need to make this a little bit smaller, so we'll also do that. So what I'm going to do is just going to grab this. I want to press the button just shrink it down a little bit, like so. And then what I'm also going to do is I'm going to grab this again and I'm going to I think I'll bring it. I think I'll grab the bottom of it and bring it down. So what I'm gonna do old ship click, pull it down into place like so. Alright. Now, what else I'm going to do is I'm also going to put this on note point note not three, and there we go, That's looking better now. Yeah, and I think the whole thing is just looking better. It's bevelled off now. Now we'll come to this one. We'll do the same thing again. So add, generate bevel, not point, nut, not three, geometry, turn off clamp overlap, and there we go. We should have a bevel on there, which we have. Same again on here. Let's see if I'm join this one with this one. So I'm going to grab this one and this one Control. Copy modifiers. No, it's not going to work, so let's go back. Come on. Let's go back. Alright. So we did have a bit of a crash there, one. Sorry about that, but sometimes it happens to the best of us. So what I'm going to do is I'm going to actually try and fix this because actually it put me on a different route to where I was. So what I'm going to do is I'm going to pull this down a little bit. I'm also going to show you, as well. Not that I helped this time, but if you come to file and you go to recover, auto save. What'll happen is you'll have all of the auto saves in here and you can see that I pulled it back from this factory course here. This is the time I'm working, and you can see now that when I pulled it back, though, it didn't actually put everything in the proper place, which was kind of annoying, but sometimes that happens. So what I'm going to do now is I'm going to try and just put these back into the place where it was. And hopefully, in a few minutes, I should get it all back, but it has put me back a little bit. We'll say that. So what I'm going to do is I'm going to grab this part. I'm going to pull it up. Put this into place where I want it. So I think it went around about there. Okay? This bit looks like it's nearly into place, so let's pull it over. Let's pull it up, like so. And I think let's pull it over this weight, like so. Alright, so that's that bit. I'm wondering if, yeah, this bit you can see, it's a little bit out still, so let's pull it over a little bit, get it into place or pull this one back, whichever is the case, I think we'll pull this back a little bit, like so. And then what we'll do now is we'll pull this back. So this should be fitting in there, you can see it's a mile out. So what we'll do is we'll come to this part here. We'll grab this part. Here, Shift desk, cuss, selected, grab this part. And then what I'll do is I'll press shifts and selections cursor. And now I can see where this is going to go. So if I pull this up, you can see this is where we want it, which means that this one is a long way out. So I need to put this right in the center of this. So what I'm going to do is I'm going to grab this end. So just this part in here, shift desk, cuss to selected, and then we're going to go to this one. And what I want to do is I want to move this now. To this part here. The way I'm going to do it is I'm going to grab this right click origin, 23d cursor, and then we're going to come to this part here now. I'm going to press shifts selection to cursor. So cursor selected, like so, grab this one again, and then shifts selections cursor. Now I know that this one's right in the center there, and from here now, I can actually work out where everything's going to go. So we can see now I need to pull this down a little bit. So let's pull it down into place like so. There we go. Let's now move this. You can see this is a little bit out, as well. This part's a little bit, this part's a little bi. Let's move them over into place like so. And then I've just got Yeah, I think that's looking about right now. I think we've got it all back to what it was. And there we go. So that caused us a lot. So what I'm going to do is save on my work. I don't want that happen again. And all from trying to join a bevel. So I don't know why the bevels reacting like that. No idea there. But what I want to make sure now is I've got the bevel on everything. So no bevel on here. So add modifier. We'll go to generate bevel. And what I'll do instead is, I'll put this on not point not not three. And then what I'll also do is I'll come to my geometry, turn off the clamp overlap, which I always get used to turn that off. Then we'll come to this point here, add in a bevel, and hopefully on the next one, it will work. But on this one, for some reason, does a not point not not three. And then what I'll do is turn off the clamp overlap, and there we go. Now we've got the bevel working on there. Now, we can see on this that we do have a problem in this part that's going round. So before we fix that, though, let's come to this part, add in a bevel on this as well, so generate a bevel, not point none three. And on this one, we don't need to put the clamp overlap off because it's just basically a box. So we don't need to worry about that. Now, this part, however, let's see what's going on. I think these are crossing over in some way, so we can see these parts here are crossing over. So what we'll do on the next lesson is we'll get these parts fixed. As I say, it's good we're coming across these problems because what it means is any problems I have, I can show you how to fix them. So I'm going to grab all of these. I'm going to press P selection, select that off, press Shift H, and then we're ready for the next lesson. Let's sit save so we don't lose anything, and I'll see you on the next and everyone. Thanks a lot. Bye bye. 43. Adding material and shader to mixer machinery for Blender Beginners Masterclass: Welcome back, everyone to Blend of Beginners master class, the cookie factory. And here's where we left you off. It's a mess. So let's actually fix this. So we're going to come in, and what I want to do is I can see that if I come to point, I've got this point. Let's zoom in. So press the dot bon, so you can zoom in this point, this point and this point, and I need to press M. And what I need to do is I need to at the center. So merge at the center. Let's see if that's actually fixed it. And yes, it should have fixed it. I'm just wondering if it has. You know what I'm going to do to make this easy for myself, even easier for myself because I made a bit of a mess on this. I'm going to press Alt Shift and click. And then what I'm going to do is press Shift D. I'm going to bring it over here and I'm going to fix this on its own because it's going to be so much easier. Now what we're going to do is we're going to come in again. Going to grab all of these four, one, two, three, and four. And what I want to do is I want to basically join. You know what? We'll do it a different way. We'll join these two together first. So I'm going to press M and at cursor. Like so. Not a cursor. M. Let's try that again, at center at the center. There we go. Now we'll come over to this one. We do the same thing again. So just these two inner ones here, as you can see, and we're just going to press Shift R and I'll join those. And we're going to do it just a slow way, so we're going to grab these two in here. Like this and this, and we're going to press Shift R, and then I'm going to zoom over to these ones. So I'm just going to press the little dot to zoom into these, grab these two here, shift. Okay, now we're going to grab this one, this one, and this one. Make sure you grab the middle one last. You're going to press M, and you're going to go at last, like so. Now we're going to come round and we're going to come to these two here. So these two, one, two, this one, last, shift. Let's come to this one. And that's all because I went too far. Word the bevel, so shift, or the insert, one or the other. And then shift like so. Alright, there we go. Now what I can do is I can finally bring this back now. So I'm going to grab all of this. So all of this. I'm going to bring it slightly in front, just very slightly in front, and then go to press E and pull it back into place. And then what we're going to do is press Control plus Control plus, hide it out of the way, grab the other one with L, press delete and vertices, and then press ltage and bring this one back. And we should have now a really, really nice mesh. Let's bring the whole thing back then. So oltage to bring everything back, double tap the A, and there we go. Alright, so that's all fixed. So finally, now let's bring in our material. So what we'll do is we'll come in, and let's first of all, bring in. So we have the yellow. So let's bring in the orange. So on here, we'll go over to material. Click the little down arrow, back to your orange. And then what I'll do is I'll come to this bit, and I might as well bring in a seen so alt shift click let's turn this round, Alt Shift click. And then Alt Shift click. You know what I'm going to put it on material mode just to make it a little bit easier for myself. Then I'm going to come underneath. I'm going to let the five remaining shaders load up, as you can see over here. And then what I'm going to do now is right click and mark a seam. And from there, then I should be able to grab this island now, pressing and plus and down and factor yellow and click a sign, and there we go. Alright, now, now let's work our way around. So what I'll do is I'll do just the top of you. So Alt Shift, click Alt Shift click, right click and mark a scene. Grab the island once more. So, back to yellow, click a sign, and there we go. And now I want the dark hole in here. So I'm going to click Plus down arrow. Hole, click a sign, and there we go. And then we'll do also the hole in the back of here as well. So if I come to this part, I should be able to grab just the back up there hole, click a sign, and there we go. And now let's come to this one. So I think what I'll do is I'll grab this, and I will grab this one here, and I'm just going to press Control L, and I'm going to link materials like so. Alright, that's looking good. I don't think I need to do anything else for that. And then I'll grab this. I'll grab this. I'll press Control L, Link materials, and there we go. Now, I only want some yellow and blue one here, actually, so you know what? Let's not do that. Let's come in. Make our own materials on here. So we'll go with the blue first. So the whole thing will be blue except these parts on here. I'm going to press Alt Shift and click Control plus. Keep going all the way up to there. Let's click Plus Down arrow. And let's go with metal. Let's go with metal dark. Let's see if that looks better. Yes, it does. And then what we'll do is we'll come into this yellow parts, so I'm going to grab all of these. I'm going to grab all of these then going all the way around here. And this one going all the way around. Notice I'm not grabbing the side because I'm just going to press Control Plus, go to make it really, really easy. Click the down arrow, factory yellow, click a sign, and there we go. That was easy enough. Now, let's do these parts on here. So I'm going to grab this one, this one, this one, and this one, CtrolPlus again. And this time, we'll give them a metal. So we'll click Plus, down arrow, Metalight, click a sign, and there we go. Now, let's work our way around the back. So what I'm going to do, I'll come to this one here, and I'll grab both of these. You know where I'll give it all won't it. So I'll just grab both of these. Click the down arrow. We'll go with factory blue, and then I'll click Plus, the little Down arrow, and we'll go with factory yellow. I'll click Assign, and I'll also put it on there as well. So Control plus. And there we go. Alright, so far so good. We're making quick progress on this. So now let's come to this part here. So what I'll do, first of all, is factory blue again. So factory blue always that. This one here I can join with it. So Control J. Let's join it together. And now we'll do the metal first, so metal, and we'll go with metal light, and we'll grab this one, this one, and this one, click a sign to the metal light, like so. And then we'll come to this one L, plus down arrow. Factory yellow, click a sign. And then we'll come to this part. So L, first of all, we'll do it all in one color. So we'll come down, we'll look for rubber, click a sign. Then we want the white. So plus down arrow, factory white, click a sign. And now we want one more, which will be the green. And I think that's all of the factory colors done after that, by the way. So we're going to click new, and we'll call it factory green. Like so. And then we're going to copy this one. Paste it. Now, over here, we might be able to do this from here. So if I remember rightly, it was a multiply. So let's just see this is the multiply here. So if I come in the base color, you can see this is the factored green. And if I just come in and actually put that on there, Come down to where it says factory in, click a sign. And now I should be able to do it's come in. And without going into anything else, I can actually change that over Lo. Really easy let's pull it down a little bit, factory green, there we go. Now with this bit, let's come in. And first of all, we'll grab the whole thing, and we'll go up to factory yellow, click a sign. And then what I'll do is I'll grab this part here, CntrowPlus, CartowPlus not so far. So all I'll do is grab these ones in here. So shift clicking away. We'll put this on blue, I think, some blue, where is my blue. Let's pull this down. Can't really see anything. There we go. That's what I want. Pull this down. There's my blue. Click a sign. Okay? We've got that on. Then what we'll do is we'll grab this part here. So if I grab all of this, you can see it doesn't work. So Alt, shift, and click Control plus. And then what we'll do is we'll have rubber, a sign, and then I'll grab the inner bit, factory white, click a sign, and then just this bit here, and we'll do factory green, click a sign, and there we go. Alright, as simple as that, guys, to do that. That's looking pretty good. Just wondering if I should make that a little bit bigger. Let's have a look from back here. Yeah, I think I should make this just a little bit bigger, so I'm just going to grab the whole thing, and then all I'll do is press the S button and just bring it out. Like so. And that is looking pretty nice. Okay, so this is all looking good now, the only animation we need to do on this is going to be the mixer, so the mixer will just come down, spin around, and then go back up, and then we just rinse and repeat that process. So we'll do the mixer first, and then on the next one then, we'll actually start on the stamper because the stamper it needs to line up with everything. So what I'm trying to work out is if we put in the conveyor belt. I think, actually, yes, we'll do the conveyor belt next after we've done this mixer. Alright, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 44. Animating mixer, making the mixer lower down, sping and raise back up for Blender Beg: Welcome back, everyone to Blender Beginner's master class, the cookie factory, and this is where we left you off. Alright. So now what we want to do is we want to animate this whisk. Now, animating this whisk isn't that easy, actually. It's not as easy as what you would think. So it's a bit technical because Blender doesn't understand it when you're trying to do too many things and you're trying to use that cycle's motion. So cycling and animation over and over again, for instance. So what we need to do is we need to do this in a careful way. So the way we're going to do this, first of all, is we're going to actually make this move up and down. Then we're gonna bring an empty in, and we're gonna spin it around with that empty. So I'll show you exactly what I mean. First of all, though, let's come in. And what I do find helpful is if we bring in one more material. So click the down arrow, factory red, and the more we're going to do is grab this one here and we're going to click a sign. And now we know which one this is. We can take this material off once we've finished with this. Next of all, then we're going to go over to animation. Now, the first thing I want to do is I want to bring in an empty. So I'm going to bring in an empty like this, so plain axis. And basically all an empty is is something can follow along to it without it actually being rendered. So if I make this a little bit bigger like so, and then what I'm going to do is I'm going to pair in this to my actual empty. So I'm going to grab this, grab this, press Control P and click Set pair and two Object, like so. Now, wherever I move this, this is actually going to move, as well. I can move this though independently, like so. Alright, so far so good. Now, let's bring this up to roundabout here. It will set a key frame in place. And then what we're going to do is we're going to go to 50 and I'm going to basically put this onto material, so I can see that red line there. And then, basically what I'm going to do is I'm going to press the eye button again, so I'm going to keep it there. And then what I'm going to do is I'm going to go to, let's say, I'm wondering if I should actually move this. You know what? I think I should move this down. So I'm going to move this down into place like so. And I'm also wondering whether I should have made this a little bit longer. Probably so. Let's see how long we need it. I'll bring it down to here. And then what I'll do is I'll remove these keyframes and I'll come round to this point here. And what I'm going to do is I'm going to grab both of these Alt Shift and click, and I'm just going to pull it up to something like that. And I'm hoping that doesn't go through there. So now I'm going to do is I'm going to pull it all the way up and I can see, yes, it's just in place now. So let's just put it back with Controls Head. And then what we're going to do is I want this to be here on 50, so I'm going to press I, and then on one, I want it to be back up at the top, so I'm going to pull it all the way back up, like so, making sure it's not sticking out of there. And there we go. So now if I press this, should come down right to there, and then I want this to whisk round. So I want it to whisk round once it's actually in there. Alright, so now when do we want it to come back up? Well, I would say round about, let's say, we don't want it too long, so 50 is enough time to come down. Everything we need to do then. So 50-100 makes it 150, let's say. So if we bring it to 150, I can press the i button now. And then what I can do is I can bring it back up to 200, all the way back up to where it was, which means I can grab this part here, press Shift D, and bring it all the way over here, like so. Now what happens is it should come down. We'll do our whisking in between there. And then at frame 200, it should end. Alright, so far so good, which means now I can grab all of this and basically I can come to objects. And we want the z location. So just this one, add modifier, and we'll bring in a cycle. Now, let's see if that actually works. So it should go down, come back up at 1:50 stay at 200 and then go back down again. Now, I'm not so happy with that, because what I wanted to do is I wanted to stay up there as well. So I think without making this too complicated, we've got a small window here where we don't want it to do anything, and we need to remember where that window is. So what I'm going to do is I'm going to bring this up to 250. And then what I'm gonna do, so 250 like that, and then I'm going to press Shift D, bring it over, like so. So that now should be on 250, which it is. And I'm hoping now that it will stay up there and restart again. So let's go down. Stay up there, then it should come back down, and there we go. All right, that is working perfectly. So now what we want to do is we want to go back to frame one. And what I want to do is I want to give this a keyframe, so I'm going to press I to give it a keyframe. I want to go then to frame 50. I want to press I to give it another keyframe. And now we know if we click on this that our window is 50-150. So what we need to do now is come back to this. We're going to go to frame 60. And then we're going to press the 90, and then frame 70. R z, 90, and then frame 80, and then R, 90, and then frame 90, and then R z 90. And now we know, 'cause this red mark, we've gone all the way around and we're back round at the start again. Now, we already know that we need to get to frame 150. So we're going to go back to this, and we're going to carry on. So we're going to go to 100 and then R z 90, and then we're going to go to 110. And then R z 90, and then we're going to go to 120, and then R z 90, and then we're going to go finally to 130, and then R z 90, spin it round. And now we know that from here, it's going to start spinning, but we need to make sure this is up to 150. So I need to grab all of these. So all of these here, and I want to move it to here to frame 60, and then I want to press the S button and bring them up all the way to frame 60 150, like so. Now, you can see when I start off, so it's going to come all the way round. All the way around, and there it is. Now, what I want to do from this point here, so this point as it starts turning, I want to grab all of these. And what I want to do is right click interpolation mode to be on linear because I don't want to actually, you know, I want it to start spinning, spin spin, spin spin, as you can see, like so. Now let's try that again, so it's going to come down. And there we go, it starts spinning. And then what we wanted to do now, we wanted to stop spinning on frame 150 so you can see we don't want any spinning all the way up to 250. So all the way up to 250, we don't want any spinning. So what I'm going to do is now, I'm going to come now, and this has stopped spinning, so we don't want it to spin anymore, so I'm going to drag this shifty all the way up to 250. And now there should not be any spinning now. Alright, so now the moment of truth, let's grab everything. And what we want to do now is the empty object, and we want the z rotation to be on cycles. Now, let's see if that actually works. So here we go. So no spinning. Start spinning. Should stop, move up. Now it should wait, go down, and there we go. Starts spinning again. Alright, so that is done properly now. Now you can see why that was a little bit more complicated than normal. The other thing is you want to make sure that both of these animations line up with each other. If not, one is going to be going in front of the other, and it's gonna be much, much harder to control. So I'm actually happy with this. The one thing you might want to do is just speed up that mixing or something like this. So what I'm going to do now is I'm going to go over back to modeling. I'm going to then leave that as is, apart from this bit here, I'm gonna come grab this part. I'm going to put it on metal light, click a sign, like so, double tap the A, and now you can see this is what we've got. Now, if you want to see the whole thing moving now, so if we put on the flower machine, and what we want to do is put this, let's first of all, save out our work. Save out your work. You can now put it on the rendered view, and now what you can actually do is you can actually turn off this. These two interlocking links, turn them off, and now there'll be no empty there. You'll see everything moving. Now, if you do want a better view of it, of course, put it on EV. Let it load up, and now you'll see everything moving in real time, all of that hard work that you've done, all of the things like this, which we can't see at the moment. Let's see if we can see that in EV. Thought we could see it before. I just want to make sure that's working. Yes, it is. It's working. It's just not the glass is not working on IV, unfortunately. Sometimes that happens, but you can get a real idea now of what this is going to look like. So let's put it back on EV. Make sure everything's working. All of that is flowing. This is going up and down and spinning, and you can see already this is really starting to come together now. Now, what we're going to do on the next one is something a little bit harder because we need to actually get in our conveyor belt. So from here, the conveyor belt wants to go down, drop something down. And then from there, it's going to go along to our actual stamper. So let's press Space Bar. Let's put it back on cycles. Let's go to object mode. Let's turn on these two interlocking links, and then let's save out our work. So let's save it out. And on the next one, as I said, we'll start with a conveyor belt coming from here going towards our stamper. Now, the good thing is, we've already got many of the materials in place. We've already learned how to do many of the conveyor belts, the animations, all of that stuff. So from here on out, it's about repeating a lot of what we've actually done, but this will, of course, sharpen up your skills and definitely make the way that you approach things much, much quicker. So that's what it's about at this point. Alright, so I'm happy with that. I hope you're enjoying this so far, and I'll see you on the next and everyone. Thanks a lot. Bye bye. 45. Creating custom conveyor belt: Welcome back everyone to Blend Beginner's master class, the cookie factory, and this is where we left you off. Alright, so now what we're going to do is we're going to actually create a conveyor that's going to go this way, and then a conveyor that's going to go this way and then to the next part. So this is a little bit of step up from the last conveyor we created. So first of all, rather than create a, you know, new conveyor, we want it to be the same width as this one. So all I'm going to do is press Shift D, duplicate this one, bring it over. And then what I'm going to do is because this is really, really bent, as you can see, we want it kind of straight. What I'm going to do is I'm going to come in, grab this and this point, press delete and vertices. From here, then I'm going to grab this little point that's left. I'm going to press Efra extrude and extrude along the white axis like so. Now, there will be a problem with this conveyor, and the main problem will be in that when we come to bend it, it won't bend very well, and I'll show you why that is. So first of all, let's come to our little spanner and let's turn off flat so that we want it actually round. Then what we want to do is just bring up this height a little bit, jaws to have a little bit of a gap between there. Now, you can see already this is what's happening. This doesn't look right. And there is a reason for that. And the main reason is that this actual conveyor part here doesn't have any topology on it. In other words, it doesn't have any room to bend. If we go to it, so if I go to my parts, I'm jaws going to pull down this, go to my parts here, not this part. Let's open. Let's open this up. That's not it, so it's under parts reuse. Yes, this is the parts reuse. So what I'm going to do is just turn that one off. Turn this one on. Here is my part here. I'm going to move these over now as well, being as I've got them out, I will be needing them at some point. I'm going to press seven to go over the top and G and just put them in a nice line like so. Alright, so we can see here that this part has no topology, so it has no way to bend in the middle. Now, if I come in and just put my camera here so you can see it, if a breast controller, bring in something like left click, right click, six edge loops. Do the same on the other side, so one, two, three, four, five, six, let's put that to six, so now you can see what's happened. Now you can see it's beautiful and flat. Now, what else I need to do is shade this move to make sure that we haven't got all of these little points, you know, these little edges on there. So right click, shade or to smooth Bangle. And now the last thing I need to do if I come back to this now, you can see it's beautifully smooth now. What I need to do, though, is increase the actual insection or decrease it. So let's bring it down to something like there you go. Now you can see it's actually going the right way. Now, you can see because we use this one over here, it's already got the flowers on there. We don't want that. So what we're going to do is we want to change the objects. So if I turn this object off, not that one. Let's bring it back. The belt object. Not the belt object. Let's bring it back. So let's put this back on. There we go. So this is what we want. This is it, where is it? Objects. There we go. Let's turn the flour bag off, and then we won't have that on there. Now, the next thing I want to do is I actually want a gear in here because you can see, I think it's on here. Let's spin this around, so RX RX -90 wrong way round. So RX 90. Let's spin it around. Let's make it a little bit bigger. You can see here that it has little gears in this part. It has some dough going over, comes along, drops down to the next section, and we also have these little struts here. So we need to basically create all of this part. Now, it sounds odd, but actually, with this belt, it's not actually that hot. So first of all, then we want some gears that are going to go on the inside of here. And from there, then we can create our actual cookie dough. So let's do the gears first. So what I'm going to do is I'm going to come over here now. I'm going to move this back a little bit. And I'm going to put my cursor here with shift right click. I'm going to press Shift A. I'm going to bring in a cylinder. I'm going to make sure the cylinder then is on 24. And then what I'm going to do is I'm going to pull pull my cylinder down. So let's make it a little bit smaller. Let's press Esn'sE just to squish it in a little bit. And don't worry because on the actual conveyor belt, we're able to make this bigger, smaller, change the width and all that other good stuff. Alright, so we want this looking like a gear. So what I'm going to do is I'm going to grab the top and bottom. And then what I'm going to do is I'm going to press the I button to bring it in. And then what I'm going to do is I'm going to press E enter S and Z to bring it in even more. If it isn't going in, I'm just wondering if we need to put it on medium point, S and Z, and there we go, like so. Alright, now we'll bring it in once more. So I like so, and then E, enter S Z, bring it out a little bit. And now find the last one in, so I like so, and then E, enter Stead bring it in. Now I want to do is I want to put something around the outside of it, so control R. Left click, right, click Control B, pull these out. And then what I'm going to do is every two. So if I grab one, two, what we'll do is grab every other two. So one, two, and then just work your way round. And we're just going to grab two, like so, like so, going all the way around, and it should because we've got it on 24, end up like this. Then what we're going to do is press E enter lns and bring this out. And there we go. There is Angie. Now, if I smooth this off, it's a right click shade smooth by angle. And if I also press Control A O transforms set arigens geometry, adding a modifier, and we're going to generate a bevel. And I'm going to put this on nut point not not three. I'm not going to change the geometry because I can see it's already beveled off. And now let's see if that actually goes into place. So if I come back to my belt and I come down to where it says gears, I'm going to enab it, I'm going to turn off this gear, and instead, I'm going to go to this gear here, and there we go. That's looking beautiful. Now what I need to do now is bring down the object scale. So I'm going to bring down the object scale. Then I'm going to bring down the radius. So we can also bring down the radius, as you can see, and then finally, do I want it wider? You know what? I'm actually happy with my width, and you can see now it moves along the right way. Now, the next thing we need to do is make sure it's running the other way. So what we're going to do is just come up, switch direction and there we go. You can see now just how nice that looks. Now, this is basically near enough done, but I am going to need something to support it. So I actually will create the support. We have got an option down here to put in supports, as you can see, but the only problem with the support is that you're scaling them all at the same time, and especially on this one, I don't want them all the same scale. So what I'm going to do is first volt. We'll create the supports, and then we can use those just in case we need them anyway. So what I'll do is I'll press Shift and S, cursed or selected, Shift A, and then what we'll do is we'll actually come in, bring in a cylinder. We're going to move it then to the outside, and I'll put it right in this center. So right in the center of here. So, X, 90. Let's make it a little bit smaller. And then what we're going to do is pull it up into place. I'm going to make it obviously a little bit smaller so it fits right into there. So if I can slot it in to where I need it to go, you can see here, it's going to slot in right into there. I'm going to make it a little bit smaller. Like so. And then what I'm going to do. So now it's in there. I'll make it a little bit bigger on this edge. So I'm going to come in, press the E button, S, pull it out, and then E, pull it out this way, like so, so we've got a bit of a gap down there. Just make sure that you've got that guys. Then what I'm going to do is press the I button and then the E button to pull it out, like so, and then I and then E and pull it in, and there we go. Right, click, shade, auto smooth. And now, obviously, we need the struts down here. So what I'm going to do, I'm going to come bring in 1 " loop control on. Left click, right, click. Control B, then, pull that out. And then what I want to do is I want to grab some of these down at the bottom. So let's say the bottom four, is that going to be enough? If I pull this down, now ease, pull it down. Right, click Shade Auto smooth. That looks to me like it's strong enough to hold up this thing, and that is exactly what I'm looking for. So I'm going to then say, This is about right. I just want to put a bottom on here. So what I'm gonna do now, while I've got the bottom grabbed, I'm going to press S z zero to zero that out. And then what I'm going to do now, I just need the final bit of the strut, so I'm going to press E, enter S, pull it out. And then E, pull it down, like so, right, click, shade or to smooth. And finally, I'm going to reset the transforms, at origin to geometry. And then I'm also going to come in and just bevel these parts off. So I'm just going to come in, bevel these edges off. Control B, bevel them off, turn up the amount of bevels, like so, right click, shade or too smooth. Did we shade or too smooth? There we go. We might need a bit more of a bevel there, so I think we'll go back. Control B, increase the amount of bevels. Right click. Shade or too smooth, and there we go. Now, this is ready now for my actual for my actual conveyor belt when I need them. So we've got it all set up. Now, everything is set up. Now, what I'm going to do, I'm going to come in and I've got parts reuse here, so you can see all these parts. This is actually the conveyor belt. I think what I'll do is I'll put these now into one that's called conveyor belt. So we can see it's called conveyor belt. We should really drop these in there. So what I'm going to do is I'm going to grab all of these, press the end button, and I'm going to put them into convey bell like so. Alright, so they're all done. I can close the hop now, and then basically when I come back to my next one, I can actually get this in the place that I want it. You will see that with these gears, we've got gears here. The gears will go as far as to support it. In other words, you can see that we've got a distance between them. If I bring that down, I may be able to bring more gears in. If a breast controls, I can bring it back. So even if I come in and pull this down, you'll see it actually works on how far the gears are. Now, the next part of this is actually really interesting because we're going to be creating the dough. We've got to get it to drop off onto the next actual part. So coming along gear to the next part. And I'll show you, of course, how to do that as we move along. Alright, everyone, so let's save out our work. I hope you enjoyed that getting into the thick of it now, and I'll see you on the next one. Thanks a lot. Bye bye. 46. Working with Mixer Exit: Welcome back, everyone to Blend and beginner's master class, the cookie factory and this where we left it off. So what I want to do is just pull this over now, and then I want to go to this part. I'm going to grab this part here, so this part here. And basically, I want to grab it all the way down to this part, so all the way down to there. And then what I'm going to do is I want to press Shift D, and I'm going to pull it out a little bit like so. Then what I want to do is press P selection and split it off. Control A, all transforms right click Set origin to geometry. Then what I'm going to do is pull this back near enough into place, so it's going to come from there. I think we'll pull, I've gone a little bit too far, as you can see. So I think we'll pull this part down just a tad, so like so, and then this part up just a tad like so. And finally, what I'm going to do then is press L, delete, and limit to dissolve just to get rid of those. And now I'm going to start actually pulling this out and bending this in place. So I'm going to, I think, pull it out like so, and then I'll bring in some edge loops. So control. Let's bring in some edge loops. I'm just wondering, actually the best way to do this. Like so. And then I'm going to try and see if I can just bring up this part here. So if I bring this up, is that going to be what I want? There we go. That's more what I actually want. Something like this. Yeah, and I think that's gonna actually work for me very well. The one thing is, I'm wondering, I might actually have this bent over, but you know what? On this, I actually think it looks better. So what I'm going to do then is just pull this into place because obviously I want it going around there, like so. And then what I can do from there is create this gap in the center, and it looks as though that cookie dough is going out there. Now, the one thing I would say is that this maybe needs going a little bit. It needs kind of a box on here. I would say, I didn't put that in mind, but I think it would look better like that. So what I'm going to do is shift desk, cursed to selected. Shift Day. Let's bring in a cube then. So we'll bring in a cube. We'll make this cube a little bit smaller. We'll pull it up into place, like so. And then what I'll do is I'll press S and Y, bring it down a little bit, and then I'll bring back this backbit. So if I bring back this backbit just a little bit like so, without portion hitting on. And then what I'll do finally is just bevel this top of this part here. So if I come in, grab this edge, press Control B, bevel it round. Right click, shade Auto smooth, and there we go. Now, let's think about this part here. So what I'm going to do is I'm going to come, I'm going to press the Ibon to bring it in. Like so. And then what I'm going to do is pull it back. Now, this shows me straightaway, I need this to be a bit bigger because I need this part to actually fit perfectly, and I still want to have a decent rim going around it. So what do I mean by that? What I mean is, I want to make this a little bit bigger. So if I press the S born, make it a little bit bigger, like so. And there we go. And then if I press tab, you can see now it's near enough fitting, so that'll do. And then what I can do now is I can come in, grab this face, and then pull it back. So press E, pull it all the way back into there, like so. And then it's going to look as though this part is going in as well. So in other words, something's dropping out here. So what I want to do now is press the I want to actually hide it a little bit better, I think. At the moment, it's not hid very well. So what I'm going to do is just pull this out a little bit more. So I'm going to press E, pull it out a little bit more. And now I think that's perfectly done. Yeah, that's looking nice. Now I can actually get my actual dough coming out of there. Maybe maybe we still want to lift this up a little bit, so I'm just going to come in and grab all of these and grab this one, and then I'm just going to lift it up just a little bit, and there we go. Okay, that's looking good. So from here now, what I can do is I can pull this back a little bit. So let's pull this back just a little bit. I'm going to try and keep this one here. And then what I want to do is I want to duplicate this and put it going that way. So if I press, in fact, you know what? We can't probably better off not duplicating it because of the fact that this should go along there, it needs to keep together so that the dough balls can drop down to the next one. In other words, if we put this as flour, so let me just show you what I mean. So the animation. So the object, let's put it as flour. So let's find flour. Here we are, flour bag. You will see once that flour bag starts. Let's put it on object. Here we go. They just drop off the end, like so and disappear. We don't want that. What we want to do is have it where it drops off the end, and I'll show you how we do that. So what we'll do is we'll grab this part. We'll press the tab on, we'll press E and Z, drop it down. To here. And then what we'll do is now we'll pull it along this way. So if I press E and Y and pull it along this way, now what should happen is it should come to the end and drop on there like so. That is exactly what we want. Now we still want to keep this kind of roundness on there. So what we also need to do is come up to where it says, where is it? Resolution, and we should be able to increase that a little bit. Let's increase the border radius, have a look at that. Yeah, like that. There we go. And I'm just wondering if I should pull this out a little bit or pull it back. Let's see. And if I pull this this way Oops. Can see it's bending that and I don't really want that. Alright, let's give it a try like this because this is looking pretty good. The only thing I would say, I have a l actually is the lp. In other words, how this drops off of there is not right, and we need to fix that. And the other thing is, I need to probably pull this back a little bit so that you can see here it's restarting here because these curves, they have to start somewhere, so we need to bring this down a bit. So what I'm going to do, I'm just going to pull that back. And instead of that, I'm going to increase my insection so let's bring it down. You can see there that's where it's starting. Now, if I increase this, is that going to change that? To where it actually starts somewhere else. Let's see. It's still gonna be starting there, so I've just got to be careful where this is actually starting and ending. And what I want to do then is change the insection now to bring it up, holding this shift bun, to get it all nice and neatly into place. Like so, and there we go. Now we can hardly see anything. That is basically what we're looking for. Alright, so now we need to just go through the loop. So what is the loop? The lob is basically, if I come down here, you will see you've got drop in viles. That's correct. We've got something called gravity and we've got the lb power. So it's on no 0.25 at the moment. If I turn this all the way up to one, you'll see it goes a little jump, like so. If I turn this gravity down to zero, you'll see what happens. It's just going to stick there or float up in the air like so. We definitely don't want any of that. So what I want to do is I want to put my gravity up to 1.75. Let's try that. Then you can see them dropping off. We want them to drop off as realistic as possible. So let's turn the larp down. Let's turn it down even further. Let's turn it up a little bit, so we're going to go all the way up. There you go. There you go. Now, it's looking better. And let's turn this gravity up a little bit more. And now it's probably dropping a little bit too heavy, as you can see, they are dough balls, but not that heavy. Here we go. And I think that's looking pretty good now. So we've got our flour coming along. Now, of course, on this, these aren't flour. They're actually dough bulls. And the other thing is, we have to make sure you can see at the moment this is way, way too low, so I'm going to have to pick this up a little bit. So let's actually press Space Bar. Let's pick these up a little bit, like so. Let's see how they going now. Now it's going underneath it, which we don't want. So what I want to do is I want to pull this out. I want to press Space Bar. I'm going to pull this out, like so. And there we go. I think we've got it right now. Now, let's see how far off the floor it is. And what I'm going to do now is lift the whole thing up to round about here. And then what that tells me is now I need to lift this up. So this part here, let's lift it all up. And that is roundabout the place that we're going to want it, which means that I'm gonna fit it in here. So we've got a little bit of a gap under there. Now, what I'm going to do now is I'm going to fit everything together with the support just to see how this works over here. So what I'm going to do is I'm going to grab my support. Yeah, this is the support. I'm going to move it over here, so I'm going to press Shift D, like so. And then what I'm going to do is spin it round, so R X, 90 or X -90, let's spin it round and then z 90, spin it into place. Seven on the number pad. Let's press the S but to bring it out. G, then, let's bring it in. And then we need to look now where is the floor going to go? So I'm going to put this right in the center of here. I don't mind if they're a little bit small these supports. Let's put it in. Let's make it a little bit bigger. Like so. Like so. And then what I'm going to do is just grab this part, Shift D, and then I can see how much room I'm actually going to have, and this is where they should come up to. Now I would say that this is pretty low on the ground. So what I'm going to do, I'm going to change the height, just a little bit, bring it back, like so, and then I'll change these gears. So I'm going to bring these gears down as well. So if we see the gears, we can bring down the scale. We can bring down the radius. So let's bring them down a little bit, just so they're fitting into place. So let's bring in this now. Let's put it right in the place where we want it. If I press, let's say, Control three, we can then see where this is actually going to fit in place. That's roughly where it needs to go, and then we can see how big this needs to be. I think it needs to be a little bit smaller, just so it fits in there, pull it up. And there we go. Once we've got these in, actually, it's going to be much, much easier as we work along. Alright, so now we've just got the bomb to do. So I'm going to do with the bomb, I'm going to grab all of these, press Control plus Control plus again. Pull it up into place, and there we go. Now, I think this looks about right now. The only thing is, as you can see, I'm going to have to bring this down. So we'll do that before ending. So Alt Shift and click Alt Shift click, and then Es and's, pull it down. And let's see if we can actually get this into place looking right because you can see at the moment, as I've stretched that out, I need another edge loop, control, left click, right click. And what I tend to do now is I'll come in and shape it just on my own. So if I bring this one and this one up, so we want a nice bend on there. Like so, and there we go. And then we want another one in here. So I want to bring this up just so the bend is not actually so steep. So if I bring this up, you can see now I bring this one up. That end is not going to be so steep, so that's looking pretty nice, and there we go. Now we need some more support. So on the next one, I just want to make sure this is working properly now just before finishing. And, yeah, that's looking perfect. Now, in the next one, then what we'll do is we'll actually get these actual supports in. We'll get this part finished off. And then what we'll do is we'll start our little stamper that's going to be over here, which is going to stamp the cookie dough. So basically out of here is going to be dough. So that's another thing that we need to do as well, we need to create the actual dough. Alright, lots and lots to do, as you can see. Alright, everyone, so I hope you enjoyed that, and I'll see you in the next one. Thanks a lot. Bye bye. 47. Adding detail to exit conveyor for Blender Beginners Masterclass: Welcome back, everyone to Blend the Beginner's master class to Cookie factory. And I'm not happy about, like, how, um, I want this a little bit higher, I think. So what I'm going to do is I'm going to grab all of this. I'm going to grab all of this. And what I'm going to do is just move it along. And then what I'm going to do is pick it up. So I'm going to pick it up somewhere like that, and I think then that is about the right height I want it. If I make it so low, it's going to make it really difficult as we move down here as we move through different parts of it to actually get it, you know, how we want it. What that means is, though, I need to put a new part in here. So what I'm going to do is press shift day, bring in a cube. I want to make sure, first of all, that this cube sits on top of there, and then what I want to do is I want to shape it so it actually fits into the rest of what I'm going to do is I'm going to grab the top of the cube, I'm going to pull it up then into something like here. And then what I want to do is bevel this edge off. So I'm going to come in, bevel this edge off, so control B. Let's bevel it off, like so, and then bevel this part off as well, just a tad. Like so. Bring him back my bevels a little bit till I've got it right, like so, and I think that then he's going to look much, much nicer and much more reasonable. And then what I'm going to do is I'm going to bring this out now. So I'm going to come in, I don't want to stretch it all that way, of course. We spoke about that. So if I come in and just come round and grab it going all the way around there, and then I can actually pull it out into place like so. Now, that to me is looking much, much more reasonable. If I shade this move, you can see that's looking much better. And the one thing I wanted to do just to make this stand out a little bit is I'm going to come to this side and this side. I'm going to press the eye button then and bring it in. Now, again, just make sure that we don't go over these, you know, where the interlock like we did before. We definitely don't want that. We want it just just in front of here, like so. So if I pull it for like so. And then what I can do is press E enter lne and then just pull them out a little bit, like so, leaving a little bit of a sliver of gap down there. Alright, that's looking now much, much better, much happier with that. Now, let's think about our supports and all of these parts as well. So what I want to do is I want to make sure that I'm naming these. At the moment these aren't named, and are they all in the correct place? So these are all for the conveyor belt. So let's make sure these are all in conveyor belt. And then what we'll also do, we've got a flour bag here, so let's find our flour bag. Here is it under parts, let's have a look. So I'm going to just put my parts here. There they are. These are the three flour bags. So you can see, if I open this up, we've got flower bags, flower bags one, two, and three. So they're in the right parts. And then we've got these other parts, which are these parts here. So you can see all of these parts one, two, three, they're not in the right place. You can see we've got empty there. All of these want to be in water adder. So they all want to be in there. So let's press M, and then we'll go to water adder, drop those in there, like so. And now I should be able to actually close certain parts off. So you can see the conveyor belt or closes down like this. Now, one problem we've got is these conveyor belts, I don't actually want them. And these need to be in mixer, not adder. So let's go in and put them into the mixer. And now let's actually check that. So we've got the flour mill. We've got the water adder. We've got the mixer. Okay, so that's everything except this part down here. So we want this. Yeah, this will be on a separate pot. We'll put this in the stomper or squasher. So let's make a new one. We'll make a new collection, and we'll call it stomper. Not Stimper Stomper like so. And there we go. So now we've got a new one called stomp, and we need to move that one up because we're just tidying everything up before we're carrying on. And we're gonna drop it below mixer. So then we've got the stomper there like so, and then we've got the mixer, which is this one here. Now, you can see that this part here is also not in there, so we need to put that in, so I'm going to put that in the mixer like so. Lastly, I want to make sure that this mixers still working, so I want to make sure the animations still going, which it is, everything's fine there. So now, lastly, we need to sort out now our conveyor belt because at the moment, we've got all of these things in the conveyor belt, and we don't want those. What we want is these separated out. So what I'm going to do is I'm going to grab each of these, I'm going to press M, and I'm going to call them conveyor belt pots or something like that. So conveyor belt parts. And we're doing all this because in the future, we'll get lost in all of these parts. So let's drop this now into conveyor belt, and there we go. So we've got conveyor belt and conveyor belt parts. So this is the conveyor belt. This is the conveyor belt parts. Now we should be able to just hide the parts and keep the conveyor belt. Now, I'm just wondering if I want this part to be in conveyor belt. So what I'll do is I'll grab all three of these. I'll do the same thing. So we'll just call it conveyor. Conveyor belt, like so. And there we go, now, what we'll do is we'll drop this now into there. So we've got conveyor belt, conveyor belt parts and conveyor belt. Alright, great. So now we can hide this conveyor belt parts, and now we have these. So these are basically parts reuse we've called them. Is that a good name? Let's first of all, open up what our parts are. So our parts are flour bags. We're going to call these we'll call them conveyor belt objects. So I'll call this conveyor belt, belt objects. So because we're going to have a few objects in here. So now if I close that up, I should be able to put that just below my conveyor belt, close that up. So we've got conveyor belt. You know what? I've put it in there. I don't really want it in there. Let's bring it out. There we go. So we've got conveyor belt, conveyor belt parts, which are all of these. Let's bring them on. So conveyor belt objects. Okay, where are they? There they are. So conveyor belt objects. Let's close those off, like so. And then we've got conveyor belt, and that's all done. And now we've got these parts that we can reuse. So these parts here, we've got in there quite a few parts, actually, let's see. So we've got a cube in there. What is that part? Let's have a look? Oh, that is the little part for this part over here. So, let's make sure, first of all, that is still in there. Let it load up. Yeah, there we go. So we've kept this little part just so we don't have to make it again. I mean, we might have been better off keeping the whole thing here, probably with the animation as well. Yeah, you know what? I think we'll keep the whole thing instead. So, what we'll do is we'll grab I'm going to try. If I hide that out of the way, is it going to hide the whole thing? Yeah, you've got the glass there as well. So what I'm going to do is I'm going to grab the glass, grab the whole thing. I'm going to press Shift D, drag it over. And let's just see if I've not you can see that I've still not got that pot. So what I'm gonna do I want to come back to it, hide my glass, grab my little pointer. Grab the whole thing, press Alt H, and now Shift D, and now I should have the whole thing, and there we go. Alright, so that's the whole thing. Now, what I want to also do is I want to make sure that this is all together. So, in other words, if I grab them all to here, so all to this one, press Control P. And what we'll do is we'll set parent objects and keep transform. Now, this should still work. No, it doesn't. So that's the problem we've got. You know, probably because of the location that it's actually happening. Let's see if it actually works. No, it's not working. It's dropping right back there. You know what? We'll delete that, and we'll come to that another time. So let's move this over here. So, what else have we got? We've got a cylinder, which is these. We've got this. So we're going to call this pipe. We're going to call this bolts. And we're going to call this one bolts array. And then finally, we're going to call this needle. So it's this one here. And there we go. Alright, took a long time to actually get that sorted, but now you can see it's actually sorted out, and what I can now do is hide that out way, as well. And the reason I want to get all of that sorted, by the way, is because when I come to actually, you know, create more and more parts, we got to be careful that we don't lose track of where everything is. Now we're going to do is put this on object mode, and now what I should be able to do is get these supports in. So I want a bit of a support coming along here. So what I'll do, first of all, is I'll bring in a cube. So shift date. Let's bring in a cube. And what we'll do then is the supports will be I'm thinking coming from under here, and they're going to supporting it all the way over there. So what I'll do is I'll move this up a little bit on top of here, and then I'll move it over to here, like so. And then what I'll do is, I'll bring it down to there like so, and then I'll bring it over here to here. And then what I'll do is I'll bevel off this edge. So bevel off this edge. Like so. All right, so far so good. Now what we can do is we can bring this support, so I'm going to press Shift D, bring it over. I'm going to press R s -90, and then I'm going to press Control one to go into the side view. I'm going to move this actually out the way, so I can actually see what I'm doing. And then what I'm going to do is I'm going to grab this, press G to move it into place or wherever I want it. So this is going to be right in the center there. And then next of all, I'm going to now pull this into place. So once I've pulled it into place, like so, you can see there we go. And then what I'm going to do is pull this down. So I can pull this down into place now and you can see that I'm going to have to make this a little bit wider, which is no problem. So S and Y, pull it out a little bit, and there we go, that is exactly what I'm actually looking for. And then what I can do is I can press Shift D on this one. Control one again just to go into the side view, and then I can move that and put it right into place like so. All right, that's looking good. Now we'll grab this part and move it just over here. We'll press Shift D then. And bring this part over here, like so, and then I'm going to move it all the way up to there just to give it something to sit on. And then finally let's come to this part here. So grab it with face select this face, going all the way around to this face, and then we're going to pull it out into place. Now, I want to make sure that I've got enough room here so you can see that the supports on here, they're going to be interlocked into this part here. So, in other words, we're going to have not a support here, but we're definitely going to have to support this side going down. I've got to be careful that I've got enough room in here. In other words, let's bring in one more piece. So shift D. And then we can put them over the other side. So R, Z, 180, spin it round. And then what I'm going to do is I'm going to see how this part fits in there. So I want it close as I can, and I want to whoops, fit it into place. Like so, and that actually looks as though it's fitting in quite nicely. And you know what? This might work out perfectly for us. So let's pull this up a little bit onto there, like so. And then let's just pull this out a little bit to there. And yeah, that's exactly what I want. Now that's actually fitting in. It means we can fit these in going this way. That's going to make it much, much easier for us. Alright, so I'm happy with that. On the next lesson, then before we continue, what we'll do is we'll get the bevel in on these parts. We'll get this part also bevelled. We'll get this other part in. So these other supports in going towards the stumper, so the stumper is going to be round here, and then finally, we can actually make our little dough balls. Alright, everyone. I hope you enjoyed that, and I'll see you in the next one. Thanks a lot. Bye bye. Thank 48. Modeling dough mix for conveyor detail for Blender Beginners Masterclass: Welcome back, everyone to blend the beginner's master class, the cookie factory, and this is where we left it off. Alright, so first of all, then, let's actually bring this down to the point where we actually need it. So what I'm going to do is I'm going to grab this, I'm going to pull it down then to where we actually need it, which will be, if I press Control one, let's see where that's going to come down to. So roundabout to there is about right. And then what I should be able to do now is move this out. So first of all, I'm going to move it this way along. So I'm going to grab it. Corn chow select it. And I know I'm going to intersect in there, so I'm not really worried about that right now. What I want to do is just bring it up to the point where it's going to be something like this. And then what I'm going to do then is move it along once I've got this part in here. So you can see I need this part in here, this part in this side. So let's do that now. So Shift D. Let's move it over. Let's drop it into place, like so. Let's move this one over then. So Shift D. Let's drop this one into place. Like so, you can see how I'm lining up and basically just line them up in there where I can actually see them. And you can also see that maybe, maybe these are a touch too high. So what I'm going to do is just grab all three of them, and I'm just going to pull them down very, very slightly, like so. Alright, so now we've got those in what we can do now is we can bring this a little bit further, so I'll grab this one. And grab this one here, bring it a little bit further to where I need it to go. So it'll be something like that while still keeping it in there. You can see I probably need to move it a little bit further out of here. So let's move it out as well, like so. And then what we'll do is we'll bring now these two over. So what I'm going to do I want to press Shift D, drag them over. I want to make sure that this is on individual origins because I don't want to turn them from this point. I just want to turn on themselves. So art Z, 180, spin them round, like so, and then let's drop those into place like so wherever we want them. I want them just a little bit further out, I guess, something like this. Alright, so now we've got all of these fixed. Now, all I want to do now is bring this to the right place. So you can see this part here. Let's put on our Xray, and we'll grab this one and this one, and then all I'll do is drag them over to there, and then finally turn that off, and I just want to drop this bit down because I don't want them insecting like that, so I'm just going to drop it down, like so, and maybe I've gone a little bit too much there. Or maybe I need to bring these down. Let's see whichever is the case. Let's bring it up, bring it up. Like so, and there we go. Alright, that's looking pretty nice, happy with that. So now we've got all of these parts here. So let's now come in and actually make sure that all of these are, like, shaded, smooth, or they have bevels on them and all that other good stuff. So we already know that these have bevels on them now. I'm going to try it with just this part here. So what I'm gonna do is I'm going to grab this one, grab this one, press Control L, and I'm going to copy modifiers, and there we go. Now, for some reason on this one, if you remember, it wasn't working correctly. Now it seems to be. So let's just try one more, grab this. Control L, copy modifiers. Yeah, it's actually working. So let's grab this one and this one, Control L, copy modifiers, and there we go. And then we've got these parts here. Now, these parts, yeah, I should really go into all of them. Grab them all. Like, so grab this one last, press Control LL, and we're going to copy modifiers, and there we go, now this should all be beveled off, which looking very, very nice. I'm just making sure now everything's working correctly. And finally, now what I want to do is I want to come in now and give these a material. So let's think about the material we're going to give them. So if I put this onto or rendered view. What I'll do is I'll make this part here. This part will be all silver. So if I come in and I'll go down and the one I want will be several metal light. Let's bring a metal light in like so. I also want the hole in here. So this hole in this part here, a sign. Like so, and there we go. Now, these parts here should be orange. So I think this should be orange. Let's click down, and we're looking for factory orange. We're also looking for this one to be factory orange, as well. And then what we'll do is come to this part. And these parts here, we've got both of them grab L. If I press Control plus then, I can click the plus but down arrow, and we can have factory yellow, click a sign, and there we go. That's looking perfect. Now we've got these gears. Now, these gears are controlled from, if I save at my work before moving on. So save at my work. If I come to the conveyor belt, we can open that up, and we've got conveyor belt parts. These gears and everything are all in here, as you can see. Even this support is here. What I'm going to do then is I'm going to come in. I'll add in my metal light, and you'll see now all of those inside there have actually been done. If I press the little dot B, what I also want to do is select all of these, press Control plus. And what I'm going to do is plus down arrow, and I'm going to look for metal doc. So metal doc, click a sign, and there we go. That is what we want something like this. And now that has translated into if I press the little dot B into all of these in there, as you can see. Alright, fantastic. Now what we want to do is we want to give these. I'm just wondering if the bottom of these we want to give a different color to. So in other words, give them a rubber end to them. Probably so, probably so. So what we'll do is we'll grab this one. We'll click the down arrow and we'll click metal Light, like so. And then this part here. So if I press tab, you can see all of this is already selected, click the plus but, Down arrow, and we're going to want the one that says rubber, click a sign, and there we go, That is what we want them looking like. Now I want to do is do the rest of them. So I'm going to grab all of these now. Like so. I'm going to grab even this one here, this one here, this one here. I also need to put these the other side as well, but I'll do that in a moment. I'll grab this one, press Control L, and this time, we're going to link materials like so. Now, I want to come into this one first. So we'll just do rubber, click a sign. And then what we'll do is we'll just work our way round. So this one here, rubber, click a sign, and then this one. And we've already done that one there, and then this one. And then these two now, these might not be grabbed Let's look, that's made it easy for us. Okay. Now, did I do that one, let's have a look? Yes, I did. Alright, so now we can put it back content material mode, and now we know what we're doing. We can grab this one. We can press Shift D. And then what I can do is spin them around again. As, 180, spin them round seven to the top, and then I can see how far I need to pull them out. So these are being pulled out this fall, so. Alright. Cool. That's all good. Now we need to think about this bottom part here. So I think we'll have this orange. So I'm just going to click the down arrow, back to orange, and there we go. Alright, that bit's now mainly done. Now we need our dough balls, and we want a few dough balls. So the easiest way to do this is I'm thinking, Yeah, I'll bring in my cursor. I'll bring it right around here. And what I'm going to do is I'm going to press Shift mesh, and the one on one is it's going to be called the rock generator. So you can see this rock generator here. The moment I bring it in and press dot, you can see this is what we actually get. Now, I don't want actually the default the preset here, you can see a preset. We actually want the one that says river rocks, as you can see. Now, if I increase this, you will see that these look remarkably like doblls not really, but I'm imagining they do. So we'll bring them over, like so, and I'm just going to pick three or four of them to actually work with. So, like so. There we go. So the three that I want to work with are going to be this one, this one, and I think we'll also we want one that's a little bit more rounded. So you know what? We'll just pick these, so I'm just going to move them back. I'll get rid of the others. Like so. And then what I'm going to do now is just I'll use four, actually. Shift D. Let's bring another one and then Shift D and bring another one, like so. And then what we'll do is we'll grab this one first, and you can see this is basically what it is. So at the moment, we have no mesh. If we come over to here, you can see it's got all of these subsurfaces on, all of these displacements on, you can turn up a displacement and turn it into a little bit different. You can come to this one then and we can go down to the other displacement and turn this one up a little bit different, like so. So you can kind of come in and make them all look a little bit different from each other. Like so, and let's do the same with this one. And there we go. Now, I think they look pretty good as dough balls. I think actually they look about right. And now what I'll do is I'll grab each of these, like so, object, convert, mesh, and there we go, now you can see if I press tab. This is actually what we've got. So now all I want to do is I want to mix them up a little bit more. So all I'm going to do to do that is I'll grab them all, press Control J, press the tab button, I'm going to press Control E, and I'm going to clear those seams off, first of all, so clear the seams off. You can see here they've got kind of some seams running along here. Let's have a look now. I'm just wondering what those seams are. Save a luck? Oh, there we go. Now they're off. Oh, they're not seams. They're actually I think they're shot, what they called creases. There we go. Controllee. Let's, uh, I'm looking if we have actually creases that we can take off edge crease. There we go. We've got edge crease and edge slide on there. I don't know why those are on there, but they're not going to affect what we're actually doing. Anyway, let's come over to mesh, transform, and then we'll go to randomize. We'll turn this down a little bit, like so, and there we go. And then what I'm going to do is come on over it, add modify it, generate. And I want one that's gonna deform it slightly. So it's going to be a smooth. So let's smooth them off. Let's turn that up, like so. Let's increase the amount. And let's get them nice and smooth. Like so. And then all I'll do is press Control A, and there we go. Finally, then, these look a bit high poly for what we need. So all we're going to do now is generate a decimate, and what the decimate is going to do is it's going to reduce the amount of polygons. You can see at the moment, I've got 6,144. If I turn this all the way down, you'll see now I've got a polygon count of eight. You can see if I turn this up to not 0.1, we now have a polygon count just over 1,000, and that is what we're looking for. We might even turn it down to not point and not five, like so, because after all, these are supposed to be doubles. Now, lastly, now I've done that, what I want to do before doing that, I want to grab them, and I want to press ssnsEd and shrink them down a little bit because at the moment, as you can see, they need to be a little bit flatter than what they are. Then what I'm going to do is I'm just going to come to the bottom, grab the bottom of each one like so, and then coming over, put on smooth shading. And then what I'm going to do is press Es and's Ed and just shrink them down. Like so. So we've still got that kind of round top, but they look a lot more now like actual doubles. Alright, so they're looking good. Now, the other thing is we don't want them too flat, so what I'm going to do is grab the tops of them now, like so, and then I'm going to lift these up, so I'm going to bring it in and lift them up to make sure they're rounded on the top. And there we go because they're going to be squashed into actual cookies. So there we go. They're looking pretty good now, and now I can actually apply that decime and there we go. You can see just how far down these have dropped. Now, finally, we actually want to have some actual material on these. So what I'm going to do is I will go and bring in just a simple material. So I'm just checking on my other screen what material I actually want on these. So we've got dough. It's pretty much the same actually as what we've used before. So what I'm going to do is I'm going to bring all of these up now. And I'm going to put them over here because they're going to go with the conveyor belt, so I'm just trying to keep everything together. And then what I'm going to do is split them up. So you can basically come up and you can split them this way. So if you want to, for instance, go to select, and we want to not select mesh, and we want to separate by loose pots, now you'll see these are actually split off. So easy way of doing that. Now, let's grab them all, press Control A or transs right click Set origin to geometry. And then what I'm going to do now is I'm going to grab this one, and I'm going to see flour bag. If I go to shading. You can see this is a flower bag set up. I'm going to actually copy this Control C. I'm going to come then to this one, I'm going to call it Doug Balls. Like so. And then what I'm going to do, I'm going to delete this off, and then I'm going to just press ControlV and then bring that in. Now, finally, let's put it on rendered view, and I'll just get you the hex value. So I'm going to get you the hex value, which, if I zoom in now, to here hex. Control v. Press the enterbne. There's the hex value. And then I'm also going to make sure that first of all, we have no metallic on, and the roughness is going to be down because you want them slightly, slightly shinier. Like so. Much shinier than the flour bags, for instance. And finally, now we can grab all three of these. Grab this one last, press Control L, and we're going to link materials, and there we go. Now, let's save out our work, and we'll actually put these in the right column and put them into the conveyor belt on the next one. Alright, everyone, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 49. Animating dough to be stomped on by stomping machine for Blender Beginners Masterclas: Welcome back, everyone to blend of Beginner's master class, the cookie factory, and this is where we left off. I think I'm actually going to get rid of this one. I don't want this one. So I'm just gonna have the three balls here because it looked a little bit off, actually. So now what I'm going to do is press Shift Space bar, bring in my move tool. I'm just gonna move this one over. And now I've got these three, and what I want to do is put them in their own collection. So at the moment, you can see, if I go back to modeling that I've got the collections here, conveyor belts. I'm looking for conveyor belt objects. And what I want to do is I want to make a new one and drop them in there. So what I'll do is I'll grab all three of these M, new collection, and let's call them dough. Bowls Ls. We'll also put on there actually round, just so we know one's around and some are flat. Click Okay, and there we go. Now what we're going to do is we're going to drag this up into our conveyor belt objects, so I'm going to drop that right in there, like so, and there we go. Now they're done. Now, what is this cube here? Let's find out what that is. So I'm going to press dot and we can see this cube is part of these. So what I'm going to do is put that into our mixer. Yeah, our mixer like so. Alright, so everything now is tidied up. Now what we want to do is swap these for the actual dough ball. So what I'm going to do is I'm going to come down. This is split off now from this so you can see these are two separate objects. And what I'm going to do now is come back to here. I want to come down to where it says, objects. So these objects here, we definitely don't want them in flower bags. What we want. You can see it's an object as well. We don't want that. What we want is a collection. We want to remove this, and then the collection wants to be conflaer belts and we want it to be, where is it dough balls, dough balls round. There we go. Now, let's see how these are looking. So we can see these are looking pretty nice. We just want to make sure they drop. And the other thing is, we can see your looking at my object and making sure I think, you know, they're the right size and everything. I'm just wondering if we need a few more of these coming off the thing at the same time, which means that we can do drop intervals of, let's say, not 0.5, something like this. So now it actually speeds up, as you can see. Now, maybe that's a little bit too high, as you can see, so let's put it on not 0.75. Let's try that. And it will slow down. It'll just take a little bit of time. I think that is looking much better now. Alright, and you can see the balls are different. The scale is random. The rotation is random, all of that other stuff. We can actually probably get away. You know what we'll leave them like that. I think that's actually good enough. I'm making sure the loop's okay now. Let's mess around with this loop just a little bit more, just to make sure this part is okay. Let's pull it all the way down. That's not working, so let's bring it up a little bit. There you go. Now it's working, but it's just getting stuck on the end, so let's turn the gravity down a little bit. Still getting stuck on the end a little bit, so I'm going to turn this gravity up, tiny bit, and then turn the lurp up a tiny bit. Let's see now. Still too much. Let's turn it up. There we go. Now you can see that is looking much, much better. Alright, so we've got that now. Everything is looking cool with that, and the dough balls are done. Now we're moving on then to the actual stamper. So let's start with the stamper first of all, of getting the imaging. So what we'll do is we'll bring this over. I'm going to spin it round, so I had 90, let's spin it round. And then what we'll do is we'll move this over here, pull it over. Let's pull it over this way. And then using the red. Let's pull it over this way. And then what we'll do is we'll come now and change that out. So let's click Open. And the one we want, let's put this on is going to be our stamper, which is which one is the stamper. Let's find it. I think it's this one here. Yes, this is our stamper. So we can see we've got a big machine here. And basically, we've got this conveyor bell that runs through there, and then we've got this big stamper that's going to go up and down stamping the dough balls, you know, into something that's flat. Then finally going to be sprinkled with chocolates, and that's the idea of this. Alright, so let's actually work on the stamper. So first of all, with the stamper, you should know that we need to actually hide this in some way. So if we put our stamper around here, we need to make sure that it's hid inside here because it's actually going to be two of these parts. So in other words, if I grab this part and this part and I press Shiftee, I'm going to then move these over, like so, without portion editing on. Let's move them over. And I want these to kind of be interlocking into here like so. What that means is then I also want to make sure that these are split off. So P selection, split them off, and then press space bar. And now you'll see that near enough, near enough, they're joining. Now, they're not quite, so that is the first thing that I want to do. So I'm just going to press right play, set origin two geometry. I'm going to move it over just a tiny bit like so, and there we go. Now, you can see that is what we want. We're actually joining them, near enough at the right part. And what that means is then that the stamper will come down and it'll give the illusion of the actually being stamped in that way. Now the next thing we need to do is we need to make room for this damper. So let's first of all, make the base. So you can see all of these, have a base on them. What I'm going to do then is I'm going to press the space bar. I'm going to come in, I'm going to grab this base first, so grab this. I'm also going to get rid of these supports, as well. So I'm going to pull these back. And then what I'm going to do is I'm going to press L, shift and D, duplicate this. I'm going to press P selections, separate it Control A or transonsR plaq origin of geometry and spin this round. So head 90. Let's spin this round into place. So this is where my stamp is going to be somewhere around here. I'm going to get rid of this one and this one. So delete those out the way, and this is where I want to put it. So right where Bang, you can see right around there is where I want to put it, which means that this might need put in a little bit over here, so I'm going to move it just a little bit over there, right into the center. As you can see, this is the center, and now I know where my stamper machine can go. And from here then, let's actually build this out. So the stamper wants to come down right around here, so we'll actually start on that part. So what I'm going to do is we're going to press Shift S, cursor selected, Shift A, and then what we'll do is we'll bring in a cube. First of all, we'll bring up the cube. We'll make it smaller. So it's the right size. We'll press En'sEad like so, and there we go, now, you can imagine this, stamping it there. That is what we want. Okay, so from here, then, let's actually make it look like an actual stamping machine. And the other thing is, let's make it so it's actually the right size. So around here, right around that size. And then what we'll do now is we'll bevel these edges off. So I'm going to come in. I'm going to put it on object mode, actually. And the other thing is, as well. I'm going to hide these out of the way because it will cause performance and optimization issues if you've got everything showing on here. So let's hide the flour mill, the water adder, the mixer, and let's just hide those out of the way, and it'll be much, much easier to work with. We can also see now popping in like so. Alright, perfect. Now, let's come in, and what we'll do is we'll grab all of these parts. And we'll press Control B and bevel them off, like so. And then what we'll do now is we'll come to the bottom part, and we'll press E, enter S, pull these out, and then E, pull it down, like so, and there we go. And then what we'll do now is we need to think about the actual stamping part of it. So I'm going to come in, bring this bit in. So I'm going to press I and then press E, make sure you don't go past those again. Press the E bone, like so, shifts, cursed to selected, and then tab, and then shift A, and we're going to bring in a cylinder, make sure it's on 24. S to bring it in. And then we need to decide how high this part is going to go. So we know it's going to come down to this part here, all the way down to here to squish them. So now what I'm going to do is pull it up, like so, and then I'm going to grab both of these. And actually, you know what? I want to make another edge on there. So control. Let's bring this down. And then let's come around Alt Shift and click E, to lns and pull this out. Like, so, right click, shade or to smooth. And there we go. Alright, that's looking good. So now we can see it's going to come down. Let's see now if this goes underneath. And there we go. See. Yeah, it's a little bit out. So you can see, I need to move it over. I press three. It's a little bit out. It's changing a little bit over this side. So let's try that again. There. Okay, so that's gonna work roundabout, fine. That should look okay. Now, we've got this part, so we've moved everything over. Now we need to actually put this into something that's going to make it look good. So what I'm going to do is I'm gonna, again, save out my work, and we'll start this on the next one. But what we'll do, first of all, is build this bit around so that it looks as though something's there, and we'll also kind of hide this a little bit and make it look like it's actually being supported, you know, by the actual stamp of this conveyor belt. Alright, everyone, so I hope you enjoyed that, and I'll see you in the next one. Thanks, lot. Bye bye. 50. Creating support for the stomper machine, to hold the stomper for Blender Beginners M: Welcome back, we want to blend the beginners master class, the cookie factory, and this is where we left it off. Alright, so now let's come in. Let's bring in another cube, so we're gonna bring in a cube right around here. And then what I'm going to do is squish this down, so S and Z, pull it down like so and we want this cube. Basically have a hole in here. This is going to move up and down into the machine. So we definitely want to make this longer. Now, how high do we want this? I don't think we want it quite so high. So round about this height, I think it is going to be fine. And then what I'm going to do now is I want to just make sure that there's enough room either side to actually support this. So if I now press tab, I can press Control R. Left click, right click, Control B, bring that back down, and I can bring it just past this part here. So just past the actual conveyor belt, leaving a little bit of a gap. From there, then what I can do is I can come now to this side and I can extrude this down. So if I extrude this down, like so, and then what I can do I can come to the back now. I can extrude it down all the way down. So it's just there, as you can see, all the way down to round about just the bottom of here because we want to look as though this is actually supporting it. And from there, then what I want to do is then this will be set on another part. So from here, I want to bring in another cue. So shift day, let's bring in a cue. Let's bring this all the way down to the bottom. So right into here, like so. And then what we'll do is we'll come underneath, grab the top of it, pull it all the way down, so it's just underneath, so it's j touching that part that we actually made. And then what we're going to do is make it a little bit further back, so we're going to pull it a little bit further back, and then we're going to grab both of these sides, press S and Y and pull them out a little bit. Now, if they're not pulling out, make sure you're on medium point. So S and Y, pull them out a little bit, like so, and then we go, that's looking pretty cool right now. And then what we want is the front now. So we want a front bit on here. So what I'm going to do is pull this out a little bit. I want to press Control R, left click and bring it along like so. And then what I'm going to do now is lift up this front. I'm going to press E and I want to lift up this front just in front of those like so. And I'm not quite sure, I think, how far do I wan that up. I think something like that, so we've got a range of motion. We can just see it like so, and I think that will be fine. Alright, so now we need the front and back on this. So again, we'll bring in a cube, so shift day, bring in a cube. Let's bring it down into place. Let's make it a little bit smaller then. So this will be the front part of this. We'll pull it into place. Like so. And then what I'll do is I'll press Control A, I'll transform set origin to geometry. I'll then come to the front of my cube, grab just this edge, control B, and then all I want to do is bring in some edge loops, like so, I'm going to round it off, and there we go. Now what I want to do is I want kind of three bands on here. So I might as well do that now. Now I'm thinking, do I want one here, one here and one here? I think actually that'll look about right. Again, before we do anything, let's press Control A, I'll transom set origin, two geometry. Let's also shade it smooth so we have a good idea once we're inserting how it's going to look. So we're going to press the insert, holding the shift button, like so. And then what I'm going to do now, I want to bevel these parts off. So I'm going to come to my vertex select Control Shift and B. Let's bevel these off, like so. And then what we'll do now is we'll grab just these parts here. Like so, and what I'm going to do is press E, Enter Alternat and let's bring them out, like so. Now, we can see we've got some issues with all of this. Let's right click and Shade Smooth. You can see we've still got some issues in here. Generally, this is caused by, you know, this part in here, this bending part in here. And as I said, sometimes, if you press Control Plus, you can just split this off. So why split it off, and then you can actually get rid of most of those shading issues. On this occasion, though, for whatever reason, it hasn't done that. So what we'll need to do now is just get rid of these parts in here. So what I'll do is I'll come I'll grab each of these like so. And then what we'll do is we'll press Alt Shift click on each of these, like so, and on this and on this, right click and macacine. And then all we're going to do is we're going to come in. We're going to press L on this island. So L, L and L. We're going to press delete and faces. And then what we're going to do is fill these faces in. Now, there is an easy way of filling in faces. All you need to do is mesh, come down to clean up, and what you're going to do is fill holes, and there you go. You can fill them in. Now, if they're not filling in because there's too many faces, just come up and increase this. I always tend to put this on something like 12 and then every time I build something, it makes things really easy. Now, you can see that smoothness now is perfectly done, so that's looking really nice. And now what I can do is now I can press Shift D and bring this over to the back end up here as well, Z 180 and just give it support on the back as well as the front like so. Alright, so far so good. Now, let's think about this part on here. So what I want to do is I want to bevel this side and this side. So we'll come to this part. Again, before we do that, we'll press Control A or transforms right click Set origin to geometry. And then what I'll do is I'll grab this one and this one, I'll press Control B and just bevel that off where we want it, which will be something like this. Right click, Shade Smooth by angle. And then what I'm going to do now is the inside of here. I'm going to also bevel this off, but just a little bit. So if I press Control B, I should be able to bevel it off just a tiny bit. Like so, and then I come right click. Shapes move biangle and there we go. That is slightly beveled off. And now I think it looks much, much better like that. Now, let's put some angles on here. So this will be coming through here up into the main machine. So what we'll do is we'll press Control R. Let's go with two. Left click, right click, and then let's press Control B and bevel O's off, but drop it all the way down. And we can see here that this now is a little bit out. And I'm not sure why that happened or why it's a little bit out, but my stamper is definitely not my stamper, but my machine is definitely a little bit out, and I don't really like that. So what I want to do is I want to move this all into the correct place. So I'm going to grab all of these, like so. And I guess, first of all, before we do that, let's move our cursor to where we need it. So if I grab the top of here, press shift desk, cursor selected, and then what I want to do is I want to grab, let's say this one last so I want to basically grab all of these parts like so. And then grab this part last and press Control P. And what we'll do is object. So we'll set part object and keep transform. And then this one here, I want to move to there. So I'm going to press Shift desk and selection to cursor, and there we go, now it's right in the center. Everything has moved along with it, which makes it really, really handy now for us. If I press three now, I can basically drop this back down now to where we actually want to holding the Shift but and drop it back down to there. And now you can see that this now, if I come back to this part, press the tab but, now this actually lines up. Albeit, these want to be pushed out a little bit further, but we'll deal with that in just 1 second. First of all, we want to do, right click shades move Bangle. And what we next want to do is remove all of those parents now. So if I press O P, we're going to clear and keep transformation on the parents. And now when I move this, nothing else should move with it, and that is what we want. Okay, so now let's deal with these parts that we had before. So what I want to do is I want to pull these out. So I've got them all selected. Let's actually pull them out. So if I press S, and let's have a look. Oops. Let's go back, S and Y, let's pull them out, and you can see it makes them a little bit bigger. On this occasion, I don't actually mind if they're a little bit bigger, but what I don't want is, I don't want to bring them all the way out. So all of these. What I want to do is from here, going all the way around to here, and then from here, going all the way around to here. And then what I want to do is press Eat, enter lns, and then pull them out, like so. Now I want to right click Sheets move bi angle, and there we go. That is what I want. Now, I know I'm aware I've got some hard edges on here. So if I increase this jaws to slide bit, let's see if we can actually get rid of those. No, I don't think we can. So let's right click Shats Move Bangle. Let's put that back on 30. And let's see. Yeah, we've got some odd edges in there, and that's the reason. So what I'll do is Alt Shift click Alt Shift click, right click, and what we'll do is clear the shops. Let's see if that actually helped. And no, it didn't because for some reason, we've also got shops in here. Let's right click and clear Shops. Alright, that's looking a little bit better, albeit, though, we've got now issues with this part. So how do we fix that? Well, we're going to go in, and we'll grab we'll grab these two first, and then we'll grab just this one here, and we'll actually right click and we'll shade flat. And there we go. Is that looking okay? Is that gonna cause us issues? I think it's gonna cause us a few issues. We've also got some issues in this part here, which I'm not very happy with. I'm just wondering whether I want to bring in another bevel on there. It can fix things, but sometimes it can also cause issues. If I go over here, for instance, press Control B, you will see we can actually fix a lot of it, but you will also see that it also causes some other issues like here when we pull this out, which we don't really want. So we've definitely got issues there. So what I would say, instead of doing that, we'll actually come in, so we'll go back before we actually brought these out, if we can. So let's see if we can. If not, we'll do it another way. You know what? We'll just do it the other way. So what I'm gonna do, I'll show you as a way to actually fix this. So we're gonna press one. We're gonna press eight. We're going to come in with a bisec, so we're going to press mesh. Bisect, and then we're going to cut it across here, right across here. Make sure that this X is on zero, like so, and then what we're going to do is either clear the inner or clear the outer. So we're going to clear the outer on this one. The thing is, though, let's have a look, first of all, we'll take that outer off. So we're going to have it around there. What I'm going to do instead is actually, I'm going to right click and I'm going to mark as. So we'll come in. If it doesn't work, by the way, right click in press Control E to mark a sm. It just means that we're in face select instead. So controle, Mark asm like so. All right, so now what we should be able to do is grab this. We should be able to press L, and we should be able to separate this out like so. Now I can come back to this part. I can bring this up now. So what I'm going to do is I'm going to come in hold Shift click. And then what I'm going to do is bring it to roundabout here. So I'm going to press one. I'm going to pull it up to roundabout here. And then what I'm going to do is I'm going to pull it up now. So E Z, pull it up to round about here, like so. And then now I'm going to grab all of this. So I'm going to grab all of this going across here. I'm going to press one again. And then what I want to do is press E and pull it all the way over to here. And then what I want to do now is press Control R, bring it all the way over to here, and then I'm going to grab the bottom of this now. So if I come in, I should be able to grab the bottom. Of this going all the way over with Control click. And then finally, I'm going to press E and pull it down to here. Now, finally, I need to drop this back. As you can see this is not right. So what I want to do is I want to press Alt Shift click going all the way around minus off these two because we want to bridge it. So right click and we're going to bridge edge loops. And now we should be able to get this into the state where we can actually near enough, work on this again. So we're just going to grab all of this going to here, and now I'm going to pull it down, pull it down, pull it down, all the way down to there. Now, what I should be able to do now is grab this, delete it out the way. Grab this, right click, Shade Atos move, and there we go. Now, let's make sure then when I do my bevels, I'm going to do them properly on this beam as I've actually had to fix all of this. So you can see now all of this is fixed. Let's press A control Lee, and we're clear all of those seems like so. Okay, so on the next one, then, we should be able to get this surf fixed. Everything is looking in place now. I think actually on the next one, we should actually get this completely finished with the model, and then we can move all of these parts down and into place and things like that. Alright, everyone, so let's save our work, and I'll see you on the next one. Thanks a lot. Bye bye. 51. Adding additional decorative detail to stomper for Blender Beginners Masterclass: Welcome back and run to blend the beginner's master class, the cookie factory, and this is where we left it off. Alright, so what I'm going to do, first of all, is I'm going to then devel these off and get it back to the position I had it. So what I'm going to do is I'm going to come in. I'm going to press Alt Shift and click, just to go around there, Alt shifting click to go around here, and then I'm going to press Control and B. And hopefully, I should be able to increase this enough. So let's give it a lot more than what we gave her before. And then left click and drop ins place now. That's right. Click and Shade Smooth. Now, we've still got a little bit of a band on there. I'm not sure if I increase it even more. Will it actually get rid of that? So I'm actually going to test that, so I'm going to come back, I'm going to press Control B. I'm going to bring it all the way up to that part just in front of it, so not quite in front. So round about there. I'm going to increase them then and then left click and tab and there we go, I think that's actually as smooth as we're going to get it. So we're going to have it that smooth. Alright, so now what we want to do is want to come in, grab this edge and this edge, and then shifts like this one, going all the way around to this one, and then press E, enter Alterns and bring it out, like so tab, right, click, Shade Smooth. And you know what? It's a little bit better than what it was. It's still not perfect to what we need. But once I got my materials on, I think it's going to I think it's going to be okay, actually. Alright, so now let's come to the inside. The other thing is you learned actually how to rebuild something if you make a mess of something. I think that actually is the most important thing. Now, let's shift select on each of these. Let's press Control B. And what we're going to do is just bring these out like so. Okay, so now let's actually right click Shade Smooth, and there we go. And finally, now, finally, we're back to where we actually started. So what we want to do now, first of all, we want to put a hole in here. So what I'm going to do to do that is I'll grab just this part. I'll press Shift D. I'll bring it up. I'll pull it out, like so. I'll press the E button like so. And then what I want to do is just split this off. So L, P, selection, like so, press Control A, all transforms right, click, set origin to geometry. And now I'm going to do is just put that like, so making short, pressing Essen'sE and pull it all the way through, like so. Now the next thing is I'm going to show you another way because we're actually going to Boley in this, but I'll show you a better way of doing it. Edit preferences, go to add ons, and the one you want is called the ball tool. So ball tool, make sure this is turned. Close that down, and then what you want to do is grab the Boolean first, grab the item you want to boolean next and press Control and minus, and then you'll end up with something like this. Now what I want to do is right, click Shade Auto Smooth. Well, I can't do that actually until I've actually applied this. But the good thing about this is I can now still work with my boolean while I'm actually seeing in real time how this is actually looking. So you can see it. This is actually looking pretty nice. Now I've got it very close to where I need it. It's going all the way through there. And once you've done that, what you can actually do now is come over and come over to the ball, press Control A, and there we go. Now we should be able to shades move, and there we go. You can see just how easy that is. Now, for those of you wondering about the ball tool, it's still like this, as you can see. A lot of people just delete it, but if you really want to actually get it back, you can come over to the right hand side, and you can go down to where, I think, let's say, edit boll tool and let's put it on to remove Bush. This one here, remove the brush, and there we go. You can actually get it back. Alright, just in case you want to do that. Let's delete that out the way then. And what we're going to do now is work on the actual top. So first of all, I'm going to grab the top off here. I'm going to bring it up a little bit higher. So I'm going to bring it up to here. And then what I'm going to do now. So this is going to be stamping all the way down like so. So what I'm going to do now, I need an actual top on here. So I'm going to press shift A. I'm going to bring in a cube. I'm going to bring my cube up, make it a little bit smaller, so something like this. And what I also want to do then is put it into place like so. I'm going to pull it down a little bit. And then what I'm going to do is bevel this part here. So press Control B, bevel it off. Maybe not that far. Something like that. And I think now that's looking pretty good. Right, click Shade Smooth. And then we just want a couple of parts in here. So a couple of blocks, basically. So what I'm going to do shift A again, bring in a cube, press the S button, bring the cube over, make it a little bit smaller, just so it's fitting along there. S and X, pull it out, like so, grab the top. And then let's pull it up into place like so, and there we go. Alright, that's looking pretty good now. I think also it's looking pretty strong. I think it's a little bit too far forward, like so. Now, we have got our cursor in the center here. If a right click and set the origin 23d cursor, I should be able to come over now and just generate a simple mirror, put it on the Y, turn off the X, and there we go. Now we can see that's going in there. It's supported really well. And now I think all we need on here really is the back of this leading to some actual pipes on here. Let's actually though put a front on here just to make it a little bit nicer. So control, left click, right click. Control B, bring it down, and we'll just put it right from. Let's put another one in, so control, bring it around to here. And then all we'll do is we'll bring it around to here, here, enter lns, and just put a front in it because I'm always thinking of how we can actually put things on there to, you know, make it look a little bit different and things like this. Okay, so now let's deal with the back pit. So I'm going to press Shift A. I'm going to bring in a cube. I'm going to bring my cube down to roundabout here. So, roundabout, let's pull it up a little bit. Let's press S and X, bring it in a little bit, like so, and let's pull it down, tiny bit. And then what we'll do is press Shift D to duplicate that and then we'll just pull it up. We'll make it a little bit smaller, like so. I'm going to pull it back, jaws to tad, and then I'm going to press the tad button, grab the front of it, and then just pull it up like so. And then what I'm going to do is pull this up. Now, what I want is some cables coming from this part to this part. But first of all, let's make the part where the cables are going to go in. So if I press the eye button and then pull it out, there's where my cables can go in and then they'll just plug into some part on the back of here. So I'll make a part on the back of here as well. So what I'll do is I'll press Control, bring it up. And then Control R, bring it up to roundabout here, and then I'll just grab all three of these, press the I button. So I, bring it in, and then pull these out just a little bit, like so right click and shade Auto smooth. Now, the part I want is going to be it's hidden at the moment. We already know though that the parts to reuse are here. So what I can do is I can grab my pipe, Shift D, and this is why we actually kept this pipe. And then what we'll do is we'll just hide those out the way again. And you can see, because I hid him out the way, it's actually got in there. So what do I need to do is press M and put this in my stumper, and then I can hide my pipes out of the way. And finally, then I've still got my cursor here, so I can press Shifts selections cursor, press the little dot born to zoom in. And then what I can do now is put this into place. So, 180 or 80 As 180, spin it all the way around, and let's get this into place. So where do we want it? We're wanting it starting from there, and we want it going to here. So I'm going to now press one to go in side view. And then I'm just going to press G and just get this fan in. And just remember if you've got too many parts, like, sometimes you might end up just delete one of them. There's no issue with doing that. So now you can level it all up, like so. And let's pull it back. And on this one, I think I'm going to need two. So I'm going to put one here and one over here, like so. And then all I'm going to do is move this one over with proportional editing on. So let's move it over a little bit. And there we go. Let's come to this one now. Same sort of thing. So we're going to move this one over a little bit. We're also going to move this in the middle of a little bit just so it looks a little bit different from that one. And then finally all I'll do is I'll bring both of these. So I'll bring both of these up just a little bit just to make it a little bit easier for me to deal with them. Like so. And finally, then let's go to object and convert and mesh, and there we go. Let's join them together with Control J, and this is what we end up with. Now, let's come in, Alt Shift click, Alt Shift, click, Alt, shift, click, and finally, Alt Shift click. Press the EB, Alterns without proportional dting on. So alterns, bring them out, holding the shift but if needed. Right, click, shade or to smooth and just turn it up a little bit like so. You can see how fast we actually put this together. Now, one thing is, I need to make sure that this stamper, so all of this damper, where is it going to come up to? We've got loads of room there, as you can see, I can come all the way up to here even without actually going through there, and that is exactly what I want. So what I'm going to do is I'm going to put it, you know, not quite so high. I'm going to put it around there. So we've got a good, clear idea of what this machines doing. And then what I'm going to do is press ControlJ and join it together. Now, with the stamper, what we need to do now is we need to actually bevel everything off, go through all the shaders, put all the shaders on things like this. We'll also, in fact, before we finish, quickly, put on a bevel on here. So just round this off a little bit, so I'm going to grab these two here, press Control B, round them off a little bit to make them look a little bit nicer. And then what I'm also going to do is put a front on here. So I'm going to press the Ibn to bring it in and then E to bring it out, like so, and then right, click Shade Atos move, and there we go, That is looking very nice now. I think that's basically finished. So what we'll do now is save that or work. And on the next one, we'll actually one last thing I think we need to do is move this back. You know what? We'll do that while we're here. So all I'm going to do is put on my X ray, and then I can pull this back just to here. Let's turn it off. Double tap the A, and there you go. You can see just how nice that actually looks now. All right, so that's looking perfect. Really happy with how that looks. And now we should just make sure that these change once they've actually been stamped. Okay. Alright, everyone. So I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 52. Working on timing to switch dough when it gets stomped and adding material to machine: Welcome back if we want to Blend Beginner's master class, the cookie factory. And one of the things that I have actually found is that when you're actually moving these round, sometimes you'll end up creating a like a insert in a keyframe, and you might not want that. So just make sure when we're not using this that we turn that off just in case that happens to you because it has been happening to me, but now I actually figured out what the actual issue is. Alright, so now, then, now we've got our cookie dough on there. Let's just make sure they're actually spinning changing over which they are. Okay, so now let's come in. Put this onto material view. And what we want to do now, we've pretty much got all of the materials that we needed. We just need to make sure that they're beveled. At the moment, you can see that this is beveled. And then, you know, the other thing where I'm going to do, I'm going to just grab each of these, and I come down, press delete on the time frame just in case I've got anything in there because I think that's what happened actually when I was trying to copy the modifiers over, it was actually creating some key frames, and that's what actually happened, so I've just deleted all those now. Now what I should be able to do is grab both of these. Let's just put it on object mode just for now, grab this one, press Control L, and what we're going to do is copy modifiers like so. And there we go. Now we can see they're done. Let's come up then to all of these. Let's press Control L, and what we're going to do is copy modifiers, and there we go. And finally, then we've got this. We've got these parts, this part, this part. We've got a mirror on there. So just make sure you press Control A and apply it. Then grab this, press Control L, copy modifiers, and there we go. Now, if these are, you know, beveling a little bit much again, sometimes that happens. Right click, shades move, and just turn it up a little bit more. If that's not working, we might want to let's try Let's come in, actually. I'll do that again. And then what I'll do is I'll turn it up all the way. Let's see if it's actually going to do it. And you know what? If it's doing that, just take off the modifier. Put this on 30. Take off the modifier. Right, click, Shade Smooth, turn it up a little bit. And I think now I've got edges in there. There we go. I've got sharps in there, so right click or Control play sharp. Now let's right click, Shade Smooth, take off those edges. And sometimes this also happens. I'm going to take this off, actually. There we go. All right, so that's looking good. Now what I want to do is I'm just going to come in and instead of doing the automatic bevel, I'm just going to bevel them myself. So I'm just going to give them a slight bevel. So Control B pull them out. Hold the bevel up, so so very, very slight bevel, like so, and there we go. Alright, so let's come in now. Put it on material view. Let's come to these parts, then. We'll go to material. And then what we're going to do is put them on rubber. So these are going to be on rubber. This is going to be blue with a bit of yellow on, so blue, factory blue. And then the yellow part is going to be here. So what I'm going to do is I'm going to grab all of this, controls this. Control plus plus down arrow, yellow. Click a sign. And then we're going to come to the back of it. I think this should still be blue, so all of this should be blue. So let's come to this part. We'll grab this one and this one, press Control LL, and this time link materials. We'll do the same thing on this one and this one, Control LL, link materials. And now we're going to go to this part. Now This parts going to be orange, so down arrow. Factory orange. Except these parts which are going to be yellow. So these parts are near. Control select going all the way along. Shift select the one in there. Control select, Control plus, and then all we're going to do plus down arrow and battery yellow, click a sign, and there we go. Alright, working our way forward then. These parts here, these are going to be the same as this, so Control L link materials. This part here is going to be metal. Lots of metal on this, so I want to click the down arrow. Come down to where it says metal light. Click that on. Now, the bomb part of this, I want to be dog. So this part here, this stamper part. I'm going to Alt, shift, click, Alt Shift click. I want to click Plus, Down arrow. Metal, dark, click a sign, and there we go. So I just want a bit of a distinction on that part. And now we're working our way down to this part. So this part's going to be orange and yellow, same as this. So Control L link materials. And what I'm going to do is put a yellow part on this, so Control Plus. Assign, and there we go. And now finally just these parts. So this part and this part, we can join together. No problem there. And then what we'll do is we'll grab this one and this one, Control L link materials. And now let's come in and grab all of these. So I think actually, we can just press L on these because they're not actually joined with anything else. Click the down arrow and assign, and there we go. Alright, looking so far so good. Now, let's have a quick look at what that looks like in rendered view. Before we do that, let's save out our work. So let it load up in rendered view. And there we go. It's looking very, very nice. And now what we need to do is create this stumper to go down. So but the first thing we want to do is now animate this stamper. Now, the other thing is, is that if we've been moving things around, because I forgot to say that if you've got this automatic on, sometimes it can cause issues. So sometimes when you're pressing Spacebar, you'll end up with things jumping around, or sometimes you'll move things there, and when you press Spacebar, they'll jump around again. So just make sure you grab all of these parts at the moment, and all you're going to do is just come down to the timeline and press Delete and just make sure the timeline is completely clear. Next of all, then, we want to come to our actual conveyor, I want to come down, and what I want to do is I want to set the drop intervals to not 0.8, and I also want to set them to not 0.8 on the other side as well, like so. Now, what we need to do now is make sure that they line up, so we can see as these come along, let's make sure they line up. If not, we're just going to have to move things over slightly, so you can see here, boom, and is it going to line up? You can see it's a little tiny bit out, so lays line it up a little bit, like so. Then you can see it's a little bit out the other way. So let's see if they line up there. So before this, let's come back. Where's our timeline. Let's come back so we can see that this here wants to line up perfectly with this. So if I bring this this way, that is where they want to line up. Let's see. There we go. There we go. They're nearly lining up now as you can see. So I'm going to pull this now a little bit more this way. Now let's see. And now they're lining up perfectly. Now, the one problem we've got now is the fact that this stomper is a little bit. As you can see. So what we want to do is we want to actually move it slightly slightly so it's over this part here. So all I'm going to do is just grab all of the stomper, all of the pots. And once you've grabbed them all, just press G just to make sure you've grabbed them on. You can see I've got these two pots missing. And then what I want to do is I want to place it so that it's right in the center of this. Now, let's even go into Y frame and see. Do I have a center there? Do I have a reference or something that I can actually use? At the moment, you can see, no, I've not. I've still got a reference even here, so you know what I'll do? I'll turn that off, and I'll basically put it to round about here. That looks to be right in the center of the express. And there we go. And there we go. And there we go. And I think that is a roundabout close enough. Alright, so now we've got this. Now what we need to do is make sure the stump is actually going to be working in the correct way. So what I'm going to do is I'm going to go over to frame, 340. So let's go to frame 340. And what I'm going to do, actually, is I'm going to be using what I've already done previously to actually get this right because it took a fair amount of time to get this. So what I'm going to do is I'm going to pull this up. And then what I'm going to do is I'm going to press I just to make sure we've got a keyframe in there. Then what I'm going to do now is I'm going to go to frame 35, six, so 35, six. Let's zoom in a little bit. You can put it on here as well. Three, five, six, and I'm going to press I again. Then what I'm going to do is now I'm going to go to frame three, 72. So three, seven, two. And then I'm going to actually bring this down now all the way down as though it's stamping on there. So like this, stamping on there, press the Ibn over here, like so. And then what we're going to do is go to frame 384. So 384. And then what we're going to do is we're going to leave it here, so we're going to press the ebon once more. And then finally, we've got last frame, which is 388, so three, eight, eight. And then what I'm going to do now is I'm going to bring it back up. Now to bring it back up, I'm going to grab this one, I'm going to press Shift D and drop that on 388. Now, let's see if we've got this right. So I'm really, really hoping we've got this right. The other thing is, of course, we need to make it a cycle. So let's drop this down. And what we want is the z location and we want to add a modifier and we want to cycle. Now, let's see if this is actually working. And yes, it looks like it is. So let's make sure these come through. It's a little bit short, as you can see. I would say it's a little bit too so what I'm going to do then is actually before it drops down here, you can see I need to hold it off a little bit longer on here. So what I'm going to do is I'm just going to go to my timeline. So we can see if we go back to 300, this is where it's actually holding off. So it's holding off from here, which means I need to increase this perhaps by two frames or something. So let's try that. So all I'm going to do is just grab these, increase it one, two frames, and then it'll drop down. Now, let's see if we've got this right now. I think we've got the timing right. Yes, this looks. Let's see. Okay, we're a little bit out still. So let's see if we increase this a little bit more to here. Let's try this. We can see we're getting right on the cusp of it now. So let's try it a little bit more there. Nearly there now. So let's pull this up a little bit more. Another couple of frames. And now I'll do is I'll move this one up as well. So, G, move this up, like so, and then G, move this up. And we're very close now. So let's move this up a little bit more like so. And let's see. Now what happens. And there we go, everyone. Let's just make sure they keep in time. I don't want them to go out of time. Even over a very, very long space of time, we want it to actually keep right. And you know what? I think we've done it. Alright, so that is how we actually get into that bit of a long one, I know. But what we'll do then on the next one is we'll actually get these changed over to a cookie. So it's all about messing around with these two. As long as you've got these two kind of set perfectly right. Then you can actually play around with it and get it moving perfect. It's going to take time. This wasn't the same as what I had on the previous one, you know, the drafter that I had actually built. So it is going to take some time. Alright, everyone, so let's save our work. I'm going to press the spacebar now. I'm going to save our work, and I'm really glad that part's over because it is probably one of the hardest animations to get right, but I'm glad it's over. Alright, everyone. Speak to the next one. Thanks a lot. Bye bye. T 53. Creating stomped dought for machine conveyor, and using shape keys to extend and lowe: Welcome back, everyone to Blend the beginner's master class, the cookie factory, and this is where we left you off. Now, there is one thing that we did forget. So, as well as these cookies that need to change into cookies, we also forgot that we've got the top of this end sticking out of here. So what I'm going to do is, I'm first of all, gonna put this round about 3:40. You can see this is really sticking out of there. You'll also have the same problem, I'm sure, and we need to actually fix that. So what we're gonna do is we're gonna go over to the right hand side. Now, I was messing around with my shape keys, but I'm just gonna be minusing those off, so it should be roundabout where you've got here. Once you've got that press plus get the basic shape key, plus again and plus again because we're going to want two shape keys on here. Now, the first shape key, we want to bring this down. So all I'm going to do then is I'm going to press tab. I'm going to come to this shape key. And then, basically what I'm going to do is bring it all the way down to here like so. Then, as I come up or down to roundabout this bit, I want to come to my shape key, so to my second shape key, I want to press the tab button, and I want to pull it all the way up to here like so. Alright, so now we've got the shape keys in place. Now let's come over to 340. Let's come to the first shape key, and we'll rename this down. And then we'll come to the other shape key and we'll really name this up. Something like that makes a little bit more sense. Now, let's go to the down one, and what I'm going to do is pull this down. So that now is in place, as you can see. Doesn't have to be all the way down. It can be somewhere around here. And then what you're going to do is press the eye button, and you're also going to come to the up, and you're gonna press the eye button on there, as well, just to save yourself a bit of work. Then what we're going to do then is we're going to pull this over to roundabout here. And again, I'm going to do the same thing. So I'm going to press the eye button. I'm going to go to the down, press the eye button, like so. Then I'm going to come to the next one. And now, what I want to do is the down one, I want to pull all the way up, and the up one, I want to pull all the way up to there like so. And then what we're going to do is press the I button, come to the down, press the eye bone, and there we go. Now I want to do is come over to here, and I want to do the same thing again. So I'm just pressing I, coming to the up, pressing I, and there we go. And finally, finally, we want to come back to here. And the first thing we want to do is the up, we want to pull that all the way down, and then we want to go to the down key, and I want to pull that all the way up or near enough all the way up halfway in between. It doesn't really matter on that one. Press I, press the up one, and press I. And now, if I cycle through these, you should see that that works perfectly. Now what we need to do is add them to our cycle. So if I come over to the left hand side, we've got a down, and we've got an up. So let's click on the down first. Click on cycle. Let's go to the up, click on cycle. And now if I start it from here, you should see that this works perfectly. You can see this thing stretching and contracting, and that is what we want. Now, the next thing we want to make sure is just that it is actually stamping them, as you can see, stamp, stamp, and it's just perfectly balanced and right. Okay, so the next thing we need to do then is we need to make sure that these, as you can see, are disappearing so in this bit here, you can see it comes down, so it comes down to there, and it's just not lasting long enough at the moment, because when it lifts up, you will see so it's lifting up from here, you will see that we've still got a little bit of clipping. So if I go on, you'll see what I mean. Then we'll see when it changed this one. We wanted to stay just that slightly bit longer because a fraction of the second later, you can see that actually switches. So what I'm going to do, I'm going to grab all of these, and I'm going to move them over too, and now it should see. Bang. And there you go. You cannot see that switchover, or, you can see the switchover, but it's so slight. Let's move them up one more. So we'll move them up to one more frame just to there. And now let's see. And there we go. Like so. Like, so. Like so. And like so. And the only thing I'm worried about now is the flick up is a little bit too extreme. But the problem we have is if we make it less extreme, in other words, if we move these out. So moving this over there, we can see we've only kind of got one frame to actually work with before the change over it. So I'm going to leave it at that. I think that looks actually okay, so let's have looked at it. Yeah, and I think that's okay. I know it's flicking up really fast, but it is an industrial machine, so possibly will do that. Alright, let's go back over to modeling. And what I want to do now is change these to be actually cookies. So what I'm going to do, I'm going to come to these parts here. These are the parts that I want to use. And what I'm going to do, I'm just going to check out this one. So I'm just going to move it into place like so. And what I'm going to do is make a cookie out of all of these. So I'm going to press Shift desk, cursed or selected shifty and then what I want to do is I want to make it, you know, kind of actually so it looks like a cookie. So what I'm going to do is I'm going to go to mesh. I'm going to come to cylinder. I'm going to make this a little bit smaller, a little bit thinner, like so, like something like this. And then what I'm going to show you is another technique you can do. So I'm just going to put that there. I'm going to make it a little bit bigger, a little bit flatter, because we've got a lot of dough in there, something like this, I think. And what I'm going to do with then is press Control A, right click, set origin to geometry. And now what we're going to do is we're going to head on over. Well, first of all, we're gonna save our work, head on over then to sculpt mode. So heading over to sculpt mode, and what we're going to do is we're going to press the R boorne. And what that enables me to do is enables me to actually bring in and give this more topology. So the more I bring it in with my mouse, the more topology I'm going to give it. So I'm going to give here a lot of topology right now, like so, and then I'm going to press Control and you'll see now that it's actually looking completely different. If I press Tab now, you'll see that we've got all that topology actually based on there. And from there, then I can come in and smooth it off like so. Now, I don't actually want to smooth it off yet, and the reason is because I want to make the cookies look different, of course. So what I'm going to do is go back then to object mode. So back to object mode. And what I'm going to do is shift D and then shift D and then join them together with Control J, like so, and now back into sculpt mode. So back in sculpt mode and then shift, holding Shift, going around them to smooth those off, doing the same thing, and then on this one, going around, smoothing them off, and making them look a little bit different. And now what we're going to do is we're going to make them a little bit more lumpy. And the way to do that is, first of all, you want to make sure that one of these buttons, let me just have a look brush on here, front face is only on. And the reason you want that is if I press T and open up all of these, you will see when I come in and bring lumps in, it actually comes underneath and takes the lumps away from underneath, and we don't want that. So what we actually want to do is we want to come in, go to our brush, front face only. And now when I do this, you'll see it doesn't alter the bottom of it, and that is exactly what we want. So now let's make our brush a little bit smaller. And instead of using that brush, what we'll use is this one here, the clay strips brush, and now you'll see that I can actually go in and put in some lumps, like so, and go in, put in some lumps on this one, and we're going to make it so it actually looks a little bit different from each other and looks a lot more like an actual cookie. Once we've done that, we can press Control R, and then what they'll do is they'll neighbors. Two, let's have a look, why? Did I actually put that on? Nope, I clicked I clicked accumulate by accident. Let's go back. So let's keep going back. And if we can't go back to this one, don't worry about it. What I'll do is I'll just make another one. So go to Object. Again, all of these mistakes, easy to fix. So all do is we'll press L, Shift D, bring this one over. Like so. Alright, let's go back to sculpting. And then what we'll do is now brush, not accumulate front face only, and then let's go over the top. And now let's start actually adding in some depth to it, like so, so I just want you to add some different scope to it. Like, so I'm going to check it. Don't write once I've actually brought it in. So now you can see nothing's happening. They're looking a lot more like cookies. And the other thing is you can also use the move tool or the grab tool. Now, what you want to do is just make it a little bit bigger with a little too, um, sideways facing brackets on your keyboard. And then what you can do is you can just pull this out a little bit and make them, you know, a little bit more cookie, like, not so not so, you know, all the same or anything like this. So let's make them a little bit bigger, like so. And then what we'll do is we'll press Control to actual retpologize them, so control. And then finally, what we'll do is we'll just smooth them off a little bit, like so, and you'll see now that we've got different cookies, like so. So three different cookies. Now, finally, let's go back to object mode. These are a little bit high poly. So what we can do is now we can go to object, generate, decimate, and then turn it down. The moment, you can see 13,000 polygons for some cookies is pretty high. So let's bring this down. Keep going down, keep going down till we get it round about 2000. That should be okay. And then what we'll do is we'll apply that, right click, Shade Smooth, and there we go. You could bring it down even further if you want to completely up to you. Now, these cookies, then, we first of all, want to split them up. So what I'm going to do is just grab them all, like so go down to mesh and separate by loose parts, and there we go. Grab them all again, controle A or transforms, right plug, origin to geometry. And then what I'm going to do is put them in their own one. So it's under it will be let's just make it cookie, dough. Like so. Alright. Like okay. Cookie dough. Is that the right one? Let's have a look what we've already got here. So we've got where are all our parts. Let's look where these parts are. So they're all inconvey belt objects. So we've got dough balls. So yeah, cookie dough makes kind of sense. So let's actually pull this up, and we're going to drop this into this here, like so. Alright, they're dropped in there. So now we're ready to go, and let's bring those in. So let's see what they actually look like. So what we're gonna do is come to this conveyor and we're going to go down. To where it says, collection, dough bulls. We want to change that out. And what we want to put it on is cookie dough. There we go. Now, let's see what that actually looks like. Double tap the eh. And there we go. We have cookies. They're looking pretty cool. And there you go. That's looking cool. And you can see now we're really, really getting somewhere. I'm really happy actually with our those. Look, really, really big cookies. I'm not sure, though. Do I want to bring the scale down jaws to Tad? I think I do. Yeah, something like this, I think, is much better. Alright, so let's save everything out. That was a long lesson, but we got a lot done in it. On the next one, then we'll do, first of all, we'll bring we'll actually I'm just wondering if I need to straighten this up. I don't actually think anything needs straightening up. So what we can do is we can start working our way around here. To the sprinkler machine. And the sprinkler machine is basically where the chocolate drops drop down onto our actual cookies. So we'll work on that part next. And before we actually do that, you can see here is how it's going to go around. So we have to actually bend this going round to the sprinkler machine. Alright, everyone. Thanks a lot. Bye bye. 54. Modelign chocolate chip machine, creating the base, for conveyor belt to go in for Bl: Welcome back, everyone to Blend beginner's master class, the cookie factory. So we've got everything working out. The stampers are working, and now we need to do is bring it round to our sprinkling machine. Now, with this conveyor belt, the easiest way to probably do that is just to grab the end off here. And what we're gonna do is press E and X and just pull it out this way. Now just bear in mind, where you pull it out, there will be a slight bit of flashing as you can see here. Now, you can limit this. There is a sweet spot. So what I want to do is grab this end and grab this end, right click and subdivide, and you'll see once I bring that subdivision in, it does actually change how that is. Now I can pull this. Or bring it down to try and reduce that as much as possible. And you can get it in a really, really sweet spot. So the sweetest spot is basically where you're going to get the least amount of flashing. Let's see. I've still got a lot there. Let's see if I bring it down a little bit more. And what I'm also going to do is put it on material view and what I'm looking for, because it looks like flashing because of the mesh. Now, what I'm looking for now is getting rid of some of that. So it actually comes as though it's coming round. So let's see now. No we've got too much there still. Let's try it now. I still too much. Let's bring it all the way up. To here, and there we go, that's probably going to be the best I can get it going around there, but I actually think that is looking pretty good. Now, the one thing we didn't do on this dough, as you can see, is we didn't give it an actual material. So that's what we're going to do next. We're just going to grab each of these, and we're gonna grab this and we're going to press Control, link material, and there we go. Now we've got our cookies in there. Okay, so from here, what I first of all want to do is, first of all, just want to build out the actual sprinkler. So where is the sprinkler machine going to go round about here? Can we get away with pushing this back any further? That's the thing. I want to see if we can get away with pushing it back just a little bit further. And there you go, now you can see, Is that looking a little bit better? Let's see if we can get away with a little bit more. And there we go. I think that is the best we're going to get yeah, I think that's gonna look good like that. Alright, so now we can put our sprinkler machine right around here. So let's work on that first. So first of all, I want to make an actual box that's going to go round everything. So what I'm going to do is I'm going to go over the top, shift, select the button here, shift A, and I'm going to bring in a cube. And then what I want to do is make this inside. So basically, I want to bring an inside part to this. I'm going to make it big enough, first of all, like so. And then what I'm going to do, I want them going through this part here. So I'm going to come in. I'm going to grab this side and this side. I'm going to press the eye button and bring it in. To run about where I want it, and I can see I need this cube, much, much bigger, as well. So Eins Ed, let's pull it out where it needs to go, so I'm going to pull it up to here. And you know what, before I do that, I'll actually go back before I actually use that insert. There we go. Let's get into place first. So we're going to have it down here. But remember, we're going to have, you know, the insert on here, so it needs to support it along here, and then it also needs to be high enough. The other thing is with these cookies, now I can see them, I need to drop them down a little bit. So what I'm going to do is go to my objects and the z offset. Let's bring them down and drop them right down. Into where they need to go, and there we go. Now they're just not floating there, so now they're looking much, much better, and there we go. Alright, so moving back onto this. So let's grab the top of here. And what we'll do is we'll just move it up just a little bit, like so. And then from there now, what I'll do is I'll create the insert here. So I'm going to grab this one and this one. I'm going to press the ibn and bring it in. And where I want to bring it in is to the bottom off here. So now I can press the S bone, bring it in, bring it in, bring it in. Something like this. You can see though it started to bend, so I'm going to do it again from this side, so I can actually see what I'm doing from there, all the way in to something like there. Now what I'm going to do is I'm going to right click Loop tools and bridge, and there we go, they can go into this now where the chocolate drops are going to come down straight through there. Okay, so now let's build this out a little bit more, though. First of all, I want to put some bevels on the inside of here, make it nice and round, as the art style that we're going for dictates. So let's make it nice and round, so let's press Control B and bring those out. Nice and round, like, so and there we go, and then we can right click and Shade Smooth not shade smooth. Shade auto smooth, there we go. Now, last of all, I want to make sure then this is in the right place. So you can see here, it's a little bit out. If I put on my wireframe, I can see where this starts, where this ends. Now let's move it over. So it's round about in the same as both of them, and now you can see that it actually is, making sure that this is supported on each side, like so. Alright, so now let's think about the top of this. I definitely want a hole in here. But the first thing I'm going to do is I'm going to come in I'm going to bring this in. So I'm going to press the e button to bring it in, like so, and then we're going to press the ie button again to bring it in. Like so. And then what I'm going to do is Alt Shift and click. I'm going to press E and pull that up a little bit. And from there now, I'm going to make my hole, so I'm going to press the Ibn. And then I want to basically bring that all the way through. So, so it's probably not so easy just to do that. So what I'm going to do is I'm going to press Shift D, and then I'm going to bring this up. I'm going to press E, so it goes all the way through there, and then I'm going to press L and P and selection and split that off. Now I'm going to do is I'm going to come back to this part. And before I do anything, I want to actually bevel off this part here. So I'm going to come in and bevel off each of these edges. I can hide this out of the way, as well, so let's come in to you, and let's come in and grab this edge, this edge, this edge, this edge, and the inner edges, as well. Like so. And then what I'm going to do is control and B and just bevel those off a little bit. Like so, right click Shade auto smooth, and there we go. That's perfectly well wanted. Now the next thing I want to do is I want to actually put this hole in here. So all I'm going to do is press Atg, bring back this. This is going to be my boolean. So I'm going to grab my actual boolean, grab this part, press Control and minus, and just minus that off. Now, again, if it's not working, put it on fast, and there you go. You'll see it's actually working. Now, you can see that we've got some problems with shading and things like that. We can fix all I'm going to do at the moment is press Control A and fix that out of the way. I'm going to hide my Boolean just out of the way for now. I'm going to come back to here, right click, Shade auto smooth, and there we go. Hopefully now, that is looking pretty nice, as you can see. Alright, let's bring back our Boolean. We'll delete that out of the way. We don't need that anymore. And then what we can do now is we can actually put in our dropper. So our dropper is going to go into here slightly just into the bottom of here, and then the big cylinder with the actual chocolate drops, is going to start sprinkling them in. So let's do that now. So what I want to do, first of all, grab this, press Shift S selected. Shift A then, and I'm going to bring in a cube. And this will be what actually catches all of those kind of little drops that are going to go in there. So we're going to put it in round about here. And it's going to be don't worry because it's going to be carried by something else. So what we're going to do now I'll bring it up a little bit, actually. I'll bring this part in. So face select, bring this part in with S, and let's bring it down a little bit, like so, and then let's press L, and just make sure that it's just over the top so we can actually see like so. And then what I'll do is press the S but, bring it out a little bit, bring it down a little bit, and there we go. Now, let's pull it down just a little bit more. Press the EB to bring it up. Alt Shift and click, and then we'll press E to alter S, bring it out. Like so, and there we go. Then what I'm going to do now is I'm going to grab the top and the bottom and press the Ibn to bring it in. And then I'm going to right click bridge edge loops like so, and there we go, There is our actual dropper. Now if you're a bit unhappy like I am about how far this is in, all I'm going to do then is Alt Shift click lns and bring it back a little bit. Then I think that is looking the way that I actually wanted it. And there we go. Alright, so you know what? I'm going to just move up this part a little bit. So Alt Shift click, not quite as bent down as that. Perfect. That is looking when I wanted. Now, then let's think about the actual dropper then. So once we've got the dropper in it's basic going to have little chocolate sprinkles that are going to drop down here, fumbling down to here and basically going on to our cookies. And then the cookies basically are going to be changing over. We basically want this to be the halfway point. So if I bring this over, I can bring this over to the halfway point, which is if I go over the top, I can actually see them. So where does it swap over? It's going to swap over around here, as you can see, and we'll check that once we've actually got the next part in. Alright, so for now, though, let's actually come in then and make this top part. So this top pot, we're on a beautiful cylinder with these chocolate drops coming out. So what I'm going to do is I'm going to press shift day. I'm going to bring in a cylinder, I'm going to bring it up. Make sure it's on 24, if you've reloaded your blender or anything like that. So let's put it around about here. And then what I'm going to do is, I think, actually this is round about the right size, maybe a tad smaller. And the other thing I forgot to do is I should have really bring this. So we'll bring this in just so you've got an image to work from. So we'll bring it in. We'll come to this. I'll come to the image. I'll go to open. And the image we want is going to be this one here. And actually, this is quite a nice view of what we're actually creating here. Alright, so that's that. Let's also pull it over here so we can actually see what we're doing. A dead 90, like so. And let's pull it over to the side. So you can see on this, the main thing is this beautiful cylinder that's going to allow all of these kind of chocolate drops to come in. You can see we've got a big pipe that we need to put in it, an even bigger cylinder over here, and then the machine coming down here to this little bit. So I think, first of all, the one thing we do need to do is probably pull this out a little bit. So I would say, let's grab just this going around here. So Alt Shift and click. If you can't actually grab it going all the way around, just press C. And what you can do then is you can make this bigger and smaller with your middle mouse button. What you can also do, though, is left click and select thel. You can also press middle mouse to deselect, as well. If you want to get it off, just right, click the mouse button. But for me, I want to bring this all around here. Right click to take it off, and now you can see that I can just pull that out a little bit further because I want it just to hang out a little bit more on this side than the other side. Okay, so on the next one, then what we'll do is we'll actually create this cylinder. So this cylinder going around here, we'll actually bring in the bolts and we'll put those around there. We've already got the bolts set up, that's great. Let's go to file then save everything out, and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 55. Focusing on chocolote chip tank located at the top of the machine, adding bolts ussin: Welcome back to Blended beginner's master class, the cookie factory. And what I'm going to do now is I'm actually going to make this a little bit bigger, so a little bit bigger, like so. I'm actually going to pull it up, as well. And then what I'm going to do from here is I'll create this actual beautiful sun that we've gone there. So it's looking something like this. So the way I'm going to do that, first of all, I'll come to the top of it, E, enter, S, pull it out, and then E, pull that up, and then let's create this beautiful top. So what I'm gonna do to create the top, Control B, bring it back a little bit. Like so. And again, we can control this completely through here as well. Don't forget, so we can actually really bring it back or make it more rounded, whatever you want to do, like, so let's right click and shade Auto smooth. And that is the nice top that I actually wanted. Alright, so now what we want is these 2 bars going around. So let's do Control. Left click, right, click. Control B, drop it back down, so we've got the bevel where we actually want it. So roundabout there. And then what we can do Alt Shift click, Alt Shift click, Control B and pull that out, like so, and then E enter Alas, bring that out to where we actually want it. And then what we're going to do is bevel off these edges, as well. Alt Shift click, Alt shift, click, because we want a little bit more bevel than what you know, our modifier is going to give us. So Control B, let's increase them, make it nice and rounded, like so, and there we go. Let's right click Shade Auto smooth and there we go. Okay, so this is looking good so far. I think all we need to do is just bring up this top just a little bit. So what do I mean by that? I'm going to press the eye board just to insert it in a little bit, and then just bring it up very, very slightly, like so, and it's just adding a little bit more roundness on the top of it. Now, I want to go over to my parts here. So we've got some bolts, which will be in. If I put this up, we've got some parts to reuse. This one here. We've also got a load of cubes and things that should be in the stumper. So that's something else I need to make sure that they're in. So I'm going to grab all of these parts. Let's see if it is all of these. Let's have a look, all of these. G, I've also got this part in there. For now, though, literally, I'm just going to press M. I'm going to put them in the stomper. I'm going to grab these, as well. I'm going to press M, put them in the stomper. And then these ones here, I'm going to press M, make a new collection, and we'll call this the sprinkler. Like, so and then what I'm going to do with the sprinkler is I'm going to put it underneath my stumper, like so. Now, if I turn off my stumper, all of that should disappear. If I turn off my sprinkler, all of this should disappear. Now what we can do is we come to these parts that I want to reuse. If I grab them, press the little dot but, I can see they're all here. And what I'm gonna do, first of all, is duplicate them, so shift D. Let's duplicate them over here. Now, of course, I want these to go sideways. So what I want to do is come to my bolt. I want to press the tab but and I want to rotate them on the X value. So X -90, let's rotate them, and there we go. That is what we're looking for. Now what we can do because we've actually fixed those is we can bring them back over to my sprinkler machine. So I'm going to press Shift desk, selections cursor. And then what I'm going to do now is I want to pull these out based on the actual curve. So if I press the Sp, I can pull them out look like so and get them where I want them. So if I grab them both, I can bring them up then. And then what I can do is I can bring my curve down now. So press the S bun, bring the curve down, and you can see I want my bolts something like this. Now all I need to do is just increase the amount. So if I go to my bolts now, come to my array, I can increase the amount how they're going around. I can also let them more or less. So let's get them all the way around first, and you can see now they're not quite there. So what I'm going to do now is bring this down holding the shift bun. I'm actually going to bring it up. And then what I'm going to do is reduce them down one more up, like so, and let's have a look what they look like. So tab, double tap the A. Yeah, I think they're looking right. I just think they probably need to be a little bit bigger. So if we go to bolt, which is inside here now, let's put on this Xray so we can see what we're doing. Let's increase the size just a little bit, like so, and let's also make them a little bit thinner. So all I'm going to do S and Y, make them a little bit thinner, like so, press the tab button. Turn this off, and there we go. You've got your bolts in there. Really nice. But you can see we've overlapped here because we've made them bigger, so let's turn it down to there, and there we go. Now what you can do is you can increase this just to make that gap here to here, the same, so I can actually increase it just a little bit, and there we go. Now I want to do is a one to just apply. So object, convert to mesh. And that didn't work. Why didn't that work? Let's have a look. I think it could be something to do with our animation. So when we did this before, we saw that it had a problem with the animation. So I'm going to grab them. You can see there's some animation on there. This is one of the problems I'm talking about. You can come over here now and press Delete, and now I go up to object and convert to mesh, we shouldn't have any problems. So yeah, that using the auto key and does cause some issues, but now we've actually managed to fix that, and all I want to do is just delete this out the way. And then finally, what I'm going to do is just press Shift D and bring this up to this point here, like so. Okay, so far so good. Now, let's make now this part that's going to come down here. So what I'm going to do is I'm going to come to this part here, I'm going to press the ibt. And then what I'm going to do is press the E button to bring this down to here. And then we're going to press the I button. And then what I'm going to do now is press it going all the way down. So I'm going to press E going all the way down to where I want it, which will be, I think, round about round about here because we're going to have an end on it, as well. Now, let's bring in some edge loop, so control. Left click, right, click. Make sure it's an uneven edge loop amount because then it'll make it easier to bring this in. So if I come in now, let's try it on sharp, first of all, so we'll press the S. We'll bring it out. You can see that's not quite right. So let's try another one. We'll try an inverse square. There we go. Now you can see that is exactly what we want. That is looking very nice. Okay, so now let's come in. And, first of all, we want to make a hole in the bomb without proportional editing on. Let's grab the bomb. Let's press the I button like so, and then let's press E and pull that up there, just out of the way. And then control law left click, right, click. And then Alt Shift and click, E, enter Alter ness and let's pull that out like so now. You can see on this time, it's not pulling out properly, and it's because we're right near the edge of here. When it's in the center, it's much, much better. A we're going to do is just press the S button to pull it out in that way. Okay, now what I want to do is bevel off these edges. So Alt Shift click, shift, click, and then Control B, bevel those off. And there we go, right click, shade Ato smooth. And that is looking pretty nice. That is exactly what I wanted. Mine is a little bit longer on the image, as you can see, but I'm fairly happy with how this looks. Okay, so now what we want is we just want something that's going to be in this part, which is going to hold it kind of on there. So this part is kind of floating at the moment. We don't really want that. So what I'm going to do is bring in a cube, so mesh. Bring in a cube, let's bring it up. We'll press the bon, and then we'll pull it just into the side where we want it. So I want it just under here, like so, and then just out, pull it out a little bit, making sure it's not poking through there. And then finally, I want to bring it out. So I'm going to bring it out. You know what? I'll make it a little bit thinner as well, so I'm just going to go underneath it. I'm going to pull it up to there. And then all I'm going to do is pull it out to here, like so. And then I think what I'm going to do is I'm just going to bring it down, so control, bring in an edge loop, and we'll make it kind of the same thickness. And then bring it down to here, like so, and then I'll stick it in this part here, so I'll press E again. Like so. And then what I'll do is I'll pull it into place with E again, right into place there. Control, left click, right, click. Well, not left click, right, click. Left click, drag along. Left click. There we go. Alt Shift click, E, enter Alterns, pull it out. And there we go. We've got something now that's holding it in place, and that can be just made out of metal. Alright, so now what we want to do is we want the big massive cylinder up here. We'll bring that in, first of all, so we'll press shift D, and we'll bring in a cylinder. We'll also make sure it's on 24, save out our work. And then what we'll do is we'll bring this up and just put this into place where it's going to go. So this cylinder is pretty big. It's full of chocolate drops, so it needs to be fairly, fairly big. We're talking something around kind of maybe even this size, maybe a little tad smaller, but something around here. And then it's going to start from all the way up here, and it needs to be quite tall, one of the tallest things in the factory, actually. So something like this is quite dominating. You can see it from miles away, and there we go. Now, what I want to do now is just bring him a flour mill, and just to show you the difference in height, it's fairly big part of the machine. I'm just wondering if, though, I've got it a little bit too high, so let's bring it down a little bit, what I'm trying to do is measure if I'm taking an image or a render, it's a little bit too high. So what I'm going to do is just bring it down a little bit round here, and I think that actually is looking a bit better. Now, what I'll do is I'll do the top and the bomb, so I'm going to grab the top and the bomb, E, enter, S, bring it out, and you can see it's coming out in a not very nice way, which means I can put it on individual origins, now press the S bone, and there we go. And then E, enter, and then S and Z. And it's not going to work because I have to swap it back then to medium points. So S and Z, let's swap it back. Like so. And then what I want to do is I kind of want it to look like this. So to make it look like that, all I want to do is Alt Shift click Alt Shift, click. And then I'm going to press Control B and bevel it off, even give a few more bevels in, like so. And then finally, I'm going to do the same thing as I did with this one where I'm just going to press I just to bring it in just slightly, and then just lift it up very, very slightly just to give it that rounded edge off, and there we go. And then what we'll do is on the next one is we'll bring in some glass, we'll bring in not on the next one, but we'll finally, when we finish this, we'll actually bring in some glass, and then the chocolate drops can be underneath there. So it actually has that little shine on before seeing the chocolate drops, and that's exactly what we want. But before doing any of that, of course, we're always going to finish building this out and basically getting all the shaders on and things like that. Then we'll do the chocolate drops and glass, and finally, then then we'll do an actual particle system. And a particle system, we'll be here to, you know, have the chocolate drops dropping down. Alright, everyone, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 56. Creating additional decorative detail on chocolate chip machine, adding gouge measurement system, ad: Welcome back, everyone to Blend and Beginner's master class, the cookie factory. So now let's actually press Let's grab this cylinder, first of all. Let's press Shift desk and Custer selected. And what we're gonna do now is bringing a pipe, so pipe joint, as we've done many times before. So pipe elbow. Let's put it on 24 as normal. Let's put it to 90 degrees. We shouldn't have any problem at all dealing with this now. So first of all, let's make it a little bit smaller. So what I'm going to do is turn the radius down to something like here. And I want to bring this down into place so I can actually see where it needs to go. Don't press Control Z because if you press Control Z, it might not work out correctly. So what I want to do is rotate this round. So you can see, I want to rotate this by 90 degrees, I think. Then let's rotate it the other way. I think it's this way. Yes, it is. So 90 degrees. And then finally, I want to bring this down now. So the location of the z, let's bring it down. And now you can see we've got a good idea of the scale of this thing. Now, first of all, I want to push it more to the front because I actually want another big piece actually over here. So you can see, as well, now I've moved this like that is not we wanted. So first of all, delete, shift a. Let's bring in another pipe joint pipe elbow. And there we go, now what I'm going to do is I'm going to bring down the radius even more, and then I'm going to bring it down once again. Like, so I'm going to rotate it round by 90 degrees. I'm also going to rotate this one round by 90 degrees, and I'm not going to forget this time that I cannot move it with the little arrow. So what I'm going to do then is bring down the z. So bring it into place and then move it over with the Y. So let's move it over. And this is exactly where I want it. So from here, we can put a big cylinder in here. Now, this is still too big, so let's bring it down a little bit smaller, and let's bring it over on the Y down to here. Now, this is near enough in the right place. I think I have to move it up a tiny little bit. So let's move it up a little bit, like so, and then we'll drop these down now. So let's start. Let's bring it all the way back to something like there. Let's bring the length in, then all the way down to something just under there, like so, and I think this now looks about right. Now, clearly we can see that these are now in the right place, so we'll move those next. So what I'm going to do is come to this, and I'm going to grab all of these. So Alt Shift click Control plus Control plus, Control plus, Control plus, and then I should be able to now move those up into place like so. And finally, then I'll grab these little bars bolts here and put those into place, like so. And then I can come to this part here, press Control R. Left click, right, click, control, left, click, right, click, grab this one first. S said zero, pull it up to where I want it, which'll be somewhere around there. And then Alt Shift click and then S and Y and zero, and then move this into place where I want it, which'll be something around there. Now, what I want to do now is make this joint. So, shiv, click, eat, enter alter ness. Let's bring it out to where I want it. So something like this looks good. Right, click, Shade auto smooth. And now let's do the same thing on here. So l shif click, eat enter, alter ness, and pull it out, like so, right, click, shade, auto smooth. Now, let's get rid of this horrible bend on here. So what I'm going to do is, again, I'll come in. Grab this and then Control B, pull this out a little bit, making it just a better bend like so, and I'll also while I'm here, clear the sharps off like so. Now what we should be able to do is we should be able to write click and shades move by angle, and then it should look better than what it did before, although shades move by angle. There we go. I'm just wondering if I can move that up a little bit. I'm going to take off the sharp, so keep sharp edges. Let's take those off. And I'm just wondering if I've actually not gone far enough on that or if I'm worrying about too much, which I might be. You know what? I'm going to leave it at that. It's gonna be okay. All right, so last of all, then, do I want a little ridge under here? I think I do. Just a tiny ridge. So I'll press control law. And I'll bring it just below there. And then what I'll do is I'll grab this Alt Shift plate, heat, enter Alter, and bring that out a little bit just to create a little bit of a ridge under there. I think that looks better. And now we're on to the big the big kind of cylinder on here. So shift day, let's bring in a cylinder. Let's make sure it's on 24. Let's bring it down, then, and what we're going to do is move it over. So I need it to be a little bit smaller. And this is the thing that's actually powering this thing so we need it quite big, quite hefty, quite chunky. So something like this, I think. And then it's gonna come down to, you know, it's also held up with this. We have to remember that. So we don't want it toppling over or anything like that. And more so wondering if I make this a little bit bigger, so like this, can I actually move this over then? I think I'll move this over just a little bit, and that means that I'll have to come into this Alt Shift and click Control plus, and then I'll just pull this back into place. And then I've got a little bit more room. Now, why did I want more room? Because I actually want to have this bolted onto the top here. So let's do the top first. So control, bring it up. And then Alt Shift and click, E, enter Alterns and bring it out, and then I'll do the bottom bit. This is where the bolts are going to go on. So control R, bring it down. We want this fairly chunky, so it's holding a lot of weight on there. So Alt shift, and click, E, enter lns and bring this out, so right click, shade smooth. Now, let's bring in those bolts again. So I'm going to come to these bolts. I'm going to grab them with shift seleglight. Shift D then. And then what I'm going to do is I want them right in the center of here. So I'm going to come to this shifts, curse to select come to both of these parts, so make sure you've grabbed them both. Shift desk and selections. Cursir. And then what you're going to do now is you want to grab just the actual ring. So if I come in and grab the ring here, as you can see, I can then pull this out like so. I can turn this off now, and now I can really see what I'm doing. Now, first of all, as you can see, these bolts, they're way way too small, at the moment, we need a much, much chunkier than that. So what I'm going to do now is grab the bolts, press tab, and then I'm going to press A, just to grab that bolt. I know it's in there somewhere. And then what I can do is I can really, really start to bring these out, as you can see, making them much, much chunkier. Press the tab button, and there we go. Now you can see, they're looking much, much chunkier. Now all I need to do is think, how many of these are going to be. I'll increase the amount. Round to there, and the distance needs to be slightly slightly more, so let's bring them back and put them to roundabout there. All right, perfect. Now, again, let's see if I press if I go to object, come down to convert and mesh, it's going to mess them up. So we know what's causing that. We know that we need to go over to our animation, press delete back to modeling, press the Tabb object, convert to mesh. Like so, and then get rid of this ring, and there we go. That is that part done. Now, let's think about this part going down here. So I'm happy with all the rest of it. Let's press your day then, and what we're going to bring in is a cube. And I want this to sit on this cube. So again, this cubes going to be quite chunky. In other words, it's quite big. Gonna have to sit right on there somewhere around there. And then what I want to do is I want to bring this bit in. So this bit here I want to bring in. So all I'm going to do is press Control. I'm going to bring in an edge loop. Why is the edge loop not coming on? Control. There we go. Let's bring in the edge loop, so we're going to pull it to there. And then what we're going to do is we're going to pull this back underneath this part of here. Now, the thing is, I don't want to pull it back so that it bends all this, so I'm going to bring in another edge loop and put it around there, and then it'll enable me to pull this back, so you can see now I can actually pull this back without any issues. And inside here, we can have all of the you know, the what they call the little I'm going to actually show you. I'll go over to the mixer machine, bring it on. These parts here. This is what I want. Let's press the little dot on. So I'm going to steal, I think, all of this. So I'm going to steal this part. I'm going to steal all of this part here. I'm going to just use these two icons here. And then what I'm going to do, press Shift D. And I'm going to bring it over. And I'm going to press P selection like so, and that is what I want, I think. So now I can grab it. Press Control A or transoms right click Set origin to geometry. Now, let's bring this over here. It's always handy when we've got things that we've already built. Let's press Z 180 to spin it round. And then what we're going to do is put this into place. Now, first of all, we can see that we need this much, much bigger, so let's make it much, much bigger, like so, and let's put it into place. Round about there. And you know what? We'll hide all of this out of the way, just so we can see what we're doing. So I'll put it in something like here. I'm going to bring it down a little bit. I'm just wondering if I need to stretch it out or anything like that. I think, you know what I will do. So what I'll do to stretch that out. Is all press Alt Shift click going around here, Control plus going all the way around, and then we can actually stretch that out. And from there, then what we can do is we can grab the whole thing, put it back to the middle, and then we can come in now and grab this here. So grab all of this, Shift D, bring it over, and then shift D, and bring it over, like so, and you can see we're a little tiny bit out on this. So let's bring it over a little bit more. And then Alt Shift click again, Control plus all the way up. And then we can actually move it out like so. Now we want to do is move each of these. So I want to rotate this, so R Y. You can see it's not rotating through the middle. So all I'm going to do shifts, curse to selected. Now, you want to press your little sideways V next to the question mark, and you'll see three D cursor and now grab the whole thing, and then press R and Y, and now it will rotate directly on there. Let's do the same thing on this one then. Shift desk cursed selected, L, and then and Y and rotate it this way. Not that way, actually, we'll move it even further. We'll put it down to here, something like that. It'll sideways be again back to individual origin so you don't forget. Alright, so that's that part done. And the next one then, we should actually get this finished, ready to go. And then what we'll do is we can actually put in some more supports because we're definitely going to need some supports going around here. We haven't actually put in any supports. We definitely want them. So we'll put in some supports going around here. We'll actually create the supports that we'll I'm just wondering if we create those supports. I'm just wondering yeah, I think we'll create some different supports coming forward. So round here, we'll still have the supports that we've got here. But as we get further on into here, we'll use some different supports. Alright, everyone. So let's say that'll work, and I'll see you on the next one. Thanks a lot. Bye bye. 57. Manually addign detail to conveyor belt, creating supports in custom places for a mor: I can run to blend the beginner's master class, the cookie factory, and this is where we left it off. Now, what I'm going to do is I'm going to actually grab this part here, press Shift D, and I'm going to bring this then around to here. Now, I want this to be kind of in the center of this part once I've built it, so I'm just going to leave it there just for now. And what I'm going to do, first of all, is come to the bottom of here. I'm going to press E to S and pull this out a little bit, like so, and then we're going to press E and bring it down to pretty much to the floor. So if I bring it down to roundabout here, you can see then it's pretty much in there once I've brought it down. Alright, that is what we're looking for, something like this. And now what we can do is we can bring the rest of it back, so press t H, bring the rest of it back. This is what we're looking for now. It's all kind of supported. We just want to make sure that this part on here is also kind of supported this part here. It's supported here, but at the moment, it's just going to be floating in the air, and we don't really want that. So we want it to be supported from this bit here and another bit coming from underneath. So what I'm going to do, first of all, is I'll come to this part here and we'll do this part first. So I'm going to press the i button to bring this and then I'm going to press the E button to bring it out and put it into place like so. You can see at the moment, it's not really working because it needs to be much, much thinner than this. So S and X, let's bring it in. If it's not coming in, just use medium point. So S and X, bring it in. And then also what we'll do is we'll bring this part up. So we're going to bring this part up like so. And then I want something similar to this part here that I'll be going and kind of holding it underneath here as well. So what I'll do is I'll come to this part here first. I'm going to press the Ibn and then what I'll do is I'll press E, like so. I'll press I'll make it a little bit thicker, actually. Then I'll press the Ibn to bring it in, like so. And then what I'm going to do is I'm going to press E to bring it down to here. And then just I want a little bit of an edge loop in there, bring it down, and then I want to pull it across into place. So E, pull it across into place, like so, another edge loop control la. And then what we'll do is we'll make another part on here, Alt Shift and click, heat, enter Alter Ness, and bring it out like so. Now what we'll do is right, click, Shade moove and there we go. That is that part done. That all looks now like it's fitting together well. Lastly, then, I want to put an edge loop going, you know, kind of around this part here. So if I press control law, we should still be able to put an edge loop going round there. And then what I can do is I can move this then down to where I want it. So something like this. And then I might be able to get away with putting an edge loop round here as well. So what I'm going to do is I'm going to have one edge loop. You know what? We'll just bring two edge loops like so, and then I'll press Control B and just bevel that out a little bit. And from there, then I can actually put a ridge going round here. So what do I mean by that? So I can come in going all the way around to this side, grabbing this one, all the way around to this side, pressing E and Alter ness and pulling them out like so. Now, you can see that they're not even. You can see definitely definitely not even. Just put offset even on, and there we go. Now, you can also see they're too far out now, so I'm just going to press the S button. I don't like that. So what I'm going to do is I'm going to do it again. Alter ness because I've still got that there. And now you'll see when I bring them out, offset even has already tipped, that is what I want. Finally, then, let's come to this part here. And what I want to do is I want to bring this part here, so like this, and I want to bring it in. Now, unfortunately, I will have a problem in that. If I bring this in, it's going to have some crossovers if I'm using extrude or if I'm using insert. So I don't really want that. So what I'm going to do instead is, I want to press Shift D, I'm going to pull it out, press delete, and limit to dissolve, and then I'm going to press the i button and bring it in that way, and there we go. Now we can actually bring it. Now I'm going to do it, I'm just going to pressure D. I'm going to pull this out. Get rid of this one. So L and delete vertices. No, that's not working like that. L, let's try that again. Delete vertices, and now we've just got this part left, which means I can extrude this out like so, press the born and put that into place now. And hopefully, if I lift this up, I should be able to put that into place so it actually fits in there nicely like so, and there we go. Now, let's pull it at the other side as well. So Shift D, we'll bring it over to the other side, and there we go. Alright, so this part is, I think, looking at my reference. Pretty much done. Now, let's pull this over we forgot about this part to where I actually want it, so it's going to be quite small, and it's going to be sat. Let's have a look. Round about here, maybe even a little bit in, like so. So let's deal with this side of it first. So all I'm going to do is I'm going to grab this one. I grab this one, and then I'm going to pull it back to this point here. And then what I'm going to do is grab this one going all the way around to here and I'm going to pull this out into place like so. Alright, that is looking good. Okay, so now while we're here, before moving on and putting all of the other things on, what we might as well do is put on these parts. So I'm going to grab all of these. So all of these parts, not that one because that one's a bit small. What I'm going to do basically is press shift D, and I'm going to bring this over then to where I actually want it. So we can see if I start round about here, let's try and get this one at least into a decent place. So we'll put it into place like so. And then we need one on the other side, of course. So what I'm going to do I'm thinking that, yeah, I can move this one into place and rotate it round. So let's rotate this. So z, rotate round. Let's put this on normal. And then what they'll enable me to do now is move it along the axis that have rotated it round two. And there you go. Now you can see, it's nearly fin in place, just a little bit this way. Maybe I've gone a little bit too far. And then we go, that looks about right. Now, let's do the same thing with this then. So we're going to press R and Z and rotate it round. Then let's push it into place. Like so, and there we go. Now we've got that coming round, and now I think we just want a couple more on this. But I think these ones here. I think what we'll do is we'll actually bring this out to here. So I'm just wondering whether they have it in two or whether we have it in one. And I'm also wondering whether we've got enough rollers actually going around there. Let me see if I can increase the amount of rollers. So we've got gears here. We can change the distance. And what we could do instead is we could have it like that and then miss one out and then put one in. I think that might be the best thing to do. So what we'll do is we've made a mess of these ones, so but we can fix that. No problem. So we'll pull this over here. We'll grab this one, we'll press Altar, then we'll reset it. We'll actually delete this one out the way. And then what I'll do is I'll pull this round and then Z, 90, spin it round to the right way, and then just drop that into place where I want it. So even though this is rotating a little bit, as you can see, we might actually rotate it just a little bit just to match it. Like so. And then what I'll do is I'll press Shift D on both of these. So Shift D, I'll drag them over, and then I'll put the first one in place. So this one here, Rs 180, let's pull it into place. So we want it just under there, as you can see, like this one. So there we go. That one's in place. And now we'll do the same thing with this one, Rsad 180. Like so, and you can see now because we actually spun it round, we've actually got it at the same angle as the other one, and that's looking pretty good. Now, let's come with this so we can pull this back into place like so. And then what I can do is I can press Control A or transforms, set origins, geometry, shift D, drag this out. And then rotate it round. So I 97 to go over the top, and let's just get it in the right place first. So we was the one to even on both this side and this side. So I'm going to put it round about to here. And then what I'll do is I'll grab this one. I'll press Shift D, bring it over, and then z 90, and then let's put this one into plate. So I'm going to drag it to there. And then pull it out into place, and then just make sure that I also do the other one. So I just want to make sure it's a little bit further this way, so I'm just going to pull it over there, and then shift D, drag it over here and put this one into place. Like so. And then I can pull this back a little bit like so, and then grab both of these, Shift D, bring them over, and then R Z 180, spin them round, and then just make sure that they are in place as well. Like so. And there we go, making sure that this fits, double tap the A. And there we go, I think that is looking pretty nice. And yeah, we can have now the next one. So the next conveyor coming from this part, and this will basically be sprinkled cookies after that. So let's put it on to material view. And on the next one then, what we're going to do is we're going to basically get all of the materials on here, including this glass and underneath it, what they called the chocolate drops. And I'll show you how to do that, as well. Alright, everyone, so I hope you enjoyed that, I'll see you on the next one. Thanks a lot. Bye bye. 58. Adding shader material to the chocolate chip machine and uv unwrapping chocolate tank to add chocola: Welcome back if you want to blend a beginner's master class, the cookie factory, and this where we left it off. So what I'm going to do now is I'm going to come to this part here. I'm going to grab this part going around here. And what I'm going to do is press Shift D, and then I'm going to press the Spun and just pull it out a little bit. This then will be my actual glass. That's why I want to do this. I want to actually add glass onto here. Now, first of all, before we do that, this part here is definitely going to need metal on it. So what we'll do is we'll come over and the other thing is, we haven't actually added on our bevels yet. So let's do those first. So we'll start on this part first, and all I'll do is I'll come in. Add a modifier, generate a bevel. And when I go down to geometry, turn off my clamp overlap, put this down to note point note three as normal. And then what I'll do now is that's done so I can actually come round the other parts and do it on all of them. So I can grab all of these parts. I can grab this part here as well, this part here, this part here, press the G button, and then look which parts I've not got it on. Now, this one here, I'm fairly sure already has it on, as you can see. These bolts don't, so I can grab the bolts and press the G. Grab the bolt. There we go. Press the G. And from here, we've nearly got everything, so I'm going to grab this, grab this last, press Control L, and then I'm going to copy modifiers like so. Now, all of these now should have a nice bevel on, so let's actually have a look, and there we go. We've got a nice bevel on there. Back then to material view. And then what we're going to do with this one is we'll go to material. We'll put on the metal light like so. And obviously, this doesn't want to be metal light this part here. So now we want to do is I want to actually create a new glass, so new glass, and we'll call it main or we'll call it sprinkler glass. Like so. And then what we'll do is we'll press tab, and we'll grab that one that we already made, and then what we'll do is click a sign. Now I want to do is we want to head on over to my shading. I'm going to save my workout, head on over to my shading panel, and let's press dot to Zoom to it. Let's put it onto our rendered view. And here we are. Now, what I want to do is then I want to create a new type of glass, and what we want to do is we want to use something called fresnl and the fresnll basically what is fresnF of all, fresnel, it's supposedly pronounced frenl and it refers to the way light interacts with the surface depending on the angle of view or the angle of incidence, and it's used to create kind of a bit more realism in your glass. So when you're looking at things, you want that little bit of shine, you want to see something's behind glass. This is a perfect thing for you to use. So let's then, first of all, come in, and what we're going to do, we'll say up kind of the same way as what we did with with our other glass, except instead of using glass, we're going to use a glossy. So Shift A, search, gloss. So glossy BSDF. And then what we're going to do is we're going to set the roughness down to zero. And then what I'm going to bring in is a refraction. So shift A, refraction, like so, again, a BSDF. And what I'm going to do is I'm going to set the yeah, I think I'll put a value in with the IOR. I'll just set the roughness, make sure it's down to zero. Alright, so now what we're going to do is mix those two shaders together. So mix shader like so. And then what I'll do is drop that there, and then I'm going to plug in this glossy into the bottom and this refraction into the top. And then go to plug both of these into the surface, and that is what we get. Not what we're looking for. Looks kind of weird, but let's go one step further. So what we'll do now is bring in the fresnel. So shift day, search fresnel like so, and then what we'll do is we'll bring the Iowa. Both of these Iowa want to be on 1.5, like so. And then what I'm going to do is bring in a value. Shift day, search, bring in a value. And if you remember the value, you can alter things at the same time. So if I put this to 1.450, like so, and then plug it into Marawa on this one, and then plug it into Marawa on this one, and finally plug that into the fact of this one, we should end up with something like that. Now, the moment we can't really see anything, and that's because this on the inside of here hasn't got any chocolate drops on or anything like that. So let's first of all, hide that out of the way. And now what we'll do is we'll make a new one, and we'll call it chocolate drops, so new chocolate drops. Like so, and there we go. And let's click Assign. So now that'll go white. And then what we'll do now is we'll come back to our course data. So our course download pad that we had, so let this load up again. And then I'll go to my course download pack. So here we are. Here is our chocolate drop. So let's drop down there, and there we go. Now, as soon as we plug this in, let's plug it in, press the tab, and there we go. We can see we've got glass over the top of our chocolate drops. Now, of course, we do have a problem in that these chocolate drops look gigantic, and we don't want chocolate drops like that. So what I'm going to do is just press Control T. As long as you've installed the no wrangler, this should work. And what now I want to do is obviously make these much, much smaller. So I'm going to come down scale, drag all the way down, press eight, and then we can change the scale of those like so. Now, some of you keen eyed out there might be wondering oh, this is plugged in via the UV map. And the reason why the UV map works, and we haven't got to unwrap anything is because when we bring in a cylinder or a cube or even a cone for that matter, blender has already actually unwrapped it. Simple primitives are already unwrapped. It's only when you start doing complex things to them like this where they're not going to unwrap correctly. But when you first bring it in, you can get away with it already being unwrapped. Now, as you can see, this is looking pretty nice. All the way round. It is a seamless texture, so it should fit absolutely perfectly. If you don't bring in a seamless texture, you are going to have like lines down here where it's actually joining. So just take that into account. You can barely see where any lines are joining us, as I said, it's a seamless texture, and it looks very, very nice. Alright, so that is the chocolate drops. That is the glass dum. And now what we can do is head on over back to modeling. I can press the tab button now, and you will notice, as well, that because we're in material view, you won't be able to see that glass. Glass only works basically in the view of cycles, the way we've set it up is for cycles, so just take that into account. Alright, so now let's come to this part here. And what I'm going to do is I'm going to click down. I'm going to go to my metal light, like so. I'm going to also put metal light on here. So metal, where is it? Metal light. And then what I'm going to do is I'll come to, we'll come to this part here, again, metal light. And you know what? For me, to make it a little bit easier for you, I'm just going to say I work, and I'm also just gonna put it on Render view because I know you guys will be able to see better. Now I've got it on there. So double tap the eye. Also, I'm going to change this from normal to global as well. Okay, so now let's actually do the next part, which will be this part here. So what I'm going to do is I'm going to bring in metal light, so metal light. And then what I'm going to do is I'm going to also put metal light on these parts. I'm going to join them together, actually, Control J, and then we're going to click down arrow. We're gonna put it on metal light. And then these parts here now, I'm going to come in. Alt, shift, click Alt Shift click Control plus all the way up to that, then sharp plus bun, down arrow. And metal dark, like so, and click a sign. And then I'm also thinking the bottom and the top of here, you can see this is what it looks like. I think I'll actually leave that. I think the only thing then I need to change is this part around here. So what I'm going to do is I'm going to come in, Alt Shift click Control plus, Control plus, grab this one here, Alt Shift, click. And then what I'm going to do is click the plus button, the down arrow, and I want the orange. So orange, click a sign, and there we go, that is that part done. Alright, so let's move on. Let's bring in this next part, which will be this part here. So this part is all going to be meal going all the way around to here. This part is also going to be met, so we'll just go metal light, like so. I'll grab this one, and I can't grab that one, so I'll just grab this one and this one, press Control L, and we're just going to link material. Then we'll come to this part here, and all of this part, apart from the part underneath will be orange. So I'll just grab this one, press Control L, link materials. Now I'll grab this plus down arrow, factory orange, tab, grab all of this. We don't want this part down here. So this part down here we definitely don't want. So I'm going to actually make some alterations to this. So what I'm going to do is I'm going to grab factory orange, click a sign. And then what I'll do is I'll grab this one on here, and I'll grab this underneath. So I'm going to grab this underneath. Click Control plus, like so, minus this off, grab this one on here then, and also going around here, and then I'll click Plus down arrow. And then what I'm going to do is go to Metal Dark click a sign, and then we're going to press Alt Shift click, and I want to basically grab it going all the way around here as well. So I'm going to grab it going all the way around here, like so, and then metal light, click a sign. And there we go. That is that part done now. And then I'll do the same thing on here as well. So this one on here, as you can see, it's got a little bit round here, poncho plus, plus down arrow and metal dark, and click a sign. Alright, looking good. Now, let's come to this part here. So this part here needs to be blue, first of all, factory blue. And then these parts. So these parts on here we'll put as yellow. So yellow plus down arrow, factory yellow, click a sign. And then we'll also do the same on here. So I'm just going to grab this one going all the way around to here, and then shift let's select this one going all the way around to here. Control plus, factory yellow, click a sign. And then finally on this Alt Shift and click plus down arrow, and we want the metal light, click a sign and double tap the A there we go. I'm just wondering about these on here. I'm sure these green on the other one. You know what? I think I might make these green or red. So what I'm gonna do, I'll make two of them green. And then one of them red. So plus down arrow, red, click a sign, and there we go, double tap the A, and we forgot one. Did we forget that pot? No, we've not. Alright. There we go, guys. That looks really, really nice. And yeah, I think I'm happy with how that looks. Alright, so on the next lesson, then, we first of all, need to make our sprinkles come out of here. That's one thing we need to make sure happens. And then we need to make sure that our next platform is going to be moving along into the oven. So we'll make that happen as well. I'll show you how to do that. And we also need to make sure that these cookies that are coming out of here actually have sprinkles on them. So I'm going to go to file. I'm going to save on my work. I'm going to put it on object mode, and I'll see on the next one, everyone. So I hope you're enjoying everything. Hope you're enjoying the course. I hope you learn tons and tons. That's what it's all about. I'll see you on the next one. Thanks a lot. Bye bye. 59. Lesson 58 Creating chocolate chip detail for cookies using rock generator in blender, adding it o: Welcome back if we want to blend the beginner's master class, the cookie factory, and this is where we left it off. Now, what I want to do now is come over here and I want to actually make some more parts. So basically, we've got, where are the conveyor belt objects, cookie dough, dough balls, and flour bags. We want to make three more of these ones. So we want three of these. So we're gonna press Shift D, bring them over. And then what I want to put these in is cookies with chocolate chip cookies or raw Cookies. Let's put them in that, like so. And then what we can do is now we can drag these. So whereabouts have these gone, I think. They're not in there, not in there, not in there. Are they in here? I'm actually trying to find them. Press a little dot on. That will find them. There we go. Raw cookies. Alright, so raw cookies, we can drop up here, and we can put it in conveyor belt objects right there. Okay, so that's those. Now we need the chocolate drop. So again, shift right click, we'll put your cursor there, Shift day, and then we're going to do mesh, and we're going to go again to Rock generator and the Rock generator. We want it on River Rocks, because I think River Rocks is the best one. Let's have a look if it is River Rocks. I'm sure it's river rocks. Let me just create a few more. Yeah, river rocks, they look like chocolate drops to me. So what we'll do is we'll have ten chocolate drops. Let's see if they're all like, Okay, so once I move one out of the way, you can see now we can move them into place. So what I'll do is I'll just put them all together. Now the thing is about the chocolate drops, obviously, these are, first of all, way too big. And second of all, probably got way too much topology on just for little chocolate drops. So we'll actually sort those out, as well. I'm going to press G just to put it over here, and this one. I don't know what happened to that one. I think it's usable, so I'll make it a little bit bigger, just the same as the others like, so. Alright, so let's go over the top. And what we'll do is we'll grab them all, go to object, convert to mesh, so. We don't want to join them together or anything like that. But what we want to do if we come over to one of them now, go to our little span and add modifier, go to decimate. You'll see it has 2000 polygons. We really don't want 2000 polygons. We want to bring it all the way down. These are tiny, tiny chocolate drops, so we really, really don't want that. Then what we want to do is we basically want to grab all of them. So let's grab all of them. Make sure you've grabbed this one last, press Control L, and we're going to copy modifiers like so. And there we go. There we've got our chocolate drops really low on the topology now. So let's press Object because if we press Control A here, it will only actually apply this decimate to this one. So we're going to go to object, convert to mesh, and there we go. Hopefully, these will be our little chocolate drops. So let's put them over. And what we're going to do is we're going to put them there. We want them in their own collection. So we're going to press M, new collection, chocolate. Drops, like so. And there we go. Now, let's come and find it. So here is our chocolate drops. Let's drag them up and put them into they're not really part of the conveyor belt. Actually, they're not really part of that. So what I'm going to do, we've got a conveyor belt. I'm going to actually put them right at the top there because I want to actually put them into a particle system. Now, the other thing is, I want to also sprinkle these round on these actual cookies. So what I'm going to do is I'm going to drag these over, like so. And then I'm going to press seven to go over the top. And then I'm just going to grab a few of them. So I want to make these a little bit smaller as well. So I'm going to grab them as well. I'm going to press the S bun. I'm going to make them much, much smaller like so. And then what I'm going to do is press Control A all transforms right clicks origin to geometry of each. Then what I'm going to do is press Shift D. I'm going to drag them over. And now, all I want to do is just press Shift D, grabbing different ones. Shift D, and then Shift D, grab some really random ones, like so and then Shift D. Like so, and all we're trying to do here is just turn them into basically cookies. And that's why I want them looking a little bit different from each other. And it's just a little bit of short time just to get them the way that you want them, shifty like so, and then we'll grab this one. And then this one over here, and then this one. Lots and lots of chocolate chips in them. Grab this one over here, and finally this one over here, like so. Now, one thing I did forget to do. You can see they look beautiful. They look like cookies. That's great. One thing I did forget to do, though, is actually make them look like chocolate. So what I'm gonna do, first of all, is I'll come to this one. I'll go to new and I'll go to chocolate chips. Like so. And then what I'll do is I'll go to my dough, and I'll click the down arrow, copy material, and then we'll come to this one. Which one was it? There it is. That one there. And then we'll go to shading. We'll press a little dot bun on our chocolate chip. And then what I'll do is I'll click the down arrow and paste material, and there we go. And then what we'll do is we'll turn them into much, much darker chocolate. So let's bring it down, and there we go, now they look like actual chocolate, with a little bit of a glisten on. And now we can go back to modeling let's put it on to material mode so we can make sure we're doing the right thing. Let's grab all of these, all of these. And then what we're going to do is just grab each one of these because I forgot I needed a material on, like so, like so. And then grab this one last, Control L, and then copy modifiers, so not copy modifiers. Copy link materials. There we go. Now, we can get rid of these because these are in not the right place anyway. And then what we can do is we can grab all of these, grab this cookie, press Control J, and then grab all of these, grab this cookie, press Control J, and then grab all of these and grab this cookie and press Control J, and there we go. So these are the raw ones, and these are the chocolate drops. So now these chocolate drops should be, if I grab one of them should be in something called chocolate drops. They're all in there. They're called rocks, but that'll be okay. And then these cookies now, if I press the dot but, should be under raw cookies, which they are. So now we've got all of that set up. Now we can actually think about a porticle system. So what we want to do, first of all, is come over here. So I'm going to come over to this one. And what I want to do is just bring in a simple plane. So shift D, bring in a plane. Now the thing is, I didn't actually attach my cursor there. So shifts, cursor selected, shift a and bring in a plane. And what I'm going to do is make the plane smaller, and I'm also gonna bring it down. You know what? First of all, I'll put it over here, and then you'll be able to see exactly what I'm doing. So now we've got a plane, let's press Control A and resell the transforms because we did make it a little bit smaller. And what we're going to do now is we're going to go over to the right hand side, click on particle systems, click No, and I'm going to call this. You need to call it the same in both of these, by the way. If not, you're not going to be able to find it. It's going to be very hard to find because generally, you can use these particle systems again in something else, but you need to know what it's called. Now, I find if I don't rename it in both, it doesn't actually come up properly. So what I'm going to do is call it chocolate. Drops, like so, and I'm going to copy that. So Control C. Come to this now. Control V, press the enterbar. And then what we're gonna do is we've got those in there. Alright, so now we want it as an emitter. Now, if I press Space Bar, you'll see at the moment, nothing actually happens with this. Now, those of you keen I mind wondering, well, it's not playing anything. And the reason it's not playing anything, of course, is because our frame start is on one. Frame end is on 200. Now, if we go to our layout or our animation, but we'll see on our layout, we've got up to frames 10,000. So we've gone past there already run 8,600. So if we put this down to one and then press play, you will see that things start happening. So that's looking good. Now, let's go back to modeling now we understand what is going on there, and let's put this onto 10,000. Like, so that then noll give us enough room to go through you know, the whole animation and everything like that. Now, the next thing we want to do is we want to give ourselves more actual balls or more chocolate drops. So let's put this on 2000, like so, and then we'll end up with a lot lot more. Now, the next thing is that they're popping up before popping down, what we need to do is we need to make sure, first of all, that the field weights, the gravity is on not 0.16 oh. So not 0.16 oh, like so. And then you'll see that they start popping up before they actually drop down. Alright, so the next thing we need to do is we need to think about what it is that's actually in here. The moment, you will see that if we go to render, it's on Where Is it Render? It's not on anything except halo. So we want this to be on a collection because we have a whole collection of chocolate drops in here that we actually need to use. So let's go then to collection. And the one we want is going to be W is it right the top Chocolate drops. And here we are. Now we've got chocolate drops. But there's not many of them. First of all, we need to make sure that the scale is there, and also, we need to make sure we're using the whole of the collection. Now, sometimes this happens where, you know, it's using the whole of a collection like this. We don't want that. We don't want to use them altogether. So we want different chocolate drops. Let's make them much, much bigger. And now you'll see we've got chocolate drops. They're all different, like so. Again, though, I'm still not happy with everything on here, but I think for this point, we'll save it out. And then when we come back, we'll work a little bit more on our chocolate drops, get them right so they look right. At the moment you can see they're not looking right. And then from there, we can actually make the next conveyor bell and put in our cookies with the chocolate drops actually on going into the oven. Alright, every once, so let's save our work, and I'll see you on the next one. Thanks a lot. Bye bye. Thanks. 60. Continuing to implement particle of chocolote chips falling down onto cookies for Ble: Welcome back if we want to blend beginner's master class, the cookie factory, and this is where we left it off. Alright, so we need these chocolate drops, obviously, to be a little bit smaller than what they are. So let's bring the scale of them down just a little bit, like so. And then what we'll do is we'll talk through all of this. So you can see at the moment they're jumping up and then they're dropping down. You can see as well that the lifetime of these actual drops isn't what it should be. So in other words, if I bring this to here. So I'm just going to put it into here. They should be, I'm going to make this a little bit smaller, by the way. They should be dropping out of there, you can see the drop down, drop down, and then they actually disappear. And the reason for that is because the lifetime, so the lifetime of the drops is actually ending on 50. So if we change this to 100, you will see now that they'll drop down further and further. So let's turn you can see now there they are. They're dropping all the way through the floor now. We don't want that heave. So what we want is a happy medium. So let's try 70, and let's see what happens after a bit. Where are they going to die, Let's see. So here they are right on the conveyor belt. So you want to set this exactly where they're going to die, you know, disappear basically is what it is. Alright, so next thing we've got is velocity. Now, this alters the way that they're, you know, coming down. They can be going to the side. Let's say, you've got some wind. You can mess around with these, turn this up, turn the object velocity. If I turn this up, you'll see that they start to get faster or get slower, and you just have to turn them up now by, you know, something like this to get them sped up. Now I'm going to put that back to where I had it in. You can also rotate these things as well, so you can make sure they're rotating as they actually drop down, as well. We're not going to mess around with that either. We don't want that. We want to keep this basic as possible. The only thing I want to show you is just the basics of it, so you have a good idea of using, you know, how you can use this physics engine within blender, especially for something like this. Now, the other most important thing, though, is where is it? Show emitter. So it can actually hide the emitter. So once we hide the emitter, you will see if I hide this out of the way. We won't be able to see that emitter. 1 second. Where is it? Show emitter, hide emitter. We won't be able to see this emitter once it's actually rendered. So I'm going to hide that way because I definitely don't want to see that. Now what I want to do is make sure that there's enough of these chocolate drops dropping down into the place that I'll want them. At the moment, there's not that many. There's two ways of doing this. One is very, very well optimized, and the other one is not so optimized. So the first way of doing it is children. We can now come to simple and have a lot more drops drop in, but you will see that when they drop down, they drop down in big clumps or we can have it interpolated. And yeah, for some reason. That is not working. I don't know why. And I think interpolated isn't working because we've actually got it using collections. What I'm going to do is put it on non on this, and I'm going to actually come up here and turn them up to something like 8,000, and then you'll see a huge difference as these things start to drop down, like so, and I think that's about the right amount that should be dropping down. So that's the way we're going to do it. So that's the basic setup. Of course, come in and mess around with these if you want to. Definitely mess around with the wind and things like this, get a good idea of what they're actually doing. Now we've got that. What we want to do is press Altag, bring back our tube, and just make sure that they're dropping out of there correctly. And now you can see that's exactly how it's looking. You can see them dropping through. Now we want to do is we want to actually make another conveyor belt going along here. From this point. So I want it basically to come from here where these are actually changing over. So they're going into here and changing over. So what I'm going to do is I'm going to grab this one. I'm going to press Shift D just on this point. So Shift D. Let's grab it. Let's pull it over here. And then what I'm going to do is I'm going to press P selection, separate it off, and you can see now's actually disappeared. So you know what? We won't do that. We'll actually press E and X and pull it. So we'll pull it out first. Then we'll grab them both. Then we'll press pea selection and separate it off. Now, we should have both of them running like so. All right, call so far. Now, what I want to do is come around. To my conveyor belt, and I want to put it flat. So I want to start getting flat again. And what I also want to do is then bring down the intersection to make sure that they're much more together. So like so. And then what I want to do now is take off the gears. We don't want any gears under this. And what I want to do now is make sure that I'm pressing Control A or transform set origin to geometry, and now I'm able to move it over. There we go. Now, what I want to do is move it over, so it's in line. With this one here, and then I basically want to have these swapping over so you can see chocolate drops going on. We want these kind of other cookies to come over. So when it starts, they're going to be coming round. Here they come. Let's see if they swap over at the right time. Nearly. You can see just in front of it. So let's put it back a little bit around there. And there we go. Now they're swapping over. And they said, what we want to do now is change these over for the actual chocolate drops. Now, you can see that I might be better off lowering this down a little bit. So if I lower it down just a tad, double tap the A, and let's see what happens now. And then we go Okay. I'm just looking where they're changing, making sure they're changing in the right place. And I think that's fine where they're changing. Alright, so far so good. Now what we want to do is change these to be the object to be not cookie dough, but where is it? Convey Objects. We want them raw cookies. That's the one we want, so we're going to change this over to be raw. I'll be down here somewhere, raw cookies. Alright, so now what should happen is, there we go. That is what we want. So changing let's have a look from here so we can see them going in. Chocolate drops going on them, and there you go. And that is exactly what we want, and then out of the end come the actual chocolate chip cookies. Alright, so now what we're doing is, we actually going to start work on the actual oven. This is quite a big part, and we also want to make sure that they're going into the oven. Through some flaps, and then when they come out the other side, they're actually going to be cupped inside. So let's actually create that now. So first of all, let's come in then, making sure that we've cleaned everything up. So we have got one that's called conveyor belt, and you can see if I hide this out of the way, it is hiding all the conveyor belt out of the way, which is really, really handy. Next of all, then, again, the tidying up process begins. So we've got conveyor belt, which we know is this one over here. So where is the conveyor belt? Let's have a look what is under there. Have? Oh, conveyor belt objects. Okay, that's cool. These are not objects, look, so they're just the chocolate chips, conveyor belt objects. Then we've got the flour mill. Then we've got the mixer, which is this part here. Now, I think with this mixer, I'm going to have this bit in as well. So M, I'll put it into mixer. So M, let's put it into where is it? Where's my mixer? So flour mill, water adder, mixer, there we go. Now let's hide that out of the way. Then we've got our stomper so basically, let's see what's in there. All of that is hidden out of the way. I don't want these parts hidden out of the way, as well. I want to put those into, not the stumper into the sprinkler. So now let's hide the stumper. And finally, now we're left with just the sprinkler. So if I hide the sprinkler, you can see we've got all of these things that aren't in there. So what I'm going to do is I'm going to grab all of these. I'm going to press M. I'm going to put them in the sprinkler, and then I should be able to now hide the out of the way. And now we've got just the human reference, and we've also got the parts, and there we go, everything now is nice and clean. We've also got this empty, which is this here. Alright, so now let's bring back our sprinkler, like so. And then what I want to do is also bring back my conveyor belt. So let's bring back the conveyor belt. And I'm also going to move this right up to the top on here, like so. So it's right up at the top, so I know I can bring that forwards and backwards. Okay, so let's move on to the oven. So first of all, then what we'll do is we'll create a cube, a little bit like we did with this one. And then from the cube, we'll actually get everything going in. We'll actually cut it away at the back, I think, as well. So I'm just kind of figuring out how I'm going to do this. So first of all, then, let's make this a little bit longer. Even though we're going to need it longer, let's make it a little bit longer and decide where we're going to have this. So let's now grab this, and we'll press shifts, Custer selected. And then what I'm going to do is I'm going to bring in a plane. So I'll bring in a plane first. We'll also put this in object mode just to make it a little bit easier. And by the way, on my rendered view, it was running much, much slower. And the reason is because I had it on CPU, not GPU. So now you can see much, much cleaner, much, much faster, even though everything's moving, you can see much better. That was the reason why. Okay, so now let's pull this up a little bit and decide where we want this, how big we want this. First of all, we're going to need it much, much wider. So S and X, we're also going to put an object mode so I can actually get something done. And then what I'm going to do now is I basically want it come in right over the top of here so you can see here I want this edge right around the edge of this. So I want to be able to see these cookies before they actually come into the oven. So maybe maybe I want to have it round about here somewhere around there. And then what I'm going to do now is I'm going to pull this down. So I'm going to grab this edge. I'm going to press E and Z, pull it down into place. So just pass this conveyor. Like so, so it looks as though something is actually holding it up. So that's looking pretty nice there. Alright, so now we can actually create the rest of it. I want this to go to the back of the conveyor, but not too far because we've got an actual, you know, a big machine that's going to be doing things with there as well. Now we've done that, what we want to do is reset all the transforms, right, clicks Origins Geometry, and let's save our work. And as normal, I'll see you on the next one, guys. Alright, everyone. Thanks a lot. Bye bye. 61. Starting the modeling process for baking machine, modeling in the passway for cookies: Welcome back everyone to blend and beginner's master class, the cookie factory, and this is where we left it off. Alright, let's bring in an insert then in the front of here. So in the front of our oven, let's bring in an insert like so. Now, do I want it exactly in the middle? No, I don't think so I think I'll put it to this side a little bit, just to make it a little bit different. And then what I'll do is I'll grab this one, this one, this one, and this one Control Shift and B, and we're just going to bevel those off just to create that beautiful round window that we want. And then what I'm going to do also is I'm just going to press the ebonne and insert it again like so. And then this will be the actual window showing into the oven. From here, then, I'm going to again resell the transforms. I'm going to come over then add in a modifier, and we're going to generate a solidify. Then what I'm going to do is I'm just going to come round. I'm going to make sure then that I pull these out, pull them out, pull them out, even thickness on. And obviously, you can see that I've probably gone the wrong way there. So let's come out this way. Now the problem is when you go the other way, I'm going to pull it this way a little bit. I do need this to be quite chunky. At the moment, it's not very chunky, so let's make it even chunkier, like so. I mean, it is an oven, after all, so it needs to have some depth to it. The problem is, though, that you might have actually come in and changed the face location round. So first of all, I'm going to go hit solidify, like so, and then you can see it's the right way. So just make sure it's the right way, guys. Now I'm going to do is I'm going to come in, and now you can see that I've got both of these selected, and what I'm going to do now is I'm going to right click loop tools and bridge. And there we go, because we did that, we've already got that in place now, which means now I can press Control law, left click, right, click F, and fill that in. And that then will be my actual glass. Okay, so now I can also, because I did that, go Alt, shift, click, and press E, and pull this out, and then it's got that kind of ridge going around there, as well. Right click and Shade Smooth by angle. Now, this wants to go in our oven. So what I'm going to do is I'm going to make a new collection called oven. Like so, and I'm also going to bring my oven up and put it just under my sprinkler, so I'm going to drop it just under there, like so. Now, I'm going to bring back a minute my flour mill, because what I want is this part here, so I'm going to zoom into it. I want this because I don't actually want to create something new. So I'm going to press Shift D, duplicate that round. And then what I'm going to do now is put that where my oven is. So over here, let's put it over here, make sure that it actually fits, and it's going to have to be probably a little bit bigger and certainly a little bit longer. So let's see how this is going to fit. So I'm going to pull this up into place going into the oven round about here. And it's actually fitting in very nicely. So that's one good thing. And I think also we'll have a back from this oven that's going to come down and create a back off here because I think not hving a back on there is not going to work for us, but I think we should make it a little bit smaller. So we'll bring the back in now. So what I'll do is press shifts, cuss the selected, Shift A, bring in a cube. And I'm just wondering, actually, is that the easiest way? Probably not, but we'll go ahead with it anyway. So S Y, let's bring it in. Let's put it into place. So we're going to put it up into place in there, look like that. And then what we're going to do is press S&X. And we definitely don't want it to be the same length. We want it to fit, so it's actually fitting this in place like so. And I also want to make sure that it's coming down to here, something like this. And then from this part then I can actually create the rest of it that I actually want to create. So these are kind of going to be coming out and under here. So I'll show you what I mean, as I go along. It's a bit hard to explain at the moment, trying to actually put this in place. So what I'm going to do is I'm going to pull this out a little bit, like so. And then what I'm going to do is I'm going to grab both of these, and I'm going to pull these into place, like so, and you can see it's not quite fitting in, so all I'm going to do is move this over. To the sorting this part out first. And then what I'm going to do with this part is I'm going to press the tab on. I'm going to grab all of this one, press delete and vertices, and then I'm going to come to this now and put it into place. And now you can see, it's like, nothing happened to it. So it's fitting into place now. Now I want to do is I want to bring it down because I want my cookies going under there, like so, and then all I'm going to do is grab the tops of each of these. And pull them up into place. And now we've got that into place there. That is looking pretty nice. Okay, so now we can grab these. And what I can do is I can press Shift D. I can bring it over here. I can press R z, 180, spin it round, and then drop that into place on there, like so. And you can see with this one, because I span it round, it's not really fitting in place properly, so I'm just going to play around with it and get it fitting into place like so. Alright, now, the other thing is we also have an inside of the oven. So we just have to take that into account, as well. So we do have an inside of the oven but what I'm first of all going to do is I'm going to fix this back bit here. So what I'm going to do is I'm going to come to this back bit, I'm going to grab the bottom of it. Now, what I need to be careful of is that I don't go too far down past this point. So if I press three, let's say, I need to bring this down now, all the way down to this point here. So if I press E, I'm going to bring it down from there, all the way down to there, like so. And then what I want to do is I want to bring this out now to this point. So I'm going to press E again. I'm going to bring it out to this point here. Make sure that it's not touching it, like so. So let's bring it out to there, like so. And then what I'm going to do now is I'm going to press Control. Left click and bring it over another one, like so. And I think with this, I'm going to make this one a little bit thicker. Then what I'm going to do now is I'm going to grab this and this one, and I'm going to bring them out. So E, bring them out, like so. And then I'm going to bevel the tops of them off. So if I grab the top here and I grab the top here, not this one, this one here, I'm going to press Control B and bevel it off like so. Now I'm not happy with that bevel, so what I'm going to do is press Control A, reset all the transforms, like so, origins geometry, try it again and see if I'm happier with it. And I think, yeah, I'm happier with how that looks. Not quite that far, something like here, right click shade auto Smooth. And there we go, I think what I'll do before I do that, actually, I'll just come back to it before I bevel it. I'm going to hit Control B. And then I'm going to increase the bevel, actually, so make it a little bit more rounded. Like, so, and now right clicking Sheets move. And yeah, I think that's looking a little bit better. Alright, so the rest of the oven now. So let's come round to this side. So that's all done. It's got a solid pot in there. And yeah, I think I'm happy with that. Now, what I think we need is some really, really big bulbs in there. So what I'm going to do is I'm going to start with my bulbs. I'll press Shift D. And what I'll do is I'll bring a cylinder. Make sure it's on 24 again. We'll bring it up. And what we'll do then is we'll have the end of the bulbs going out a little bit. So what do I mean by that? Let's first of all, bring it up. Let's press the Sp what I want to do then is bring out this bit. So I'm going to press Control R, bring in a few edge loops, like so, and then go to grab the bottom of it, like so, bring in proportional editing, and then let's just bring it out. You can see, maybe, actually, maybe we could do them that way, or maybe we could have them slanted more out. So if it come to root, we can have them not root. Let's go to shop. Maybe we can have them going out like this. Completely up to you, of course, what you want to do. I think mine looking like this looks to be a little bit better. I think then I'll put in another edge loop, left click, right click. And then Alt Shift click E, enter Alt and S without proportional editing on, so alt and S. And if it's not working again, just press the S button. Like so, right, click, shade auto smooth. Now, let's think about the top of these bulbs because they're going to be coming out. The top of here, let's make them all, so a little bit smaller. And let's put let's make the top first. So what I'm going to do with the top is I'm going to pull it up first of all, and then I'm going to press E to S, bring it out, and then E, like so, and then I should be able to drop that into plate. So if I drop this int plate, it should just sit on top of there, like so, and then we can see where the actual bulb is coming down to. So if I hide this out of the way, we can see there's the bulb in there because don't forget we want to be able to see it through the window. So we want to be able to see what this thing looks like because you're not going to be able to see it through here. So you want to see that kind of bend on there and you want to see it coming down, you want to see the bulbing and things like that. Okay, so we've got that bit there. Let's make sure then it's just sat on top of there, which is great. Now, let's make the power part of this. So all I'm going to do is press the I but I'm going to press E and pull it straight up. And then from there, what I'm going to do is I'm going to bring in, let's say three edge loops. So three edge loops, left click, right, click, C troll B, pull them out, drop it all the way back, like so, and then E enter ln, holding the shift but, right click. And there you go. There's the actual PowerPoint for the bulbs. And now we need is, you know, a big pipe going on those or something like this. Now, let's make the actual ball part in there. So what I'm going to do is press shift H, and I'm going to come in. And what I think I'll do is, first of all, I'll bring this part in. So if I come into this part, I'm going to press the I button to bring it in, like so, and then E, bring it up, and then S, bring it in again, like so. Now we'll bring in the bulbs, so I'm going to press shift desk Custer selected, and we'll use actually a primitive we've not used before, which'll be UVsphee. Now, when you first bring in these UV spheres, Make sure you turn down the segment. So on UV spheres, I tend to just put it on 16. So like this, right click, Shade Smooth, and you can see you can get away with a lot like that, and that's how I tend to do it. Now, what I want to do is I want this to obviously be a bulb. And at the moment, you can see now that's looking pretty nice. We can see that we need to bevel this edge off. But I'm also thinking that I would like the bulb to be shaped a little bit different. So what I'm going to do is I'm going to come in, grab the top of here because we're never going to use the top of here anyway. So just grab one of them, press the C, and just grab them all, press delete and faces. We'll just delete that off, like so and then what I'm going to do is I'm going to come in, Alt Shift click. Let's put on proportional editing, press the Sb, bring it in. Let's bring it out a little bit, and how do we want our bulbs. Let's change that to root. Let's try the root, and there we go. That's looking better. And that's looking a lot more like a bulb. And then I can just slot that into place like so, and it's as though it's actually burning away there. Alright, so last of all before we finish, let's come into this one. Oh, shift click Corn troll B, not too far, increase it. Left click. And there we go, There is our bulb in place. Now, we might as well join these together, so I'll press ControlJ join them together. I'll press Altag to bring back my oven. And finally, finally, let's think where we actually want them. So we want one here. And one over here, like so, and I think they look really cool now. Alright, so on the next one then, we'll carry on with the actual oven. I think we'll put something along here just to give it a little bit of a relief on there. And then what we can do is we can start with the back of the oven, which actually looks a little bit different It's little bit fun to make on that one, so we'll have fun on it. Alright, everyone, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 62. Adding additional decorative detail to baker, creating a side machine to measure the baking process,: Well, welcome back everyone to blend the beginners master class, the cookie factory, and this is where we left off. Alright, so what I want to do now is I want to bring in a let's think. Let's bring in a cube. So what we'll do is we'll start the back of you and we'll put this rounda I think. In the middle, first of all, then what we'll do is we'll pull it out a little bit on the S and X, like so. And you know what? I always keep against it. Let's move this over, and let's actually open up our image. So let's open up our image. And the one we want is going to be the oven, which is this one here. So this is the bit that we're actually creating. Then we're going to create this bit round, and then we're kind of going to add on all of these other parts. So let's actually, first of all, pull this up to where we want it. So I'm thinking, something like this looks to be round about the right height. And then what we'll do is we'll bring it down a little bit. So let's bring it down. With face electn, so bring it down to roundabout without proportional editing on as well. So I'll bring it down to roundabout there. So what I want to do is I want to basically lay it out, first of all, so that everything looks, you know, right before adding in all of these different parts and things like that. So what I'm going to do now is I'm going to press E, enter, S, pull it out a little bit. And then what I'm going to do is press E, pull it down to the floor. The other thing I want to do is I want to bring one of these over. So shift D. Let's bring it over. Like so. And then let's put it into place where we want it. So we know roughly now there's going to be a pipe on here, and we know it's roughly going to come back to this point here. So what we'll do is we'll put it round about here to start with, and then grab it going all the way around here, like so. Pull it out, and there we go. And now let's bring this part out, so all the way around to here, and then pull it back to there, like so. Alright, that's looking so far so good. Now, let's think about this big pipe before we do anything else. So it's basically like this pipe here, as you can see. And what I'm going to do is I'll grab this point here, press shifts, Custer selected, Shift A, and let's bring in, let's first of all, go to mesh and bring in a pipe joint and an elbow, and we want this one to be a bit thicker, but luckily for us now because we've brought it in, not loaded up blender, anything like that, we've actually got it pretty much in place. What I'm going to do is move it along the X. And then what I'm going to do is move it along the z, and I basically want to go in there. And I also want to make sure that the radius of this is quite thick. So something like this. And then what I'll do is I'll move it back just a little bit, and then I'll have the start and length. So let's pull that down to the floor. And let's pull this one into where we want it. And there we go, that's looking about right. And what we can do is right click and shade or smooth. We can also then do what we always do. So we'll add in these parts. Now, there is another way of doing this, of course. Which might be an easy way. And that's basically just grabbing this end, extruding it out and doing it that way. But honestly, I find this way so easy. So, X zero, and then do this one. So control R. Left click right, click S zero. And then all we have to do is just pull it down. It takes no time at all, really. So it's up to you which way you want to do it. Let's pull this in, like so. And then, because it's quite thick, let's put another one in here as well. Control R, S, z, zero, control B. Like so. And then I'll do we'll do them all together, actually. Oops. Let's come in with face select. So Alt Shift and click. Alt, shift, click, E, enter AlterS. Let's bring them out. Like, so, tab, right click, shade or smooth. And then finally, let's come in and just bevel off this one. Grab them all, C troll, we'll clear the sharps, first of all. We'll press Control B, and we'll increase the bevels. Like so. And there we go. Perfect. Alright, so now let's think about this top. So on the top, I want to actually bevel it off. So all I'm going to do, I'm going to come in, have this edge and this edge, press Control B and bevel it off, like so. And the main reason I want to do, you know, this front is because I actually want to basically put these parts in here. So these are going to be little tubes that are going to go in there. They're going to go into a box on the front. So I've just got to make sure at the moment that I've got enough room to pull this back. So I'm going to grab all of these, I'm going to pull them back a little bit. And then on the front of here, I'm actually going to put a front on, so I'm going to grab this one, shifts, cursed to selected, Shift A, bring in a cube. Let's bring it forward. So bring it forward, like so. And then what I'm going to do then is pull this across into there, and then pull it down and I want it rest in just under here. So just under here, like so. And then these pipes then can go into something that's going to be on here. And what I can do is I can press Control, bring it up to there, control B, pull it out, like so, then eat enter lns and pull it out, like so, making sure offset even is on, which it is. Alright, finally, then, let's come into the top of it. Press the ebon and then what we'll do is pull that down. I'm just wondering whether I want to move it all that way first. I think I do. Then what I'll do is pull it down from here, like so. And I'm also wondering whether I want to pull this out a little bit. Can see here might want to pull this out just so it's in front of there. So now, let's think about this top bit here. Do I want it a little bit higher? I think I might. So what I'll do is I'll grab all of this going round and just pull it up just a little bit, like so. And then what I'll do is now I want to actually create, you know, kind of something in here, which is going to be one of the little knobs that goes backwards and forwards. So I'll want that on there. I'm also wondering whether I've actually brought in enough bevels on here, so you can see it is. It is okay. It should be okay. What we'll do then is we'll come in. We'll grab this and this, we'll press J to join them up. We'll grab this one and this one, we'll press J to join them up. And then what we'll do is we'll press ControR, bring in an edge loop and just bring it up, like so, just under there. And then finally, what I can do with this is I can bring this out of here, so I can press Shift D. And I'm going to do it that way because it's going to be a little bit easier to wit with. And we're going to press S, like so, delete. So delete and limited dissolve. And then let's put this back in here like so. Let's shove it all the way back in and then press E, and then we can pull it out like so. And then what we can do is create the glass on here. So if I press I then, I can bring it in, so I can bring it back. So basically, I want to pull it in now, so I'm going to press E. And that is this bid done now, as you can see. So right, click, Shades move. Now we just want this glass part on here. So how do we do that? Easiest way to do it. Oh shifting, click. We're going to press the F but, P, selection, split that off. And then what I'm going to do is press tab. And then bring it in. So if I press the bone, I should be able to bring it in relatively fast. So something something like there. And then what I'm going to do is join these backup. So if I come in, I should be able to come into this one, press the bone, and what we'll do is we'll join it at the last. Same for this one, press the bone and at the last. Alright, there we go. Now I can press Control R, bring in a few more edge loops, and I'm hoping this works. I should be able to then pull this out with proportional editing on. So let's put it on let's put it on sphere, and let's see what we get with this let's pull it out, pull it out. Maybe, maybe it's not quite not working as well as I'd hope, so let's bring this out. Let's have a look at that. We want this to be glass, so just wondering, is that going to work? I think the main problem is, is this part obviously here. And I definitely want it glass and I do want it shaped. So I'm going to delete that, and I'm going to give this a try again. And instead, I'm just going to think of a different way to do it. So if I press F, like so, and then go to press P, split it off, like so, and then pull it out. Is it going to be too difficult to do this? That's the question. So what I'm going to do is I'm going to press Control O. It's gonna be one, actually. So I'm going in front of it a save up. Press tab, hide this out of the way. There we go. It is one. Okay, what I'll do is, I'll try one more way of doing it. So what we can do is instead, we can get on knife and join it over here, like so. We can press K again and join it over here. Press Enter, and then K again and join over here and press Enter. And then what we can do is we want to go down now, but we want to make sure it's going down perfectly. So if we grab this, we can pull it down to then kind of line it up. But if you just press A, it will make sure it lines up perfectly, and then you can press K again, A, drop it down here, press the enter bone, and then K from here, A, drop it down here, press the enterbn and just basically work your way along until you get to the end. And this might give me enough to actually be able to pull it out because it's got a lot more topology on there now, so I'm hoping it does, but we'll see. Like so, bring it to the end. And now I should be able to just come in, grab the center of this. And now let's see if I can pull it out but bring this out. Like so. You know what? It's much, much better than where it was. I think I can actually work with it. So what I'll do now is I'll pull this back into place. Like so. And then I'll come in and I'll do the same thing. But what I'm gonna do now is I'm going to grab the top ones, for instance, and I'm going to pull them back in and see if I can bring them back in. And no, I don't think it's still gonna work. Let's try it sharp on there. Like so. Let's try these two now, bring them back in. Let's try this one and this one and bring them in, like so, and then these two, and these two, bring them in. Can I actually go away with it? Then let's try these two first, bring them in. Like so, and then these two, bring them in. And then finally this one and this one. And then let's see if we can smooth it off, and then we go, right, click Shade Smooth. Now let's try just smoothing it and see if it actually fits in place. So what I'm going to do is going to come over, add modifier, deform. And what we want is the smooth. And let's see if we can get enough smoothing on there. To make it worthwhile, or we might need to just subdivide it. So you know what? We'll try that instead, add modifier, generate a subdivision surface. And then we go, That is going to work, I think. So now what we can do is we can pull it out a little bit, like so. We can shove it in a little bit, like so, and then just drop it down. And then S and z, let's see if that's going to fit in there. Let's press tab, double tap the A. And there we go, I actually think we're going to get away with that. Let's pull it out a little bit more. Have the eh? It's not quite not quite there. You know what? On the next one, we'll delete that the way. On the next one, we'll try one more thing to do this, 'cause I don't want to waste too much time on this. And then what we'll do is we'll actually, we'll bevel it off. We'll try beveling off after this. That'll be the one last way we'll do it. Alright, everyone, let's save our work, and I'll see you on the next one. Thanks a lot. Bye bye. Thank 63. Using curve to create cable attachments to bakery system, fixing animation issue caus: Welcome back, everyone to blend the Beginner's master class, the cookie factory. Now, let's try what we said then. So the attempt last chance saloon at this, let's press the F button, and then what we'll do is we'll separate it off. And then I'll grab this. I'll press Control A or transform, set origin to geometry. I'll bring it out to just here. And then what I'm going to do is press A, E, and then pull it out like so. Now what I want to do is come to Bevel, Alt Shift and click Control B, bevel it into place, and bring those right there. Like so, right, click, Shade smooth Bangle. You know what? That might work. Now, let's see if we can actually get away with a subdivision surface. Is that gonna make you better? Now, the reason why it's bending so much is because it's simple. If I put this onto it's on Cat Null Catmull, clock, if I put this on simple, press Control A, you'll see now if a right click and shapes move. It's basically added a load of geometry here, but it's added in all the wrong places. So I don't think we'll be actually doing that. I think we'll leave it like that. I think this is good enough, to be honest. So let's not mess around with anymore. It's good enough, and now let's move on. So what I'm going to do now is a definitely want my pipe. So one of the pipes I've got here, let's have a look, so it's going to be under let's have a look parts. Re use parts. Here's my pipe. Let's press shift D. And then what I'm going to do is bring this into place. Like so and I want to put it around here, so I'm going to go over the top. I'm going to press the S born, making it much, much bigger, Rs 90, and then Rs 180, spin it round. And let's drop this into place. Like so. And then what we need to do now is we need to plug it into here. So let's see if we can actually do that. So I want to leave that there. Then what I want to do is plug this into here. Like so. We've got sharp on. We don't want that. So let's plug it in. To there. Let's make sure it's going the right way. Like so. And I think. Okay, I think that's actually looking pretty good. Now, let's grab the next one. So to do that, we'll just press shift deep, bring it over. And then this time, I'm going to rotate it. So Z's rotate it round, let's move this one over a little bit, like so, and let's move this one over a little bit. Like so. Alright. Looking good. Now, we've done that. Let's actually join these both together, so Control J, object, convert, mesh, and now I'll do is I'll bring these parts out. So what I'm going to do is I'll grab both of these endpoints. I'll press Control B and pull these out. I'll drop back my bevels a little bit. I'll press Enter lns and bring those out, like so. And then I'll come to this point here. All shift, click, Al, shift, click. And then what I'm going to do is E, enter lns and bring these out a little bit further. And this time, what I'm going to do is I'm going to bring just this top part back in. So if I press the S on individual origins, I should end up with something like that. That is what I'm looking for. Alright, so that's looking pretty good. Now, let's do these parts in here. So all we'll do with these is very simple. Oh shift, click, E enter lns. Oops. Let's bring it back. Where is it gone? Let's press Altag. Sorry, we managed to bring them back. Not sure what happened to them. But anyway, I just pressed Control's Ed a few times, got them back. So here we go. Let's press Enter Altns and bring it out. Like so right, click, Shades Move. And there we go. Alright, so we've got this part in. Now, let's bring back a minute or I think it's the mixer. Nope, it's not the mixer, so it must be the water adder. Yes, it's this one here. This is what I want. Now, one problem I've got with this is I need to make sure that this part here, for instance, if I press Dot, I want to definitely take this off of there. So P selection. I also want to make sure that I'm grabbing all of this. So inside here, there is this that I want. This has the animation on, so I need to be really careful where I'm pouring that. So if I duplicate this and press Shift D, like so, if I now press space bar, you can see, it drops right back there. So I have to be careful with it. So what I'm going to do is instead, if I press G, I'm going to press Shift D. Put it over here. And then so I can move this round. I'm going to press shifts, cause the selected. Shift A, we're going to bring in an empty, so plane axis. And all the plane axis is, as we know, it just allows something to follow it and it won't be rendered. So what I'm going to do now is join this to the plane axis. So Control P. Object keep transform. And now if I press Space Bar, will it actually do it? No, I don't think so. So it's still over there. So can I actually make it stay there? I don't think so. So you know what I'm going to do? I'm going to come. I'm going to grab this I'm going to press ltH to bring back the front. I'm going to grab this part and this part. I'm going to move them over here. So shift D, shift Spacebar to move. Let's move them over here. And then what I'm going to do now is I'm going to go to the animation, so the animation for this. Which is in here, and I'm just going to hover over it and press delete. Then what's going to happen is if I press dot now, I should be able to press Space Bar, and that will stay there. Albeit, we lost the animation. So now let's press altage, bring back everything. Let's grab all this. And then what we're going to do is move it over to our oven because even though we can't use it that way, it's still better than building it again. What I'm also going to do is make sure moving these around on medium point, z 90. We'll put it that way for now. I know I have to turn it around, but I'm just trying to get the right scale for it at the moment. So we'll put it over here, and then we'll press the S bone, and there we go. And what I'll do is, I'll turn them round. So Rz 180. And then what I'll do is I'll put them into place where I want them. So just about that. Like so. And then what I'll do with this is z 180, like so, and you can see it span all the way around there. So let's put it on individual origins, z 180, and we're still spinning around there. Why are we spinning around there? Because the orientation is here. So all transforms right click at origin to geometry, Z 180, and there we go. Now it's actually better. Now what I need to do is just move this into there. So Alt Shift and click, pull it into place, and there we go. Alright, that's looking good. Now we've got everything done, all we need now. Is the back and the actual side. So let's work on the sides first. So this side has a little box on there. This side has a box on there. So all I'm going to do is, I think, I'll put a box on this part, and then I'll steal a couple of other parts as well. Now, I've noticed that these things over here, for some reason, let's see if they're animated. They're actually animated. I don't really like I don't know why they got animator, that's prone back to one. So yeah, they've moved all the way over there. So all I want to do, I've not got my actual animation on. Maybe I pressed I by mistake. I'm going to press delete. And then what I'm going to do is just put them back now. So I'm going to go back to modeling. And again, these problems pop up from time to time. We all have them, and it's knowing how to fix things and why things happened or what is actually going on, which are the most important things. So I'm going to put these back into place, press space part and now everything's working correctly. Control A or transforms rightly. Set origins geometry. Just put them into place, pull them down. And maybe even down a little bit further, like so, and there we go. Alright, they're back now. Now, everything's cool with this. We just need that box on now what we're talking about. So let's bring in where's my cursor. It's over there at the moment. Let's bring our cursor here. So cursor selected, shift day, mesh, cube, and let's pull it out. Like so. Let's press the pun. So we'll put it round about here. So sticking out that much, I guess. I'll round about here. And what I'll also do is I'll pull it out maybe past this part as well. So maybe something like this. Let's pull it out back a little bit, so it's jaws level with it. Like so. Or we can pull it further out, so it's actually under there slightly. Yeah, actually, you know what? I think that's better. Just looking to make sure everything's right. Okay, I'm happy with that. Now what I'll do is I'll press the I button, and then I'll press the E button to pull that out, like so. And then what I'll do is I'll look towards now, we also should have something on here. Let's press lth, bring back everything. I'm just looking where that part is on there, because I've also got another part missing. And it's this part on here. So I'm looking to where it's gone. I've turned on everything, and this part seems to have gone missing, and we've also got two of these. So let's delete one of these. Now, what happened with this part is, it actually jumped over here because again, because of our animation. So when we put on this auto anime, I forgot to turn it off, which means that you probably forgot to turn it off, which means that all these parts over here generally have animation on them, as you can see. And it's really annoying, actually, that it's done that. So what I'm going to do is just come to these parts. I'm going to hide this out of the way, and there are those parts that I actually wanted. So what I'm going to do is just pull it over there. I'm going to make sure that I check that now from every time just to make sure that doesn't happen again. So now let's come back to modeling, press the dot bun, to zoom to these parts, and then while there is, I'll fit these onto the place where they are. The other thing, of course, is, as you can see, is that we've also lost the kind of scale of them as well. So we don't really want that to happen. So what I'm going to do is pull them into place like so, and let's level them up just a little bit. They're a little bit more level, like so. And then what I'm going to do is press Shift D, and I'm going to bring these over press S 90 and move them over to here. So this one here. And of course, I don't want them to be as big, so I'm just going to press the S bone. I'm thinking that they're probably going to be around the right scale. So let's just put them on like so. And there we go. That's looking pretty nice, anyway. Alright, so on the next one, then, what we'll do is we'll get these pipes coming down here. And then what we'll do is we'll end up with a couple of canisters on the back, which will be out here, and then finally the supports. I'm hoping we'll get finished by the end of next lesson, this actual one. I'm not 100% sure, but we'll see. We'll try our best, so hopefully we should get it finished. Alright, everyone, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 64. Creating gastanks for the backside of a bakery to enhance the stylized look even furt: Welcome everyone to blend the beginners master class, the cookie factory. Now, I'm going to come to this part of the moment, and what I want to do is I'm just looking at the width of this part here. And what I think I'm going to do with this, actually, is just bring these in a little bit because you can see this one's here and this one here, and I want to bring this out. Now if I bring this out, it's going to move the whole thing. So instead of doing that, all I'm going to do is bring it out like so, and just make it a little bit more in line with this one. Right, click, Shades move, and there we go. Now, I think that looks a little bit better. I looks a little bit flimsy. Okay, so now let's come and think about these pipes around here. The other thing, of course, is I really want to make sure that all of this part, so I'm going to hide the sideway. All of this part is in oven. So let's come down, put it all in oven, and there we go. Alright, so now why did I do that? It just gives me a little bit more room to actually work with. At the moment, I'm really struggling to see what I'm actually doing. So I'm just going to hide all of these parts, and now I can see what I'm doing much, much better. Now, let's think about the two pipes that we're going to bring in. So we've got our cursor here, I'm going to put my cursor over here, actually. So cursor selected, and then shift day, let's bring in a couple of pipes. Now the thing is, can we use these pipes around here? Probably we could probably get away with using these instead. So, you know what? We will do that. Shift D, we'll bring it over instead of creating new ones, Z 180, let's bring it down to where we want it then. So I'm going to pull it down. And one I'll have up and one I'll have down. So we'll plug it in. And you can see we need to pull it out a little bit. Let's plug it in, like so. We'll bring it over here, and we'll have this one go a little bit further down. So something like that. I'll bring in my Xray so I can see what I'm doing. And then go to pull these back like so roundabout here. You can also see that I brought these in but didn't actually do anything with them. So hopefully, have I actually brought them in? You know what? I think they're just the faces at the angle. So you know what? We'll think we'll leave those like there is. And then what we'll do is we'll come in now, and I'll grab this one. And what we'll do is we'll go Alt, shift, and click and bring it up. And then finally, am I happy with the thickness? Let's see if I can grab it and press Alt. Can I actually bring it out? Yes, I can. Yes, I can. That looks shade smooth biangle. I'm just wondering, yeah, I've got some shops on there. Maybe I want to get rid of those. So let's see if we can get rid of these sharps, controle, clear sharps, and there we go. Alright, I'm happy with that one now. Let's press Shift D and bring this one over. It is an oven, after all, so that's what I'm thinking. I'll pull this one up, so we'll have it, you know, something like this instead. And then what I'll do is I'll put on Xray again, grab the top of it. So I kind of grab the top. Let's see. No, let's try it again. Come on. Let's zoom in then if you want, let me do it that way. I'll shift click. There we go. Now, let's pull it down into place. Like so, turn this off. And then what we'll do is join these both together. So Control J, and then I'll press Control R. Left click, bring it up a little bit. Control R. Left click, bring it up a little bit, and then grab them both. And then S, Z and zero, just to level them out, bring them up a little bit, like so, and then we'll do the same thing on here then. So Control R, left click and then S X and zero. Same thing on here. Control R, left click SX zero. And now I'll do is just move these into place. So this one here and this one here. And then we'll go to face Lt. Alt Shift click, Al, shift, click, Alt Shift click, and Alt Shift click. Eat, ter Alter Ness, bring it out. Like, so right click and shade, Ato smooth, and there we go. Okay, so that's that bit done now. Let's think about the next bit then. So next bit will be kind of a bit on the back. So I'm going to come to this part again. Shift desk c to selected. Shift date, let's bring in, first of all, a cube, and I'm going to want them on the back here, so I'm going to press EnsEd bring this down to round about here so it can fit along here and then S and X, pull it out a little bit like so. And then what we'll do is we'll pull it out just so it's level with that and then pull this back a little bit like so. Now, let's get these canisters on here first. So I'll set my canisters on here. Before doing anything else. So what I'll do is I'll come to this part now, Shift desk, Custer selected. Shift, let's bring in then a cylinder. Let's make it 24. Let's bring it down, and let's put it into place where we're going to have it. So if we have one canister here, we should then be able to have another canister next to it. And I want to get an idea of scale. So what I'm going to do is I'm going to right click and set the origin to three D cursor, add in a modifier, and I'm going to bring in a mirror, and now I've got a good idea what these are going to look like. Now, let's come on underneath. And then what I'm going to do is press Control B. And round those off, so they actually look like a canister, so like that. And then what I'm going to do is grab the whole thing and just bring it down so it's actually on the floor, like so. And then I'll bring them up. So we'll bring them up to the top so we can actually see them. So just up to here and a little bit further even, and then Control B. And bevel these off on the top, as well, like so. Right, click, shade Auto smooth, and there we go. Now, let's think about the top. So all I'm going to do is press I, I'm going to bring it in. And then going to bring it up to this point. I'm going to press I again and bring it in and then E, putting it up to the top, like so. And then what I'm going to do is I'm going to bevel off this top. So Control B, let's bevel it off a little bit, and there we go. And now let's press Control R two, left click, right, click. Control B, pull it down all the way down to one, left, click, and then E enter lns and bring that out. Like so. Alright, right, click Shades Move Bangle. That's it. So far so good. Now what we want to do, though, is we want to actually create, you know, some roundness actually on top of you. So some turning handles or something. So what we'll do to do that is we'll come in. We'll grab this. And what we'll do is we'll press Shift D, and then we'll pull it out with S, and then I'll press S and Z and bring that in like so. Now, the first thing I want to do is I want to actually give this, you know, some depth. And the easiest way to give it depth is actually to come in. Select it all P selection, just to split it off, and then Control A, all transforms, but put set the origin back to the three D cuss so we've got that mirror on. And then add in modifier and we'll do a bit of modifier stacking with a solidify. So let's bring that out. Like so make it around about that thick. Press Control A, and then right click and shades move biangle. Now what we want to do is we want to bring these in to this point here. So we want some little round points on here. So what we'll do is we'll miss three and then come in, miss three and see if can get away with it, actually. So miss three. Miss three and miss three, and then miss three, and we can. So then what we'll do is we'll press E to lns, and we should be able to bring those into the center, like so. Now, let's see if we can actually bring in a subdivision on these. So generate subdivision surface. You can see we've nearly got it there, actually. It's not quite right. If we turn this up, it's not really going to help, as you can see. But what we can do from this is see what we need, where we're going wrong. So what we're going to do now is press the tab button, and I'm going to press Control R, bring in an edge loop, and you can see, as I bring that out, you can see what that does. It actually leaves us with a nice round part on there. Control R, then, we bring it this way, and there we go. And then we want to do Control R on these parts. So Control R, left, click, right, click. Control R, left, click, right, click, control, and just keep going round, like so. And there we go. Okay, now we've got the mole. Now what we can do is bevel these off. So if I grab all of these, press Control B, I can actually then bevel them off and make them nice and beautiful. And that looks pretty good. Now, let's come down to the bombt. So what I'm going to do is I'm going to press Control of. Bring it out, like so, and then control. And that's the final one. Bring it into the middle, like so, and there you go, D is how you make the tops. For your cylinders. Alright, so we've done that. They're looking cool. Now the one is some straps to hold everything on. The way I'll do my straps is I'll basically probably I'm thinking I'll probably use my cylinders. So what I'll do is I'll press ControllT, left click, right click Control B, like so. And then what I'll do is I'll use these. So what I'll do, I'll come from this part here, I think. So if I come from this part, and this part. And then what I can do is I can go round the other side, or I can press three, actually. So if I press, I'm just wondering can I actually do that? Let's have a look. A little bit hard to see on there. I'm going to go from there, actually. I think that's about level. So just right next to there, I think it's going to be round about level. So I think they're the same on both sides. And what I'm going to do then is press E and Y and pull those out. And you can see they are straight, and these are straight. So just pull them out like that, and then what you're going to do is you're going to go to face select, come all the way around to here. Same for this one all the way around to here, and then basically you're going to press Shift D. Duplicate those. And then what we're going to do is press P selection, and I'm going to press tab, and I'm going to grab those I've just done. So these all the canisters, whichever one you want, get, you know, hide the canisters out of the way if you want. And then what we're going to do now is press Control A, all transforms, right click, set origin, three D cursor, add in a modifier, and we're going to bring in A, where is it? Let's have. We want to generate solidify. There we go. Let's pull the solidify out, not inwards, so that's inwards. Let's bring it out. You can see we've got some problems on there, and all we know what that is. We just press tab, A, it is the normals, press shift n, and there we go the fixed. And then what we can do is just press saltge, bring back everything, and now we can just line this up with the thickness that we want it. So if I bring this down to something like that, I think that's about the right thickness. Alright, let's say if that'll work. We didn't get there. We didn't manage to get it finished, but we will definitely get this finished on the next one. So I'll see you then. Thanks, everyone. Bye bye. Thanks. 65. Creating gas shader for the oven, creating glass bulb shader for heat lamps, adding t: I'll come back around to blend the beginner's master class, the cookie factory, and this where we left it off. Okay, before I go any further, let me grab this. I just want to press A and grab it all. Let's go to individual origins, and all I'm going to do is make it a little bit bigger. Like so. I think they looked a little bit too small on there. We could go ahead and make them much, much bigger than that, but you know what? Let's look from here. Oops, double tap the A. Yeah, I think they look absolutely fine, like that. Let's have a look actually what would happen if we did make them bigger. So let's press the S bon. Let's pull it out, something like this. You know what? They do so much look better. So all I'm going to do is I'm going to grab all of these going round. I want to make it a little bit chunkier because they do look better, and then I'm just going to press the S Born on medium point and bring them in. Like so. And then I'm just going to go back to individual origins, press the S born again, and then bring them out so they're right size. And there we go. Alright, they look much better. Much, much better. Okay, so now let's go back to here. So what I'm going to do is apply that solidify. Then we're going to hide these out of the way. Come back to my cylinder then, and then all I'm going to do now is I'm going to delete these out of the way. I don't need them. So I'm going to delete those delete faces, like so. And I might as well delete these edge loops as well. I don't really need them. So when you're deleting edge loops, just press delete, and what you're going to do is dissolve edges. That makes it really easy. I'll th them. Come back to these, right click, Shade Smooth by angle. And now we need is we've shoved them in a little bit too far, as you can see, but not to worry because what we can do is we can grab the whole thing and I can put an edge loop down like round about here. So how we'll do that is we'll come to bisect and we'll drop in an edge loop along there. Make sure this is zeroed out. So zero. And there we go, now we can actually come in and just grab each one of these. So Alt Shift click, like so. Same on this side, Alt Shift click, like so. And then you're just going to press E to Alter NS and then pull those out a little bit. Now, I can see. I press the Alts. Let's try S. So S, pull them out, like so, and I'm looking. You can see they're slightly bent out, so I'm going to pull them back, pull in shift button. Like, so right click, Shades move Bangle, and there we go. Alright, so far so good. Now, I think we've got just the bottom part to go now. So I'm going to press Shift A. I'm going to bring in a cube. And then what I'm going to do is I'm just going to make it a simple simple kind of support along here. So something very simple. So let's press EnsEd, bring it up. Like, so. Let's bring this part in. So we'll bring this part in like so, and then I'm just going to bring it down a little bit more. I'm going to make sure I'm touching that back, so I'm going to be touching that back like so, and then all I'm going to do is just pull this up. So pull this up to here. And finally, I'm going to join it to this. So I'm going to press Control J. Join to that, and it's going to put that on the other side. Now, all I want is just one more simple part, which is going to come from here and down. So again, I'm going to press Shift D, bring in a cube. I'm going to press the S bone and bring it over. So I'm going to bring it over to round about here. And then what I'm going to do is just put it into place along here. And then I'm going to bring this down. So I'm going to bring this down all the way down to where I need it. And I'm just wondering. Yeah, this pot here, you can see, as well that also needs to come down. So let's pull that down first, we'll pull it all the way down to the floor, like so. And then we'll pull this one all the way down into the floor. Like so. Alright, so now we'll do is we'll pull this pot out, so we'll pull it out. Like so. We'll make it a little bit thinner. I think it's a little bit too chunky. So S and X, a little bit thinner. And then what we'll do is we'll bevel this off. So if I come to this part, I should be able to bevel it off like that and pull it back in. You can see that it's not quite how I want it, so I'm going to do Control A, all transforms, and I'm also going to bring in an edge loop just round about here. And the reason I'm bringing that in, of course, is because then when I bevel control B, it's only going to go to that point, and that's what I want. So now I can actually bevel it coming down to here right click Sheets move biangle. And finally, I can actually bring in an edge loop. Actually, I don't need to. What I'll do is I'll bring it from here, so I'll grab this one, and then I'll grab these going all the way up. You know what, though? I do actually want one edge loop in there, so control. Left click, right, click. Control B, bring it down up to there. And then we can grab this bottom and then let's say from here all the way up to, let's say here, and then enter lns and bring it out, like so, hab, Shakes Mo Bangle, and there we go. Now what I can do is fine I can add it to this. So control J, and there we go. And then what we can do is now we can pull this part out. So we've already got this part grabbed. Let's pull it out into place. And that is looking really, really cool. Alright, I'm happy with my actual oven. Now, let's come to materials, and let's get some materials on this. So first of all, let's actually bring in I'm just wondering if I bring in the glass. So this glass on the oven is going to be it's going to be a little bit different again because I want to add some noise in there. So we've got kind of three types of glass now. So let's do this first. So what we'll do with this part is we'll add in our first color, which will be orange. So I'll bring in the orange. Then I'll bring in some metal. So what I'll do is I'll grab this going all the way around here, like so, plus again. Now, I just want to be careful because at the moment, I don't want all of these grabs, so I'm going to do this a bed time, actually. So I'm going to grab these going all the way around here. I'm going to grab it then going all the way around here and here. And you know what? I'm going to click the plus button, the down arrow, and I want on the metal light, and let's click Assign. And what I'm going to do now is just hide this part out of the way because I want the inner part of this also to be metal, as well. So metal light, click a sign. Now, if I press Salt H, I'll bring in my glass now, so we'll click Plus New. And we'll call this oven glass. And then what we'll do is we'll hop it over then to our shader. So we'll hop it over to our shader. We'll zoom out, press the dot bon to Zoom to this part. We'll come to this part, click assign. We're already in actual cycles. Just make sure your GPU is on. And then what we'll do now is build this shader. So we'll just delete the principled. We'll bring in again, we'll bring in the glass this time because it's a little bit different you know, from the chocolate drop one. So we'll bring in the glass. So glass, BSDF. Drop that in there, and then I'll bring in a transparent, so shift transparent because then I'm going to have some actual control over how dark or how light it is. And what I also want to do is bring in a noise. So I'm going to bring in a noise texture, so search noise. So I'll drop that in there, and then I'll bring in a color ramp so I can control that noise, as well. So color ramp. And hopefully, at this point, you're starting to actually understand what I'm actually doing, why I'm doing it, and how these things are actually working. So let's first of all, bring in a mixed shader because we can't mix it with the color, as we know, so mixed shader we'll drop this one into the top, this one into the bottom, and we'll drop this into here. There we go. Perfectly see through. Now what we want to do is put this on 0.525. We want to make sure that the IOR on here is going to be set a little bit lower. So 1.050, something like that. And now you can see, we can near enough see in there. And then what we want to do is make it a little bit darker. So what I'm going to do is bring this down a little bit, and you can see now how much control we've got over there. And then what I also want to do now is plug in my color ramp into here, and then I'm also going to plug the fact of the noise into here. And now let's bring that noise actually in. So what I'm going to do is put this on 160 160 something like that. We're going to leave all the others at the same, and now you can already see that now it's actually looking pretty much like an oven. And the only thing left to do is we can actually turn this up now so we can really start ramping this up to round about here. Let's bring this one back to bring, you know, some of that noise back in. And finally, then let's come to this black and just turn it down a little bit. Like, so so we can still kind of see in the oven, and there we go, now that's looking like an actual oven window. Now, next of all, then, let's actually come in, and what we'll do is we'll actually come to the bulbs. So what I'm going to do is I'm going to come I'm just going to hide this out of the way at the moment, and I'm going to come to my bulbs. And these are going to be really, really easy, these bulbs. So first of all, most of it is going to be the metal light. And then just these parts. So this part here, this part is going to be my bulb. So if I click New and I'll call it bulb, like so. And then what I'll do is I'll just bring an emission in. So instead of it being the principal, you should be able to click on it. Go on down. You will have one that says emission. And what I'm going to do is I'm going to grab my bull, press the bn, and click a sign on this, like so. Now, let's put the strength of the emission on ten, and let's turn the color to, you know, something like an orange color. So a deep orange color like this. And there we go, double tap the A, and that's looking about right. Now I'm thinking I'll do the same on this one then. So we'll copy, copy this. So Control L link materials, and then we'll come to this part, and we'll just put it onto bowl like a sign. And then what we'll do is we'll press, we're going to do it. I'll tach and bring them back. And there we go. There is our bulbs in our oven coming in and actually heating up the actual cookies. Alright, so that's that. Now, you might want it a little bit darker. If you do want it a bit dark, all you need to do is obviously come to this one here and then just turn it down. A little bit darker, like so. And you can also come and turn the transparency down a little bit darker as well if you want to, like so. And you can also this white, you can also if you turn this down, you're near enough, go to get it going and kind of see through like that. But don't really want it like that. I'm going to put it there. Yeah, and I think that's looking okay. And if I want to then mess around with this as well, just to get it the color that I want. Like so. And, yeah, I think that's looking good. Alright, we've finished this, so you might want to leave yours here. I'm going to move mine just a little bit over, like so. And then what I'll do on the next lesson is we'll get the bevels in. I'm absolutely I'm certain that we actually bevelled these off, so I wouldn't just hop over to modeling just for a second because I don't remember. So let's go to modeling. And let's go to my sprinkler. And what I want to look is if it has on a bevel. Yeah, all these things have bevels on. That's great. So I need to do the same thing with my oven, as well, and not actually forget that. So I can hide the where is it the sprinkler once more. I can put it then onto Reno view, and that's where we're at at the moment. So let's come in on the next lesson. That'll be the first thing that we do then is fix that. And I can also see that I might need to looking, do I need to move these over a little bit? I think also I'll fix these as well. I'll bevel it, and then we can get animating it. We've already got a glass on here, as you can see. Alright, everyone, so hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 66. Modeling heat measurement arrow on our baker, continuing shading our bakery machine f: Welcome back if you want to blend the beginner's master class, the cookie factory, and this is where we left off. Now, let's fix these before we do anything. So all I'm going to do is press tab. I'm going to grab this one, I'm going to put it on to smooth proportional editing. And then all I'm going to do is press the G born, bring it out a lot more and just move it over there a little bit. Same for this one, old shifting clique move this one back. A little bit, just so it's fad in place, a little bit better. Alright, from there, then, let's make sure then we've got all of our bevels on. So we see we've got bevel on here. Let's grab this part. This one's already got bevel on, so we'll hide that one out of the way. So we'll grab this and we'll grab this. We'll press Control L. And what we're gonna do is copy modifiers, like so, hide it out of the way. Now we want, in fact, you know what? We'll keep this one. We'll just hide this one out. Now we'll do the rest of it. So all of these should have a bevel on there. They should have a bevel on there. This won't, of course, so we'll grab this again, Control L, and copy modifiers, like so, hide it out of the way. This here should have a bevel on it, which it has, so we can hide that out of the way. These here, we don't really want to bevel on those they're too small. So what I'm going to do now is grab this, this and this corn troll and copy modifiers, and then hide them out of the way, hide them out of the way. This one has also got one on. I'm just looking to make sure. Yes, it does. Hide it out of the way. This doesn't need a bevel on it. It's just a piece of glass, so it can hide out of the way. These do. So I'm going to grab all of these, like so. I'm going to press G just to make sure I've grabbed them all. Grab this one last Control L. We're gonna copy modifiers. And we can see with the pipes, that's what always happens. So let's come to the pipes, and what I'll do is shade smooth, and then I'll bring it up a little bit and see if I can actually do that. No, I can't, so you know what I'm going to do. I'm not going to do that. I'm going to just grab these, these and these control and copy modifiers, and then I can hide these out of the way, like so. And I think on these things like this, do I really need a bevel on them? The other thing is you can actually do it limit it by weight and things like this. So you can actually, you know, use other ways to actually, add a bevel on, as well as you can also change the angle. So what I'm going to do with these is I'll add on a bevel, so we'll generate a bevel and then what we'll do is we'll put a note point note not three, like so we can change the angle, as you can see. So then what'll happen is, if I turn that up slightly, you'll see now we've just got a bevel on each of these. And the idea of this course is the further we go along, the more little tips and tricks I'm going to be showing you. The more new things I'm trying to show you and all that other good stuff. So you're learning all the time, hopefully. Let's hide this out of the way. Let's do the same thing. You know what? We'll actually just press Control because we'll do the same thing now with this. So grab this one, grab this one, Control LL, copy modifiers, and there we go with bevel doze off as well. Now, let's hide all of this out of the way, like so, and now we're going to come to these parts here. First of all, we've got a mirror on all of these, so let's take that off with Control A. And then what we're going to do is grab this one. It's got a bevel on, as you can see, Control LL, and we're going to copy modifiers, and there we go. Now we can hide these out of the way. So all of these, hide them out of the way. Let's come to this one. Then this one's a simple one. This one's already been done. Don't need to worry about this one. So we'll just grab this Control L, and copy modifiers, and there we go. Now, the rest of these, we don't really need any bevels on them. We've already rounded a lot of that off anyway. You might want to put a bevel on this or something, but for me, I'm not really bothered about that. I'm going to leave it as it is. What I'm going to do now then is come to RenodVe. So we've got so far now, you can see, we have all this done. We have these parts done, so that's looking good. So what I want to do now is come to the rest of it. So this part down here, I'm also, I think, go to put a front on here and a back on here maybe, which I did forget about. So all I'll do is I'll come to this part. I'll also come down to this part. And then what I'm going to do is press the Ibn and bring that down, and then E Enter. And then I'm just going to move to the side loness without proportionality on less, and let's bring them out, like so, and there we go. Alright, while we've got them there, let's just select them both. We'll come then to material. We'll drop it down to the orange, so factory orange. And then what I'll also do is add in another one, which will be the yellow. So factory, not factory orange again. Factory yellow, and click a sign, and there we go. Alright, so that bit is looking good. That is done out the way. Let's these. These are also done. Like so. And now what we're going to work on is these. These will be rubber, of course. So let's come down, put on rubber, like so, and then we can hide those out of the way. This one is going to be glass. Now, what sort of glass it's going to be the normal glass. I think we can get away with just having this glass, so you can see it's just glass. So let's come down. Put it on as glass, and let's have a look where that looks like. So glass. And there we go. And then on the inside of this, though, we want to make sure that we've got a big dial on there, which I also forgot about. So what I'm going to do is I'm just going to hide this out of the way. I'm going to then come into this part here and I'm going to first of all, give it the blue. I also forgot to put a top on there as well. So let's actually do that now. So control. Left click, right click. Control B, let's pull this out. And then what I'll do is I'll put a top on there going from here all the way around to here. Let's have a look, so it's going from there to there. E, enter alterna, bring it out, like so Control plus, and then we'll bring the blue in. So let's bring factory blue, and then we'll press the plus button, bring in the yellow. So let's go for the factory yellow. Click a sign, like so. Okay, now this part here, we're going to press Alt Shift click Poncho plus, click the plus B, and we're going to go with metal. So where is it metal light and then click Assign. This part in here, we're going to go with the white. So click the down arrow and we're going to go with factory white, click Assign. And now let's make this big kind of pointer on here because this is the one that's going to be also animated along with this one. One thing is, I'm just making sure we're not too close there. I think we'll be okay. So what I want to do is come to the center here. You know what? We'll come down to here, actually, Shift desk, cussed or selected. And then what I'm going to do is press Shift A, and we'll bring in a cylinder. We'll spin this cylinder around. So all X and 90 will make it a little bit smaller, like so. And because I brought it in like that, you can see that I've actually kept it so I can actually put it kind of halfway in, which is exactly what I'm looking for. Now, what I want to do now is delete this bottom part off. So the way I'm going to do it is I'm going to split this off, first of all, so pe selection, and then I'm going to split it off, and now I just want to delete it from here. So the easiest way is to show is from here to here, right click and marker scene. Alright, now what I can do is I can just press the little question mark to hide it all off, right click to Shadesoth Bangle. Coming in now, and now you can see I can delete it from there to there, and I can press. No, that's not worked. So let's come again. So here, Control click, Control click, Control click, Shifts elect, shifts let, delete basis. Alright, so now let's fill that in. So Alt Shift click, F, Alt Shift click, F, and then from this one to this one, press the F button, and there we go. Now, let's have a little point that comes out. So all I'm going to do is grab it. I'll press the I to bring it in, insert, and then E, pull it out like so, and there we go. And the next thing I'm going to do, you can see I've got a little bit of a problem on there. And I think I think that's to do with the actual beverly. Bring it out a little bit further. Yeah, that's not looking too bad. And then what I'll do is I'll just I'll come in and I'll change this to the red. So if I change this to factory red, it should change it to red, like so. Now, let's put the little lever in. Now, the little lever we want moving from this point, so we want it to kind of move we want it to basically go round from here. So what I'm going to do is press shift day, mesh, cube, making much, much smaller, like so. And then let's bring it up into place. Like so, let's press the S but, bring it down. So when I move it now, I should be able to move it from here. Then what I'm going to do is I'm going to go in. I can actually see it, grab it, pull it out, like so, and then put it back onto you. So there we go. And then what I want to do is make it a little bit thinner. So I'm going to press E and then S and X, and then E and then S and X, like so. Alright. And I should be able to now move it. If I press R and Y, as you can see, that is kind of the movement I want. So that's perfect. Now, let's press altagO the little question mark, bring back everything. Let's hide this mirror out of the way. And there we go. And last of all, what I want to do is want this sepa, of course. So let's come in. And let's give this the, uh, let's give it the metal. So we'll go down metal light. There we go. And that's that bit done. So we're going to hide this out of the way, hide this one out of the way, hide these out of the way. Hide this part because I think, have a look, we near enough done with that part? Yes, we are. Hide this out of the way. Now, let's come to this. This, of course, is going to be the metal. It's a huge piece of metal, though, so we'll go metal, light. And then what we'll do is we'll come in to these parts. So all shiv, click, Alif click, O Shiv, click, 'cause on the bigger meal parts, normally I make sure that it has a bit of, you know, it looks a little bit different. On different pots like that. In other words, let's hide that out of the way. And then we've got all of this. This has already done, so we can hide all of this out of the way, all of this, all of this, all of these, all of these, like so, and all of these, and there we go, and we're left with just these parts here. Not sure. Metal light. There we go. Let's hide those, as well. Let's also hide this. But we're left with just this. Let's go up and save. And we'll definitely get this finished on the next one, and we'll definitely be moving on to some of the animation on there. And also, we have the conveyor belt to go through, which you'll be changing from, you know, cookies in cookie dough to nice golden cookies before they move on to actually go into, you know, be boxed and things like that. Alright, everyone, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 67. Animating heat gouge monitor arrows to give us motion randomly fluctuating back and fort: Welcome back and to Blender Beginner's master class, the Cookie factory, and this is where we left off. So let's come to this part first. Down arrow. Let's go to yellow first on this one. So we're going to go to factory yellow. Then what I'm going to do is grab the front of it. Control plus plus button, down arrow, factory blue, click a sign, hide that one out of the way. That one's done. Now, let's come we'll actually come to these ones. What we're gonna do, we'll actually grab these first, and we'll click. So we're going to go down to Metal light, like so. I'm wondering whether I want to metal light or metal doc. Let's try the metal doc on there. So metal doc. And which one do I like the most? You know, the other stuff is always really light. So maybe these should be darker metal. I think they should. So what I'll do is, I'm just wondering if the tops of them, I should have them light instead. I'll try that. Salt, shift, click, Holt shift, click, control plus arrow, down and metal light. Click a sign, and there we go, probably going to be better like that. Let us click the down arrow, factor red. Let's come to here, and we'll pick on the rubber. All the way down, rubber, and there we go. Now, because all these are joined together, it's obviously meant that these two as well have done that. Doesn't mat, we'll just change it over to the blue, factory blue plus, and factory factory yellow. There we go. Now, let's come to these. We're going to grab all of these. We'll do the factory blue first, lick a sine, and then I'll grab this one and grab this one, Control plus and factory yellow, and there we go. Then we've got just this one here, which will be just factory blue. L sine, and then finally this one. See this one, as well? Why is that? Oh, these are two separate. Thought they were mirrored. Okay, they're not mirrored. So yeah, let's come over, factory blue. Click a sign, L, factory blue, click a sign. I really thought they were mirrored, but I think it's cause these two are mirrored, so Control plus, factory yellow. There we go. And then finally, this one, we'll put it on to factory blue. And then we've got Justice, this part left. So this will be factory blue. Then we'll go in and click Control plus and the little plus down arrow and on factory, yellow, and click Sign. And there we go. Alright, I'll take you bring back everything. Let's have a look what we've got here. Alright, this is looking cool. Now, on this one, we've got you could have some more animations in there. You could really make these pipes be going and all kinds of crazy things on this. But we're gonna keep it relatively simple. I mean, we don't want to make this course, you know, 100 hours long or something. So let's do this simply. So first of all, I'm going to hide this out of the way. I'm going to hide this one out of the way. And all we're gonna be having on the oven is we've got already you know, the lights in there. So let's now fix these. So, first of all, let's go over to animation. Let's press the dot board on one of these if I can grab one. So let's go to this one. We'll grab this inside, like, so we'll make sure we're on frame one. So frame one, let's go to that. Let's zoom out and move down, like so. And then what I'm going to do is I'm just going to press the eye button. I'm going to then go over to, let's say 30, so, Y, bring it over, like so, press the I button, and then what we'll do is we'll go back to the start on frame 40 or something. So let's just grab these, Shift D, bring them over. And now it should just go round, and then back, like so, and then back round. Okay, so let's grab all of these. And the first one we want to put on, we're going to be on the rotation, so it's going to be on the Y rotation. Let's add in then a cycles, first of all, so a cycle, then bring it round back. And that's not done it, so why has that not done it? I'm going to grab them all. There we go. So it's on a different one, let's have a look. Put it on the Y. I'm sure it was Y, Y. Here, it is the Y. Let's come in. Grab the mole cycle. And let's see now. Now it's working. No idea why it wasn't working before, but now it is. Now, the other thing is we want to put a noise on here. So let's come in and I'm just checking my other one just to see how the noise is. Okay, got the noise. Alright, so let's put a noise on here. So we'll go for modifier, add in a noise. And then what we'll do is we'll put this on 2.7 and one, zero and one, and we can see that for some reason, it's moved it all the way over there, and that is because we put it on all of this. So what I'm going to do is just take that off. I'm going to go to the Y, and I'm just going to add in a noise on here and see if that actually works. So let's add in the noise, 2.7. And now let's see. Now, for some reason, it's actually put it I shouldn't be on the Y. It should be on the X. Let's try the X. Let's oh, that's what's happened. I've got a noise on all of these now. All right, let's press Control's head and let's go back before we add any noise. There we are. We should be on that. Now, let's go to the Y and see if the noise actually works just on this one. So we'll go to noise, 2.7. No, it's bouncing around like that. We definitely don't want that, so we're not going to put it on the Y. We're going to try it on the X. So let's see that is working. We're going to go to frame one, and we're going to add in now our noise. There we go. That's what we want, 2.7. There we go. There's the noise that we want. Alright, that's perfect. Now, let's do the same thing for this one. So we want this going from frame one, all the way around here. Now the thing is about this, is this tall enough? I think it should be actually taller. So let's press n's and pull it up a little bit just so we can actually see something. And then what we'll do is we'll press R and Y, and we'll pull it all the way round to here. And then we'll do is press I, and then I'll bring it all the way round to here on 30 frames. So R and Y all the way back round to here, and then I, and then we'll go to 40. So we'll bring it all the way back round to here again, like so, and then I. And you can really have some fun with this, and then we'll go to 50 and then R Y, and then I, and then all the way back round again. So R Y, back round to here, so I. And then finally frame 70. Let's pull this. So the start frame is going to be same as the end frame, so shift D, drag them over and drop them in. Okay, let's grab them, and what we'll do is open up this. And now what we're going to do is grab the mall and we're going to go through a cycle like so. So let's see if it works. So we're going to go all the way around there we go, that's looking perfect. And then what we'll do is on the X, so it should be on the X. Let's see. So we're going to add in noise. I'm not sure if it's bouncing the right way, actually, on that one. So what I'm going to do is take it off. I'm going to go to the Y and add in noise. There we go. I think that's bouncing Is that bouncing the right way now? Yeah, I think that's bouncing the right way. Let's put it on 2.7, and then we'll get a clear understanding of it. Yeah, that's definitely bouncing the right way now. So now we've got the noise on both of those. We can close those up, double tap the A, go back to modeling. And now let's see if I press spacebar and there we go. That's looking pretty cool. And now what we need to do we need to come round to our actual cookies. So what we want to do is we want cooked cookies. So I can grab one of these. You can see the cookies are attached, so I can press I can move them up there. And then what I can do is press Shift D. I can bring them over there. And then what I want to do now is change just this material here. So you can see where it says cookie doubles. I basically want to copy that. So I'm going to copy material, and then we're going to click Plus, and I'm going to click new. And I'm going to call them cut cookies. Like so. And then what I'm going to do is paste that onto there. And finally, then what I'm going to do is I'm going to come in now just to these parts. So, I'm going to go with, you know what? I should just change that from cookie bolt to cook cookies. So if I come in, minus this off and change this to cook cookies, it should be the same. Yes. So now I'm going to do the same thing on here. Cooked. Cookies. Same thing on here. Cooked. Cookies, like so. And what we'll do on the next one then is we will change this material here. And then what'll happen is these will look like they've been cooked. And then what we'll do is we'll bring in another conveyor going down here. And then what will happen with that is those cookies then will go in here like this and they will come out completely cooked. So let's see if that'll work, like so, and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 68. Texturing our chocolate chip cookies and creating variations for Blender Beginners Ma: Welcome back, everyone to blend of beginners, master class, the cookie factory, and that's where we left off. Alright, so at the moment, we've got these, and if I press little Db bun, you will see that these are in raw cookies, and we don't really want them in raw cookies. What we want them in is cooked cookies. So I'm going to press M. I'm going to put them in the new collection, cooked cookies. Like soap, and there we go. And then what I'm going to do now is move these up. So we've got all of these in here, and we're go to my cooked cookies, and I'm going to move them up into this one here, like soap. Alright, so they're done. Now, let's come over then to our shading. These are our cooked cookies, so we definitely gonna need these a little bit of a different color. So what I'm gonna do, I'm going to zoom over to here, making sure I'm in there cycles render. And then what I'm going to do now is mess around with these a little bit. First of all, I want them a little bit redder. So a little bit redder, like so. And then what I want to do is add some noise to these things as well. So I'm going to first of all, bring in a mix. You know what? We've already got a mixed color. I'm thinking, yeah, I'll add in another mixed color so we can add that in. So search, mix color. Drop down there. I'll put this down at the bottom. And then what I'll do is I'll put this on multiply, and then I'll leave this on not 0.5. Now, what I'm going to do is I'm going to bring in a noise now. So let's bring in a noise texture. So shift day, search, noise texture, like so. And then what I'm going to bring in is color ramp, so search, holler ramp, bring that in. And then what we'll do is we will keep all of these basically the same. We'll drop the fat into the color ramp, and then we'll drop the color into the top of here, and then we'll end up with something like this. Not quite what I'm looking for. So what I'm going to do now is I'm going to grab this and I'm going to make it a orange. So an orangey color, like so. I'm then going to bring this up over here. And you know what? I think I'm even going to make it even more orange. So even more orange. Like so. And then with this one, I'm going to make it a kind of yellowish color so I'm going to come down, put it a nice, yellowish colour, and now you can see they're actually starting to get somewhere. So let's now bring that down a little bit, like so, and now you can see these look like they've actually been cooked, and they look very nice. Now, we could also change the chocolate on these, but I don't think I'm going to go that far. I think I'm happy with how these look. Okay, so let's now go over to muddling. And then what we need to do now, of course, we need to now end these cookies and have them changing over right at the end into the other one. So what I'm going to do is I'm going to come to this part, I'm going to pull it back over to here. And then I'm going to do what we normally do, which is we're going to press Shift D, like so, and then I'm going to press E and Y, not Y, X. Let's pull it out, like so. And then what we're going to do is we're going to grab just this part, so L, grab this part. P, selection, like so. Now, the cookies should start from here. You can see them starting just in there. Let's hide this out of the way so we can see what we're doing. And let's as well come in. And what we'll do is we'll come to our where is it or object and collection. Instead of raw cookies, we want this to be cooked cookies, this one here. That's what we want. And we want it now to change over, which it's nearly changing over, as you can see, very close to changing over already. So let's now move this a little bit this way, and let's see now what happens. Oh, it's very close, a little bit more this way. There you go. You can hardly see the difference and a little bit more. There you go. It actually looks like they're actually cooking. Some are getting smaller. I'm not gonna change that, actually. Some are growing with the heat. But anyway, that's looking good. Alright, so last of all, then, we can't really see in there anyway. So we won't be able to see that kind of band there. Let's press Altag and see what we can see there. What I'm going to do is I'm gonna press Space Bar. And we definitely can't see them changing. And what's coming out is cook cookies. And yeah, I'm happy with that. These are just got sprinkles on the middle of nowhere. That's okay. All right, so last of all, then, before finishing this whole thing, what we want is a couple of major supports now. We already put this in the right place. What I'm going to do is press space bar, I'm gonna go into object mode. And what I want to do is put a support in here. If I bring back at the moment, my sprinkler I've got space to put an actual support in here to kind of hold everything up. So I'm actually going to use that. And I can use it as well for the other parts that I actually create. So let's come in, and what we'll do is we'll I want it right in the center of here. So if I press shifts, cursor selected, and I can bring it here then. So what I'm going to do Shift A, bring in a Q. So that's right in the center. This is kind of the size that we want it. So what I'm going to do is just put it right under the belt. So E and E, put it right under. Like so. Let's have a look. If we go over the top now, let's make it a little bit wider. So S and Y, let's pull it out a little bit. Let's then press Tab one, press Control R, bring in one edge loop, left click, right, click Control B because we know we've already got the edge loop, and then what we'll do is we'll bring it in two right in the center so the moment, you can see this is not coming in, so I'm just going to hold the shift around to there. Alright, now I'm going to do is I'm going to grab each one of these. I'm going to press the dot bon so I can see what I'm doing. And then I want this right right under here. So it actually wants to be supporting it. So I'm going to first of all, bring these up. So I'm going to bring these up, like so. So E, bring them up just over the top of there. And then what I'm going to do with this is I'm going to press the I button, and then I'm going to bring this up now. So I'm going to press E and bring it up, so it's actually supporting it. So like so, it's actually running along there like so. Okay, so now we want to just bevel off these edges, so I'm going to press Control A, all transforms, right click origin, two geometry, tab but, and then let's grab each one of these like so, press Control B. And then what we're going to do is bevel that off, like so. And there we go right, click, Shade move biangle and then what we're going to do is this has maybe gone a little bit too far. So I'm just going to pull this up a little bit now, so pull it up to something like here. And then what I'll do is I'll pull this down, so I want this coming down into place like so, and then right, click Shades Move Bangle. And then what I'm going to do now is grab each of these. You know what? I'll just grab the top one. I think, Will I grab the top and bob one? You know what, we will. Top and bom, we're going to press the eye boon then. Like so don't go too far. Eat to alter nest, to pull them out. Like so, and there we go. And then we just want to bom on here, and we also want to put a stand on here. So what I'm going to do is I'll grab a smaller stand. So let's grab this one, shift D. Let's move it over. And what I'll do is I'll grab where this is press Shift desk, cursor selected, grab this one, shift desk, selections cursor. Press in one now, and all I need to do is bring it down to the same level as all of the rest. So bring it down to there, like so. And then what I can do now is I can make it into place. Now, first of all, I want to come into here. Grab the bottom of this, press E to S, and pull it out, like so. And then what I want to do is press E and pull it down into place like so. Now, does that fit? It actually fits, so that's pretty cool. Now what I can do is I can grab I can, first of all, grab all of this. We know that there's already a bevel on here, so we can actually use that. So I can do is grab all of this, grab this, press Control J, and there's our bevel on there. Now, let's come over, and what we'll do is we'll grab the whole thing. So we'll grab the whole thing. At the moment, it's all yellow. Let's actually change that to blue. And then it'll be easier to change it back to the yellow or the parts we want. So change it all to blue. Let's come into these two parts then. Like so. And I'm going to put those as yellow. So down arrow, factory yellow. Like so. Let's click a sign. And then what I'm going to do is the bottom part. I'm also going to do the same thing there. So factory yellow, click a sign. And then this part in here that we can't see. I'm going to press the question mark just to hide everything else out of the way. Just this part here, contour plus, factory yellow, click a sign. There we go. OldtH, bring back everything all the question mark. And there we go, that now is being poured really, really nicely. Let's go to file and save. And what I want to do now is bring this over to this side as well. So shifty, bring it over, and then we'll put it in there, like so. And then now this is ready to go into our other machine, which will be our kind of packer that packs them in the boxes. So I'm going to put this into here, like so. And then on the next lesson, I'm just going to check everything before we finish. So flour mill. Mixer, stumper, double tap the A, and there we go. What a lot of stuff that is, guys. How nice does that look? Alright, so I think now we've saved enough room here to put in the boxer, and then it's going to come round all the way round to here. So we might have gone a little bit far this way, but I think we'll get away with it. It doesn't matter how long this is anyway, to our packer. And then finally, at the end, we're going to have our grab it. So our grabbing machine to grab our box of cookies. Alright, but everything there looks really, really nice. Let's save out our work, so file and save and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 69. Blender basics, performance and optimisation for Blender Beginners Masterclass: Welcome back, if you want to Blender beginner's master class, the Cookie factory. And I think it's time to do a couple of things. Now. We've got a lot of things actually in the scene. So what I think we should do is go through performance and optimization of how we can increase the performance within the Blender viewport and also how we can make it so that we can actually render things out because sometimes, if you've got too much in the screen and you're using VRAM, it actually will hinder your ability to render, especially in Pyco'sRder engine. Alright, so I'm going to play that for you now and I'll see you on the next one, everyone. Thanks a lot. Bye bye. Welcome everyone to our performance 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 da out of memory or blender actually crashing. And there is 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 be 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 bottom right hand side 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 par 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. Now let's move on to the actual RAM, which is how much RAM your actual computer actually has. And I recommend a minimum 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 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 VRAM 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. You CPU, the better it is you know, the better time you're going to have with all of this. But 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 up 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 QDa, optics X, or one of these. Just make sure it's not unknown. And then once you've got the one selected which you want to use, just make sure both of these are ticked on and blend of them will take advantage of those. Also make sure that you haven't got undue steps set at 250 or something. This has a huge actual impact on performance. So if you're really, really struggling, I recommend turning these undo steps down to five or ten. But the problem obviously is that you're not going to be able to press Controls Ed 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 aranda a bit till you've got, you know, that kind of perfect setup, 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. Alright, 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 I scroll up, I'm on 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 EV, which is basically a real time render engine like unreal or unity or something like that. 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. So the thing is, if you're on IV as well, there also are some things that you can actually turn off to increase performance again. But normally with IV, 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 and you can also turn the bloom 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 view port 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 denoise off in the rendezvous, 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 denoise 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. I'm 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 know before you click this render Bn, 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 bone is put it on wireframe. This is the lowest amount that blender needs to use in the actual viewport. It's also important to remember that everything comes at a cost that you put into blender. This could be things like geometry nodes, porticle 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 texture 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 here if you come up to this let arrow, you can see that light in our scene lights and scene 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 HGRI within, we're not on this one, we're using a sky texture. If you're using a HGRI, 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 HGRI. But if you need to control optimization, try and learn how to use the sky texture instead. Alright, so, finally, then moving over then to our cycles, we can see, first of all, that device I'm using is my GPU. It's always better to use your GPU over your CPU. It will make it much, much faster because it's relying on a lot of VRAM from your actual graphics card. And as we discussed moving down, we can also turn off the denoise. This is one of the best things you can do to actually increase performance. Next thing 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 what I would be clicking off or turning down, especially caustics. They're 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 it on rendom mode, we're on actually cycles. We've turned on denoise again. You can see how nice this actual sand looks, but it comes a huge cost. So just remember this comes 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 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 you seen 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 to something like 256, you'll see after a while, what it'll do is it'll turn down all of those textures right across you seen 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 grainy now this actual sand looks, look how blurry these looks. And the reason is because we've turned down our text limits all the way down to 256. The other thing is, if you're having problems renting out your seam, you can also come in and turn them down in the actual render as well, which really significantly helps with crashes, cuda out of memory and things like that. 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 VH structures. It uses less RAM, but renders slower. So if you're having problems with crashing, I recommend turning this one on. And if you go to the next one, you'll see for hover over this, it says, use special type VH optimized for curves. It uses more RAM, but renders faster. Turn that one off. 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 bed to turn on and off. Again, I would have a play around with it. 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 crash. So 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 into Unreal or Unity or another game 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. 70. Setting up camera and our composition for the scene, starting box maker machinery for: Welcome back, everyone to Blend Beginner's master class, the cookie factory. And I hope you learned a lot from the actual optimization and performance tutorial I just showed you. And if you didn't watch that, I suggest that you actually go and watch that because it is really, really handy to know. Now what I'm going to do is, I'm just going to show you how you can take a quick render because we haven't gone through that, and you might want to just render one of your pieces out. So don't forget because we've set this up in such a way, it's really, really easy to hide everything. So all you want to do really at the moment, you can see that we've got our cursor. So wherever your cursor, that is where the camera will come. But when I bring a camera, I don't even worry where it's going to come because I'll show you why in just 1 second. So what I'm going to do, first of all, is just press Shift day, go to my primitives menu, and right down near the bottom, you'll have one that says camera, bring that in. You'll see my cameras around here somewhere. What I'm going to do is just set myself up somewhere around here, and then we're going to press Control Alt and zero. And now what I can do is I can zoom in and zoom out and you can see my camera is here. Now, don't worry if you actually click off your camera like I've just done here, just press zero again, and then that will put you in. Now what you want to do is just zoom in until your camera. It's around the outside like this, so we've got this little kind of gap in here. Then what you want to do is press N to open up this control panel over here. And finally, we just want to go to view and you want to go to camera to view. Then what you can do is just press N again, close that down. And now, wherever I move my mouse, that is where my camera is going to actually be. So if I Zoom in and zoom out, you can see, I can put it around here using the shift middle mouse, and you can also press Control Shift, Middle mouse. And that then will actually allow you to zoom out slow if needed. Alright, so I'm going to set my camera up something like this. And then what I'm going to do is just press the end button, come to camera to view, and just turn that off, and now I should be able to move around and leave my camera actually there. Alright, next of all, then what you want to do is we went through already the EV and cycles render options. What you want to make sure you do then is coming over, make sure you're on cycles, make sure it's on GPU, and then come down to where it says performance. And just make sure persistent data is on. Now, on mine, we're using Blender 4.1 or 4.2, something around there. Now on earlier versions, there might be a few more options here. One of them is to speed up rendering, which uses more RAM, or you can slow it down and use less RAM. So don't forget you can also use that. Next of all, the next click on persistent data. This basically makes sure that when we re render something, it's already got some of the data in there to render it again. Now, the other thing I would say is when you come up here, Make sure that if we go to the maximum samples, make sure to put this on something very low. For you, I would cause I'm not sure what machine you'll be running, make sure to put this on something like 20 just to give you an idea of how long that is going to take. And lastly, the last thing I would say is, if you're coming over to this output here, you can actually click on Render Region. So if I come back to my render, if I click this on Render Region, you will see now it cuts all of that away. Basically, what blender is doing there is it's not trying to render the whole scene out. This really does help increase render times. And finally, now before hitting that render button, I recommend always, always saving out your work just so you don't lose anything and making sure that you're at least on object mode. So if you put shade in object mode, and also turn off these two interlocking links because I feel personally that this actually speeds it what we're going to do now is that we're just going to go over and render, so you can come here. You can render image. You can either click here or you can play SF 12. So I'm just going to click Render Image. And the first time you render out, it's going to be slower than, you know, when you next render out. It's slows the first time. It might have to load up kernels and things like that. And there you go, guys, you can see that is how you can get a render. Now, of course, this scene is not finished. It's in no way, you know, composited or anything like that. We're going to go into all of that stuff and make this lots, lots better, but at the moment, you can see this is what we've got, and it is looking pretty nice. So once you've done that and you've figured out how to do that, you can take a few of your renders. Let's close it down. And a few more lessons in we'll actually talk about the compositor and how we can lay things and all of that good stuff. Alright, so now I've done that. Let me just move my camera away. Let's put on our rendered view once more. Let's turn on these two interlocking links, and there we go, Let's now think about carrying on. So the next one we're going to build is going to be the actual packer. And from the packer, there's going to be some boxes that are going to come down here. So I'm thinking probably better off actually building the box maker before we do anything else. It's a little bit simpler, I think. And then from there we can put a conveyor into, you know, the packer and our cookies can go in there as well. So let's do it that way. What we want to do is we want to put our box maker around here, and then it can go at the side of here, and then it's gonna come round on the conveyor belt around here to the actual squasherO the thing that squashes the box together and puts the cookies in there. So what I'm going to do is, first of all, if I bring this part back so you have an idea of what I'm talking about, let's actually change this over. So we'll go over here and we'll change this over to which one is the box creator? Not this one. This is the squash. So the box creator, where is it? Is it this one? No, that's the oven. Mix this stamper. That's not it. Box packer, box maker. There we go. That's the one. So this is the one that we're actually going to create. It's got a small animation on with this thing going backwards and forwards, you know, as though it's cutting out boxes and things. So let's start making that now. So the first thing is then let's see where we actually want to create this. So I think in around here and not only that, I also want to make sure that we this a little bit higher. So this conveyor belt will be a little bit higher, a little bit like this one where it's raised a little bit higher just to give a little bit more depth to the actual scene. So what I'm going to do, first of all, is I'm going to grab this part here, I'm going to press Shift D, and I'm going to duplicate this out. And then what I'm going to do is I'm going to put this in its own. So what I'm going to do is I'm going to press let's press M, and let's make a new collection, and we'll call it box maker. Like so, click Okay, and there we go. Now what I'm going to do is press shifts. In fact, you know what the orientation isn't right to it. So control A or transforms that origins geometry, shifts because selected, Shift A, and let's bring in a cube. Okay. Let's pull that in. Let's press the dot but. And what we'll also is, we'll just put it an object mode for now. This will make it much easier to work with. So I'm going to do is pull it up. And then what I want to do is decide the sides of it. So I'm going to pull it back to here. I'm going to press the S button. I don't want to hide too much of it, so you will see that I want to put it somewhere where I can still see everything. So if you put it somewhere around here, as you can see, from this view here, if I move around, we've still got a very, very good view of everything. And then what we need to decide is where is the conveyor going to come from? So what I'm going to do is grab this conveyor. I'm going to right click Origins geometry, I'm going to press Shift D, and then what I'm going to do is just move it over. Then what I'm going to do is move this up, so we want it up a little bit to give us some depth, and then we're going to pull it back into the place where it's going to go, so you can see it's going to go round about here. And now we can see we need to definitely make this a little bit higher than what it is, because obviously, we've got some boxes out there. So how high up do we want? Do we want it this high or do we want it a little bit lower? So let's say a little bit lower, like so and then we can decide with our box, we've got boxes coming out here. We need one of these in here. So what I'll do is I'll grab this part here. Let me just grab this part here to set this out, and then I'll press Shift D, and I'm going to bring this over, and I'm going to put this into place. Now, because these are boxes, they don't actually need to be as high up as that. So what do I mean by that? In other words, I can put it around here around this bit like this. And then what I can do is reduce these down. So I'm going to grab this part first. I'm going to press L and bring that down. And then what I'm going to do is grab each of these, and I'm also going to bring those down then as well. So just shift click each of these. Let's bring them down to place. Now we're going to fix this because we want them to be a little bit bigger than what they are, anyway. Joe's going to pull it over to the side. So something like this, let's try and level it up a little bit more. So we'll level it up a little bit more to that. And now you can see that we can have them coming down and going around here and have a little bit more variation. Now, what I'm going to do now is I'm also going to come in. You can see these are on here. Let's press spasebll just to get those. What I'm also going to do then is I'm going to put the actual machine, the box machine, wherever these things are going to go over here as well. What I'll do is I'll make another cube, so I'll press Shift day, and we'll bring in another cube, and we'll bring this over here. And we're going to call this the squash. We'll call it something like the squash, Let's pick it up. Let's press the button. And then this gives me a good idea if I put this here because we want this one going straight in, and then this one. So I can probably get away with it being there, like so. And then this one is going to come down and go into here. So that's the first thing I want to do just see if I can actually feed it down into this. So if I bring it down to here, and then if I press seven to go over the top and I press E and X and pull that out a little bit, then what I'll do is bring it down here. So E and Y, pull it round into here, like so. And then finally, I want to make sure that I've dropped this down as well, so into here, like so. And now you can see, I will have to do some work on these bits here. I will have to make sure that it's going round enough, for instance, we'll have to make sure that this has pulled back enough, as you can see. We need to do a little bit of work on that. Let's pull it up a little bit. But for now, we're just going to leave it there, and you'll see that the cookies come down there, and then they're going to be going in there. So we can see from this angle here, we can still see a lot. Now, what I need to do, though, is probably pick this up a little bit. So I'm going to just grab the top, press space bar, move it up a little bit. It's jaws on the top of there. And then I'm just going to have a look round now to see if I can actually see anything. Alright, this is looking pretty nice. I'm going to press the tab button now, tach, bring back everything. I'm just wondering where that part's gone? Did I delete that part, by any chance? Maybe I did. Anyway, this is looking how I wanted it. Okay, so now let's come over. Let's just hide this box out of the way. I'm just wondering where that part's gone. You know what I think happened? It's in there. Look, you can see. Same thing happened as what's happened with the other stuff. So I need to move this out. And take off the animation. So let's come over, animation, let's delete that out the way. Let's go back to modeling, and then we'll actually press Tab and move this out, press ultage and there we go. Now we've got it back in place. Alright, so let's put that there. Alright, I know that took a long time to actually get that sword, but I think planning it out like that is really, really important to actually, you know, get the look that we're actually looking for. Also, we have to think, as well, this stumper, it's going to be really high. It's gonna be like this sort of height. And we still want to make sure we can see the oven, we can see everything and make it really, really interesting as we turn everything around. And not only that, we also want to make sure that whatever we're doing, you know, is created in a way where actually it fits. So everything fits. So on this part, for instance, we're going to have it coming out, and then we're going to have the claw machine here, you know, and it all wants to fit in a nice kind of area. The other thing is, I'm thinking, you know, this might be a little bit too far this way. So I think on the next one, the first thing we'll do. I'm just wondering if I can actually move it over we've actually got all of these parts that are actually animating and things. So you know what? I'm not going to touch that, but what we'll do is on the next one, then we'll start actually on this, you know, box machine. Alright, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 71. Continuing modeling process for box maker for Blender Beginners Masterclass: Welcome back eon. Blend the beginner's master class, the cookie factory, and this where we left it off. Alright, so let's now fix this part. So what I'm going to do, first of all, is I'll pull this side up. So I'm gonna press Control R. I'm going to bring this over here, like so. And then what I'm going to do is I'll grab the top of here, and I'm just going to lift it up very, very slightly and then bend it in. I'm just wondering, actually, yeah, I'll just pull it up, I think, so E, let's pull it up. Like so let's bring in another edge loop along here. And then let's pull these two down. So what I'm going to do is I'm going to actually pull these down to here. So I'm going to press M at the last, and I'm going to do the same thing on here, but shift R, like so. So something like this. Then what I want to do now is I want to put a top on this before going any further. And I also want to make sure that this is fitting in much, much better than what it is. It's a little bit too big at the moment. So what I'm going to do is press S and Y. Let's bring it in like so, just so it fits much, much better. You can see as well that these aren't fitting too well on there. So what I'm going to do is press S and Y and pull them out. So that there's four instead. So if I put this on here, you can see now there's four instead, and then I can get rid of this one. So L, delete vertices. Now, I need a hole in there, of course. So let's actually put that in there. So what I'm going to do is I'm going to press Control R. Bring one up so that this is in there, like so, I'm going to press Control R again and bring it up, so it's in here as well. So underneath here, like so, and then I'm going to press Control R. Left click, right, click, drop it right in the center, Control B, bring back the amount of bevels on there, and then just drop it into here. Now, we can see now now because we've got this centered that we can actually center all of these things as well. So what I'm going to do is I'm going to come to the center part so this center part behind you. I'm going to press Shift S, cursed or selected. And then what I'm going to do now is grab this one and this one. I'm going to join them together with Control J. Control layer transms right clicks at origin to geometry, shifts then. In fact, is that right? It's in the center, so that'll do. So shifts selections cursor. That then is right in the center now. Let's do the same thing on here. The orientation is right here, so that's helpful. Shift desk selections cursor. Now, I knew it would pull it out, but what it's going to do is it's going to actually center it for me, and that's the main thing that I want from this. So there we go now. Everything is centered off. Now one thing is, it's a little bit too high. So what I'm going to do is just pull it down a little bit to there, and then I'm also going to pull this down now to round about there. If we come back to this part, we will see this is what we've actually got. So from here now, I can extrude this back. So all I'm going to do is I'm going to press E and extrude it in, like so, all the way back just so we can get something in there, and then press tab, bring this down again. And then we want this all the way at the top, and let's pull it back into place like so, and there we go, This is looking pretty nice. And now, finally, what I want to do is bring this down below here. So we're just going to come to my conveyor belt, I'm going to pull this down. Do here, so maybe down to here, just so it's underneath. And then what I'll do is I'll come back to this part now. So this part here, grab this bomb part, and then I'm just going to pull that down under this convey be like so. Alright, that's looking pretty nice. Now I want to do I want to bring this up, so this on here. You know what I'm also going to do? I'm also going to hide my chocolate drops. Let's have a look conveyor belt, flour mill, water adder, mixer, stomper sprinkler, and my oven. Now, you can see that gets hidden on my oven. I don't really want that. So what I'm going to do is I'm going to put this in my box maker. I'm also, as well, go to move my box maker up to be under my oven, like so. And if I hide the box maker, all of that gets hid. Let's also put this in the box maker, as well. So M, box maker, and there we go. Alright, so now we've got a really good view of everything. Now let's hide or oven, out of the way, and there we go. Now, let's pull this up. So I'm just wondering, have I got this wide enough at the moment? I might want it a little bit wider on each side. So we can still do that because all we need to do is just grab all of these sides then, like so, and then come to here. Like so. And then all I'm going to do is press S and Y and pull those out a little bit. If they're not pulling out, just go to medium points. So S and Y, let's pull them out and make it a little bit wider like so. And then what we'll do now is put a bottom on here. So first of all, though, I'll come in. I'll grab all of these. I'll pull them up a little bit like so. And then what I'm going to do is, I think I'll press the shifts cursor selected. First of all, let's put it right in the middle. And then let's just put a bottom on there with cubes. So shift day bring in a cube like that, and then I'm going to put it down. To where I actually want it. Now, let's pull this out to where I want it. So this is right in the center, so I can grab the front of it, pull it out like so. And then what I can also do is grab the back of it and pull that out to where I want it. And finally, Control two. Left click, right click, and then Control B and pull these out like so, and then E ter alterns and pull those out and make sure offset is even is on. Okay, so that's looking so far so good. Now I can move this over a little bit because this is where the edge of it is going to be. And what I also need is I want a top on here, and then I want a big, big vent on the back. Let's put the big vent on the back first. I'm going to press shift a mesh, cube, bring it over, put it to the back wherever I want it. I want it come in probably to run about there. What I'll do is I'll pull it this way. And then what I'll do is I'll grab the back of it like so, pull it back to run about there, and then pull this one up to there. Then what I'll do is I'll come in then, grab the back of it, press Control B, and I going to bevel it off. From there, I think. So like that. Right click Shade Smooth. Now, let's just make the vent actually in here, so make it work. So all I'm going to do press the I button, like so, and then we're going to press E and pull it up like so, and again, Shade Smooth. Alright, so now just this top then. So what I'm going to do with the top, I'm thinking that I'll bring and I'll bring this part in. So this part in here. That's the first thing. I'll also add in an edge loop. So let's do that first, actually. Control ar, left click, right click. Grab this part here, and then we'll do S and Y, and we'll bring that in. And then we'll grab this one S and Y and bring that in, like so. And then I'll have one more edge loop at the back, control, left click. To there, and then we'll just grab this one and this one, and we'll press E and to alternS, pull it up, like so. Right click, Shade Smooth. Okay, so first bit down. That's looking pretty nice. Now we need to work on the next bit, which is a little bit more complicated, actually. So what we'll do is we'll get it into place. I think, first of all, we'll bring in a cube. So we'll bring in a cube. We'll pull this over. And what we'll do is we'll put it next to this because obviously it's got feeding into this, so we want to put it next to it, like so. And then from there, we want to make this kind of interesting. That's what we're trying to do, really. So what we'll do is we'll pull this out a little bit. And from here, then we'll have some more machines on here. Now what I need to just check is where my oven is. So my oven's here, and where is my sprinkler, my sprinkler, if I work around. I've got plenty of room in there, as you can see, and not only that, we're kind of fitting in everything into a really nice kind of space. So that's the main thing. So what it means is it means I can pull this out a little bit further like so, and it means that I can actually work on this now. So what I can do is now I can actually bring in from here, shifts cursed or selected, and then shift. And what we'll do is we'll bring in another cube. I'm going to make this cube a little bit smaller. But what I am going to do is just pull it out two here a little bit. So pull it out past here, pull it out. And here we can have some controls on this part here. But then what I can do is I can pull it down into place so I can see roughly if I hide my sprinkler oven out of the way, and if I press one, I can see where I actually need it. So down here is where I'm going to need this tab, grab the top of it. And then we're going to pull it up to here, like so. I'll press I then, bring it in, and then E, and let's put a top on there like so. Alright, so far so good. Now, let's save out our work, so we're going to save it out. And then on the next one, we can actually make a start on this part here. You know, build this round for that actual machine that's going to do all of the printing and things like that. Okay, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. An 72. Adding smaller detail to box maker, such as hinges and considering where the motion w: Welcome back, everyone to blend the beginners master class. The Cocky factory. Alright, so now we've got how much room we need to put in here. So what I'm going to do is I'm going to grab this control A or transoms, set the origin to geometry, Shift S then, Custer selected, shift A, bring in a cube. Let's make the cube much smaller. Let's then bring it up into place. I want one part of the back of here, which is going to come nearly to the end up here. So I'm going to put it round about here. And then what I'm going to do is drag it over to here, something like this. And then what I'm going to do is, I think, actually, that'll be okay. So I can put a kind of arm going down here into the pot. So what I'm going to do is press Control A again, right clicks at Origins Geometry, grab this part, press the eye button, and then what I'm going to do is pull this back into place like so, and there we go. Let's pull it out just a little bit so it's nice and even. And now let's think about actually creating this part around here. So what I'll do is I'll again bring in, in fact, you know what, we'll bring in a plane this time, and we'll put it around here. We'll make it a lot smaller, like so. And then what I'll do is I'll press S and Y and pull it out, like so. And I want it roughly to be round about the same size as here. So S and Y, pull it a little bit further out. Like so and then S and X. And there we go. Now, I do want to have another one, a little bit further down here, but I want to give a difference in them, so I want this one to be kind of bigger. So I'm thinking, probably the easiest way of doing this is doing them both together. So what I'll do is I'll pull this down just nearly into place. I'm not quite through there, as you can see. And then I'll do this one. I'll press Shift D. I'll press R, Y, 90, bring it out into place. Put this around here and then and, and we'll make this one a little bit bigger, like so. And then what I'm going to do is just I'm going to move them both at the same time. Actually, I'm going to move them over here into place like so. All right, so let's reset both of the transforms because we can do them both together. And then what we'll do is we'll come to each of the ends, so we'll grab this one first, then this one. And then what we're going to do is control shift and B, and what we'll do is bevel those out like so. And you can see here that this one has a little bit of a problem because it's a little bit smaller, so I'll just come back control shift and B. Let's see if I can actually do them together. So we'll get that far like so. And you know what? I don't think I actually want that. I think I want it something like this, so this one's quite more, a little bit more less rounded. Alright, so far so good. Now, let's pull this one up and this one. So what I'll do is I'll press eat, enter lns and pull them both out. Like so. And then what I'm going to do is press the i button and bring them in to where I want them or something like this, and then I can press Enter lns and bring them back into the place where I want them like so. Alright, so now let's grab this one and put it down, and then let's grab this one and pull it over. And then let's grab them both and right click and Shade Smooth biangle. Okay, that's looking pretty nice. I'm wondering if this one's a little bit too big, if this one's also a little bit too big, I can make them smaller now, so I can press S and X, for instance, and bring them in. I can also do the same on this one, as well. So S and Ed make it a little bit smaller, like so. Okay, that's looking good. Now, let's make the actual machine that's going to go on here then. So first of all, we'll bring in another cube. So Shift, let's bring in a cube. Let's bring it up. Press the S button. Press S and and pull it into place along here, just at the edge of there. Then what I'll do is I'm thinking if I need it a little bit bigger, maybe I do. S and Y, let's pull it out. And then what we'll do is we'll pull it down to let's press tab, pull it down to here, like so. Now we need a little bit that's going to feed from this part, so it's going to move left and right, going into this part here. We'll make that next actually. What I'll do is I'll just press Control A again, I'll transform right click set origin to geometry, and then what I'll do is press Shift A, bring in a cube and then I'll pull it up. You know what? I need to actually bring it into here. So I'll press Shift desk. Custer selected Shift D. Let's bring in a cube. Let's make our cube a little bit smaller, actually, just so I have, you know, it makes it a little bit easier to work with. So every time I bring it in now, it's going to be like this size. And then what I want to do now is I want to feed this down and into this part here. So what I'm going to do is I'm going to pull it down all the way down to here, and then go to grab the bottom of it and pull it up, like so and then what I'm going to do is press the I button and then bring this down, and then press the button to bring it in, like so, and then the I to bring it in a little bit more, and then we'll check the scale after that. So now if I bring this down, it looks like it's kind of feeding into that. Now, you can see, it's a little bit out, so I'll just pull it down to that. Then I'll pull it over, making sure it fits going along there. And we can see that we can probably get away with making it a little bit bigger on these pots. What I'll do is Alt Shift, click Alt, shift, click, Alt Shift click, lns, then we can bring it out a little bit more. So it fits a little bit better in there. Alright, so that's looking good. Now we'll just put a marker on here or something, so control R. Left click, right, click Control B, pull this out a little bit, turn them all the way down, and then Control R. To here and then control up to here, making it a little bit different. Then grab each one of these parts and then press E and to alter and pull those parts out a little bit. So, just making it a little bit more machine like. And then what we'll do is we'll now put a top on here. So I'm going to grab the top. We'll press I and then pull it up, like so. And now we need just this handle and it's going to come down to here. So what I'll do is I'll press the I button and bring this in and then I'll press S and Y and pull it in a little bit further to make that arm. And then what I'll do is pull this out. So if I pull this out now you can see we've got this arm now. And then we need to know where we need to pull this out too. A little bit hard to see at the moment. So what we'll do instead is we'll just press Control R, and we'll bring it back, so we've got an arm on there, and then we can move the arm back. So first of all, we're just going to bring it out. We're going to press E then to move it down into place. And this is what I'm saying. You can't really see what's actually happening or where it's going to be. So what I'm going to do is just grab now these parts here, and then I can just pull that back like so, and there we go. Now we can see that's looking much, much better. Alright, so we can see now this thing will move across, left and right. And what I want to do now is think about the bottom section of this. So I'm just wondering whether this bit's a little bit too thick. I think it is. So Jaws, pull it in, like so. And then what I'll also do is this bottom section now, I need to put that in. So we'll do that now. We'll actually come to this part here. So this is this bottom shifts, cursed or selected. And then what I'll do is I'll press tab, shift A, and we'll bring in we'll bring in a cube again, so we'll bring the cube in, and we'll just shape it. So what I'll do is I'll put back into there. So just into there. And then I'll press tab and I'll pull it in, like so. And then what I'll do is I'll round this bottom part of it off. So I'll press Control A or transforms origins geometry, and then tab. This one and this one, I'll press Control B and round them off. Like so, making sure that when a right click and shade or move, it's still going to look good. And there we go, now I want to actually think about this part going up here. Yeah, everything seems nice on there. It does look nice. So I think I'll have one more metal part in here, actually. So what I'll do is I'll just grab each of these sides and I'll press the eye button and bring them in, and then I'll press E to AlternS and this time we'll bring them in, like, so, right click, then, Shade mooth biangle and there we go. Alright, now, let's think about this part, like I said. So shift day, let's bring in a cube. Let's make it a little bit smaller. Let's press S and X, bring it in to here and then what we'll do is round these edges off. I'm going to pull it out a little bit further. Like so. And then I'll grab both of these edges, and I'll press Control B and round them off of there. And then what we'll do is we'll grab this top. And we'll pull it up a little bit, so we're going to pull it up. Probably it around about there. And then what I'll do is I'll press the I button to bring it in, like so, and then we're going to press E and bring it up again to there. Okay, that's looking. Now I wanted it. And now we can think about bringing this out and in. So first of all, let's bring it to this part of here because we know this is going to be the furvist point out. So what I'll do is I'll grab this going all the way around here because we don't want to stretch this be too much, but we'll pull it to here. And then what we'll do is we'll do the same with this side. So we'll grab this one. And this one and then pull it over to here. And then finally we now we want this one and this one, and we'll pull this all the way over to roundabout here, something like that, making sure everything is set on where it should be. And finally, then we'll actually bring the bomb part in. So what I'm going to do with the bottom part is? First of all, I'll press Control A O transforms, set origin geometry. I'll grab this bomb part and I'll bring it in. So I'm going to bring it in that far. And then what I'm going to do is press E and bring it down into the space where I want it. And what I'm also checking is this part here. I'm probably going to have to stretch it because I really want this part actually fitting in there. So this part here wants to be part of the whole thing. So I'm going to grab just this part. I'm going to press S and Y and pull it out a little bit, and then just pull it into place, hiding that, as you can see, making sure that this gap is hid in there. Like so, and then I think from there, I can actually build out the rest of this. So I'll put a fan on here. I'll put some other little things in here. And I'll also I'm just wondering, yeah, I'll put something on the back in here. I'll put a little switch on here, and all things like that. Alright, so that's looking pretty nice. Alright, everyone, so hope you enjoyed that one, and I'll see you on the next one. Thanks a lot. Bye bye. 73. Creating leavers and continuing details onto box maker modeling for Blender Beginners: Welcome back everyone to Blending Beginner's master class, the cookie factory, and this is where we left it off. Now, I think I want a little bit of a lever on here, so I'm going to go. I'm just wondering if it's on the water added. Is that where we put that little bit of a clip? Or did we put it on the mixer, and it's there on the mixer. This is what I want. So I want this part here. So I'm just going to come in, and I'm hoping if I steal this part, so if I come into here, I press Shift D. Like so, and I bring it over. And then what I'm going to do is press P selection, contro A, all transforms, right clicks to Origins Jump tree, and I'm just going to make sure that it's got no animation on, which it hasn't, so that's good. So let's come back now, and now we can actually bring this into the place where I want it. So I want it much, much bigger than what it was before. And I'm going to put it right in the center of here on its own little kind of box. So, let's pull it down. Let's press the S button and make it much, much bigger, as I said, and then we can kind of put it in there on its own little box. I'm also going to pull this part back. So if I come in and grab this part, I can pull this part back then. And then what I can do now is create a box for it. So first of all, let's put it where we want it. So if we want it round about here, maybe just to the side, a little bit further down. And then what we'll do is pull it out. We'll press shift this, cursed to selected. We'll press shift A then, and we'll bring in a cube. And then what we'll do is pull this cube back M it a little bit bigger, and then S and Y, bring it in. And now just look, see how big you actually want that. So we know it's right in the middle. I think, actually, that will do. So let's pull it into place, like so. Let's pull this into place, like so. And there we go, that's looking pretty nice. Now, last of all, I actually want a pipe going down there. Now, we have a lot of pipes, especially on I think we have some in our oven. Let's have a look. Yes, we have some pipes here. So let's grab this one here. So I'm going to grab this one, Shift D, bring it over. P, selection, re grab it. Control A, all transforms, set origin to geometry, and then Rs 90 to spin it round. And then what we're going to do is pull it into place where I want it. So it'll be something going to the side. I'm also going to make it a little bit smaller. And then I'm just going to plug this in just under there. Now, you can see that I do want it probably a little bit longer, and I also want this part to be out a little bit. So all I'm going to do is I'm going to put this part into place, and then I'm going to come in and then Alt Shift, and click, lt, shift, click, Alter Ns. So bring that in, hold in the shift button, so bring it in, bring it in. And you'll see how it fits near enough perfectly in place. So I'm going to press Alt Shift click, Corn chow plus, and I'm going to bring this out a little bit. Like so. And then what I'm going to do is now move this all in. So if I move this all in, I'm going to move it to there, and then what I'm going to do is pull this part and this part out a little bit, like so, and I'm also going to come in Alt Shift click Control plus and then just move it up into place like so. And finally, then I'm going to move this out. Then I'm going to grab this part, move this part out. Like so and just get it all fitting in into the right place. Like so. And there we go. Alright, that's that bit done now. Let's think about our fan. So for our fan, I'm going to hide our oven out the way again. For our fan, let's bring it in round about here. So let's press Shift D, first of all, bring in a cube. Let's work out how big the fan needs to be. So we'll actually create the fan. So S and Z, we'll pull it up to here, S and Y, and we'll pull it out to round about here. Or something like this will be where the actual fan is going to be. So what do I mean by just a vent, I mean, not our actual fan. Then what we'll do is we'll press Control L or transforms. Origins geometry, grab the center, press the i button to bring it in. And then what I'm going to do is drop it back. E to drop it back. Now what I'm going to do is actually, I'm going to grab this. I've already got pull it back a little bit further, press Shift D. And then all you're going to do is you're going to press Control Law, bring in however many events you actually want, left click, right click and then just split them off. Grab all of these. Splitting them off with Y, and then you can re grab all of these. And all you want to do now is just put it on individual origins. So make sure it's on individual and then R and Y, and you should be able to turn them all like so. Now, we could come in and also add in a solidify, but honestly, all you can do is just press E, and you can pull them out now and they are simple fan. And basically, now I want to put these into place, so I should have really split them up. It would be easier. So L, P, selection, split them off, and then Control A, all transforms set origin to geometry, and then it's just pull them back into place like so, and you can see just how easy that was to actually create. Now, let's come down to this bottom part. So we'll grab this part. We'll press the Ibn to bring it in. So I don't want it coming in so far. So basically, I want it coming in there, but I want it back to the wall, so I'm going to just pull it back to the wall like so, and then I'm going to press the E button, bring it down to here, and then Control R, bring it down to here, like so. And then we'll press three on the keyboard to grab this part, and then we're going to press E and pull it out into place like so. Alright, so far so good. All of that is looking nice now. I just want a couple more parts in there. Now, you can see, as well that this part actually moved, and it's because it's part of the oven. So let's just put it into the box maker, like so, and let's hide that other way. 'cause I was wondering where is that gone? Alright, so let's now come to this part here. And what I'll do is I'll just press the i button. I'll bring that all the way in like so. And then I'm just going to pull it out just to give it some variation on there. And then we'll also do the same, I think, with this part here as well. So I'm just going to press the I button, I'm going to bring it in and then just pop it out a little bit like so. And then with this part here now, this part can all stay okay. That part is looking good. What I want now though, is these parts in here. So what I'm going to do is I'm just going to grab this part here, I'm going to press Shift D. I'm going to press the S button and then S and Z, and then S and Y and just pull it out to here, like so. We're just going to put a couple of things on here. I'm going to pull it out a little bit. And then we're going to come in, grab each of these points. You can just press L on here because there are four points on here. So we can just press Control Shift and B now and just increase the amount we have left click, and then we go, let's press L on it again and let's press E and pull it back into place. E, pull it back into place like so. And then what we'll do is just grab the whole thing with L, shift D, and bring it down. Okay, there we go. That then, I think, is just about done. So let's have a quick look at what this looks like. So the main thing we need to do now is we've got our bevels in so the first thing we want to do is put it onto object mode, like so, and then what I want to do is grab this part, this part. You know what? I can pretty much get away with grabbing all of these parts, all of these, all of these, all of these. Press the G but just to move it to see what parts we miss. We can see we've missed quite a few, so we can grab all of these. We can grab this one here, and we can grab this vent here. And then what I'm hoping I can do is I can grab this. Then that's press Control L, and what we're going to do is copy modifiers, and hopefully everything should be okay. If not, just press Control A or transforms right click Setagen to geometry of the and in actual fact, the thing is, we can't join all of these up, but we can join a lot of these parts up already. So if I grab this one, did I actually add the modifier on there, that's up? No, I think I missed that. So what I'll do is I'll grab this one, grab this one last press Control L, copy modifiers. And then what I'm going to do is just slowly go around and add all the things that I can add together. So I can add all of these together, all of these, all of these, anything that's basically not going to be moving. So you can see all of these parts are not going to be moving. And let's have a look what I've got here. So I can grab this part and press G, let's have a look. So the thing is this is all going to be moving so now I can press Control J and join it together. Now, let's go over then to our material. And the other thing is, let's right click and shade Auto move, as well, just to shade those parts off. Let's go over to material view, and it's all coming as metal. That's absolutely fine. So what we can do now we can come to this part first. We can grab the whole thing. Let's come in, grab the whole thing. And then what we'll do is we'll put this as a orange. So we'll have it as factory orange. Let's go to material, click the plus, click the down arrow, and factory orange. And the other thing is when we're doing this, you can see that because we join them all together, sometimes it does cause problems. So let's now click a sign on that. So a sign. And then what we'll do is we'll come to the bottom part, and we'll click a sign, and then we'll go for plus, down arrow. Let's go to the yellow, factory yellow. And then what I'm going to do is make sure I'm on Face leg, and then Alt Shift click, O shift click Control plus factory yellow, click a sign. Alright, that's looking good. Now, let's come to these two parts. So this one, this one, this one, and this one, and what we're going to do factory yellow, click a sign. Then we'll come to this big part here. Also this part here, click the little plus button. Down arrow, factory blue, click a sign. Okay, now we need the little dark points in here, so grab this one and this Plus button, you know what we'll also do it on there as well. So plus button down arrow, and we're going for the hole. So hole, there we go. Click sign. There we go. Alright, so now we've got the vent and all of this. So let's come to this part. So L, factory blue, click a sign, and then L, and we'll click a sign on factory blue again. And this part will be yellow. So yellow, factory yellow, click a sign, and there we go. Okay. So all of that part then is done. We've just got this part to do. And then what we'll do is the animation. You know what? Before I finish? This is bugging me. So grab both of these, ControPlus back to yellow. Click a sign, and there we go. So what we'll do then is we'll bring in I don't know if actually this is metal or not. Is this metal? Yes, it is. Okay, so that's okay. So what we'll do then is we'll bring in the metal on this one, and then we'll get this one animated go in forwards and backwards. Alright, everyone, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 74. Adding animation to box maker, of parts going back and forth, starting to positioning o: Welcome back everyone to Benn Beginner's master class, the cookie factory, and this is where we left off. Alright, so let's come in. We can pretty much get away actually with this in joining it all together because it's only going to be moving left and right. So let's join all of this together, like so. And what I'll do is I'll press Control J. I'll press the G but just to make sure, and I need to join this one. So Control J. We can see, as well, we've not grown modifier on this. So what I'll do is I'll grab this one last. I'll press Control L. And what I'm going to do is link. No, we won't. We'll copy modifiers like so. And then I'll grab this part here. And you know what? We won't do that. We'll just add in our material. So we'll come in and we'll add in metal light, like so, and now we can actually see what we're doing. And then what we'll do is we'll put a darker part on this part here. So Alt Shift click, let's go round, and we'll also put it underneath here as well. So Alt Shift, click. No there, going around, not there either, going around this part of here. There we go. And then we'll do his plus, and we'll hit the dark. So metal dark. Let's click a sign. And then I'm just wondering if we want any of the others. I think we'll have this part here. So we'll go for this part, this part here, and we'll put it on metal dock just to give it a little bit of variation. Alright, so so far so good. Now, we need to make sure then that this is going left and right. So first of all, I'm going to move this over to here. Like so. And then I've got to make sure, though, that as you can see, we don't want that stuck in there, so it's only going to go right up to the edge and then back over to here. So let's go over to our animation. Let's put it onto one. Let's press the little dot bon to zoom in. And then what we'll do is we'll just press I on here, and then we'll move it over to, let's say, 20 frames, something like that. And in those 20 frames, then we'll move it over to here. So we'll move it over to here, like so, making sure it's not going through all of those parts. So it's going to move over to there like so, and then we're going to press I. And then we want it to. So let's have a look. It's going to come from here to there pretty fast. And then we'll go right left and then right again. So we'll go back to here. So all I'm going to do is grab this one, Shift D, bring it to 25, and then I'll grab this one, Shift D, bring it to 30. And now let's have a look what that looks like. So maybe too fast, as you can see, so what we'll do is we'll just split them up a little bit. So all I'm going to do, I'll grab them all with box select. I'll press the S button, and I'll bring them to maybe 40 frames. That looks better. And now we want to drop it right back to the start. So all I'm going to do now is put it on to shift D. Let's say 60 frames or let's say 55. Let's try that. Oh, here we go. Okay, there we go. That's what I want. Something like that, something a little bit more interesting. Alright, so now what we'll do is we'll come over. We'll go to the object data. We can see it's being pulled on the Y. So hopefully, if I come in then to Y location, I should be able to just add it in a cycles on the Y. Let's bring it back then let's see if that works. And there we go. Now, I'm just wondering about this last part. If I actually want it to stop, and I think I do, I'm going to instead of that, grab this part, shift D, and I'll put that there. And now let's see what that looks like. Yeah, that looks better. Okay, much, much happier with that. Now, let's go back to modeling them. And now we've got this. Let's have a look what this looks like on Render view. Double tap the A. And there we go. The one thing I think is this blackness in here. Let's put it back to the factory blue. So let's click a sign. Yeah, I think that looks better. And then round here as well, we'll also grab both of these. I'm on factory yellow. There we go. Yeah, I think that looks pretty good. Alright, so now what we need to do is we need to think about our actual boxes that are going to come down here, and we also need to think about how we can actually stop this looking a little bit stretched out. So what I'm going to do is I will come to this part. I'll put it on Object mode because I can actually see much, much better. And what I want to do is you can see it's probably caused by the fact that we've got this kind of bending down here. So let's see what happens if we bend it down. Will that make it any better? You can see you've probably bend it too far down there. So let's see if I delete this out of the way, so delete vertices is that going to make it any better? Now, if I bring in another one, so I'll bring in another subdivision, I'll bring it over this one over. Let's see what happens with this. Is that going to make any better? So if we bend it out, let's say, let's bring both of them out. And sometimes it is a little bit fiddly. Let's have a look at that. You know what that actually might be might be better. Let's just bring in our oven, and this is where it's going to be. So now I'll move all of these up. So let's see if I can pull all of these into place, like so. And you can see we've got a little bit of a problem on these. The little bit of flickering, you can see, we do have a little bit of flickering on here. It's not so bad, but what we need to check is on rendered view what that's actually going to look like because we don't want too much flickering on there, especially when we're rendering it. So the more we can actually reduce that, the better it's going to be. Let's just put it up. I actually think, You know what? That is going to look okay. All right, I'm going to leave that you can see, not too much there, not too much there, and it's going into a place that will want it. Now, the one thing I also want to check is the flour mill. At the moment, we can see our flour mill looks like this. What I'm thinking is if I'm going to have the other machine here, so the grabber is going to be right next to here and might be better off in grabbing everything in the flour mill. So if I come in and grab everything in here, I should be able to pull them to the side. Now what I need to check though. And then what we'll do is we'll actually pull this over, so over here, and then hopefully this new part in here then should look a little bit better. Now, let's see if we can actually move this over as well, because we want to move both of these over into place, like so, and that's how they into place. Let's have a look. I think they are. And let's now see if my flower bows come out properly. So double tap the e. And we can see that these parts here have all moved over there. That is not something we want. So I'm wondering if I can move these with instead of moving them like that, can I actually pin them to something and then move them all together. So what I'm going to do is just press Control's head. I will move them back. All of this in place. Like so. And I need to pin them to something. So all I'm going to do just to pin them to something is I will bring in an empty. So I'm just going to press Shift, bring in a plain Axes empty, press the S button, and then what I'm going to do is grab all of these. I grab them all again, re grab my empty still there, as you can see it, and then just press Control P, set parent object to keep transform. And then what I should be able to do now is move all of these over, press the space bar, and everything should stay the same as you can see. Alright, so that's that problem fix. Let's just move it a little bit further over. And then what I'm going to do is grab each of these, pull them over into place like so, and now press the space bar. And there we go. Now we should have everything that we actually need running properly as we don. Now, we can move this again once we've actually got everything in here. This might not be so big. This, you know, the kind of box that's going to go here, the grabber is going to go around here somewhere, and maybe we'll actually move it over to here. So a little bit different. I'm not actually sure yet. I just want to make sure that it's all fitting in place. The other thing is, as well, let's actually bring everything in. So we can actually move pretty much everything. I just want to see how everything's fitting together because at the moment, I think we should be able to move some other parts of it up. I'm just wondering whether it's worth moving, you know, kind of this up a little bit over here just to give us a little bit more room on this side. Sometimes this happens where you've just got to move things a little bit. I think I think I will because I can grab both of these at the same time. So what we'll do is we'll just move this over a little bit. Making sure that we're not, you know, kind of interfering in this part. I think what we'll do on the next lesson, actually, we'll do this on the next lesson, we'll just do a little bit of cleanup, where we just tied it all up, move things closer together, work out, you know, where our kind of grabbing machines are going to be and all that other good stuff, and then, you know, kind of tie it all in together, because I think, at the moment, this is a little bit a little bit, um, It's not packed enough. It needs something else here. That's what I think. And I'm just wondering whether I move this here instead to just combine it and pack it a little bit more. Because when we're actually taking a render of this, we also want to tell a story. And if we're telling a story, it's a little bit harder if we can't see everything. So we really want to make sure that how is everything, you know, kind of packed together? Can I, you know, move this further up? Is that going to pack anything like that? So, you know what? I'll just press Control's head. Move that back to where it was. We'll leave this here for now. The other thing that looks pretty good. The other thing I'm wondering, as well, is if I want this to be a bit bigger now. Luckily, for us, because we've actually got this now, we can actually scale it up and still everything is going to work the same way as you can see. So we might want to scale this part up a little bit make this a little bit higher, and I think, actually, that is going to look a little bit better. So now you know how to put your your animations to and actual empty, I think that might make you better. So if I move this over there now, this to me is kind of the perfect place where I actually want this, you can see. We've got a little bit of room there. We're going to have these parts going down there. And then if we can have the actual grabbing machine somewhere around here, I think this might actually work. So at the moment, I'm not going to fix this part here. I'm going to wait because I need to bring this over, as you can see. So I'm going to wait a minute until I finish this part. I come to the grabbing machine, and then I'll try and get it all into place from. Alright, everyone. So I hope you enjoyed that one. A little bit now fiddling around, trying to get everything in there. But you can see that we've finished this now. So this part here now, we've finished these. What we need to do on the next one then is bringing the boxes. So we'll create some boxes, two different types of boxers, two different types of colors, and they then will lead in to the box machine. Alright, everyone, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 75. Creating boxes and packages for our cookies, creating variations of finished boxes an: Welcome back, everyone to Blend and Beginner's master class, the cookie factory. Now, the first thing I'm going to do before doing anything is I'm just going to grab both of these. I'm going to press S and X, and I'm going to squeeze them in because those are definitely too big. So they didn't look right like that. So that's the first thing. Next of all, then, let's think about our actual boxes. So if you come over to object mode and then let's come over here and one other thing, I just want to make sure that my box maker yeah, if I hide all of this, none of these parts are in the box maker. Where is this part? Let's see where this part is. This part should be in the conveyor belt. Yes, it is. So that's one good thing. So let's close that up. Let's hide this out of the way. Just bring it back a minute. There we go. And then what I can do is I can grab all of this, like so, press the end button, and we're gonna put it in the box make. Like so, and now press Alt H, bring it back or turn it back on. And now let's see if my box maker hides, there we go. Alright, that's the main thing that I wanted. Okay, so now we need boxes, then. So first of all, I'm going to grab this cookie, press Shift E, cursed to selected. Shift A then, let's bring in a plane. So let's bring a plane. Let's bring it over here. We'll make it roughly around the size it is when we brought it in. So something like this, and then we can make them smaller or bigger when we actually finish. So something like this, the boxes need to be all the same size. So that's one thing to take into account. So let's now actually create these boxes. So what I'm going to do is I'm going to come. I'm thinking if I bring them out individually, I'm just wondering the best way to do this. Okay, I know the best way to do this. Let's make this a little bit bigger. And then what we'll do is we'll press Control A, left click, right, click, Control, left click, right, click. And then what we'll do is Alt Shift click Control B, and then all we're going to do is pull them out to make them kind of square like so. So something like this, and then we can actually come in and delete these three here, so delete and bases. And then what we can do is now we can lift these up. So if we come and grab each of these, and then we can pick them up like so, and then we go, that is the first box, and I can go Control A or transform set origin to geometry. Adding a modifier, we'll bring in, first of all, A solidify. So let's bring that in. Let's make these boxes a little bit thicker going this way. Like so, and then we'll press Control A. We'll add another modifier no, which will be a bevel, and we'll put it down to 0.3, like so. Alright, so far so good that is our first box. Let's press Shift D and create another box. So these then will be two different colors. And now what we want to do is we want to actually create this from here, the actual box. So what I'm going to do, I'll grab this one. And I'll grab this part, and then what I'm going to do is just press Shift D. Bring it over. And then what I'm going to do is I'll press E to bring it up, like so. And now we know it's the same size, but it is the same bulk, so we'll make it a little bit bigger look something like this. And then what we'll do is now we need a top on here. So all I'm going to do is press Enter S, bring it out, and then E to pull it up. So, so it looks like an actual box. Now, I'm just wondering I made it a little bit too thick on here, so I'm going to press alters and just drop it back in like so, and that's looking pretty nice. And then I'm thinking that I'm going to need a ribbon kind of going around here. So we'll do the ribbon going this way and the ribbon going this way. Let's come in, control, left click, right, click, and then control, left click, right, click. And then what we'll do is grab them both and Control B. Like so. And from here, then we can use this to kind of go around there. So, should I do this as part of it, probably thinking that I should press Shift D and bring it out and work from it on here because we can see that maybe maybe we should probably join these together. So join, you know, this one together to make it come out, so it's not kind of in and then out, so it looks a little bit more realistic. So let's grab this one and this one. And what we'll do is press M, and we'll click at last, and then this one and this one shift, just to do the same thing, and we'll just work our way around. You can't unfortunately do them all together. Because it will just join them all at the last one that you did, and we don't really want that. So we'll just do this one and this one, shift, and then this one, this one, shift, this one, and this one shift R, like so. Now, if I put that park in, you'll see they look absolutely fine now. So right click, Shade Smooth. So now I can come. I can grab this part, and I want to put it right back on there. So seven to go over the top, making sure that's on roughly which it is. And now, if I come in and press P selection, I should now be able to grab this bit. Control A all transforms, set origin, two geometry, and then we'll go into add a solidify. So let's add a solidify. Let's pull it out a little bit. So not inwards. Let's pull it out. Like so. And then what we'll do is apply the solidify, right click Set smooth angle, and there is the box with nearly a ribbon round it. So now let's put the actual ribbon on the center of here. So I'm thinking, let's first of all, bring this up. So I'll bring it in a little bit, like so, and then what I'll do is I'll bring it up, like so, and then I think I'll bevel off these edges. So let's do that now. I'll bevel off these edges, making this a little bit rounded. So Control B. So and then right click Sheets move by angle. And now we want a few ribbons in here. So the easiest way to do the ribbons is first of all, make sure you've got the center of it, like so and then shifts, curse to selected. And then what we'll do is we'll bring in a circle. Let's bring in a circle. Let's make it a little bit smaller. Let her rotate it round. So RY 90. Let's bring it up. Let's press S and Y and squish it in like so. And then what we're going to do now is make this a ribbon. So the way we'll do that is basically coming over to Oh, we brought in a circle. To bring in a curve. Let's bring in a curve circle, curve circle, not the mesh circle. So press the S button, press R Y, 90. Let's bring it up. And then S and Y, squish it in. Now we've got the option over here. Okay, so let's go to extrude, so now I can see we can actually extrude it out. We can also, as well, come in and press Alterns and extrude this bit out, so it makes it a little bit bigger and then grab the bottom alterns, make it a little bit smaller, like so, and then it's starting to look like a ribbon. And then what we'll do is we'll come in and add in solidify, add in a generate and come down to solidify. Let's turn this up a little bit, like so. Let's also right click and what we're going to do is shade flat because that then gives me a much, much better idea of what this is going to look like. I'm thinking that's probably a little bit too thick. So let's drop it back a little bit like so. And then what we'll do is we'll just rotate it, so, Y. Rotate it round. Then what we'll do is press Shift D and we'll bring in another one, and we'll rotate it the other way. Y, let's rotate it this way, like so, and there we go. Now we just want a I'm just wondering if we want a bow going over the top. I'm just looking how big that actually looks. I'm thinking maybe we could get away with one more on there. So let's pull these up first. So we'll grab this. We'll press G, pull it up, and then we'll grab this one, press G, and pull it up like so. Then we'll have I'm just wondering if we just need a couple of bows or if we want one more. You know what? I think we'll leave it like that. We'll just have a couple of parts going over the top, and then two maybe hanging down. I think we'll do that. How we'll do that is we'll press shift A. We'll bring in another curve, but this time we're bringing a path. We'll make it much, much smaller and bring it into place like so. And then we'll come in and we'll use the same extrusion, so we can see on here, we've got extrusion at not 0.16, so we'll do the same here. So extrusion, not 0.16, like so. And then what we'll do is we'll copy the modifiers, so Control L, copy modifiers. And we'll also press Control A, all transforms the origin to geometry, right click and shade. Where is it shade flat? There we go. And now that should be roughly the same. Although you can see, it's a little bit too thick, so let's drop it back. It's going the other way, that's why. So what we'll do is we'll drop it back here. We'll come back to this, and then we'll increase the extrusion, like so, and then we'll rotate it round. So RX 90, rotate it round. And then what I'll do is, I'll bring this into there, bring this one into there, and bring these kind of down and over it, like so. And then we go, and let's now bring them back. And just play around with it to get it how you want it. You can see I'm just playing around with this, getting them to go both ways, and then shift D O Z, 90. And then all I'm going to do is pick this up. So G, pick it up. Like so, and there we go. All right. And I don't actually think we need any kind of things coming off these. What I do think we need, though, is to set this on seven. So what I'll do is I'll just go in each of these, set it to seven because it's a little bit too high on the 12. Go to this one. Let's set this. Maybe this one because it is a loop needs to be probably a little bit higher. So let's set it to you know what? We'll leave that on 12 just so we don't lose too much out of it. Now I'm going to do is just grab each of these, and I'm going to go to object, convert, and convert to mesh, and then I'm going to press Control J, join them all together. Control AO transforms, and then right click and what we're going to do is shades move biangle, and there we go, There is the actual box. Now we can actually join all of this together, but we might have a modifier on or two. So let's just make sure it's only got a bevel modifier on, so that's okay. So Control J, join it together. Control A or transforms rightly. Set origin, two geometry, and there we go, that is the actual box done. Now we will need another box. So if I press Shift D, I can bring not this one. Oh, they all join together? Okay. Well, just delete that. I'll come to this one first, L, P, selection. And then I've got this one here. Shift D, bring it over. And then all I want to do then is just grab them all, then once more, Control A or transform set origin, two geometry. Alright, so on the next one, then what we'll do is we'll bring in some material. And then we can actually get those onto our actual conveyor belt. So we've got the boxes now. We've pretty much got everything done that we need for these cookies, you know, finish boxes, open boxes. And now we need to do is get these on this conveyor belt and then we'll start on the actual boxing machine. Alright, everyone. I hope you enjoyed that. I'll see you on next one. Thanks a lot. Bye bye. 76. Modeling cookie packing machine for Blender Beginners Masterclass: Welcome back, everyone to blend of beginner's master class, the cookie factory, and this is where we left off. Alright, so what we want to do is we want to swap these cookies over now for the actual boxes. So all I'm going to do is I'm going to come down to where it says, Objects, collect cooked cookies. Let's change those. And you know what I need to do? First of all, I need to put these into boxes. So we want open boxes. So these will be these, and we'll call them open Boxes. Like so. Click Okay. And then we'll put closed boxes. So, New collection, closed boxes. L so, Enter, Enter. So now we have open and closed boxes, as you can see here. So what I want to do now is drop these into my conveyor belt objects, so you can see we've got all of these in here. So let's close this down, close this one down, grab this one, this one, drag them up, and drop them into there, like so. Next of all, then what we also haven't done is we haven't gave these any kind of materials. So all I'm going to do is grab this one, grab this one last, press Control LL, and we'll link materials like so. And then what I'm going to do is I'm going to go over, click the plus button new and call it box blue. Like so, and then I'll click Plus, New and block Box Green. Green, not green. Okay, like so, and then I'll just copy this. So copy material, and then we're going to paste material onto this, and we're also going to paste the material onto this and then minus this one off. Alright, so we've got box blue and green. So let's come in now, and what we'll do is we'll go to our shading option. And what we'll do is open this up, and we should have pretty much everything set up here as we want it, except the color. So all I'm going to do now is just come, change the color to a nice greenish color, a bit brighter. Like so let's zoom into that. Maybe a little bit darker. Let's have a look. We want something bright but not too bright. So what I'm going to do is just change a little bit more. So we want it more of a pastor color, you know, not a bright green or anything like that, something like this. And then what we'll do is we'll come to the This is actually box blue. So let's actually, you know, what we'll do, we'll copy material. Paste material, and there we go, and now we'll come to this one. And then what we'll do is we'll change this to a nice blue color, something like let's have a look. Something like this. This sort of blue, I think, is very nice. And then with this one, what we'll do is drop it down, and we'll go with box green. And then what we'll do is we'll come to this one, and we'll go with box blue. And then I'll come to the ribbon, and all I'm going to do is just grab. You know what? We'll just grab all of this. So we'll grab all of this one instead, and I'll basically put it as box green. So down arrow, box green, like so, and let's click a sign. Press tab bone, and there we go. That's that one. And now we'll come to this one, and we'll do it the other way around. So first of all, box green, and then grab all of this and then just click Plus Down arrow and box blue. Click a sign. And there we go. There is our boxes. They look very nice. Now finally, we can come over to here. Come back to our conveyor. Let's go to modeling, actually. It's going to make it much easier. Domo is going to come to my conveyor, press the little dot but and zoom round. And then what I want to do now is coming over. Come down to where the objects are, and I'm going to turn this one off. I'm going to open it up and I want to close boxes. Where is it box? We want open boxes. Let's have a look. Where is open boxes box make, chocolate drops, clothes boxes? Where are my open boxes? There we are. Is there anything in there? Yes, there is. Why can't I actually do that? Where's my open boxes? There they are. Open boxes. Alright. Now you can see that we need to obviously pull these up a little bit on the z. So also, I'm just wondering why they're all green. Let's see, first of all, so where is the z offset? Let's bring that up. There we go. Let's press the spacebar. Hopefully, some blue boxes will come in there. There we go. Alright, so let's now you can see they're looking pretty nice. We just need to make sure. That all of them are the right scale. So we don't want any scale randomness. So I'm going to do is just set this to zero, and then we're going to have more the same size, like so, and there you go. That's looking pretty nice. Alright, so we've got our box on there. The one thing I would say is that they come too often. So one I'm going to do is change the drop intervals to every 1 second, something around there. And then what I'll do is if I reset the animation. So let's go to animation. Let's just put it on one. Let's go back to modeling, let it load up, press the tab button, double tap the eight, and now let's see those boxes come out. So every 1 second, they should be coming out. And I think that's going to be better. I think we had too many before. So they're roughly in line with the cookies coming out now. And I think also, I'm just looking at the size of these. You know what? I think they actually look okay. I think they should be big like this, anyway. Yeah, they're looking pretty nice. Alright, so now we've done that. What we can do is we can save out our work, and then now we can come to the actual machine that puts these boxes together and things like this. So I'm going to come to this part here. And this needs to be quite chunky. What I first going to do is just press M. I'll make a new collection. We'll call this one box packer. Like so, and there we go. And what we also want to do, I would say that this is probably a little bit too high at the moment. So let's bring it down slightly. Now, what I'm going to do is I'm going to steal, I think. Let's have a look. We want one of these. This one's a little bit smaller. I think, actually, we can get away with using one of these. So what I'll do is I'll come in and I'll grab the top and the bottom of here. So top and the bottom of this one here. And then what I'll do is I'll pull these out I know. I'll press Shift D and then pull them out. And then what I'll do is spin these rounds. So R's head, 180, spin these round, and they want to be the same size as this one in here. I'm going to just put them on the front of here for now, and you can see, for some reason, they're not in line, so let's pull them out, get them roughly in line where I want them. Pull them down into here, like so. I'm going to pull this over the side then a little bit like so. And now I want to actually do the same thing over this side. So Shift D. This one, though, of course, wants to be a little bit bigger because these are bigger boxes. So RSEd -90. And then let's pull them back into line. Where they need to go. So we're going to pull them into here. And then what I'm going to do is pull them down here. So I'm going to pull them down into place. I'm going to make this a little bit wider. So S and X, pull them out a little bit. And then what I'm also going to do is pull these down because we don't want it to be, you know, quite as big. So we don't want it to be quite as big going in there. So I've got all these grabbed. I can pull them down into place like so, and then I can come to this part now and pull it forward and into place. So if I grab this, I can pull it forward like so. And then what I can do is I can grab them all. Hold them back to where I want them, roughly. Alright, so far so good. Now, I think what we should do now is actually work on this bit here. So we should work on these parts. I'm gonna put in an object mode so I can actually see what I'm doing. And you know what else I'm going to do. I'm also going to just close these up and just clean everything up so I can actually see what I'm doing at the moment. I'm struggling to see so I'm just going to hide all of these parts. Like, so we know these are in the right place. Now, you can see once I hit my oven, these parts disappeared, so I'm going to grab both of these. And these. I'm going to press the end button, and I'm going to put them in the box maker. Yeah, box maker. Where's the other one? Water add a mixer, stumper, sprinkler, box maker, box packer. That's what I want to put them in. Put them in the box packer. I'm also then going to move the box packer up and under the box maker. So I've got box maker and box packer. Alright, so there we go. Now if I come to my box packer, I should be able to hide that out of the way, like so. Now, let's come and also hide my conveyor belt. So conveyor belt, let's hide those out of the way. Let's also hide the oven out of the way. And now pretty much everything is hidden out of the way, giving me lots and lots of room to actually work on this machine. So this is the one coming. Now I've lost which way I'm going. Yeah, this is the one where the actual cookies are going to come from. So let's work on this part first. So I'm going to first of all, press Control R. I'm going to bring this down to roundabout there, and then go to press ControlR I'm going to bring this across so that it's got a gap in just the side of that, and then control law, bring it over this way, and then control law, let's bring it over just to the top of there like so. And then what I'm going to do is grab this part, I'm going to press E and pull that back into there. And then I'm going to grab this one and this one and pull them back into place. There we go. And then we'll do the same thing with here now. So I've already got one in here. Can I lower this down a little bit? Will that make sense? I think it will. So all I'll do is grab this one. I'll pull it down a little bit, like so, and then Control R, left click, bring it over, and then Control R, left click, bring it over, and then Control A, bring it up. Into place. Now I want it a little bit lower than there. I think I might have to drop these down as well. I'm going to put it like that for now. And all I'm going to do is just grab this. I'm going to press E to push it back bed, like so, and then I'm going to grab both of these and pull those back. The other thing is, have I actually got on, cavity is on, so that's okay. Now, let's bring back the conveyor just for now, and we can see this one I'm talking about. We do need to bring this down. So all I'm going to do is come back to this, grab this point and just bring it under, like so, and then I'm going to do the same thing on this side, so I'm going to grab this point here and just bring it down. But it's just under there. Like so. And then I can see now that this probably has to go up a little bit, so I'm just going to pull it up a little bit into there, and there we go. Now, let's make sure that one's okay. Okay, so now let's make if I bring back my oven, so let's just bring back the oven just for now, I want this part here because this machine basically, it's going to have a bit on the back. So what I want to do is I want to copy this so shifty bring it over then because I want to make sure that it's going to be sat on the right place. So if I bring it to roundabout here. And then what I'll do is I'll bring this back because the bit on the actual bag is going to be covering this anyway, so I can bring this part in. So what I mean by that is I can just bring that part in like soap. Alright, so far so good. Let's press M and put it in our box Packer. And then what we want to do is we want to now make this a little bit more interesting than what it is at the moment. But before we do that, we'll save out our work, and we'll actually start that on the next lesson. Alright, everyone, hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 77. Adding packining stomper for the top of the machine, thinking of the exit hole for pa: Welcome back if you want to blend the beginner's master class. The cookie factory, and this where we left you off. Okay, so what I'm going to do is just grab all of these. I'm going to press the Ibn just to bring them in, and then all I'm going to do is press the Y just to bring them out a little bit. Now, on this one, I want to make it a little bit different. So I'm going to grab all three of these, press the I bone, bring it in. And then what I'm going to do is just bring those out as well, like so just making it look a little bit different. And then what I'm also going to do is I'm going to put one in the bom. So I'm just going to grab all three of these. Shift D, drag it out, and then press delete and limited dissolve. Let's make it a little bit smaller and a little bit thinner, like so, and just done what we've done before on the other parts where we're just bringing little parts of it just out and in just to make it a little bit more interesting. So control shift and B. Like, so increase it if you needed, like so and then press L on one of these. Press the E bunch and bring it back, and then L to grab everything and then just put it into place wherever you want it. Pull it out a little bit, and then shift D, and let's bring it up like let's make sure those they're perfectly in the center there, like so, and that's looking pretty good. Alright, so now we're going to work our way round. And on the top bit, we are going to need a big pot that's going to kind of be going in and out and things like that. So let's actually make that part now. So to do that, what I'm going to do is I'm just going to now come and grab all of these, like so. And then we go to press shifts, curs is selected, it should put it right in the middle. And then what I can do is I can press Shift A and bring in a cube, like so. And I basically want this to have kind of come back a little bit. So kind of here, have a cylinder on the end of it. And you know well, I forgot. Let's actually see if I bring everything back, where is where is my empty. There it is. It's over here. Always forget, let's pull this out, just so you can see what I'm doing. And then let's come round, open this up. And the one we want now is this one here. So now you can see can't really see this under there, but you can see at least the back of it. So you've got a good idea of the back inside of what that's going to look like. Okay, so now we've got that. Let's hide everything else out the way. So pots we use hide all these, all of them, except the box packer. There we go. Okay. And of course, the where's it gone now? Where did I put it? This empty should be showing now. Let's have a look where it is. Just move. There it is. So this is in my collections. There's the empty. Alright. Okay. Alright, let's get to work then. So we can grab this, and then what we're going to do is we're going to pull it out a little bit. So S and Y, pull it out a little bit, and then we'll pull it out this way a little bit, like so. And then what we'll do is we'll squish it down a little bit. So E ands, let's push it down a little bit like so. So that looks round about the right size for the time being. I'm going to pull it out a little bit more like so. And then what I'm going to do now is round these edges off. Now before I do that, let's reset the transforms. Let's come in then Ted grab these two edges. Let's press Control B. Like so and round that off, like so. Now, the other thing is, I'm going to pull it up. And I'm going to put it into here. So if I grab this center part, press the eye boom, and then I'll press the E button, and there you go, now it looks like it's actually going to be squashing something in there. I'm going to put it all the way down to there, like so. And what I want to do now is pull it down, and I want to right click shade smooth Bangle. And what I want to do before doing anything else, I want to put a hole in this part here. So in this actual box here, I want to actually put a hole. So what I'm going to do is I'm going to grab this part here, I want to compress Control minus and then it's going to put that hole in there for me. And from there, then I think I'm happy with coming down like that. So I think that's actually deep enough. So what I'm going to do then is just click on this coming over, Control A, come back to this, and then we'll go and open up that end panel. And then what I want to do is go down to where is it the item or edit. There we go. Remove brush, and there we go. We're back where we started. Alright, so now this can move up and down, like so. That's what we actually wanted to do. The only thing is, it's a little bit too tight on there. We don't actually want it that tight. So what we're going to do is just grab this, Alt and S and just bring it in a little bit like so. So it's got a little bit of room there so you can see. And the other thing is we want to kind of band around here. So I'm going to come to this part next. And what I want to do then is grab this part going all the way around here. Now, sometimes when you've actually boolean things, it does make a mess up things. It does that a lot. That's an entirely different course on fixing booleans. They are a problem. But for now, what we're going to do is we're going to come in and just make sure we've grabbed these going all the way around. And then what I'm going to do is shift D. I'm going to bring it up to where I want it, and then E and Z bring it down. And then what I'm going to do now is just separate this off. So L P selection separated Control A, you'll transform set origin to geometry, add in a modifier, and we're going to add in a solidify. Now, let's pull this out. It doesn't look right to me, so all I'm going to do tab, A to grow everything, shift in, spit it round, and there we go, now it's looking much better, except the fact we've got uneven bends on here. Even things on, we'll sort that out, and then what we can do is just pull it out a little bit like so. And there you go. You've got that on there. Now, let's pull it out a little bit more. And there we go, it's got a nice Form there now. That's exactly what we want. Now, moving back then, let's come first of all, we'll just shade or smooth. Move biangle. Why is that not working? Because we didn't apply the solidify. Apply that Shade smooth Bangle. There we go. Alright, this part here then. Let's come in, first of all, control. We'll bring in a big edge on here. So, shift click, E, enter, lns. Let's bring that out, like so. And then we're also going to bring an edge in here. So I, and then E, drop it down, and there we go, right click sheets, move by angle. And there we go. That's that part done. Now, let's bring a big chunky part on this part. Ready for, you know, this backport. And then I think we can actually start creating this backport here. So let's first of all, though, bring in a cylinder. So shift A, mesh, bring in a cylinder, spin it round, so R Y 90. And then what we'll do is we'll press the S bone. I'm going to put this right on top of here like so. So right on there, let's pull it up a little bit on there like so. And you know what? I think I'll add in another cube on here. I'm going to press Shift desk, Custer selected shift just to give you a little bit more strength. And then we'll add this in here, like so, pull it forward. And as you can see, I think that is going to make it look if I press EssnsEd pull it down past there Essn'sEad and then just pull this out. Here. Like so. I think it's going to make it look a little bit better. Now we can actually pull this out a little bit, all the way out. So it's just past there, and there we go, right, click Shade Smooth Bangle. Alright, now we can join all of this part together. So Control J. Join it together, and there we go. And now let's think about this part at the back of you. Because then we can have these kind of circle bits that are going to be on here. If you look at the image, you can see these two bits here. This is what we're creating now. So we want to create a base, first of all, down here, and then we need another opening there, so we'll use one of these, and then working our way up. And finally, we've got a light on here, which by the way, is also animated. I'm going to show you how to animate that light, as well. But first of all, let's come in, and we're adding a box down at the bottom of here. So if I press shift day, I'll bring in a cube. I'll drop my cube down here. We want something that's fairly chunky. So I think this sort of scale something like this. And then what I'll do is I'll bring the back in. So if I come in, X ray on. We can bring that back all the way forward, turn it off, and then drop it into the place where I want it. So somewhere like that. And then what we'll do is we'll come underneath, bring it up and put that into place. And then finally, finally, we want to press L, grab the whole thing, and then SNY and just pull it out into where I want it, which will be somewhere around here. Now, the only thing is I can see on here already is that it's not even. This is not in the even place. So I just need to put this back a minute, so controls head. Let's put it back. Let's press S and Y and just pull it in a little bit like and from here, then we'll create it going up. So if I now, first of all, come to this part, grab this one and this one, I can pull it out there into place, like so. And from here, then I can actually build up these struts now which are going to go up there. Now, is this tall enough, first of all? I think it needs to go up a little bit more. This gap here then is going to be where my box finished boxes are going to be coming out of. So if I grab this now, as well, if I grab both of these, just press Control J, join them together, and then I'll press Shift D. And what I'm going to do is I'll spin them round, first of all, so z -90. And I want to make sure that the center of origin is right in the center of here, so come in, grab this center one, shifts, cursor to selected, right click, set origin, 23d cursor. Now what I can do is I can come in and drop this right in the center of here. So if I come in, I can grab this one, you can see, Control A, all transform, set origin to geometry, shifts, cursor to selected, grab this one, shifts, selection to cursor. That then is going to put it right in the center for me. And now I can see that I want it to come Round about here and down. And the other thing is, these are actually finished boxes. So let's just grab. I'm just wondering how big these boxes are. So what I'm going to do is I'm going to go to my conveyor belt objects, and I'm just going to grab a box. I'm going to press Shift D, and it's going to give me a good idea of how big these boxes are. So you can see the fairly, fairly big these boxes, like so, like so. And I'm also wondering yeah, are they too big? That is the question. Are they a little bit too big. I'm wondering if I want to make them a little bit smaller. Let me bring my conveyor belts back. And if I make these smaller. So if I make them all smaller, so S, make them a little bit smaller, then Control A, or transform set origin to geometry. Yeah, I'm thinking that then is going to be a little bit better than the size that they were. So we're going to have them this size, I think. I think that looks better. And then what I'll do is just delete that out of the way. I'll press Shift D on one of these. And then what I'll do is I'll press shifts selection cursor, bring my box up, and now I have a good idea of how big that box is going to be. So we definitely definitely going to need it to be this to be bigger. Not wider, but definitely taller. So I can pick this up now and we'll have it roundabout there. And then what I'll do is I'll grab each of these. So L, L, L and L, drop them down to there. My conveyor then can come up here. So this is the thing my conveyor belt needs to come along here. And I think what I'll do for that is grab this conveyor belt, so shift D. We'll put it here roughly, and I'll bring it down, so it'll come over this, as you can see. Now the thing is it's not right in the center, so let's drop it into the center around about round there. And then what we'll do is we'll add in another edge loop, so I'm going to not another edge loop, another vertice. So grab them both, subdivide, move this one over here. And then what we can do is we can bring this one down, like so. Ready to go into the claw machine. Now, we might need to just bring it back a minute because I don't know where the claw machine is going to be at the moment, but we can definitely bring it like that. And now you can see this is roughly the size that we're going to have them. Now, if I bring my box up, how my box laying on there means I'm probably going to need to bring this up a little bit more like here. And then what I can do is I can grab each end of here. Like so and bring those up into place. Like so. And then finally just bring this out Just a little bit more. It's a little bit too close to that edge. Like so. Alright, that is looking how I want it. And on the next lesson, then, you know what? I need to bring up a little bit more. And on the next lesson, then what I need to do is now I need to actually put this kind of box in here, this edge and then start building around it. I think, also, I'll squeeze them in a little. So S and Y, bring them in just a little bit, like so. Alright, everyone. So now what we'll do is we'll save that'll work, and I'll see you on the next one. Thanks a lot. Bye bye. 78. Working on attaching stomper with extra detail for Blender Beginners Masterclass: Welcome back if we one to blend Beginner's master class, the cookie factory, and this is where we left off. Alright, so let's come into this part. And what I want to do really is grab this part, and I should be able to move this to the side, like so. I should also be able to press SNY and pull it out to the size that I needed, so it wants to be just a little bit wider than those. And then what I want to do is pull it down into place like so. So this is going to be sat on top of that, and then it should go back into place. Now, I also want to make sure that this bit is also pulled down into place, and then it should be able to come to the back of press the E button and pull it right back into place like so. Now, because this is going so far back in and might make these a little bit smaller so you can actually see the boxes or whatever coming out. So let's actually have a look at that now. So if I pull this all into place, like so. And then what I can do is then I think I think I'll grab I think I'll grab all of these. So L, L, L and L, and I'll pull them up a little bit so you can actually see them, you know, kind of in there. And then I'll grab the back up here, and I'm going to pull it back even further then. So pull it back, pull it back, pull it back. And then what I'm also going to do with the conveyor is I'm also going to pull this part back as well. So pull it all the way back into the machine like so, and then you'll see them actually pop out of there. Alright, that's looking pretty nice. Now, I'm not sure about the box size at the moment. I think they need to be still a little bit smaller. I think they will be smaller, so let's actually come into this one. And what we'll do is we'll go down to objects. We'll close that off, and what we'll do is we'll open we want open closed boxes. These closed boxes. Let's press space bar, double tap the A. And what are these things? Oh, yes. We'll press the bring them up on the z, offset. There we go. Now they look good. Alright. But now you can see that's how they're coming out. We'll have a black part in there. Has this gone far enough back? As you can see, this here doesn't look like it's gone near enough back, so I'm going to put it all the way back into that part into there. Like so. And let's press Space Bar. Yeah. And you know what? This might be. Yeah, you know what? That looks that looks good. Alright, so that's looking good. Now, make sure you're happy with everything before carrying on. I think the one thing I want to do is bring in these walls a little bit. I think they're a little bit too wide for the conveyor. So I'm going to press S and Y and bring them in with medium point on. So S and Y. Let's bring them in. So let's bring them in a little bit more. So S and Y. And let's also while we're doing that, bring this part in. So S and Y, let's bring them in a little bit, so double tap the A, and there we go. Now, let's come in and think about this top bit then. So going up to the top. So we want a machine. That's where this part here is going to move up and down. So what I'm going to do is I'm going to press Shift A. I'm going to bring in a cube. And I'm hoping that cube is level with that. It should be. If we'll go over the top, we can see, yes, it looks actually like it's level with that. And where we want it come in OS and X, roundabout this point here so that this can move up and down on this. And then we need an inner bit, as well. So I'm just wondering how wide they actually want that. If I go to the top, I can see probably going to want it, so it comes near enough out to here. So S and X. Let's try that again. But S and Y. There we go. Pull it out to round about here. And then what I'm going to do is now I want it to drop in just below here, so round about here, and then I'm going to press Control R. Left click, right click, making sure it's in the middle, which is Control B, drop it back, and we'll have it come in to round about here. And then what I want to do now is I want to pull this back. Now, as I told you, when you use extrude and you want to pull this in, you will see when I pull this in, I'm going to end up with a whole heap of problems. So rather than doing that, it's better actually to either make a boolean or just press Control R and drop it to where you actually want. Instead of doing that, then all you want to do is come in, grab all three of these, press let faces, and then you want to fill these in. So you want to fill in these faces. If you fill in this one, so just grab this top and bom, press the F bun, press A, mesh, clean up, fill holes. I'll fill it in for you like so. Alright, that's looking good. Now, the one thing I do want to do, it's probably, if I go over the top, a little bit too far out this. So all I'm going to do is just grab these bags and pull it in a little bit like so because we want some other parts on here, and this is looking a little bit too thick, to be honest. Alright, so now what we want to do is we want the parts that are going to be underneath here. So the pillars basically supporting all of this. So all I'm going to do is I'm going to grab both of these, and I'm going to press the eye button, like so, and have they come in correctly. Let's do that again. So Control A, all transforms, right, clicks the origins geometry. Then press the eye button. And you know what? I'm wondering if I should grab these as well. You know what? I am. I'm going to grab them all, press the bond like so. And then what I'm going to do is pull these down now. So pull these down into place. And there we go, that's looking pretty solid. Now, the one thing you can see is that these need probably pull in this way a little bit, so I'm going to grab both of them. I'm going to press S and Y, pull them over this way just to give us a little bit of room. You can also see that this is probably a little bit out at the moment, so I'm also going to just move it over very slightly over here, like so just making sure everything fits in place. Alright, so that's good. Now we need some extra supports on here. So again, I'll press shifts on this. Shift A, bring in a cube. And let's pull this over. So I'm going to make it much, much smaller. Then what I'm going to do is pull it over to where I want it, make it smaller still, and then S and Y or X. So, and then I'm going to put it all the way up to here. I'm going to use my X ray to go in all the way back. And there we go, and then let's pull it out into place like so. Now, let's grab the bottom of it. And what we're gonna do is press E, like so, and now you can see, we just need to pull it back in a little bit like so. And we also need to make it a little bit thin. It's a little bit too chunky at the moment. So S and Y, pull it in. There we go. I would also say that if you can press Control R, bring it up to round about here, and then just pull out this part. So pull it out, and I think that will look better. Now, rather than actually doing that over the other side, let's press Control A. All transform origin to three D cursor. Adding a modifier, and we'll bring in a mirror on the Y, turn off the X, and there we go. Now, let's come to the top of it, and what we're going to do is grab each of these parts here. I'm going to press the e born then. And then what I'm going to do is press E and pull this sub like so. Alright, that's that bit. Now, with this part on here, I'm just going to come in, grab the top of this, S and Y, and pull it out. And then what I'm going to do is press this face, press the eyebarn and then pull this out, like so. And there we go. That's that bit done. And then what I'm going to do is just the bomb bit. We'll have a couple of bars going along here. I also save out my work. So a couple of bars going along here, so control. Two, left click, right, click. Control B. So Control. Left click, right, click, Control B, pull it out nearly to the end. And then grab this one and this one and press E and pull those out. And there we go. Alright, so that's that bit done. Now what we need is a light on here, and we also need a belt pulley system going along here a little bit like what we had with the windmill. I would actually probably you could take it from the windmill. But honestly, for this, let me just see if this comes up and down, up and down. We could take it from there, but honestly, I would actually just rebuild it just to make sure that you've got a hang of everything. Yeah, that's what I would do. Anyway, this is looking really nice. On the next one, then we'll actually get that done one I'm gonna do for now is file, save it out, and I'll see you on the next one, everyone. Thanks a lot. Bye bye. Thanks 79. Modeling gears and additional systems for pulley system of our packaging machine for : Welcome back if you want to lay in the beginner's master class, the cookie factory. Now, let's do this bit. So shift day, let's bring in a cylinder. Let's have it on 24. So 24. Let's bring it over, and let's first of all, spin it round. So X 90, spin it round, and then S and Y. And what we're going to do is just set this out first, how we actually want it. So you have a good idea. You can see already on here how it is, but I'm going to show you how I set this out. So first of all, I want to go in into here. So I want it just above the top there. This one here, I want it to be quite big. S and Y because this has maybe have gone a little bit too much with that, because this has the rolls on there. So it's going to be like into here. So it's going to be stuck out here, something like that. And then what we're going to do now is we're going to press Shift D, and we're going to bring in another one. And then what I'm going to do is grab this going all the way just around the outside, press lnss and bring that in, like so, and then S and Y and bring it in, like so, still leaving room for an actual, you know, a part to go in here. So now you can see everything lines up. You buy come in now, grab the front off here, press the Ibn to bring it in, and then press E to pull it out. You can see it nearly fits in. So now we have a good judgment of where this is going to be, and that's why I'm doing this. So if I grab both of these now, I can pull them down a little bit, and now they're all gonna fit in. Now, this saying that is a little bit too thick, so I'm just going to grab it again, Alters, bring it down, like so. Now what I want to do is I want to grab this one, and I want to bring it down to here and make a smaller one because I want to make this one a little bit thicker than what it is. So ternss bring it out, like so, and then we're going to have another pulley, which is going to be down here. So what I'm going to do is just grab this one, Shift D, and I want to make sure it stays along the same line. But what I want to do is I want to pull it down here because this then is going to have the belt on there. So I'm just going to pull it to there. And then from there, what I'm going to do is I'm going to now press lns and bring it down, making it much, much smaller, like so. And then from here, I can grab this back one if I can see in there. There we go. So grab this back one. Like so, and put that into place like so. And let's also make it. So Alt Shift and click, and then Alterns. Let's make it a little bit smaller, as well, like so. Alright, that's looking good. This is how I want it laid out. My belt then we'll come from here to here. This will be the main part of the machine, which will be here. Wondering if I've gave enough room there or do I want, you know, more or less room there? You know what? I think that looks good. I'll pull it back just a little bit. Like so. Okay, so let's make a start then on this part here. So first of all, what we'll do with this is we'll have an Ipt in this. So I'm going to press Control R. Left click, right, click Control B. And what we're going to do is just pull it out to get that gap. And then what I'm going to do is, while I've got this E, enter, lanes, and just bring that back into there. So something like this, then we want to do is do the inner part now. So we want this coming in. So what I'm going to do is grab both the front and back. Press the Ib, bring it all the way back in. And then what we're going to do now is press right click loop tools, bridge faces, and then you should end up with something like this. Alright, so that's exactly what I want for the start of it. Let's right click and Shade Smooth. Let's also save out our work, so we'll save it out. Now we need to do is we need to make it look as though it's actually got some ribbon on there. So I need to pull them out and pull them in and all that sort of good stuff. So really, really easy way to do that. All we do, first of all, is we'll bring in some edge loop. So let's bring in five, left click, right click. And then what we'll do now is we'll grab each of these individually. So if I grab this one, press E, enter Altnz. I should be able to bring it out like so. Then I'll grab this one. Bring it out as well. So eat enter Alterns. So bring it out just slightly above that one. Alt Shift, click, eat, enter lnss, bring this one out, and then this one, Alt Shift click, et enter lnss, bring this one out a little bit more, and then Alt Shift, click. So Alt Shift. What am I doing here? Alt Shift, click. Eat enter Alternss. And let's bring that one out as well. Now right, click, Shade move biangle and that is what you should be left with. And then what we can do is just color each one of these independently. Let's come to the actual gear itself. So we're going to want a cent point in here and we're going to want, you know, some quite chunky gears in here. So what I'm going to do is come to the inside. Control R, left click, right, click Control B, and how chunky do we want them? Perhaps perhaps something around this chunkiness. And because we brought this on 24, we can also come in now and grab each one of these. Miss two, grab the next two, miss two, grab the next two, and just keep going around like so. And there we go. Now what I can do is I can actually bring these in. So if I press E, Enter, S, I can bring them in together like so. Then what you can do because you've brought them in like that, I might want to bring them in much straighter than that. So you know what I'm going to do? I'm going to press Control's E. Instead of doing that, I've already extruded lns, and let's bring them in this way to the center. And then what we'll do is we'll come in now and make them a little bit smaller just in the middle. So what I'm going to do now is put this onto individual origins, press the S but, and you can actually bring them in that way, and I think that way looks actually better than the other way. Let's we click and Shade Smooth Bangle, and there we go. I'm just wondering if these are a little bit too thick. So I'm going to go Alt, hit, click, lt, chip, click. Just go around them. And then we're going to press Altnes and bring them in a little bit. And I think that actually looks better now. Now I'm going to do is just press Shift S. Curse selected Shift A. We'll bring in another cylinder. We'll spin that cylinder around then. So X 90. I'll make it a little bit smaller, so the outfit in there, like so, and then I'm going to press S and Y. Just get it into where they're all gonna fit in. And then I'm just going to do the same thing with both sides of it. We'll make it easier. So what I'll do is I'll grab the front and the back, press the I, bring it in, and then E enter lns and pull it out. Did I actually press E, E, enter Alts, pull it back. There we go. Alright, right, click, shade or smooth. And there we go. That is that part done then. So yeah, I'm happy with how that looks. Now obviously, I need this part going into now this pulley system. So what I'm going to do with this part is, I'll press the I button. I'm going to pull it back then, E into this pulley system, like so and then with these pulley systems now, I need them to be exactly the same, pretty much. So what I'm going to do? These are smaller just on the end, but they should be. If we go over the top, it should be exactly the same width. So I can grab both of them at the same time, press Control R, left click, right, click, Control R, left click, right, click, grab them both. Control B, and I should be able to pull them out at the same time, like so, which makes it very easy for me now to make that actual pulley system. I think with this one, we'll have it nice and smooth or maybe just a ridge on there. But first of all, let's press E, enter, Alternt and let's pull those back. Into place for that big kind of bell that's going to be on there, like so. Let's right click and Shade Smooth. And now let's come to this one. So what I'm going to do is I'm just going to hide this one out of the way, just so you can see what I'm doing. I'll come to this one then to this face. I'm going to press I and bring it in, and then I'm going to press I again and bring it in. And I'm just going to grab this Alt Shift and click E, enter Alter Ns, and just bring it out like so, and there we go. Now, this one here is a little bit more a little bit different. So what I'll do with this one is well, first of all, grab the front. I'll press the ibn to bring it in. And then what I'll do is I'll press the ebone again to bring it in. And then all I'm going to do now is I'll grab let's say, we'll grab two, and then we'll miss Can we miss four? Let's see. So, one, two, three, four, one, two, and then one, two, three, four, one, two. Yes, we can. So we can grab all of those now. And the only thing is, these are the wrong way round. The wrong way round, so I need them the other way round. You know what I'm gonna do? I'm going to go t shift and click, grab this, and then go to pull it back just a tad. And then what I'm going to do is where my two are. So one, two, three, four, two, one, two, three, four, two, one, two, three, four, two, and one, two, three, four, Middle one, and then pull them back. And there we go. Right, click, Shade to Smoove. That is the look that I'm actually going for. Okay, so now we need this actual pulley system on here. So we need these spinning independently. But first of all, let's join them together because it will make our life easier. And then what we'll do is we'll save out our work, and on the next one, then we'll create that belt that's going to go down here. And then pretty much we've done with this except the light. We just need to create a light, and then we can actually get everything on here looking the way that we want to. Alright, everyone. So I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 80. Modeling gear belts and bulbs and additional support for our machine for Blender Begi: Welcome back, everyone to Blend the beginner's master class, the cookie factory, and this is where we left it off. Okay, so let's deal with our belt first. So what I'm going to do is I'm looking for the downward trajectory, which is there two roundabout here. Now when I first do this, I always click on one. So this one here, let's say, and then I'll click on the next one, press the F button. And then what I'm looking for is, how does that look? Does that look realistic? And I think, yes, it does. So then I come around to the back and I'll do exactly the same thing. So let's say from here all the way down to let's say this one here, press the F button. There we go. Now, you can see, the problem with this one is, it's actually cutting through there. But that's fine as long as it's looking right when it's going around there. You know what? I think that's it's going to make sense going through there. I'm just going to try it instead of this one. I'll minus this off and put it on this one, press the F bone. And that's looking better. Alright, so that's looking right. Now I want to do is I want to come round. I want to go Alt Shift and click, Alt Shift click, grab both of these. And you'll see if I do Alt Shift click on this, now I can do is I can press Shift D and pull it out. Delete both of these, so delete faces. And now we've just got this left, and this is what we want, apart from. No, we don't, because that's not what we want. We want it going all the way around here, and now we can press Shift D. Now we've got what we want. All right, so let's leave these out of the way. So delete faces. And then all I'm going to do now is I want to delete these going from all the way around here, all the way up to there, delete faces, and then you end up with your pulley system, and the pulley system on this one is already correct. So let's come in now, grab this LP selection. And then what we'll do now is we can press Control A or transform set origin to geometry. Let's drag this then back in place. Let's bring in a solidify. So we're going to bring in a generate, solidify. Let's bring it out. I'll bring it out like so, and we want it quite a thick belt this one. So quite thick, something like that. And we can see this is not working correctly. So A, shift N, spin it round. Let's put it on flat, so it's shade flat so it can actually see, you can see this is quite thick. Let's bring it back a little bit, so not quite so thick, just so it's over the top of there. And there we go. This is, you know, a really powerful thing spinning this around. So I think now that looks absolutely fine. Let's apply that and let's press right, click Shade Smooth by angle. Ot H, bring back this part. And there we go. Alright, that is the pul system. So now we can have all of this part spinning. We can have this part spinning at the same time, and then this part spinning. So what I'll do is I'll join these two together, and you can see these on need spitting up. So let's come in, first of all, LP selection. Join these two together with Control J, and there we go, now we've got everything split up. And now we can actually work on those. Now, for this side, what I want to do is I want to bring it in so that, you know, it's kind of coming cutting across here. I'm just wondering if I bring in another edge loop, so control let's put that one down there, then, and then I want it kind of cut in up to here. So maybe from here to here. So let's come in, knife this time, down to here, like so, press the end to bottom. Okay, so from there, then, we can actually grab it going all the way over to here, all the way over to here, like so. Then I can press the eye button. And then what I can do is I can pull this out, like so, and add just a little bit of relief on there, and I think that's looking quite nice. The only thing is, I always like to, if I can, bevel this edge because it looks a little bit too sharp and the actual bevel is not going to do any good. So bevel this edge a little bit, like so, and there we go, and then right click and shade smooth. And now it's looking much, much smoother, as you can see. And that's looking pretty nice. Okay, so we're moving on now to the actual light. So with the light, we want a simple light on here. We want it to go from red to green and just keep cycling. So we just have to remember when we animate this, how many frames is this over, and then we can actually set that light up. So what I'm going to do, I'm going to put my light on here. So I'll press Shift day festival, and I'll bring in a cylinder, and I'm going to bring it over to here. I'm going to make it a little bit smaller this part here. I'm going to put my light in around about this point here. Now, also, I can come in and I can grab, you know, kind of all these pots and put in. You know what? That looks. It looks good enough. I'm not going to mess around with it, actually. Gonna put my light then there. We want it big enough so you can actually see it. So we'll have that as the bottom. And then what I'll do is I'll press E, enter S bring it out, like so. And then what we'll do is we'll press E and pull it up, and this will be the basis for our light. And then what we'll do is I'll bevel off the top now. So Control A transforms the origins geometry. Grab the top, press Control B, bevel it off, like so, and then we'll put a little top on there. So I'll press E, and then S, bring it in, like so. And then what I want to do is put in a few bands. So first of all, though we'll have a big band on the bottom, and I'll come round. And grab this one. Eat, enter Altern, pull that out, like so, and then we'll right, click, shade moove biangle and now want a few more bands one, one, two, maybe two at the top, and maybe one halfway down, press Control on. Left click, right, click. Control B, pull it back. Like so, E enter ln. And this is going to be glass, by the way. So this round here that we're creating here is metal. Right, click, Shot, move biangle. And then these bits are going to be metal. This part in the inside is going to be glass. So I'm going to do then is Alt Shift and click with face late there and there, and then eat into alternss and pull those out a little bit, press tab, some shades smooth there we go. And I think that's going to look pretty nice. Now, the only thing we need in here then is the actual bulb that's going to fit in here. So we're going to just hide these out the way. So hide these out of the way. Come to this center point, then Alt Shift click Shift desk, curse to selected. And then what we need is just a bulb in here of some kind. So I'll just press Shift A. I'll bring in a cylinder. I'll make it a little bit smaller, like so. And then we'll just create a bulb in here. So we want a nice bulb maybe up to here, something like that. Grab the top of it. Control B. And then just bevel it off, so we've got a nice bulb, and then we'll bring it down. Like so. I'm going to make it a little bit bigger, so I'll press L, press the S but, like so. And then what I'll do is I'll press ControlR, bring in a few edge loops, left click, right click. And then I just want to grab this bottom. So if I can see through there now, I should be able to go on face leg, grab, is this the bottom of it? Yes, it is. Let's turn that off. Then what I can do is come to here, make sure connected only is on. And let's put inverse square. Let's try that one. Let's bring it in. And there we go. And then what I can just pull it up a little bit. Press the F button, press I to bring it in, and then E, and there we go. It should be stuck in there now. As the bulb. Then all I'll do is bring this. You know what? We'll make a face on here. So Shift click. Press the F button because you will be able to see inside there. And then what we'll do is press I, bring it in, and then E, drop it down, and then we go, There is the bulb inside there. Alright, so now, we've got all of that in. Let me just take a look round, making sure I've actually rebuilt this thing as I wanted it, and I think I have. I think everything's got what I wanted in there. So now what we should do is now we should bevel everything off before we do anything else. We've already got a bevel on here. So, let's grab both of these. Let's press Control L. And what we'll do is copy modifiers like so, and then I'm just going to hide those out of the way, like so, and then go to grab both of these parts. Now, this part, as you can see, should have been attached to it. So this definitely should be attached to this part here. So some reason this is not, let's attach it to it. Control J. There we go. And now we can hide that out of the way, hide this one out of the way, and then we'll just grab all of these. We'll grab this part here, this part here, grab this part last, Control L, and we're going to copy modifiers. We're going to hide those out of the way. Except this one. We don't want to hide this one out of the way. So hide. And then we've got just these parts here. So these parts here, this part here, grab this part last, press Control L and copy modifiers. And we can see, we have a problem in there because we didn't account for the mirror. So Control A, that's account for that mirror. Grab these. Grab this one last, Control L, copy modifiers, oltch, bring back everything, and there we go. Alright, so on the next lesson, then what we'll do is we'll actually start getting the materials into here, but you can see already that is looking pretty nice. Yours wondering. What is that? Is that another box? Yes, it is. It's just another box forming. It looks a bit like a shadow or something in there, just making sure nothing's coming out here. Yeah, so on the next one, we'll actually get the material in. We'll do the light last because then we can actually come and animate animate that. I'll show you a way to put in red glass so it's see through red glass and a bulb. Alright, everyone. Sobi enjoyed that. I'll see you in the next one. Thanks a lot. Bye bye. T 81. Working on applying shaders, creating shader for our light bulb located at the top, to i: Welcome back everyone to blending beginning the master class, the Cookie factory. So let's go over now to our shading panel. And I'm going to come to this light here. So I'm just going to click on it. I'll come to the light. And the first one I'll give it is new, and we'll give it the dark metal. So let's give it the dark metal. And then, of course, we want to have a new one. So we'll call it red glass, so red glass. And then we also want the emitters. So we'll call it what shall we call it now hazard hazard light. Like, so, there we go. Now, let's do the red glass first. So what I'm going to do with the glass is we'll do a simple salve like we did before. So we'll just make it a little bit more transparent. First of all, though, let's come in. And what I want to do is I want to press Altag and I want to grab all of these except these metal rings. So all of these going up here, all of them down to roundabout here, I think. And then what we'll do is we'll put red glass and we'll assign that. Alright, so now we've got all of that done. Just want to make sure, right, click Shade Smooth Bangle, and there we go. Okay, so let's come in, and what we'll do first of all is get rid of this principle. We'll then bring in a glass BSDF so glass, BSDF and we'll also bring in a transparency, like we've done many times before. So transparent. Like, so bring in a mixed shader, so mix shader. And then we'll also bring in a noise. So shift day bring in a noise. And then we'll also bring in a color ramp. So shift day, bring in a color ramp. Alright, let's go to our noise first then. So we'll set the noise. All we'll do with the noise is just put this round 160 like we normally do. We'll then plug the fat into the color ramp. We'll bring we'll actually do that in a minute, actually, with the color ramp. We'll plug this first of volo in to my actual color. So it's not that this one here, plug it into the color. And actually, before I do that, yeah, we will do that. Let's plug it in. Sorry. 1.050 and then what we'll do is we'll plug this into the shader, plug the transparency into the shader, and then let's plug it all in. And there we go, now you can see inside. Let's change this then to a red color like so. Let's press tab, and there we go. We've got that red color on. And then what we want to do now is we want to come in and bring these up. So we can make it more or less transparent using this. So what I'm going to do, I'm going to bring this down to the B, so you can see what we're doing here. Bring this one up then or bring this up. You can see now we've got some noise in there. That is what we want. And then I'm also going to turn down the noise a little bit, so I'll grab this. I'll put it more on gray. Yours to drop it back a little bit like so. Alright, that's looking good. Now, let's come in and just hide those out of the way. Come to my bulb. And what I'm going to do with the bulb, I don't want this part on it. Hold shift, click, take that off. And what I want is hazard light. So let's click a sign on that. And then we go, that's what we've got so far. Now, let's actually come in with our bulb, and all we're going to do is bring in a simple emission. So delete your princlled. Let's press Shift A, search. We'll do emission. Like so, and then I'm going to drop my emission into the surface, and I'm going to put it on 2.7. And for now, I'm just going to put it on a red color. So we're just gonna have it on red, but this is where we're actually going to be changing this as this gets animated at the same time. Now we've got that there, that's the light then. So now what we want to do is we want to so basically the green and the red. So both the red glass and the hazard light will actually change color. So we'll actually come in now, though, and actually give the rest of it. Some actual color as well. So let's come to this part here. Down arrow. This part will be blue, so factory blue. Let's come to this top part then. So we'll just grab all of these. Control plus, plus down arrow and yellow. So we'll go with factory yellow. This will be most of the colors. So basically all of this then can actually have, you know, colors from here. We'll also grab this Control plus, factory yellow, click a sign, and then we'll grab, you know what? We'll just grab the whole thing. So we'll grab all of these like, so, grab this, and then I'm just going to grab this one last and Control L, and we'll link materials like so. Okay, so let's come to this part. We've done this part. Hi it out of the way. Let's come to this part, and we'll make these metal. So plus down arrow. And we're going to go let's go with the dark and metal, I think. So metal, dark Tab, A, click a sign, and there we go. Hide that other way. Let's come to this part. And on this part, all I want to do is just press Control plus factory yellow, click a sign, and there we go. Hide that other way. Let's come to this one. And on this one, all I want is the metal dark. And I do want the met dark. I do want it light. I'm wondering if it might contrast too much with the belt. So you know what? I'll just try the metal light instead. Yeah, and I think that looks actually better. So I'm going to leave it like that and hide that way. This one is going to be the rubber, so plus down arrow, rubber, tab, A, and then a sign, and there we go. And then we're working our way up. So this one here we'll do most of it the um Metal light. Let's click tab A, assigned metal Light. This part on the center will actually make it the dark one. So this part here and maybe this part here will make it the dark, so plus down arrow Metal dog, click a sign, and there we go. Now, of course, this is not looking right because we need these bands on here. So I'm going to just minus these off because we don't need these on here. I'm going to click Plus, and we want the box blue, plus again and the box green. And then what I'll do is I'll go to this one. So Alt Shift click Alt Shift click Alt Shift click, and we'll have it on the box blue, click a sign, and then Alt Shift click Alt Shift click and have it on the box green, click a sign, and there we go. There is those bands then that you're going to create those. That is looking fine now. Now, let's hide that part out of the way. And let's come to this part here. Now, instead of it being blue, let's put it on the orange. So let's go down factory orange, like so. And then we'll come into these parts here. Like so. And I just want to make sure I've got all of those. Control plus, factory yellow. Click a sign, there we go. And then we'll come to this part here. So grab this, grab this, grab this, Control plus, factory yellow, click a sign. Come round here then. Same thing again. Let's click Control plus, actually. Click a sign. Alright, that's that part. Now, if I hide this part of the way, I should just be left with this part here. Now, we've got it on blue at the moment, so let's come in. Grab this part, factor yellow. Click a sign. Let's also come in, and this bit down here, for instance, this is definitely going to be on metal. We'll put it on the metal light, and let's click a sign, and there we go. And then let's come to this part here. We'll have this part yellow and this part the metal light. And then we'll go to this part, press the, and we'll have it on factory yellow, click a sign, and there we go. Alright, one bit we've missed is this part on here. So, let's press ultage, bring back everything. So this part should definitely be yellow. So all I'll do is go to factory where is it factory yellow. And then I'm just going to hide this part of the way because the bottom underneath here, I just want to create with the hole, so click Down arrow. And the whole and then click Assign, and there we go. Now, let's press all teach, bring back everything, and let's have a good look round there, making sure all of that looks nice, making sure I've not missed anything. And yeah, I think that looks really, really nice. I'm happy with it. And now what we need to do on the next lesson, we're going to save this out. So on the next lesson, what we're going to do is going to have this, first of all, moving up and down, and then this actually changing color. Alright, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 82. Creating animation motion for boxing machine, adding rotation motion for gears and ve: Welcome back on to Blend Beginner's master class, the cookie factory. So something a little bit more complicated now. But once we've done this kind of stamper thing that's gonna go up and down, and we've done these wheels, is the actual light? I'm going to show you, yes, you can actually animate textures, shaders, bulbs, things like this. And I'm going to show you exactly how to do that. First of all though, let's deal with this thing. So, this one's to come down. So we're going to go to animation, first of all. We're gonna pres the little dot but, and then later, we want to put this onto one. So this is where it's going to be what we're going to do is we're going to remember how many frames we've done this over. So we're going to press the I button just to set it there. And then what I'm going to do is I want it to stay there for 20 seconds or something, then I'm going to press I maybe maybe too much that, but we'll see. Then what I want to do is I want to pull it all the way down over, let's say 50 frames, something like that. So bring it all the way down to where it needs to go. So all the way down to there. And then what I'm going to do is press I, and let's see how that actually looks. So stay stay stay. There we go. Now, we want to have it kind of juttering a little bit, so we want it kind of squashing down. So what I'm going to do to actually achieve that is I'll bring it to here. And what I'll do is I'll push it further down, like so, press the ebon, and now what'll happen is it'll go faster here, so faster. And then squash, as you can see. So now if I drag this out a little bit, so grab just this one, press G, drag it out to 70, you will see now that it'll go so far down and then look as though it's actually squashing it in, as you can see. And then what we'll do is we'll flip it back up now. So let's go to 90 frames, grab this one, Shift D, bring it all the way over to 90, like so, and then we'll see and there we go. That is exactly what we want. So now what I'm going to do is, I'm going to grab all of these. I'm going to come over, and we're going to go to the transform, and we know the transform is just on the z. So location, z, modifier, cycle, and there we go. Now let's give that try. So we should end up with it going down, up, down, squushing down. And there you go. That is exactly what we wanted, and that is the kind of animation we wanted, as well. Okay. So now let's deal with this bit here. We already know really, really easy to deal with this bit. We also know that the bottom wheel will spin faster than the top wheel because this is a huge wheel. So let's deal with the top one first. So what I want to make sure, first of all, though, is I've got my cursor in the sensor. So cursor to center. And then what I'm going to do is I'm going to press Control A or transforms right click Set origin, two, three D cursor. Put it back to one. And then what we're going to do is press I, and then we're going to come over to let's say 50. Let's say 30, actually, and then we can do this 120 or something. And then what we'll press is this on. Now let's just make sure that we don't mess around and this time, leave it on or anything like that. So, Y, 90, and then go to 60. And then R Y, 90, and then let's go to 90, and then R Y, 90, and finally 120, and then R Y 90. Now, let's milk so make sure we remember interpolation. So we're going to have it on linear, and then let's finally come in, put in a cycles modifier. Let's put it back, and let's make sure that works. And there we go. That's working perfectly. So now we know that this one should be on 20. So let's come into this one, bring one. And then again, we'll make sure we've got our cursor in the center. Grab the center, shift desk, curs selected, right clicks origin, 23d cursor, and let's press I. And then what we'll do is 20 this time. So 20, and then we'll press R Y, 90, and then we'll go to 40 and then R Y 90, and then 60, and then R Y, 90, and then finally 80, and then R Y 90. Let's turn that off. Make sure all of these are grabbed, right click interpolation mod linear. And let's come up now, adding a cycle, and there we go, and let's come over, and there we go. Double tap the A. This one's spinning much faster than the other one, as you can see, that is exactly what we want. Okay, so now we're on to the lights. So we know that this is based over 90 frames. So we know when it comes up, so we can see here that when it comes up, then it goes down. So we can have it on green for the first 20, and then we can have it on red, up to 70, and then green again. So that's what we're going to do. So we've got I would make a note of this, so we've got 120, it will be green. So let's put that down. So 120 green. And then 20-70, it will be red. And then 70-90, it will be green again. Okay, got that written down. Now we're going to do is we'll come into this part here. So we'll come into this. Well, first of all, go to our shader. And what I'm going to have to do with my shader is I'm actually going to bring this up. So I'm going to bring this up, and what I'm going to put on here now in this one here, I'm going to put on the dope sheet. So let's bring that up to the dope sheet, like so. And you'll see that when I've clicked on this, got all of these transforms on, actually, just wondering why those all on there? Let me just have a look. But that is everything on here. So you know what? Let's not put it on the dope sheet. Let's put it on the timeline. Let's see if we can do on the timeline. So what I'm going to do now is I'm going to come to this part here where it says omission. We're going to put it on frame one. So let's put it on frame one. So frame one. And then what I'm going to do is going to press I on here. So hovering over here, just press the I. I just want to make sure, actually, on the dope sheet that's appeared on, let's just go to animation for just 1 second. And what I want to make sure is that this is actually on here. What I'm going to do is press I on here, and there we go, now it's on. Now what I want to do is just go back to shading. And I'm going to go to frame one, and I'm going to press I hovering over this red. So press the eye button. And now you can see hazard Light is actually on there. Now, if we go to animation, hazard light is actually on here, and now you'll see I've got a no tree with all of these different colors in. Okay, so far so good. Now let's go back to shading. And at the moment, we have got this on red, and we know we need to keep this on red until frame 20, as we've got written down here. So let's come in, frame 20, like so. And we're doing this on the hazard light, by the way. So frame 20, let's press the eye button. And then what we'll do is now from frame 20 to 70, we need it green. So let's put this on 70, like so. Make this a green color. And then what we're going to do is press the I like so, and then from frame 70 to 90, we want it back on the red. So what I'm going to do is I'm going to bring it over Look here. You know what? I'll bring it over to here, actually. And what we'll do is we'll click on this. We'll go to the hex value, and we'll copy that. I'll make it easier for us. Now let's go to frame 90. There we go. And then what we're going to do now is click on this hex value, contro V, Enter, and then just press I again, like so. Now, let's go over now to our animation. And here we are. Here is all our default values. Let's put this on. And we should now have it if we go through there. So as it's going down red and then green. Now, the only problem is at the moment, you can see it's very slow. Going over. Now, do I actually want that? So as I go through this, you can see now it starts to slowly swap over to the green, and I don't think that's right. So what I'm going to do instead is, I'm going to right click interpolation mode, and this time, I'm going to put on constant. And what that should do is it should mean that it actually flicks over, so you can see now it's going down red, click to green, and then it should go back to red again now. Let's see now. There we go. Now, let's see now if I come in, grab all of these and put this onto cycles, it should actually work. So let's press it. Here we go. Red, green, red. Now, the only thing is, I would say that this green needs moving down a little bit. So what I'm going to do is just grab all of these, all of these green. I'm going to press G and just move it down a little bit. Now, let's see what that looks like. Green, and there we go and back to red again. I'm wondering, it's on green, on green, back to red. And it's on red here, I think we can get away with probably on frame ten still actually being green. So what does that mean? It means I can bring these over again. So shift D. Let's bring them over. And let's also bring them over to here, like so. And now let's see. So green, green, red, green, and now it's popping off on red and green. So we don't really want that. So why is that actually happening? So red. Yeah, I think this should be red. So we'll just shift D, bring those over to red. Now let's see what that looks like. The red I think I've made a mess of this, so let's try that again. Alright, so all we'll do is we'll press A. We'll delete those out the way. Let's start that again. We'll start that again. First of all, though before we end this, let's press I just to get that in. And then we'll go over to shading. Alright, so we know it's over 90 frames. Let's do that again. First of all, I'm gonna save this out 'cause I had too many frames in probably in the wrong places and stuff like that. Alright, we'll do that in the next one anyway, guys. Thanks a lot. Bye bye. 83. Creating animation for green to red changes for light bulb for Blender Beginners Mas: Microphone to blend the beginner's master class, the cookie factory, and this is where we left it off. So we've got red, and we've got green on this one, for some reason. Let's put it back to red. So we'll start out as we mean to go on. Alright, so it's all red. That's what we want. Now, let's come to our hazard lights. First of all, let's press I, and what they'll give everything in here. And then if I'm on my shader which I am now, you can see that when this thing is at the top, so on frame one, this should be green. So let's come in and put it to a green color like so. Then we're going to do is press I, and now you'll notice that these values appear down here. Now we want to do is we want it to change over when it gets to starting to go down. So let's say frame 18, let's say it's going to change over there. So what we'll do is we'll change it over to the red, like so, and then what we'll do is press the eye button like so. Now, we should have a change now, so you can see, bam bam, and then it goes down. Two frame 70. Once it gets to frame 70, then it should start to change over to the green color. So what I'm going to do is on frame 60, I'm going to basically put it at red still, and then on frame 70, I'm going to put it at the green. Now, the green value I want to grab from here. So if I go here and grab this green value with the hex, Control C, go to frame 70, and then change this over now with the hex, Control V, enter, and then just make sure you press the eye button. So now we should have going from green to red. To green again, all the way up to frame 90, where it should still be green. So I'm going to press again. Now, we should end up now. We're not going to cycle this yet, but it goes from green to red, all the way down. And cycles back to green again. That is exactly what we want. Now the problem is now we haven't got anything cycling in here yet, but that's okay. We need to now know so one, 18, 60, 70, and 90. Let's go now to the red glass, and we're going to do the same thing. So in the beginning on this one here, we can see it's on green. So let's make sure on the red glass, this is also on green. So we're going to put this to green like so, and you notice it accentuates it a lot. Then what we'll do is we'll go to 20, and we're going to put sorry, 18. And we're going to put this now on red. To match the other one and then we're going to press the eye button. Then on frame 60, we still want it to be on red. So what we're going to do is press the eye button, and then on frame 70, we're going to match the green. So we're going to go back, grab this green hex. Control C, come back then to frame 70. So frame 70, change this over to the green, control V, and then you're going to press the I button on here. And then what you're going to do is you're going to come over to frame 90 and just make sure it's done green, pressing the eye button like so. Now, we should have all of these changing over in one go. So red green, and then it should cycle over. Now, one thing you might want to do if you grab all of these, you might want to right click interpolation mode and put it on constant. And then what that'll mean is it'll flick. Bam. Bam and there we go. Now, let's come over then to the animation, and what we want to do now is we want to grab all of these, and we want to add it in a cycles. So cycles, like so. Now, you can see when I've added in that cycles, it doesn't. It's not working right. Let's have a look. Bam Bam. And you can see what's happening because I've not added a cycle in to this red glass. So the no tree here, grab all three of these and put it on cycles as well. And now let's see. So red, green, red, Green. Red, Green. There we go. Finally, guys. We got there. Okay, now we want to do one more thing. So what we want to do, we also want to add in a light here. So shifts, Custer selected, shift, let's bring in then a light, and we'll bring in a point light. And what we'll do is we'll increase the radius of it. So if increase the radius of it, and then we'll increase the power because the thing is, when we've got a light here, it is an emission. It is behind glass, and so it's not going to shine on any of these things. So you can see these surfaces here. If I put this then on, let's say, red, you can see at the moment, we've got no shine. But now, if I come in and turn this up, let's say to 200, now you'll see we've got actually shine. So light shining on there, which is another part of the illusion of everything because we definitely want some light shining on here. The only thing is, we need to swap those over as well. So what we're gonna do is we're going to go to our point light. Frame one. And what I'm going to do is, I'm just going to press I, and there we go. Now what I'm also going to do is I want this on green on frame one, so I'm going to put this on green, like so, and I'm going to press I. And there we go. We've got our point light in there. We've got the color channels in there, and that is exactly what we want. Now what we're going to do is we're going to go to frame 18, and it's turned to red. So what I'm going to do is I'm going to put this on red, like so, and then I'm going to press I. Then what I'm going to do is I'm going to go now to frame 60, and we already know let's just have a look, making sure this is changing, so green to red. So you can see now on the light green here, changing over to red. And then what I want to do now is bring it to frame 60, and I still want it on the red, so I'm going to press I, and then I'm going to go to frame 70, and I know it swaps over on frame 70. So what I need to do now is change this over to the green, so I'm going to go to the green. I'm going to copy the hex value again. So Control C. I'm going to go then to frame 70. I'll bring this over frame 70, change this to green like so, and then press I, and there we go. And then it should stay the same now until we get back to frame 90. I just want to check yeah, I think it should stay the same. Now, let's see. Did I put anything on frame 90? That's the thing that I want to know. Let me come to this. Yes, we have. So we've got it on frame 90 still green, I think. So we'll actually do that as well. So frame 90, let's go to our light. Press the i button, and there we go. Now, let's grab everything on here. Right click interpolation constant. And then let's see what happens. So we can see the green light on here, flicks to red, goes down. Ls to green, goes up. Perfect. Now we want to do is point like, grab all three of these, modify it, bring in cycles. And then let's see if this works. Looks to red, down, green, back up, red, back down. There we go, guys. That is it. Okay, so let's go to modeling now. Let's save out our work. So file, save. What we'll do is we'll put this in with the actual machine. So I'm going to press M. I want to put it into the box packer, like so. And now what I want to do is I just want to make sure everything is running correctly before looking at what I'm going to be doing next. So all of these parts, so these cubes, what are these cubes? We can see here we've got a lot of parts on here that I'm going to grab pretty much all of these. I think it's all of these parts. Like so. I'm going to press N. I'm going to put them in the box packer. And now if I add that box packer, let's have a look. Yeah, you should have hide all of that stuff out of the way, which is great. So that's the box packer. Box maker, all of that is hid and out of the way. The oven, all of that is in and out of the way. The sprinkler, all of that is in and out of the way. Now, the sprinkler, we've got these two pots on here. I'm going to call these supports. So I'm just going to make a new one, new collection, and just call them supports we will need a few more supports, as well. Let's bring those in like so, and I'm also going to put my supports below the box packer like so. Now, if I hide those, that's that. Then we've got the sprinkler like so. Now you can see here, we've got a part here, which we don't want there. So what I'm going to do is put that in with my sprinkler, like so. Then we've got the stumper. So the stumper is all here. Now you can see these supports. Aren't really in anything. So what I'm going to do, I'm going to grab all of these. So these here, like so, and then these here, I'm going to put them into the one that says supports. So M, let's put them in to supports this one here, like so. Then we've got the squasher or the stumper. There we go. Then we've got the mixer. So let's hide the mixer, and there we go. Now, the other thing is these should be supports, as well. So what I'm going to do is grab all of these. And I'm going to put these into the supports, this one here, like so. Then I've got the mixer, so I can hide the mixer now. And then I've got the water adder. And then finally, I've got the flour mill, like so. And you can see here that this empty also wants to go in the flour mill. So let's put it into flour mill, and there we go. And finally, then we've got the conveyor belt, which is all these. Now, you can see with my conveyor belt, these shouldn't be in here. These should be somewhere else. T and this, what is this even? This is the support. This is the conveyor belt. These should be in these reused pots. So let's put them in there. So parts reuse. There we go. Nothing's changed on there. That's good. So now if I hide this, there's those parts, we should also, as well, put this in Ports reuse. So what I'll do is I'll press M, go to ports reuse, put that in. Then I can hide those out of the way. And Joe looking now, this one here wants to be in supports. So M supports, and there we go. And then we've got all of these parts now, got the human, and we've got the convey bell objects. So convey bell objects, we've got our chocolate drops, and we've got collection, which is just that and then conveyor belt. So now everything is as it should be. And what I'm going to do is these parts here, and the conveyor belt objects. I'm just going to move that down and drop it just above there, like so. And now what I'm going to do is just hide these two out of the way, hide my collection out of the way. And this is what we should be left with and hide the chocolate drops out of the way. And let's just have a good look at what we've got right now because then we can decide if we need to move anything around. Because the thing is at the moment, you can see if I press Space but let's hide our human out of the way, as well. Human reference, let's game out of the way. Let's hide this out of the way, and this is what we've got right now. So you can see our actual grabber is going to go round about here at the moment. You know what? I think, actually, it's going to look nice. If I put some supports in here, if I put some supports around here, I think having the grabber here still gives it still will make it look really nice, actually. So, yeah, I don't think, actually, I really I don't think actually, I need to move anything around. Now, if you do want to move things around, do what we did with windmill where you actually attach, you know, an empty to it, so everything moves along with but if you've got this four guys, you should be really proud of what you've done here. It is quite a complex thing to actually put this together. So what we'll do now on the next one is then we'll bring these supports in first of all, before doing anything else. So these supports from here. I think I'll make them a little bit thinner as well. And then once we've done that, we can actually make a start on the last machine. We'll also put this windmill back, so we'll do the supports, put the windmill back, and then make a start on the actual grabber. So let's save out our work, and I'll see you on the next one, everyone. Thanks a lot. Bye bye. Thanks so much. 84. Modeling machinery supports, starting modeling process for claw machine at the end of: Welcome back if we want to Blend the beginner's master class, the Cookie factory. And here we go. Now, I have seen a mistake, so I'm just going to show you how to fix that, as well. First of all, let's press the space bar, and you will see here. Hey, we have dough coming out of nowhere over here. Let's actually go in and fix that. So first of all, we'll grab this part. We're going over to animation if this happens to you, make sure it's because we had this on the automatic thing. So what I'll do is I'll come over to this site. And I'm just going to pull the animation forward just till it pops back in. And then what I'm going to do on this bit down here, just press delete. And then what will happen is, if you go back to modeling now, you should end up with everything working as intended. So let's see if it actually, as you can see, we've got double boxes here. But yeah, now you can see, we've got double on here, double on cookies and things like that, but it will write itself around. Don't worry about that. Alright, so all that bit looks really, really cool. Everything hopefully should be working now. Now what we want to do is just make sure this flour mill is in the right place because obviously, we want to have a grabbing machine over here. So what I'm going to do is I'm going to lift this part up, so I'm going to press space part. I'm going to come in and lift both of these parts up. So I'm going to lift them up into place. I'm also going to pull them back and just make sure the flowers you know, the flour bags are actually coming out of the right place. I also I've made this a little bit bigger as well, don't forget. So now I need to put it back into place like so, and there we go. And I'm also going to make sure it's just on the ground plane, which it is. Alright, so that's all looking good. Now, let's pres spacebar, make sure everything's working. All the sprinklers working. The spinning machine, everything is in the right place. And, yeah, that's looking good. Alright, so now let's first of all, before we do anything else, then, we'll save our work now we fix that. And then what we'll do is we'll come to each of these, and I just want to squish them in a little bit. So S&X, pull them in just a little bit, and then just level them up into the place where they're going to go. And what I'm going to do now is just make sure that these are in the conveyor. So you can see these are in the supports. So supports, that's where we want them. So what I'm going to do now is press Shift D, and I want to bring those to actually support this, as well. So all I'm going to do is I'm going to put round here, so I'm going to press seven to go over the top, make sure that it's in there. And then I'm going to actually have a support here and maybe another support, and then one support here. So Shift D bring in another support, and then Shift D, another support. And then we'll have another support going around here. So Shift D Z 90, spin it round seven, to go over the top, and then G just to get it into where you want it. So around there, I think it is perfect. Now, of course, these are way, way too high. So what we're going to do is we want to bring these down. The easiest way to do it is probably just to bring in a edge loop like so, and then you can come in, right click, mark a seam, grab the whole thing with L, and then you can just pull it down to where you actually want it. So something like this Looks good. And I probably should have gone away with doing that to start with, but never mind. That one looks good. This one needs probably pulling up a little bit. So we'll do the same thing anyway. We'll come to this one. Control A, bring it up, and then right click, Mocasm, come in, press the button and pull it down to where you actually want it, and then we'll do the same thing on this one, as well. So we'll press ControR, bring it up, right click, Mark asm, and then L and bring it up. Now, you can see here, L didn't work because I grabbed the whole thing. There we go. Let's pull it up. Keep going, keep going. T double tap the A. And there we go. Now you can see what a difference it makes. It actually looks like it's filled out a lot more now, and that's exactly what we're looking for. So now we're up to the final stage, which is going to be our grabber. This is the hardest part, for sure. And also, now we've got everything else done. The only thing probably we need is the floor. So we'll bring in our grabber first. Then we'll bring in our floor, and then you'll be able to see how it's all going to look. So all we'll do then is we'll press Shifteight. We'll bring in a cube. And what I'm going to do is I want to keep this to be, you know, kind of the right size. I want to get one of these. I want to put it on the ground plane, as well, but what size do I want it? And what height do I want it? So I'm probably going to want it around you know, this sort of size, something like that, and the height, so you got to remember on this one, most of this and most of this here is going to be glass, and then the bottom bit is going to be, you know, where the actual levers are and things like this. So something like this looks about right. Now, when I created this, I am creating it. You know, this is going to be you can either have it from this way if you want, or you can have it from this way. I think it looks better from this way, so a little bit towards this end. And then what we'll do is now we've got the size of it, and what I can do now is just grab this bit, pressure D, and I can bring it over into place where I want it. So just sit it on kind of the final a final one let's bring it into place. Pull it over. And then what I'll do is I'll come round now, and we'll pull it down, and then I'll come round to this one here. So I'm going to grab this one going all the way around to here and pull it out like so. Alright, so now we can just see these boxes creeping in, which is exactly what we want. And when we look from here, now we've got a good view of what everything's going to look like. And yeah, I think I'm actually happy with how that looks. The only thing I'm wondering is if I need to push that back a little bit, but you know what? I think we'll be okay with this. It's telling a nice story if I turn around. We've got everything in view, so that's looking good. Okay. Now what we want to do is we want to like I did with the windmill, by the way, if you want to move any of these parts around, I'll show you just on this one. So the easiest way to do that, we'll do it with this water adder. So I'm going to press pause, and what I'm going to do is I'm going to come to my water adder because we've sorted them out in such a good way, if you come in and grab all of these cubes, all of them, you can see that's the water adder. Press shifts, cursed or selected. Then you're going to press Shift A, and you're going to bring in a empty. So plain Ax is empty, press the S button. And now all you're going to do is re grab all of these again. Grab this empty last, and you're going to press Control P and Object Keat transform, and you're going to do that to make sure that whatever the animation is on there, it's still going to work. Now, I've done that. Everything is here now. If I press Spacebar, you will see everything carries on moving around. Even if I go to RenderVew you will see that batter still keeps moving round. You'll also see that this little dial in here still keeps moving round. Now, it's important, as well, to put this. So now you've grabbed this empty into the whichever one it was so the water adder, put it into there, and then it'll go right to the top because it's the parent of everything, and that way, you'll be able to move around whatever you need to. So now if you need to move these round or put them into somewhere else, you can actually do that. You'll just have to fiddle around with the actual conveyor belt. Okay, so now all that's bits done. Let's come in, and what we'll do is we'll bring in now a plane. So I'm going to bring in a plane. I want my plane to be roughly around here. It's going to have to be quite big this plane because this is going to be my actual ground plane. So what I'm going to do is I'm going to bring it down to the ground. So if I bring it up a little bit, so it fits just on there. So all these things are actually on there, and then what I can do, I can go over the top, put it on top jet mode so I can really, really see what I'm doing. And then what I'm going to do now is pull this out. So I'm going to pull this out round about to here, and then I'm going to pull this out round about to here, and then I'm going to pull this out round about to here and just set in the stage for how this is going to look. Now, I think that rounded edges do look a lot lot nicer, so that's what I'm going to do. I'm going to come in, grab each of these, like so, control shift and B, and just bevel them out and round, like so. And because these are the edges of the actual factory, I'm going to give them a few more edge loops, like so. And then what I want to do is I want to bring this in so I want to bring it in, wave the eye button. Don't go too far. So something like this. And now you can see I just have to make it a little bit bigger because of the fact it's cutting into the edges of these pots. So what I'm going to do, I'll come in and do what we did before and the other one. If I come over, you can see we can't do it that way. So I'll come this way, like so, and then I can pull it into where I want it. I can also do the same with here, so it's a little bit cutting through that little bit over there. So I'll do the same thing here. And then I'll also come round and grab all of these here. So same thing here, like so, and then the final bit, which'll be this bit around here and just pull it this way a little bit. Now what I can do is I can grab it going all the way around. So all shift and click. And then what I'm going to do is press E and just pull that up a little bit. So maybe I've gone a little bit too far, so pull it down. Like so. ContoA all transforms, right. Clicks that origins geometry. And finally, what I want to do is I just then want to pull the sides down. So I'm going to grab this side, Alt Shift and click and just pull them down like so, and there we go. Now we've got our floor. So now what we want to do is just go into our rendered view and the floor. Is going to be kind of the same with the rest of it. So first of all, we'll bring in the metal. So we'll bring in a metal, where is it, metal light, like so. And then this floor, then we'll actually come in and give this color, a different color, and we'll actually call it plus down arrow. And what we'll do is we'll bring in the factory blue first, and then we'll plus plus down arrow. And you know what won plus plus down arrow, actually, we'll click new, and we'll call it a ground factory floor. Like so. And then what we'll do is copy the blue. So copy material, paste material, minus off the factory. You'll have to do that in object mode, so minus it off, and then factory floor, what I'll do is now, I'll press tab and I'll actually assign that to the bottom of here. And then I'm just going to hop on over to my shading panel. We can see we've still got this on there. So let's move that out. We don't need that. We'll put it onto rendered view. And then what I'm going to do is just come round. And what I want is to have this black. So I'm going to put it on to black, like so. And what I also want to make sure is that it has a little bit more roughness on there. So I'm going to turn the metallic up to not 0.8 something like that. I'm also going to turn down that roughness and now you can see, look, that we can get some real nice shine on there, and that is what we're looking for. So it looks really, really shiny, really, really clean, and that is exactly what we want. Now, let's go back to modeling then. And on the next one, what we're going to be doing is we're going to be creating this actual grabber. It is a more complex animation on this thing, so we'll be working on that as well. And the other thing is, I want to keep the conveyor belt. So before I do all that, all I'm going to do is just close all of these parts off. You can see that this part here, ended up hiding, as well. So let's press M, and we'll make a new collection, and we'll call it grabber, like so. And then we'll also put this into the grabber as well. So we'll put it grabber, and then I'll also move up my grabber to be under my box packer, so under there, like so. And now I should be able to hide this out of the way. And that's what I should be left with making it much, much easier to work. And, of course, we'll be working in object mode. Let's say that all work, and I'll see you on the Next one everyone. Thanks a lot. Bye bye. 85. Creating frame for claw machine, keeping holes for preview of whats inside machine fo: Welcome back on to Blend beginnings master class, the cookie factory, and this is where we left off. Now, let's bring in, first of all, our collection. Let's change this over, and let's just discuss this because this one is actually the hardest one to create, not only in terms of modeling, but also in terms of animation. What I'm going to do is come over, I'm going to swap this over then for this one here. So we're going to build this in three stages. So the first part is this part. The second part is the top, and the third part is then this part down here, and then we're going to pull them all together. Alright, so wave the first part. Now you've got this. I'm going to hide mine out the way because I do actually have a reference on my screen, but you can keep yours there just in case. So what we're going to do is, first of all, we've seen that this is going to be roughly the height. We also want to make sure that the bottom of this. So if I press Control law, bring this down then, this can be the bottom where the actual levers are, and this then will be the top where the actual window is. So what I think I need to do then is just pull this up, then. So if I grab this part, I can then pull this part up like and then what I can do is I can split this off now. Now I've got the size in right. Now, it's up to you whether you want to, you know, make this kind of a little bit higher if you want, it's completely up to you. So what I'll do is I'll press Control plus. I'll press P selection, separate that off. And then what I'm going to do is Alt Shift click P selection and separate this part off, and now it's all separated into three parts. So now I'm going to do and we're going to hide this part out of the way and then going to hide this part of the way, and this will be the part I actually work on. Now, first of all, let's actually make the glass window. So the way I'm going to do this, first of all, let's press Control A, all transforms, set origins, geometry, and let's make this inner window before we do anything else. I'm just wondering if I should do the bevel first. You know what? We'll do the bevel first. So all I'm going to do is I'll grab each of these. So each of these corners, and then what we'll do is we'll press Control B and just bevel that out. I'm going to pull it down a little bit. I don't want to be bevelled quite so much. So something like this, I think, will look pretty good. What we'll do is we'll come to the inner part. So we're going to come to these parts here, like so. And then what I'm going to do is press the eye button and bring those in to where I actually want this actual glass. So a little bit further out, something like that, I think, will be absolutely fine. Next of all, then, let's bevel off these edges. So while we've got more selected, you'll notice I haven't done the back run as well. I've left that completely plain. And what I'm going to do is press Control B and just bevel these off like so. And there we go, now we've got a nice rounded kind of glass that we're going to have in there. Next of all, then, what we want to do is we want to actually delete these out of the way. So delete these three out of the way, delete and faces. Once we've done that, then we can press Control A, transforms, right click Set origins geometry. And finally, then we're going to be adding in A solidify, generate, solidify, and let's then bring it in. Let's bring it in. Like so, making it a little bit thicker like something we should end up with something like this. And inside here, then we're going to be putting an inner part and then the glass. So maybe even a bit thicker, maybe that thick, something like this. Alright, so far so good. Now, let's actually apply that. So Control A, right click, set origin to geometry, and then that's shade smooth tangle. You know what? I don't think I actually applied all the transforms. Then set origin. To geometry. Alright, that's looking good. Now, what we need to do now is think about this bottom bit because not only does this bottom bit come out, but this part here is also going to be in here, filled with actual boxes of cookies like this. So let's think about the bottom bit first. So what I'm going to do is press altage. I'll bring back this part. And I also want to make this a little bit thicker, so not only do I want to kind of round this, to make it a little bit thicker, and then I can actually create this inner part into here. I'm also going to hide this out of the way because at the moment that's not very useful. So what I'm going to do then is come to this part. I'm going to press Shift H, hide everything else out of the way. And for now, I'm going to delete the bottom out of the way, so delete faces. Then I'm going to press Tab, bring back the other parts. And then what I want to do now is bevel this off. So, again, we're going to come to these four parts. Like so, and then we're going to hit. Once we've got this, we're going to hit that bevel. So Control B, let's bevel it off to be round about the same as the other part. Now, once we've done that, then what I want to do with this is, again, control A or transform set origins geometry, and you will notice I've beveled it all the way round like so. And now what we want to do is we actually want to bring that out, so we're going to add in a solidify. And I'm going to bring bring it in there. Let's bring it out. Then that one's going in, as you can see, so bring it in first. And then what you want to do is change the offset to bring it out like so and then bring it in a little bit more. And there you go. Now you've got the bottom of this. That is looking pretty good. Press Control A, all transforms, right click and set origins geometry and right click and shades moove. Now, I just want to give this an actual bottom. So all I'm going to do is shift H just to hide everything out the way. And then I'll come in now, press Control R, left click and just drop that down. To somewhere like here, and then I can just press the F button and fill that in. So that is the bottom of that. If I press TH now, this is what we should be left with. Now what we want to do is we want to put some edges on these parts going around here. So let's come in, and you can see here that I don't actually want to grab the whole thing, so I'll show you what I mean by that, but first of all, I'm just wondering if it'll be easier if I just add in a shop. I think it will be. So let's come in. And all we're going to do is add in a shop there. So right click, not a shop sorry Sam Let's add in a seam and then come in. Can I grab this now? So, you'll see it's still grabbing it all the way through, which we don't want. So let's press Shift H again. And what we'll do now is come in, and instead of doing that, all we're going to do edge select, and then Alt Shift and click Alt Shift click and just go all the way around like so. You can also use Control Click as well if you need to. And we'll also go all the way around the bottom. So I'm going to Control click, Control click, and Control click, and finally Control click, right click and Mc Sm. Not that. No claros. Markosm. Alright, so now I should be able to come in, press the elbow just on this, and there we go. So now we need to do is just replicate that to the other parts. So this one, this one, this one, this one, and this one and this one, right click and Mc Sm. Now finally, we've got a mole in. So what we want to do now is just come in. Like so, like so. And then all I'm going to do then is, I think I'll press Shift and D. So Shift D, S and Z, bring them down, like so. And then what I'll do is I think we can pull them out from there. So E Enter, AlternS. Let's pull them out a little bit. Like so, let's press the Tabb right, click Shade Auto smooth Bangle. And there we go, There is our machine near enough done. And yeah, it's looking very rounded. I'm happy with how that looks. Now, of course, we also have the inner parts to do. Now we've done we need some glass in there and things like that and other parts in there. But I think for now, let's actually start on the actual top. So we'll get the top onto here. And then once we've done that, then we can start, you know, working on the outside of here down at the bottom, because I think we should build all of this before we actually start working on the inner part because that's the most complicated part. What I'm going to do is then I'm going to press TH, bring back everything, so let it come back, lth, there we go. Then what we want to do, we also want to round this part off and we also want to make this piggot. All I'm going to do is we're going to press S first. In fact, you know what? Control AHL transforms, set origins, geometry, then press the S button like so. Then what we'll do is we'll round these edges off like so. Control B, round them off. And there we go. And then what we can do now you can see that's looking pretty nice. Let's put a bottom on here because I don't think it has one on. So Alt Shift and click. Press the F bone, press L then. And what I want to do is just make this a little bit thinner. So S and E, make it a little bit thinner and then pull it down into place. Now, under here, you won't be able to see under here, but we have actually got some lights under here. So I actually want to bring those in. So what I'm going to do is I'm going to press Shift H. I'm going to come to the underside of here. I'm going to grab this underside. I'm going to press I to bring it in. And then what I'm going to do is press E and pull it up, and this will be where my actual light sauce is going to come from. We're also going to have some metal bars in here to basically move the grabber along and things like this. Alright, so now we've done that. Let's actually shave this off smooth. So shade smooth biangle. Now, I was thinking when I was doing the top of here, I could actually put, you know, a huge cookie on here or something like this. But for me, I just wanted it to look more like a vault where they came in and, you know, emptied the machine and things like that. I thought it was a little bit more fun, you know, than creating just a big cookie on here. So you can create a big cookie on here. I think that would look good, but I myself, I'm just going to press cussed to selected shift Day, and then what we're going to bring in is a cylinder. We're going to put it on 24. And then what we're going to do is pull this out into place where we're going to have it. I'm going to press SnsEad and then just drop it in, not to there to this point here. And then from there, what we'll do is we'll pull it up a little bit. So I'm going to press tab, tab, pull it up a little bit. And then what I'll do is just before we end then, I'll press E enter S, pull it out a little bit, and then E, pull it up like this, and then I, pull it in, like so, and then E and then leave it like this. Right, click Shade Smooth Bangle. Alright, that's looking pretty good so far. So once we come back then, we'll actually get this finished off, and then we'll work on the bottom part over here. Alright, everyone, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 86. Adding vault door to the top of our claw machine, modelling all parts for it for Blen: Welcome back if we want to blend and beginner's master class, the cookie factory, and this is where we left it off. Alright, so let's make then some parts on here. So what I'm going to do is, first of all, I'll bring this in, so I'm going to press the I button just to bring it in. And then what I'm going to do is drop that bike a little bit more. And then I'm gonna press the I button again and round this part, then we'll have some bolts going around there. And then what I'll do is press E to pull it up. Like so. And then we're gonna press the I button. And then E, and then the I just to make it a little bit interesting, as you can see, and finally, then E to pull it back. Alright, so we've got this so far. Now, let's bring in our where are the parts reuse. And what we'll do is we'll grab this one here. So these bolts, I'm going to press Shift D. And then what I'll do is I'll bring them to the center of here. So I'm going to press shifts and selections Cursor. I'm going to press seven just to go over the top, making sure they're in the right place. And then finally, what I'm going to do is bring them up. What I want to do is bring these out and make the bolts bigger. So first of all, let's bring out this, and we're going to put them right on, we can see right on this part here going around here. I also then want to come to my bolts. I want to make them much, much bigger. So S, let's make them bigger, like so, press the tab button, and now we can see are they going to fit in there. So let's bring them down. I'm going to bring all of them down into place. Like so, and there we go. Double tap the A. Yeah, I think that's looking pretty good. And you can see they're fitting in there very nicely. And then what I'm going to do is increase this. So if I come to my bolts, I can increase the amount of them. I want to bring them back one, bring them out more. So holding the shift boon, there we go. And that's looking pretty good. And now we'll think about this centerpoint. What I'm going to do is bring back my oven, and I'm going to steal this part here. So I'm just making sure there's a mirror on there. Let's actually just press Shift D. Like so, and then I'll just remove the mirror from this one, and I should just be left with this control A transform set origin to geometry. And then what we're going to do is shift S and selections cursor. Drop that in the center then and then let's pull it up to where we want it, so it's going to be up here. Let's make it a little bit bigger than that, so we're going to press the S button to pull it out. And then what I want to do now is bring up the center of here just to hide these kind of inner spokes. I'm going to come to the center, and we're going to press the I button, and we're going to press E and then I again, and then E and pull it up into place like so. Maybe, maybe that's a little bit too big, Alt Shift and click Alns, bring it in, and then let's have the centerpoint I and then E. And then finally, Control B, just to round that off now. If it's not rounding off, control A will transform, set origin to geometry, and then Control B, and you should be able to round that off nice and neatly, like so. Alright, so that is the top bit. Now, let's think about I definitely want a hinge on here as well. So what I'm going to do is I'm going to press Shift A, and I'll bring in a cube. I'll make my cube a little bit smaller, and I want the hinge going basically into here. So it looks as though it's actually able to open. And then what I'm going to do is press S and, like so drop that into place. Something around there. I think, you know what? I'll bring it up a little bit more, like so. Then I'll bevel off these edges now. Let's grab this edge and this edge, press Control B and just bevel those off. Now, this might be a little bit too thick, I think, what I'll do is I'll press L, S, and Y, bring it in. And yeah, something like this. I think that looks pretty nice. Right click, shade smooth biangle, tad button, grab the top of here, press the I button. And I'm going to hide this part here with an actual hinge. So what I'm going to do is press E, pull it down, so make sure you don't pop through this part. So it just wants pulling down, so maybe I've gone a little bit too far, so I'll pull it up to Tad. There we go. And then shifts, cursor selected, Shift A, and let's bring in another cube. Let's press the S button then. And then what I'll do is I'll bring it right to this edge. I think I'll have to lift up this edge a little bit more, so I'm just going to press Alt Shift and click. Just going to pull it up a little bit more. And from there then I should be able to get my hinging that's going to be over this side. I'm also thinking that I will also pull up this one Alt Shift and click. Let's pull up this one a little bit more. Because the way that we construct it, you can see it's quite easy to pull it all up. Now, let's press S and Y and pull it out, like so, and then let's finally bring it down, so bring it down just below there. L, just to pull it into place, so it's actually in there, and then let's bring this part back to let's create those actual hinges on here. So what I'm going to do is control R three, left click, right click. And then what I'm going to do is I'll press Control B, pull it all the way down like so, and we're just creating that hinge there and then E enter Alterns and bring those back. Let's keep bringing them back. Is it going to fit in there and actually look like we want? And what I'm also going to do, I'm just going to give it a try, but I'm going to see if subdivision surface. We'll bring that into what I wanted. Let's have a look, so generate subdivision surface. Let's put it on let's bring it up, first of all, as you can see. It's nearly there. It just needs some actual work. So we'll try, first of all, bringing the front in, so control, left click, right, click. Control, left click, right, click, grab them both, and let's now pull them up across. So S and Y on medium point and then S and Y, pull them over, like so. And then what we want to do is control left click, right, click. And just in the center of each of these. And you'll see eventually, once you've actually done that, if we press Control B and pull them out, now we're actually starting to get somewhere as you can see. And then finally, then we need them also on this part here. So I'm going to press Control LA, left, click, right, click, control, left click, right, click. And I'm going to bring these parts in. So S and Y, bring them in. And then I'm thinking this part here then. So this is the last part. So control art, left, click, right click. Control art, left click, right click. And then what I'm going to do is I'm going to press Control B, pull those out, and there you go, There is the actual hinge, and you can see that's looking pretty nice. It's a little bit, you know, what's the word for it? I'm just thinking, press S. Let's pull it down, make it a little bit smaller. Let's pull it up. It's a little bit chunky fied, and that's what we want because I think I can actually move this now from here. So if I press control that, left click, right click. And then what I want to do is put this on smooth or the rounded one, and then a shod, be able to pull it back, like so, double tap the A. And there we go. I think that's fitting in really, really nicely. I'm happy with that. Okay, let's make a start then on what we'll do is first of all, we'll apply our curve to these bolts. So object convert to mesh, so apply both for those. That didn't work, so let's come back. Where's my bolts gone? Where are my bolts gone? That's a bit strange. Let's bring them back. Let's go forward, then. And I don't know why it did that. They put them over there, I think, probably because there's an animation on there. So let's go back to animation. And there's the culprit. Let's move it back into place, see if it actually moves. No, it doesn't. So that is annoying when that happens. So let's just come down here, press delete. And then what we'll do is we'll grab the whole thing shifts and selections cursor, and the cursors not in the center. So let's put it in the center. So shifts cursor selected, grab both of these, shifts and selections cursor. And there we go. We've got them back. Now, it keeps putting this on so you can see it's on again. A I'm going to do is go down here, make sure that's deleted so you can see now nothing is on there. Now if we grab our bolts, hopefully, object, convert to mesh, and there we go. All right. So we've got those in. Let's delete this ring now that's going around, and let's just make sure that these are in the ground, so make sure that they're in there. We go. I might also just press S and E and just squish them up a little bit, make them a little bit different from the other bolts. And there we go. Now, we've got a bolt in there, but I'm not going to worry about it. What I'm going to do though is just rotate these round a little bit, so Rs, rotate them round just so they're more in line with this part here. Press the tab but come to this part and press, delete and verts, and that gets rid of that bolt that we can see in there. Okay, let's now go back to modeling. And what we're going to work on the next lesson, if I press LTH, bring back all of this stuff is this part here. So what I want here is I want it going into, you know, a part, let's say, a part on here. So I think instead of it, you know, coming down to this part, it should realistically be going into here because then it looks as though I can shove some, you know, kind of presents into this part here. Alright, everyone, so we'll do that on the next one. We'll put it into something like here about here. And then we'll have a room for the actual presents or boxes to actually put them in here as well. Everyone. Hope you enjoyed that. Let's say about our work, and I'll see her on the next one. Thanks a lot. Bye bye. 87. Working on the entrance for the claw machine and thinking how boxes come into it for : Welcome, Macon to the beginner's master class the cookie factory. Now, what I want to do is I want to, first of all, bring in a cube. So I'm going to press Shift Day. Let's bring in a cube. And what we'll do then is we'll pull this over here. Now, what I want to make sure is wherever I put this, it's got enough room for mysual boxes to go in place. You can see if I bring this up, so if I bring it up round about to here, you can see that I need to make this a little bit wider. I'm also wondering if this should be straight up as well. So if I pull this up without this on, and then it should go straight to there, and then I can actually make it a little bit flatter once it gets to here, and I think that looks a little bit better. All right, so what I'm going to do now is I'm going to come to my square again. I'm going to press S and Y and pull it out a little bit. Then what I want to do now is see where my actual box has come to. So if I press space bar, let's actually see. Is anything actually going to be running? No, it's not. So let's come up. And let's bring back everything. Conveyor belt objects. There we go. Let's put that on. Let's put all of these parts on. And then what we'll do is we'll actually start it from the beginning. So we'll go to animation. Let's put it in one, and let's go back to modeling. And hopefully now Things should start running, which they are. All right. So now we can see if I pause it there, this is roughly how much room we've got to actually make that, so not a lot, which is great because we want it to be kind of small on this end. So all I'm going to do then is I'm going to grab the whole thing, and I'm going to press Sn E, pull it down. And then what I'm going to do is put it just under there. So it looks as though this is actually on there, and I'm also wondering whether I can get away with pulling it a little bit further down. I'm going to press S and, like so. And I want enough room to make sure wherever I'm pulling this that we've got an edge going around there. So what I'm going to do from here is, I'll pull it up a slight bit, like so, and then I'll press the I button and bring it in, like so, and there we go. And I think that's going to fit it pretty nicely. So now I can do is I can press the E button and pull this back like so. All the way back. And I can make sure, as well, that this part on here, I don't want it actually being there, so I want to pull it all the way back like so. I also want to make sure that this part is not stuck in there. We don't want to go back that far, so just into there, because on the inside, it's actually going to look as though there's another part on here. So we'll do that in a minute. First of all, though, let's finish this part. So something like this, we're also then going to steal these parts here, so we're going to come in and I'm going to steal this part. You can also see. Yeah, that's okay, actually. We're going to press Shift D. And I'm going to bring it over. And the other thing is, I'm gonna bring it over, like so. And the other thing is, if I spin this round, I want this to go then into there, onto there, but I think this is still a little bit too far forward. So all I'm going to do old shift click, pull it back a little bit like so, and then let's get this part in. So if I bring this, let's have a look, we can actually hide probably the box maker and all this stuff away. So let's hide it all the way, not the grabber. There we go. Now we can actually work a little bit easier. Let's also You know what? I need my box packer back because I need to put this in with the grabber. So, drop it into the grabber, hide the box packer out the way, and there we go. Let's drop this down. So we'll grab this part here. Let's drop it down into where it's going to go, so it's going to go round about there, and then I'm going to press tab, L, bring this up into place. I'm going to drop it back as well. And then I'm going to just line it up like so, and then S and Y, pull it into place. And then what I'll do is I'll grab these parts now. So I'm going to grab all of these parts, pull them over into place like so, and then pull them back. There we go, and then we'll grab the bottom. Now, there is another way of grabbing the bomb. I don't want to go through and just grab all of these. So what I want to do is face the forward, which is Control three. We can see that we've got our conveyor belt in the way at the moment. So let's just hide that conveyor belt out of the way. Let's also what is this? This is the supports, I think it is. Yes, supports. Let's hide those out of the way. And there you go, now you can see we've got this. And then what you can do is you can go onto wireframe, double tap the A, and then just press B for box select and just grab them all like sewn you. See now it's grabbed them more like that, put it back on the object mode, and then we should be able to lift them up into place like so. Okay, so now let's bring back our conveyor belt. So conveyor belt objects, conveyor belt, there we go. And now you can see that's looking pretty nice and they should, let's see, disappear into there. So we want to make sure they'll go all the way through before disappearing. So there you go, and now they're disappearing into there. Now, the other thing is, these are coming really, really thick and fast. Do we want them so fast? Decide if you do because if not, you can just come in and turn down where is it this one here, the drop intervals. Also make sure they sat flat on there, and I think they are. And now from there, let's actually work on the inside of here. So if I just grab this at the moment, we should, if I put it on Xray, have just this back here. I can press Shift D then and bring this forward. Through there, turn it off, and there we go, we have something to work with. Let's also split this off, so split off selection. And let's now come back to this part. Control A or transforms set origins geometry, and let's put a little bit of a top on there. So all I'm going to do is I'm going to press Control LA left click, right click, Control B, and just pull it out a little bit like so, and then Control A and pull this one forward. And finally, let's pull this up with E like so. Alright, so that's that part. Now, let's think about the inner part. So let me just create here. So we need a box that's going to go this side where the actual presents are going to drop into. We can see the size of the presents are going to be like this. So what I'm going to do, first of all, I want to press Shift desk c to selected. I want to press Shift date bring in a cube, and I'm going to make it much, much smaller, like so. Let's get it to be the right size first. So we're going to pull it down basically to the floor. And what we want to do is the boxes to drop into there. So it wants to be probably a little bit bigger than that. So lt, shift, and click lns, pull it out just a little bit, something like this. And then what I want to do now is grab the top of it, press the i button, like so. And then what I want to do is bring it down into there, and that is where my box is going to drop down. Now, while I've got it, I might as well grab this part. So shift D. Spin it around, so's 90, spin it round again. So X -90 just so it's facing the right way. And then what I want to do now is grab this one. Control A, or transforms right, clicks origins geometry, grab this one then Control A or transforms origins geometry, and then shifts selections cursor. No, we don't. Grab this one, shifts cursor selected, shifts selections cursor, and there we go. Now it's actually in place. Now we want to do is just make this kind of drop. So let's put this in here. So when it drops in there, it actually looks as though, you know, it's dropping through something. Like this, and then all I'll do is delete a couple of these. So L and L, delete vertices, and then grab this one, L, and then press S and X and bring that in like so. And then finally, I'll just grab each of these, and I'll pull them into place first. So pull them into place, like so, and then I'll press S and X, pull them out, holding the shift board. And then what we'll do is just grab the back of them and pull them up, and then this part is pretty much done. So let's pull them into place like so. Now, I'll grab my box, and I'll join it to these parts because all we've got on there is a bevel, so control. J, join them together. And then finally, one thing I forgot is this is probably a little bit too high. So let's come in L, L, L and L, and drop it down just a little bit so something looks. So you can just basically see it. Then what we'll do is we'll drag this over over to here. So if I pull this all over now, we should be able to put this into place onto here and then the box. So grab it or grab the boxes, pull it up into the air, and then drop it through into here. So probably want it, you know, near the actual glass. Like so. Alright, so far so good. So we've got the place the boxes go into. We've got the place the actual gripper will drop them into. And now what we want is the place where the boxes, once they go through here are going to come out, you know, into the actual machine. So let's press let's first of all, press Control A or transforms, set origins geometry, press the S button. And what I'm going to do is just pull that back then just into there. So just so it goes through, I'm going to press tab then, A to grab it, and then E, let's pull it out into place. Like so. And then I'm going to press the I button. And then I'm going to press the E button to pull it out. Still want to make sure that these boxes are the right size, so you can still see it's going to go through there. And then finally, I just want to press I and bring it down and then press E and bring it all the way back. Like so. Keep going, keep going, keep going all the way back just before we get there because we can have that hole in there. All right. That's looking good. I'm thinking maybe maybe I want to pull this out a little bit more. So all I'm going to do is l shift and click. And I'm thinking that if I pull you know what? I'll just do it like this. So control, left click, right click Moken and then we can actually you know, what can we actually grab it going all the way around? Yes, we can. So now I should be able to pull that all out, as you can see, and then the hole can go back a little bit further just before there. And there we go. All right, so let's just put a top on here, and then we finish this. So what I'm going to do is press Control R. Left click, right, click, press Control B to pull that out. I'm going to move then this line over. So Control, Shift, and click, move it over, like so. And then finally, I think I want to bring just this one in. So S and Y, let's bring it in, like so. And then what we'll do is we want it to come up. But what I'm going to do, I'm going to press Control R, bring in another one. And then we're going to press E, bring it up, so I'm going to grab this part then, press the F button, and then I just want to fill these in. So if I grab this one and this one, and press F, and grab this one and this one, press F, and we end up with something like this, controle or transom set origins, geometry, which I think is looking pretty nice. Everyone. So I hope you enjoyed that one. Let's say that all work as always. And what I think we'll do on the next one then is we'll get to work on these levers and things like that. And then finally, I think we'll actually get some boxes in here. So I have actually added a new geometry node to the download pack. It's called our stacker node, and you'll see once you actually go in there when we come to that part that it's in there now. By magic, it's actually in there. But, yeah, it will be there for you to use as well. Alright, everyone, Sope you enjoyed that. See you on the next one. Thanks a lot. Bye bye. Thank 88. Modeling claw controls for the front, using crate stacker geometry node to stack pile: Welcome back, everyone to Blend and begin as master class, the cookie factory, and this where we left it off. Okay, so now, let's think about this part here where the actual presents or boxes come out. So what I'm going to do is I'm going to press Shift A, and I'll bring in a cylinder, make sure it's on 24. As always, we're going to rotate it round on the X. So RX 90, let's rotate it round. Let's pull it into place. And then what I'm going to do is press the X button, press S and Y, and then I'm going to pull it out. And this is all this bit's about really is having a little bit of fun. I'm going to press sen's E and pull it up like so. And you have a lot of fun once you know what you're doing. It's a lot more fun. And what I'm going to do then is pull this bit back because basically you can create whatever you want, like so. And then what I'm going to do is press I. You know what? I'll press I on both of them. So I just want to see through there. So I'll just press I on this one and this one. I'll press I like so. And there we go, and then I'll bridge edge loop. So bridge edge loops like so. Now, let's turn that off, and then what I can do is I can press Control R, bring in an edge loop just to there, press the F button, and there we go. And now I just want one bit that's going to be here. So what I'm going to do is I'm going to press Alt Shift and click F, and then Y just to split that off. And then what I should be able to do is make a tiny bit smaller and pull this up like so. I also want to bend it a little bit. So I'm going to press E to pull it out and then L, pull it back. And then I'm just going to bend it on the X. X, just bend it a little bit, like so, and then pull it back, and there we go, right, click, shade Auto smooth. All right, that's that bit done. Now, let's think about our actual gears stick. I'm going to press Shift desk, c to select it just to put it there. Shift date. Let's bring in a cube. Let's pull it over. This will be kind of the right height, actually, so that's looking good. So what I'll do is I'll just come to the underneath of here. If you can't grab it, just go put X ray on, and then you should be able to grab it in face leg and then just pull it up to where you want it and turn that off. And then going to pull it out. So I'll want it all the way out, jaws to here just before it gets there, like so. And then what I'll do is pull it back. Into this part here. So it needs to be a gear stick on here, so now I can grab the underneath, as you can see. And then what I can do now is I'll make you a bit chunkier and then I'll press the I but to bring this in. And then what I'm going to do is I'm going to pull it back into that place, press E to bring it down. And then what I'll do is bring this back. So if I bring this back a little bit, like so, and there we go. Now, let's set up it for the couple of gear sticks on there. I'm also thinking, maybe maybe I want to pull it out a little bit more, but we'll actually see that in a minute. So S and X, let's pull it in a little bit. Let's come in now. And we'll press I to bring it in. Like so. And I'm just thinking I will also pull this back, so grab this one. Like this, pull it back into place. Like so. And then what I'll do is I'll press E and pull this down. Js to there, like so. And then finally what I'll do is, I'll bring in an edge loop on here. So control, left click, right, click Control B, pull that out, E, then alterns, pull this out, holding the shift bone, like so make sure offset even is on. And you can see that didn't come out properly. You can see there it's bending on here. We don't really want that. So what we're going to do is press the S button to pull it out. And I can also see that it's probably to do with the fact that I've not reset my transformations. So I'm just going to press Tab, reset all the transforms, set origins geometry, and then let's try that again with old S, and you can see it's still bending. Let's press the S button. And yeah, it's still bending a little bit. So what that means is I'll pull it out there, press S and Y, and then we'll pull it out this way instead. And we'll get it done regardless. And now you can see that's what we've got. Okay, that's looking good. Now, these actual gear sticks. So first of all, let's press Shift desk Custer selected. Let's then press Shift D, and what we'll bring in is a UV sphere. And as always on UV spheres, just set this to 16. Let's right click Shade Smooth, and let's have a look at that. Okay, I'm happy with how that looks. Then what I can do is I can bring this up and into place. Now, these things want to be quite chunky, so you can see here, if they look like this, this is quite good. And what we'll do is we'll come in. We'll get rid of this centter bit again. So just grab one of them, C, bring it down, and then you should be able to select them and then delete faces. Before I do that, they'll think, actually, I'll bring it to here. So I'll just press Control plus, delete and faces. Then what I'll do is now I'll come in. I'll press Alt Shift and click and press the F button. And then what I'll do is I'll press the I button. Bring it in. So E, bring it in a little bit. I, bring it out, and then now make your stick. So if I come down, E and Z, make my stick going into place like so. Now, I do need to put this now into position. So if I put it around here, like so, then what I can do is I can create the round part that's going to be underneath for you. So if I press shifts cursor are selected. So shifts. Like so Shift D. Let's bring in then a cylinder, press the S button, S and z and then S again, and bring it down to where I want it. So something like this. Make it a little bit bigger, like so S said, and there we go. Let's now grab the top of this. So we're going to press I and then bring it in two places. Right click, Shade Smooth Bangle. And there we go. Alright, so they're looking quite chunky, as you can see, and that's exactly what we want. What I'm going to do now is grab the center of here, so shift desk, cursed or selected, grab both of these then, right click and set origin to three D cursor, and now finally, let's add in a mirror. So add in a mirror. And let's just now copy this one onto the mirror. So control. Copy modifiers, double tap the A. Finally, let's actually shades smooth. There we go. Alright. There is our two little knobs in there, and I'm thinking, let's actually grab them both. Press the tab, press A, and just move them this way a little bit. And, yeah, that's looking pretty nice. Okay, so now now, we need the actual boxes in here. So we have our boxes in a collection. We've got them. Let's have a look where they are. So we've got them under chocolate drops, let's go down to belt Objects. So we can see here we've got open boxes and closed boxes. And, of course, the one we want is closed boxes. So what I'm going to do now is I'm going to create a cube that's going to go right in the center of here. So if I come in, just grab the center, shifts, curse to selected. Shift A then. So tab first, though, Shift A, create a cube. I'm going to pull this cube up to where I actually want it, and then I'm going to make it bigger with the button, going out to maybe I'll pull it up to there. Now, we can reduce this in real time, so don't worry about that. Let's just get it where we want it first. So something like this. Then we're going to do is press Control A or transforms, set origin to geometry. Next of all, then what I want to do is. And now I want to bring in that new geometry node. So let's head on over to our resource pack. So now you'll see in our resource pipe, there's one that's called blender stacker node. Let's double click that, let it load up. And then you'll see within there, there'll be just a cube in there. So you can see this cube in there, and it's got a create stacker on there. Now, I've already showed you how to use it with Asset Manager, and you can also append things. So that's what I'm going to show you now. So you can see it's there. Let's close that down. So don't save, and let's go now to the other way of bringing things in. So file, append. And what we want to do now is find the actual geomete node. So here we are. Blender stacker, double click it, and the one we want is under node and then under there, you're going to find all of these nodes, and you can see crate stacker oh one is here. Bring that in. And then what'll happen is if I now go and press Dot over here, let's see if I've actually brought it in. Where is it? Should be brought in somewhere. And I'm just trying to see where it's actually come in. Should actually be in the center. Let's just see now if I come to this, add geometry node, click the down arrow. We've got the crate stacker in here. So we have got it in here. I'm just wondering. I think it's just brought in the geometry node, actually. So it's not brought in that cube, just the emture node, which is really handy. Alright, so now, how do we use this then? First of all, we'll turn off hide box. And then what we're going to do now is we need a collection, and the collection is going to be closed boxes, and let's bring that in. And there we go. We've got a load of closed boxes in here. Now, you can see that the size and scale of these is not right, so let's bring them down all the way down. In fact, you know we'll put this on something like we've got a big gap between them, as well, and loads and loads of problems. Let's first of all, put it on 200. 200 particles instead of 1,000 because it doesn't make sense to have them that big. What I'll also do then is turn down the scale. So let's put the scale on let's put it on note 0.1, something like that, see if that actually brings them down in scale. Let it load up. There we go. If I press dot now, we can see these are the boxes. Now, still, they're way way too big. They want to be more of this size, and we can also see the particles are actually creating it, so it's very, very hard to work with. So on the next lesson, what we'll do is we'll save out our work now, so let's go to File and Save. And on the next lesson, I'm going to show you exactly how to work with this. Alright, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. Thanks so much. 89. Modeling claw hand with all the little gears for Blender Beginners Masterclass: Welcome back, everyone to Blend Beginner's master class, the cookie factory. Now what I'm going to do is rather than do it like that, I'm going to do is just take this off a minute, come to my boxes, and just make sure we reset the transforms, set origin, to geometry on them both. Now, let's press Spacebar, and hopefully we can get the size of our boxes. Here, this is the size that we actually want them. Now I'm going to do is I'm going to come back to this box then, add in a geometry node, and what we're going to do is go two geometry nodes, and the one we want is going to be called the crate stacker like so. And there we go. Now, what I want to do now is put this on something like 200 let's then put this on gap between on naught 0.67. Oh, let's put the scale on naught 0.41. Oh, and let's put the overflow on minus not 0.28 oh, something like this. And then what we'll do is we'll come in now, and what we're looking for is the closed boxes. So these closed boxes here, and there we go, now we can see we've got all of these in. Now, what we can also do now is change the seed, so you can actually change the seed, like, so you can see we've got all these boxes in. Now the thing is, you can see they're a little bit um, smaller or bigger some occasions than these. So what I want to do is just change the scale, make them a little bit bigger. Like, so just to match that, and there we go, and then we can actually change the seed. Now, the good thing about this is I can actually come in to my box. And what I can do is I can come to my box, grab the top of it, and pull it down, and you'll see that it actually starts to bring them all down, hide the box out the way, and there you go. You've got a load of boxes in there. Now what I just want to make sure is none of these are actually on the outside. I also want to make sure that if we come in and just unhide that box again, we can make this box a little bit bigger, so make it a little bit bigger, like so hide the box again, and then they're gonna come up to the glass and look as though they're actually leaning on the glass. Now I can also see that the bottom of these is actually through the floor. I don't really want them. I want to make it nice and tidy, so I'm just going to put them up, so none of them are through on the floor. And then what I'm going to do now is pull this down a little bit and bring them just below there like soap. Now, what we definitely don't want is a box sticking out of there. So let's hide. Let's see now what they look like. And that is looking really nice. Now, you can see all that work was done for us. We can also change the overflow so it can actually bring them up like so. We don't want any boxes sticking in any awkward places. So that's what I'm trying to actually avoid. And then once you've done this now, you can actually change this into a mesh and get rid of any of these boxes that are causing you issues like this one down here, for instance, the stuck in or you can actually change the seed. What I'm also going to do is I'm going to unhide my box once more to cause just so I don't cause myself extra problems, I'm going to come in and grab the bottom of here. And then what I want to do is pull this up, so I can pull it up all the way up here if I want to, but I'm not going to pull it up all the way up there. I'm just going to put it around there, hide the box again, and there we go, now, we can see the floor in there. We don't really want that. So what I want to do now is pull it down maybe a little bit or change the seat. So you can see now I can pull it down and hide everything out the way. And that is looking good. I can also come in to this edge here as well, so I can come into this one. That off and move them over just so they're not sticking in any other places where I don't want them, so I think, You know what? I think I've solved most of my problems that I've got. Now, as I said, you can come in now and make sure you've got it grabbed, go to object, convert to mesh, and now they're all converted to mesh. Now, you will see when a press tab has 214,000 polygons in here, so quite high. Now what we can do is though we can come in and grab, let's say, all of this one with Edge leg. So just make sure you're grabbing it. We don't want to do too much of this, of course, because this actually causes its own problems. So what I want to do is just press G, and we don't want to actually grab all of that. We want to. I'm hoping that I should be able to just grab this, and there we go, and let's pull it into place where we actually want it. And now any others that are causing us problems, this one in here, for instance, this one in here, they are causing us a little bit of problems as well. Let's come in. Let's actually separate this out first, so shift age, and then we can come in and grab all of these parts. Like so, and you know what? With these, I'll either move them or simply delete them. So I'm just going to move them over. Like so. Let's press tab, oltge, bring back the other part. And there we go, I think that's going to be good enough. We do want it obviously random. Last one, actually, we'll move this one as well. It's going a little bit too close in there. So I'm going to come in L. Pull it over a little bit or we can even rotate it round. So let's rotate. What is going on with that one? Press Let's move it over. I don't know why there's two in there, but they've actually duplicated it over. Let's delete that one. So delete verses. Okay, you know what? That looks good enough. Yeah, that's enough, actually presence in there. So I think I'm actually happy with that. Okay, so now what do we need to do? We need to actually work on our actual gripper. So our gripper is going to be coming down here. It's going to be grabbing something. It's going to come and it has to move around, and it also has to open up. So we want it to be chunkified and still actually serve a function at the same time. So that's what we need to do. So what I'm going to do now is I'm going to come in. I'm going to first of all, save my work, so I'll let's save it out. And then what I'm going to do is I'm going to come in and I'll bring it in here actually. So shift day. Let's bring in a cylinder, make sure it's on 24. And then what we'll do is we'll come and rotate it round. Now, at the moment, we're not going to worry about scale or anything like that. We can scale this all down once we've actually finished. So we're going to press R X 90, scale this down then to where we want it. And then what we'll do is we'll keep it actually this size for now. And what I'm going to do is I'm going to come to the inner and outer. But this one in here and here. And then what I'm going to do is press I, and then I again, like so, and then I'm going to press Alt Shift and click Alt Shift click, enter lns, and just bring that out a little bit. Like so. Okay, so now I can press Shift S, cursed to selected. I can also write click and Shade Smooth Bangle. And what I'm also going to do is I'll just add in generate a bevel. So we'll put it on North point north three. Like so. So we've already got a bevel in there and got it going, bevel off all these parts. Alright, next of all, then let's put the top on here. So mesh, cylinder, make it a little bit smaller, bring it up into place, and then sen's head, bring it down, like so, and then what I'm going to do is grab the top, press the I button, press E, like so. And then I'm also going to press I and then E and bring that in. And then finally I, bring it in a little bit, and then E, I'm going to pull this up wherever I need it into place. And then I'm also going to come in press Control plus, and I'm going to press P, separate that off. And now I'm going to press right, click Shade Auto Smooth. And finally, we'll just grab this bit, press Control L, and we'll copy modifiers. There we go. Alright, all that done so far. So now, we need the other side up here. So coming down to here, we want a big, large gripper. So what I'll do, first of all, is if I press one, I can now bring in a cylinder. So Shift A, let's bring in a cylinder. Let's spin it round on the X. So X 90. Let's make it smaller, like so. Let's bring it into place roughly where I want it. So somewhere like here, and then I can put you know, the bar going across there. And then what I'll do is I'll press Shift D, and I'll bring it in. To here. So we can see now we've got it this kind of scale at the moment. And you know what? I think that's going to be the right size. I want the bottom one though to be a little bit smaller. So just grab it going all the way around there, alter this, and then it'll just mean that you keep the actual width. That's what we actually want. And then what we want to do is bring in these parts now going across here once we've done these. So what I'm going to do is I'll grab both of these. I'll press Control J. I'll grab this one and this one then. And then what I'll do is, I'll press I and then E enter Alness. Let's bring them out a little bit. And then I and then E enter Alness. And this time, we're going to bring them in. Like so. Alright. You know what? I don't like them like that. I'm going to do it the other way. I think I will bring them in instead. So let's go the other way, actually. So all we'll do is we'll bring them in now. So E enter loness. Let's bring them in, like so, and then I and then let's bring them out, E to lns, bring them out. And then finally, what we'll do is we'll press Control B and bevel them off. Like so. Right click shade or too smooth. Yeah, and they look much, much better now. Now, let's press Control L on here and we'll copy modifiers. And then what we'll do is we'll start creating these parts that are going to be in here. And what we need to do is, as well, I need to make sure that these are thin enough where they can actually have two ones. So if I go over the top now, you can see this one's right in the middle. I'm just going to bring it over, so shifty. I'm going to bring it over to here. I'm going to put it in place here. And then what I'm going to do is press shifty and bring it over to here. Now you can see, look, they don't actually fit in place, so I'm going to bring it there. I'm going to grab all of them now. So all of these. Devens go over the top. I'm going to make sure they're on individual origins, and I'm going to press S and Y and start shrinking them down like so. And then that now is going to give me a really, really good idea. Of where I can actually put them. So now you can see that these are going to fit into place. And now we know we've got the right scale on those. All right, so so far so good, as I said, on the next one then, we'll start bringing in the metal pots on here, and then we should have these finished by the end of 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. Thank 90. Modeling shape to better fit the claw to pick up present boxes for Blender Beginners : Welcome back everyone to blend the beginner's master class. The cookie factory. Now, before I go on, you know what? I forgot a bit on here. So let's actually come in. Let's put this up. We'll put this up. Parts reuse. I think most of these parts actually have gone into there, but anyway, we'll put on our oven in a minute. And there we go. That's the part that I want. Let's press it, and we'll put that into our grabber. There we go. I'm looking at this, thinking there's something actually missing. Alright, so now we've done that. Let's actually make this grab a pot. So what I'm going to do is I'm going to bring in a cube. So shift date, let's bring in a cube. Let's make it a little bit smaller. And what we'll do is we'll pull that then into this part here. So I'll make it a little bit smaller still. I'll bring it out a little bit, like so, and then what I'll do is, I'll grab it and pull it into place into this part here, like so. And I think I'll also pull it up a little bit. And then we go, grab the top of it, press the e button. And I think I'll do this all at the same time, actually, because I want to make some little parts on there. So what I'm going to do now is press Shift D, duplicate that. And I should be able to press. Let's change the scale back. That's the one thing, actually. So what I'll do is I'll rotate it round first. So R Y 90. Let's put it over here. And then this can be used for the bottom bit. So if I press one, I can bring this then into the bomb bit, make it a little bit smaller, of course, and then pull it up into place. And then what I can do is now I can actually bring this Oops, one, into the place where I want it. So here will be the gripper. And then what I want to do now is come in, grab this edge, press one again, and then bring it down like so. And there we go. We've got a nice gripper on there. We can make an inside on here as well. And now let's use it again. So all I'm going to do shift D. Spin it round. So RY 90. Let's bring it down into place. And we just want to straighten this up now. So if I put it into here, I can then come underneath, press three on the keyboard, one, and let's put it into place where we want to something like this, let's bring it down, and let's come round to this side and bring it up. And there we go. There is our gripper. So now I should be able to grab my box in the in part of here. If I grab one of these boxes, so what I want to do, you can see the size of this box. So if I bring this over Shift D, we're just going to duplicate and just measure it up to make sure that this is close enough. And then what I'm going to do is press the S but just to make it the right size as this one. You can see now it's the right size as this box here, roughly, that is. And then what I want to do is bring it round. I want to spin it on its side, so RY 90, press one. And then what I want to do now is make sure that when I've grip this that it's actually gripping it, so you can see at the moment this is not right. So shifts selection cursor. Let's put it right in the center, then where it's going to be gripped. So here's where it's going to be gripped. So I need to now move this a little bit over. So I would say that I'll move this whole thing, so I can join all of these together now because I've got them done, basically, so I can go Control J, join them all together, and I'm not going to do it that way, actually, because First of all, want the modifier on. So Control A, copy modifiers. Control A or transforms. There we go. Now they're done. Right click at origin, two, three D cursor, grab both of these then. All of these press Control J, join them together. And then what I want to do now is just rotate them from here as you can see. So R, Y, rotate them, and there you go. Now it will be gripping from the right actual place. Now what I want to do is I want to finish this off by putting some things on the outside. So what I'm going to do is I'm going to come I'm going to grab each of these then and I'm going to press the e button to bring them in, like so. Keep going, keep going. And then what I want to do is press Enter alters to pull them out, like so, and there we go. That's looking quite nice. Now, because these are going to be moving outwards, I just want to be careful and I want to pull this down this way a little bit. I'm just going to put this on normal, and then you'll see I can actually pull this down this way. And then I've got this one which is fine, and I've got this one which definitely is not fine. I want to pull this one down to here. Like so, and then I'm looking, that's the little bow in there. That's no problem. Now let's do the inside of this one. So we're going to do basically the same thing, so I and then E, and I'm going to pull it back this way, so into there, like so. The inner parts of these I'm not actually going to do anything with. So now then we just need to put it over the other side. So if I delete these out of the way, this is all joined up, so I can just press Shift D. Tab, A, move it over, and that's not going to work, so let's put it onto Global. Move it over, and then R z 180 spin it round. Now you can see that's not spinning I want it. So what I'm going to do is just put this onto medium point and then RZ 180 spin it round. And let's now pull that into place. Like sewing. You can see we've got even gap there. Now, let's go over the top, and what we're going to do is we're going to move it over here, like so. So let's grab it again. So now I'm going to move it over here, like so, and then we're going to press Shift D. I'm going to move it over this way. Like so. And now you can see that's grabbing it very, very nicely, and that is exactly what we want. Okay, so now we've done all of that. We can basically save this box. I am going to save this box. I am going to be using it for something. And what I'm going to do is just put it in with a gripper. So, put it in with the grabber, sorry, not the gripper, and there we go. And I'm just going to move that to the side. For now. Now what I want to do is then I want to get this to be kind of the right scale in the right place, all of that other good stuff. And what we can actually do is now we can join all of this together. So I can come in, join all of this together with these pressing Control J, and there we go. Press Control A, or transform set origin to geometry. Now, let's get it to be then the right size. Because I was being silly, I actually got that we need to actually get it to the right size first. So anyway, let's come in, and what we'll do is we'll get it to be the right size first, and then I'll just have to move these around just a little bit. Never mind, not to worry about that. So let's bring it in. We'll make it a little bit smaller. It's still way, way too small. And that, to me, looks about the right size, and we want it to be roughly in the middle. So we want it to move along like this so you can actually see it from here. If you put it further up, you're not going to be able to see it. And what that means is now, if I bring my box here, let's make sure, first of all, that this is, you know, one of the around about the same size. Can I get away with making it a little bit smaller cause that is going to help me? So, something like this, I think will help me. And then what I'll do now is I'll put it back into place, and we'll just measure it up again. As you can see, we'll measure it up what we'll do is now pull these out again. So all I'm going to do, I'm sorry about that everyone. It's my mess up. What I'm going to do is I'm going to grab all of these. I want them right in the center here. So first of all, actually, let's grab this. So shift desk, cursor selected, then grab all of these. What I'm going to do now is I'm going to press the little sideways V, I'm going to go to three D cursor. And now I should be able to just press R and Y and just move it out to the side of this box, so it's gripping it properly now, like something like this. And then I'll do the same thing on all of these. I'll grab all of these. I'll grab all of these. And the inner parts, like so, I'll press one, and then I should be able to press R and Y and move those out, as well, like so. So it didn't take long to actually fix it. Alright, so now let's put that over there. And what I want to do now is I want to make the end on here. So the top part up here. Now, no one's really going to see this. So what I want is kind of, you can see here this is let's go to the roof again. You can see here that the inner part on here, where it actually goes in, is not really right. So let's come in, Alt Shift click. Let's see if we can grab it going all the way around. Alters, let's bring it in, so it actually goes over there. And now I've got a little bit of a problem. In the top bit doesn't want to go in properly. So let's actually see what's going on there. First of all, though, let's press Control's and just go back. Let's isolate this out, and let's see why it's gripped over there. There we go. That's the issue. So Alt shifting and click, Alters. Let's bring it in this way, first of all. Let's now press tab, AltH, bring back everything. And we definitely want to bring it in a little bit more than what it is at the moment. You can see. It's not far enough in, so I'm going to bring it in just a little bit more, like so, and there we go, because I'm going to have a light in there, but I'm also going to be having some parts in here as well. So now, what I'm going to do is, first of all, I'll make the top of here. So what I'll do, I'll come to the top and I'll grab this top here. And then what I'm going to do is press E to S. We don't want the little sideways V there anymore. We want it to be on individual origins. Press the S button, and then I'm going to pull it up like so, and we want it going far enough up that it's going to be into this part here. So I think first of all, what I'll do is we'll press shifts cuss or selected, tab Shift A, bringing a cube, and we're going to make this cube smaller. And where is this going to fit in? So it's going into the roof here. That's what we're looking for. It's going to go into the roof here. And then what I'm going to do is press SNY and pull this out as you can see. So you can see now that this wants to be up a little bit. I'm going to pull this up. Like so, so it's actually in there. You can also see that I need to pull it over a little bit more just so it fits in. So S and X, let's pull it out, like so. And then what I also want to do is press the I button on here. So I'm going to press Control A, all transform, set origin to geometry. And then what I'm going to do is press the I button, and then S and X and bring it in. Like so, and then finally, what I'm going to do is Alt Shift and click, and I'm now going to pull it out. So E, pull it out, and there you go. That's what you should be left with something like this. And from there, then what we can do is we can actually hook this into there. And from there, I can actually move this along and move this along at the same time. So that's what the idea is. So on the next lesson, then what we'll do is we'll actually duplicate this, get it turned the other way. And then from there, what we can do is we can bring this part, this little arm up right into the center of what we're actually working with. Alright, everyone, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 91. Making the boxes and its placement seem more believable for Blender Beginners Masterc: Welcome back, everyone, to blend of beginner's master class, the cookie factory, and this is where we left it off. So what I'm going to do now is I'm going to come in. And by the way, on the last one, I actually selected everything. And when I brought this in, I actually brought everything in, so I actually made everything really, really big and everything, so I had to go back and get an actual site another file and actually reload it. Now, I can see that I've also got some problems in some of the buildings like this, so you can see here I've got some problems in parts here, which I might have to fix again because I made a mess of those. I think I've grabbed two things at once, and I think that's what happened. But I'm going to fix these parts and get those into the right places. Let's also bring back at the moment. So before we do that, let's do a little bit of damage control just in case you've done the same thing. So you can see all of these parts. Let's just make sure all of our parts are actually running correctly before I do anything. So I'm just going to turn them all on, like so. And because we've organized everything, we can see now that everything is running correctly. It's just, some of these parts here. So this looks correct. It's this part in here that's not correct anymore, and definitely definitely these parts here that are messed up for whatever reason. So what I'll do is, first of all, I'll come in and I'll grab these things. I'm not sure if it's a bevel or what I did to this, but anyway, let's come in and delete vertices on this one. I'm also just going to grab the whole thing and hide it out of the way. And there we go, I've got that part in there as well. So let's come in, hel delete vertices. Let's come in then to the next part. So what I'll do is this here, you can see it has been completely bent, and I really don't want that. So let's come in and delete and faces this time. You can see that it's a real mess on here. So delete faces. And we can also see that this part on here looks to have all been bent, and we really don't want that. So what we're going to do is Alt Shift and click going all the way around S and X and zero, straighten all that up. Same on this one. Alt Shift click S X, zero, straighten all that one up. And there we go, that's all nice and straight now. Now we can actually start rejoining all this together. So F join this up and F join this one up. You know, not from there. Actually, what we'll do is we'll grab it from here, press the Ebn. And I do think, like, making mistakes like this is good that we leave them in. I think we should be doing that, actually. And I also think that we need to, was this going outside before? What? We'll actually have it like that. So I'll grab it here, grab it here, and there we go. Yeah, I think, actually, that looks a little bit better. So there's a silver lining to everything. And yeah, the problem is, though, as you can see, how far is these parts out? So let's just go back because the problem is that they're completely different, you know, different from each other. So what I'll do is I need to straighten this one up. And if press S Y zero, I can straighten it up going that way. And then this one S Y zero. It's not actually going to straighten it up. Is it going to straighten it up in the right way? I think it's actually moved it over to this side, so we can see here. Let's actually straighten. This one's straight, as you can see. Let's straighten this one, which means. Let's just pull that into side like that. Let's not mess around with this. Alright, no one's gonna notice that little part. And if you want to rebuild it, you can go ahead and rebuild it, but it's been a long course, so we'll leave it like that. Alright, now we'll come to this part here, and I'll simply just get rid of these. And then finally, let's come in, grab this once more, shift D, and then we'll bring it over. Then R Z 180, and I'll just actually get this into place actually quite quickly. So all I'm going to do is I'm going to pull it into place where I want it. I'm going to drop it down into there, and then I'm going to pull it back like so. And then we're going to grab this part, L, S, and Y, bring it in, bring it in, bring it in all the way up to there, and then we'll grab these top parts now. So what I'm going to do with these is I'm going to press L, L, L and L. I'm going to then pull them up just under there, like so, and then grab the tops. Just the tops on here, and then pull it down. Like so. And then finally, this part here, do I need to bring anymore? I think that actually looks quite nice, so all I'll do now shift D, bring it over, and then I'm going to spin it round art Z 90, and then art Y or X -90 and lay it down over here now. I'm hoping I didn't make any more mistakes. Like that because that was a bit of a big blunder there. And what I'll also do on this one is just get rid of these two. So delete erzs tab. Let's bring it into place where I want it. So something like this, S and X, pull it out. And there we go, and then S and X, pull it back in, like so. And then all they'll do now is L, pull this into place just along here, S and X. Let's get it right into that SNX. And then let's also drop these down. So drop these down in a minute. There we go. And then finally then just bring these back. And we should be back where we started. Took 6 minutes to actually fix those parts, and I'm really hoping I didn't make any more mistakes. But anyway, here we go. So now let's grab this part, Shiftes cursed to selected. Grab this part. Alt Shift and click shifts selection cursor you know, we should have done it the other way around. Right click Set origin, 23d cursor. Okay, now we can grab this part. So we've got this part, shifts, selections cursor. And finally, this part, shifts, selections cursor. And now I can actually drop that down into place. Alright, so just again, make sure that you're happy with where it is before doing this. And then what we'll do is now we'll come in, we'll grab the top of here. So control, bring it up. Alt Shift and click, E, enter Alons, bring that out. Control R two. Left click, right, click Control B, and bring those out, E, enter Alts, like so, and then finally this inner bit, I'm going to come grab this in a bit, press the I button to bring it in, and then E and I want to pull it through into there. And I want to make sure it's actually fit in. So Alterns, bring it in, like so. Now, finally, let's right click Shade Auto smooth and that is that bit done. And now what you want to do is grab this part, press Shift D. And OSE, 180 hundred 80, OSEd 90. So it's going this way this time. And because it's square, it should fit in very, very nicely, and there we go. Now, these are going to be moving along here, and this is actually going to be moving along as well and all that other good stuff. So at the moment, that is looking pretty nice. Now, we need one more thing, I think, to finish this off. I think before we do that, what we'll do is we'll actually grab everything on here. So I'm just going to hide these parts out of the way, seven to go over the top, B to grab all of these, including this box here, and then press M, and we want to put them in the grabber like so. And then what I'm going to do is I'm going to double tap the A, OTH, bring back everything. And I'm just making sure, as you can see on here, for some reason, we've got a duplication of this, so I'm just going to drop that there, press delete and delete that out of the way. And then finally, what I want to do now is just make sure when I turn this off and on, everything is working correctly. So we can see boxes going in there. Into here. And then what we want now is this grabber to work once we've actually got all of our materials on and things like that. So let's put it on material mode at the moment. We've already got a yellow in here. We can also see that I want to bring this in a little bit. So what I'm going to do is I'm going to press S and X and bring it in a little bit. And the other thing is, I can also see and I need to bring it back this way a little bit. I can also see that this box, whatever reason, isn't looking like the box that I had, so I'm just going to go grab a new box like this one and make sure it fits in. So shift D, pull it over. Right, so and then we're going to press Control A or transforms set Origin to geometry. Press the EM button because we want it in the grabber. And then what we're going to do is bring it out now and making sure once again that this fits into here. So, Y, 90. Let's press one, G, and just make sure it fits in there. It's the same size as these parts. So let's bring it in. Does it fit in there? It does fit in there, relatively nice. So let's make it a little bit smaller. And there we go, maybe even a little bit smaller. I think, yep, that's gonna be just about right. Okay, it doesn't need to be perfect. I just needs to look like something like that. Alright, we'll move that out into place because we're going to put that down here in a minute. It's gonna be completely separate from all of these parts. Okay, so what we're gonna do now is we're going to save out our work, so file, save. And then what I'm going to do now, I can pretty much join most of this together, that's not going to actually be moving. So what I can do is I can grab, for instance, this, this, this part, this part, I can join all of those together even down to the bottom part, I can join that together. So Control J. Let's join it together, like so. And then I'll just speed up the process of adding in all of my textures. Let's also do it to this part as well. Control J. And then we should have. If we grab it now, let's grab our bolts, as well. So we'll join these to these parts, so Control J. You can see we've got no modifiers on the moment so what we're going to do is hide that out of the way. We've got this part that we forgot, so we've got Vo for these. And you can see that this has already got a subdivision on, so I'm actually going to apply that, so Control A. I'm going to grab all of these then press Control J and join them together. I've missed this part, so I'm going to press Control J, join that together. You can also see that because I did that, as well, this also has a subdivision on it, so let's apply that first. Let's move it into place just so it sat in there very nicely, like so. And then now we can join it altogether with Control J, and there we go. Now, I'm looking at the rest of it. Now I'm happy with the rest of it. So I'm just looking down here. So we've got this should be split off from this part, and then we've got this part, which should be joined to this part here, Control J. There we go. And I'm just looking now at F press Altag. Let's bring back all that stuff. Let's hide these out of the way. So we've got the two bolts, the two little knobs that are going to move it round. We need those separated. So these parts here, they're not going to be moving. So if I press Altag, I can join these two parts to this, so Control J. You can see I've got mirror on though, so I'll come in, Control A, then join them with Control J, hide them out the way. Then I've got the bottom. Then I've got my presence, and then I've got this part here, which needs to join it, as well. So Altag again, let's grab this part and join it to this part with Control J. Right, click Shade Ato Smooth, hide it out of the way. We've got this part that's all joined together. That's cool. We've got these two parts which are separated. We need them separated. We've got this one here, which is joined, and then finally this one and the two knobs, and there we go. Alright, so everything is arranged now. So what we need to do on the next lesson is we'll bring in the bevels. First of all, that will be easy because we've got them all sorted out, and then we'll actually start texturing them. Alright, everyone, so I hope you enjoyed that. We're on the final hurdle now. Once we've done this, we can start animating it, and then finally we can start taking some renders. Thanks, everyone. Bye bye. 92. Adding shaders to the claw for Blender Beginners Masterclass: Welcome back everyone to blend of Beginner's master class, the Cookie factory, and this is where we left off. So let's start with this part first. Let's see what materials have gone here. Metal, rubber. We don't want rubber metal and rubber on. We just want you know what? We'll just take them all off. And then what we'll do, first of all, is bring in the first one, which will be let's have a look. It'll be factory blue. Let's bring that in first. And then what we can do is we can bring in now a factory yellow. So let's go down. Factory yellow, and then we'll click a sign. What we can also do, as well as we'll bring in a bevel. But what I'll do is I'll just grab this, grab this, press Control LL, and I will copy modifiers, and there's that bevel on. Then what I can do now is come into this again, and when I come round and this part here, you can see, I Ama happy with how that part looks? I don't think so. So you know what I'm going to do Alt Shift and click Control plus, delete that out the way. So delete faces like so. And then what I'm going to do is I'm going to press Alt Shift click, Alt Shift click and bridge edge loops like so. Press the E button and then press lns, you can see it doesn't come out properly. I'm going to press the S button. I'm happy with how that's coming out. I'm going to press S and Y. Let's see if that's come out now any better than what it did. Yes, it is. That looks much, much better. Control plus, and then we'll go over to our materials. Sign, and then we'll do yellow on this part here, so I'll grab all of this part here. Now, I can see that this part also needs to be made a little bit bigger, as well. But first of all, let's just grab this part, click a sign, and then we'll go to the inner part. So the inner part in here. Plus down arrow and we're looking for the hole. So the hole we made, click a sign, and then we're going to go to this part now, press L, S, and bring it up into place, like so, and then we'll turn this color into rubber. So little down arrow. Let's look for our rubber. Here it is. Click a sign, and there we go. Now it's starting to come together. So now we'll come to these parts here, and we'll have all of these red, except the inner part. So we'll go for factory, red, click a sign, and then the inner parts now plus down arrow. And we'll look for the factory. Should have one that says factory white. Let's have a look. There we are. Factory white. Click a sign. Alright, now, some of you more eagle eyed might notice that we've got a lot of extra materials in here, like factory red Ooh one. This is normally happens when you duplicate something or you bring another part in, and you'll end up with two of the same materials. We can actually come in and fix these. We'll do those right at the end. But basically, you can come up and file, and you've got one here that says, clean up and you clean up everything that you're not actually using. Now remember, if you're not using something, so, for instance, on here, we've got a geometry node on here, but we've actually applied it. So what that means is if I bring in and you'll see at the moment, if I come in and bring in just another cube. So let me just show you what I mean. Bring in another cube. Go over to modifiers, add in a geometry node, click the little down arrow and you've got create stacker here. Apply that. Now, if I come in and click on this shield, it means that even if I delete this cube out the way. So even if I come in now and delete that out of the way, I will still have that geometry node on there. In other words, then if I come in and clean this up now, so clean up unused data blocks, it'll say look, 39 unused data blocks to the actions. And then what you want to do is come in and clean up the second one, which is this one here, clean all those up, and then you'll have most of those materials will have actually gone away. Now, I'm not going to do that right now because I just want to finish this off. So what we're going to do now is come to this part. We've already got the right materials on this. I'm going to come then to this, so press Control plus, and we're going to go over factor yellow, and there we go. Then we're going to come to the inner side now, so we can see this part should be rubber. So let's go in and add where is it rubber? There it is. L a sign. This part then should be metal, so light metal. And I'm just wondering, actually, let's click Down arrow first, and we'll look for the light metal light, and then just click a sign. And what I'm wondering is if there's metal on there. Yeah, this has been separated. That's the reason why. Alright, so let's come in. And what we'll do is we'll bring in this yellow on here. So I'll grab both of these and this one and this one, and then the same this side and this side, factory yellow, click a sign. And there we go. And then what I want to do now is work my way up. So welcome to this part, and I'll also grab this one last and I'll press Control L. And what I'm going to do is copy modifiers like so, and I want to make sure that that modifier has gone in and you can see it is beveled on there, so that's great. I also want to see, have I got anything else on there? No, I've not. Let's come back to material then. And once we've done this, we're actually going to put the window in, but we're going to put the window in right at the end once we've done the animation because honestly, it's much easier to work with this without the actual window being there. I also want to come in, first of all, and actually add in the whole in here. So let's come in. Material whole, click a sign, like so, and there we go. And now let's do this part here. So this part is going to be orange, so we're going to look for factory orange, this part here, and then these outer parts. So all of these parts in here. So I already have them grabbed but if not, just press L on each of them, Cresp Control plus, and then you can go in and press Plus down arrow, and we're looking for factory yellow. And click a sign. Now, we also want to put in this bit, but again, we're going to do that once we've actually done these animations. It's just that it just makes it much, much easier to work with, much easier to see what we're doing. Now, let's come into these parts now, and these are basically just going to be rubber, so I'm just going to grab one. You can see, as well, I've got them mir on. I don't want that, so I'm going to apply that. And then what I'm going to do is split these off now. So I'm just going to grab one of them. He selection, split them off, and then all I'm going to do is press Control A, I transform set origin to geometry for now, even though we're going to have the orientation down here in the end, and let's then add in now a material. So we'll come in and rubber is what we're going to add here, so rubber and then I'll just press Control L and ink materials, and there we go. Alright, now let's move on up then let's do our grabber. So our grabber I I come in, this will be many different colors, actually. So first of all, let's add the proper metal in first. So if we come down, we'll add metal light. So this one here. Then I'll click the plus button, and I'll add in metal doc So metal dk plus button again, and I'll add in let's have a look. Metal. We've got metal light, metal doc. Let's add in the factory yellow. So factory yellow, this one here. Like so. Alright, so now what we'll do is we've got this. We'll have a rubber part on here. So I'm just going to grab all of this. So I'll need to add in another rubber part. I'll come down. Rubber click a sign. And then this can all stay the same. What we'll do is on these hinge parts, first of all, we'll grab them all, like so, and we'll add those metal doc so metal doc on each of these. I'm just looking if I'm happy with these parts here. So I think I've changed this part here, as you can see, these I'm not happy with because they don't look the same as this, so you know what I'm going to do? I'm going to grab all of these, and we're going to re put them back over. You can see at the top of here, we've actually squished them for some reason. So delete vertices.'s grab this one, and we're going to put them over to be the same size. I'm also going to isolate this out with a little question mark. Press tab. Over the top, we've already got a cursor right in the center. So shift D, duplicate them over, or 180, spin it round, and then just make sure that it's going in roughly around this same space as it is. Like so Shift D, bring in the next one. And then let's put it. So it's going round about the same, and there we go. Now that's actually fixed, as well. I'm just looking to make sure you can see the line going here, you can see the line going there, and that looks fine now. Okay, so now we can come back to it. And what we'll do now is grab each of these like so, and we'll click a sign on the dark metal, and then I'll come into each of these points here. So all of these on here, like so, like so, like so, like so, and also the inner part on each of these. Click Control plus, and then factory yellow, click a sign, and there we go, that's what you should be left with. And you know what? I think that looks pretty good. Up to you whether you want to change your bolts, as well. Completely up to you. Let's go up here then and you know what? I think I'm going to leave everything on there. So now let's press the little question mark again, bring back everything. And now, finally, do we have a bevel on there? Let's have a look. Yes, we do. So now we're on to this part here. I think we'll do this on the next one because we need to also bring in some light on here. But while we're there, we'll actually just come into both of these parts. We'll grab this part last, press Control L, and then we'll link or copy modifiers. And then we're going to come in, do this one, and we'll add metal light into here or metal dot which you have one. Let's add metal Doc and we'll also grab this one and this one then Control L and ink materials. Double tap the A, and there we go. So the only bit now we've got is the light on here, all of this bit on top. And then finally we can actually start with the animations. Alright, so let's save out our work, and I'll see her on the next one, everyone. Thanks a lot. Bye bye. 93. Working with lighting sources for claw machine to light up the machine inside from th: Welcome back, everyone to Blend and Beginner's master class, the cookie factory, and this where we left it off. Alright, so let's come in and change this. Let's add plus, actually. And let's go to factory orange. So we're going to go to factory orange. This then can come down and just be on factory red. And what I'll also do is I'm just going to hide this part out of the way. So I'm just going to hide this part of the way. Like so. Press A on everything else, and I'm just going to then go to you know what? It might be easy. You know what? I'll just do it a sign, rather than thinking about it. Let's just do that. Now, I also need the top. Now, the top of here, I'm not going to have on that. So what I'm going to do is grab this separately plus down arrow. Bactuyblue. Click assign, like so. And then now we'll come to the outside of here. So I'm going to click Control plus Control plus. I don't want it to go that far, though. So all I'm going to do now is come to the inner part of here, and then the inner part and inner part. And I'm going to go with metal, and we'll go with metal dark, I think. So metal this one here, click a sign, and now we've got the inner side. So this one here, so Alt Shift, and click Alt Shift click Control plus, and we'll also do this metal Doc, click a sign, and then we've got the inner part now. So this inner part, all of it, if I select it all, I don't really want to do that. So all I'm going to do is go down, keep puntro plus all the way down just to there, and then we'll go with metal light. Plus down arrow. Metal, and where is it metal light? This one here, like a sign. And then finally each of these bolts, let's come in now. Just grab each one of these with L. Like so, and then we'll go with metal light, as well. And now I'm going to this bit. So this bit and the inner part will be plus down arrow. We're looking for yellow. So factory, yellow, click a sign. And then this part here will be my metal part, and we'll go with metal light on this part here, like so, and there we go. Okay, nearly done. Now, let's put a light source in here. So we've already got the cursor in the center. Let's bring in then a light, and we'll bring in an area light. I'm going to make it much, much bigger so it just goes to the outside of there, and then I'm also going to pull it down through there. And now we need to actually give it some light. So I'm going to first of all, put this on around 300 like so, and I'll put the size is 1 meter. We don't want to mess around with that. And then what I'll do is put the rendezvous on. And I want to make sure that it's actually coming through here now at the moment, as you can see, there we go. Now it's lighting the whole thing. I just want to make sure that it's actually lighting. If I put this on a point light, I'm just wondering what it'll actually light. Let's just press G, move that on the side. There we go. So I'm actually going to, you know what? I'll just change this. I'll bring in another light. I just want to bring another light and see if we can actually light that at the moment because of the moment. This is not lit up, and I'm expecting this as an area light to be lit up. I'm just wondering if it's the wrong way round. What I'm going to do is I'm actually going to delete the way, press shift day, and I'm going to bring in a point light. I'm going to bring it down, put it on 300, like so, change it to area light, and there we go. And then what I'll do is I'll increase the size of this now. Let's increase the size of it. And let's put it up into place, like so, and let's press the S but, and there we go. It's lining up the machine perfectly, but I do want some light on here as well. And so what we want to do is we also want to spin this round. So R Y, 180, spin it round, and then you're going to end up with that light sauce on there, and you can see now that is looking really, really nice. Alright, so now we've done that, what we want to do is we want to make sure that this light source is actually point in the right direction because if I press Shift Space bar and bring this down, which I can't do at the moment, let me just try and bring this down. So I want this. I want to bring it down, not this. I want my actual light. So let's come into. Let's just hide this out the way. It'll be easier, and then we'll grab our light, and there we go. Now you can see, Look, it's the wrong way round. So you know what? I think we actually want to press R Y 180, spin it round. And I actually want this to be double sided, but I don't think there's actually a way to do that. So what I'm going to do is I'm going to pull it up to there. And then I'm also going to press shifty, bring in another one, but spin this one round. So Y, 180 Ws, Y, 180, spin it round. And then I should be able to I I press TH now, bring back everything, this is what it should look like. And now it's pointing it there. So yeah, I'm still not happy with that. It's still not looking the way I wanted it to. What I'm actually going to do is I'm going to come back to this now, and I've got two lights here, as you can see. I'm going to delete one of them out the way. I'm going to come to this one then RY, 180, spin it round. Now, that light sauce is looking pretty nice. And all I'm going to do at the moment, I'm going to leave that there for now. So Altag leave that there for now. I'm going to hide it out of the way. Not that. I want to hide my light sauce out of the way, and then we're going to come to this part now. And what I want to do is change this to an actual light sauce. So I'm just going to press Plus, and we'll call it grab a light. So grab a Light, like so. And then what we'll do is change this from a principle to an admission. We're going to also click then assign on this, so make sure it's assigned on this, and there we go, that is looking better. Now we've got a complete light source of vi press voltage now, bring the light in, and that is what I'm looking for. Now with the grab a light, I can still grab it and I can still turn up that light, and you can see now that is looking how it should do. Alright. So finally, we've got that. Now, let's think about now the hardest, as I said, the hardest animation in the whole thing. And to do that, what I'm also going to is, I want to make sure that all of this in here, again, including the light is actually put in to the right place, first of all, before I do anything. So M, let's put everything in the grabber and let's come to our grabber then. Let's close that up. And hide everything out of the way, and there we go. Now what I can do is I can just hide everything else out of the way. I don't want any interference from anything else, even the supports everything like that inside our guy, inside the conveyor belts, and let's hide our parts reuse. And there we go, that's what we should be left with. Alright, so how are we going to do this? Well, we're going to use a mixture of moving this backwards and forwards. Let's put it on object mode. This backwards and forwards, and we're going to use a couple of shape keys, as well. One of the shape keys, we'll be able to move this up and down into where we're going to have it, and the other shape key is going to move these out and in. From there, then we're going to move it backwards and forwards. So we'll start all the way over here in the beginning. So I'm going to move this and this in the beginning now. I'm going to move it all the way over here, like so, and I'm also going to then move it all the way across here, not so it's going in the glass, but just so it's across here, like so. And then you know what? We'll move it all at the same time. That will make it easier. So move this all the way over there. So whenever this moves, this part. So whenever this moves, it'll move along this track, and then it can move along this track, and that then will make things easier. And we want to make it, so it moves this way, moves towards here, picks up a box, and then from there, moves sideways and drops the box into there, and then just moves back and repeats the whole process. Then what we'll do is we'll also come in and make these knobs also move in the direction that we're actually moving this in. Okay, so we've got everything ready and laid out. And what we're going to do now is save out our work, and we'll make a fresh start on this on the next lesson. Alright, everyone, so I hope you enjoyed that. I'll see you in the next one. Thanks a lot. Bye bye. Thanks. 94. Working on animating claw machine for Blender Beginners Masterclass: Welcome back, everyone to Blend Beginners master class, the E cookie factory. And before we begin, let's go over to our animation. Let's put this animation on one. Make sure that this is turned off. And then what we want to do now is, first of all, sort out the shape keys. So the shape keys, basically, one of them, we want to have it, so it's fully extended out this thing. And then when it comes in to grab something, it will be grabbing it in here. So what I'm going to do is I'm going to click on this. And then what I'm going to do is I'm going to click plus for the base plus one more and plus one more like so. So the first shape key, I want to bring it down into these actual parcels. So we'll do that now. So what I'm going to do with that is I'm going to grab all of these. So let's grab all of these parts, and this will be the first shape key like so. Then we'll go round, just make sure we've got everything grabbed. Like, so including this, and then what we want to do is pull them down into place. You can see I've not got everything grabbed there for whatever reason. Make sure I'm on edge select. It does make it easier, like so, and now I should be able to pull everything down into place. Like so something around there. And then what I also want to do is extend this down now. So I want to extend this down at the same time back into that place. Now, I've got full control of this now, and I should be able to use this shape key to bring it down and bring it up. Perfect. Alright, the next shape key, this is shape key too. So I'll call this extender. Like so, and now we'll go to shape key one. Now, shape key one is going to be one that pulls these in and out. So the way we're going to do that is we'll work it on a angle, for instance. So what I'm going to do is, first of all, I'm going to come in. I'm going to put my cursor right in the center. So shifts, cursor to selected. Then what we'll do is now we'll come to these parts, we'll come to this part first. Like, making sure we've grabbed everything. And then what you're going to do is just going to press G just to move it out of the way. Now, what I want to do now is press one, and I'm going to extend these out. So I'm going to extend them out, though from the cursor. So the little sideways V, three D cursor, and then R and Y, and we should be able to move them out. So it should start like this. And when we come now down to the rotation, we should get a rotation of 19.9 degrees. Let's put it on 20 just to make it a little bit easier to understand. And then what we'll do now is we'll come to this side, and we know it's on 20 degrees, so we'll do the same thing again. And what I want to do is one, and then we're going to press R Y, bend it up a little bit, and then just put it on -20. Now, these are now the same. So if I come in, if I bring this down, you can see now we've got that grabbing action to grab our box. So what I'm going to do now is I'm going to start with this over here, like so. So this is how the grabber should start. It's then going to move a little bit to the side and down here. Okay, so far so good. So what I want to do now is basically make a key for all of this, including these parts here as well. So we'll come in and we'll basically go in and press I. We'll come to this one. We'll press I, and then we'll come to this one up here. So this part here, this one here, and we're going to press I. So inside here, I. And then this one here, we're also going to press I. Okay, so far so good. Now, let's go to frame 20, something like that. And then what I'm going to do is I'm going to move this one and this one this way. Now, for this, now I'm going to put on my auto king because I'm moving multiple parts. So what I'm going to do now is move it all this way, like so because it's moving sideways. And then what I want to do now, I've got it to there. So I want to come in now to frame 40, and I want to move them all forward. So not this part here, this part and this part now. This is why we put this on. The other thing is before we do that, actually. So if I comeback I've got to make sure that on frame 20, this one is also keyed in. So I'm going to press I like so, and we're going to have a little bit of a leg, as you'll see. So you'll see what happens. If I put it on frame 40 now, you'll see when I move this forward, I really want to nothing to move even at frame 39. So I'm just going to put it on frame 39, I'm going to press the I button. I'm going to come to this as well, I'm going to press the I button. So on frame 39, nothing is moving. I'm also going to key frame these in as well. So I'm going to press I on this one and I on this one, so nothing's happened. So all what's happened at the moment you can see here that this hasn't moved as well. So let's put that back. Let's put it back on frame one. And then what I need to do now is pull this back into place on here. I need to pull it back into place because I forgot to press I on this as well, and that's why we're checking it as we go. So you can see here now this is in roughly the center, and let's press I. Now, it should all move now at the same time. Perfect. So far, so good. Now, in frame 40, we want it to start moving from here to here. So what we're going to do from here now, so put it on frame. Let's put it on frame 50, you know what? And then what we'll do is we'll move this one from here all the way over through here so you can see it's moving along there. Like so. Perfect. Let's press the I should have already key framing everything in. So now we're going to check that again. So here we go, moving that way, moving that way, and there we go. Now, we can see it's a little bit too fast, so we don't want it that fast. We want it a little bit slower. So what we're going to do is just press L. No, we're not. We're going to press B. Grab all of these and move them over to frame 60. Now, let's try that again. So we move this way. We move this way. That is perfect. That is what I want. Okay, so now we want this to move down. So at this point, we want it to stay till, let's say, here, and now on frame 80, now it can start extending down. The first one we want to do is extend it down. But before that, let's make sure we keep frame all of these parts in. So we're going to keep frame this part, this part with I, this part with I. And now on frame 80, we come back to this, and we want this now to start extending now. Now the problem is, we don't want it to extend before frame 80. So we're going to put it on 79, and we're going to key frame both of these parts in, so I and I. And then what we're going to do now is go to frame 90. Can move these backwards and forwards, as you know, and we're going to bring down the extender first. Bring down the extender into here like so, and then we're going to press I and then come to this one and press I. Then what we're going to do now is press I on each of these, so I and then I on this one. And there we go. Now, let's see what we've got so far. So we've got it coming over, down to here, going down, and there we go, everything perfect so far. Okay, so now on frame 100, we actually want it gripping something or let's have a look frame, grip now. We can actually get away with frame 100. We'll have it on here. Again, we're going to go, I, I grab this part, I, and then this part and I, and then frame 110, now we can have it gripping. So now we'll go back to this, same thing, but this time, we're going to be moving this one down. So it's going to grip I, and then I, and then I, and then I and inside as well, don't forget to grab this inside and press the I button. Okay, so now what have we got? We should have it moving to the side, moving down. Coming down, gripping, and now that's perfect. That is what we want. And now from here, we want 120 to stay exactly the same. So again, on everything, I, I, I, and then on these, we're going to have it on I and then I, and then on 130, we'll have it bringing up now. So the extender we want now to come up. And then what we're going to do is press I on everything again, especially on the inside of here. And then I like so. Okay, again, make sure when you're doing this, you're always. Sorry, I had a bit of a croque voice, all that talking. Make sure that you're always checking your work. So, again, we're going to go all the way back to the start. We're going to press space bar. It's going to move forward, go down, grip, go up. And then we should have a present in our hand. And from there, then we're now going to move across. So we're going to save work. And on the next lesson, we're going to move this across, and from there then, we should be able to drop this present into there, and then all we have to do is repeat the process over and over again. So I'll show you how that works on the next lesson. Alright, everyone. Thanks a lot. Bye bye. 95. Continuing with the animation motion of a claw, making it move back and forth to pick: Welcome back if we want to blend the beginner's master class, the cookie factory, and this is where we left it off. Alright, so the home street, let's see if we can get this finished in this time. First of all, though, I think when I move this over, you can see I'm not going to have a lot of room here on this box here, so we're going to extend that out a little bit. But let's first vulgate over there. So at the moment you can see, we've brought it all the way over, we've come down, we've grabbed it, and now we want to do is just hang there. So I'm going to come in again on all of these. We're gonna press the i button. On the eye, going over, eye in the screen, I on this, and again, I on this part. Now on frame 150, we're going to actually move it then to the side. So what I'm going to do is I'm going to grab this and this and I'm going to move them over to the side, like so, and I have to give myself a fair amount of room. You can see I'm also moving from this point here. We don't really want that, so let's press the little sideways, V individual origins, and now we'll move them over here. So what I want to do is I want to move it near that wall and open up round about here. So we're going to go to here. And I'm hoping if I come, let me just turn this off a minute. Come to this. This is the open and close. Let's name that as well, open and close, like so. And then what we'll do now is if I open it up, you can see it's not quite going in the wall there. That's what we want. So let's put this back in a minute. And then what I'm going to do now is just click I, I, and then in the screen, I on both of these. I'm hoping it does them all at the same time, and then I on this one, as well. Now, let's see what we've got. So we should come over go over, come down, grab, pull it over. Then what we want to do now is open this up. So we want to come in to frame, so it's stuck there. And then from this frame to this frame, let's open it up now. What we'll do is we'll come to this. We'll go to open and close, and we'll open that up, press the Ib and the same thing on all of these, rinse and repeat, not on this. Let's just hide this light out of the way so it's not interfering with it, and then I and then I on here. Okay. So now let's see what we've got it comes over grab like so, and then opens up, which is nice, so the parcel will drop in there. I'm just wondering if if it moves over here, and then straightaway, it opens up. I don't think that should be how it is. So what I'm going to do is I'm going to come to this part here. I'm going to grab these parts. I'm going to press G to move them over to 170. And then what I'm going to do with these parts is I'm going to grab all of these, move them over to 170, this one, grab all of these, move them over to 170. And now what we should do is we should come over and there you go, but it's still too fast. So what we do we want to print on 160. And again, we want to print some more keyframes now, so I'm going to pro I drop this down. I like so, and then grab this one. I, I, and I. Okay. Let's see what we've got now. Let's pull this out. It looks complicated, but you can see the way that we've been doing it makes it actually pretty simple. Going over. And there we go, now it opens. Perfect. Now, let's make this box a little bit bigger like we spoke about. So what I'm going to do is I'm going to come into the inside, with face select, like so, grab this part and this part. And then what I'm going to do is pull them out over here. Then what I'm going to do is grab this part here. So just this inner part, pull it over, grab this part in here, Shift D, drag it over, pull that into place, and then just make these a little bit smaller, making sure I've got medium point on. So SNX just pull them in. Like, so making sure everything fits, and let's pull them this way a little bit. There we go. Alright, perfect. Okay, so from here now, let's go back. So we've dropped them off at 170, presents dropped in. Let's go to 180. We'll keep it everything like this. So I and I on here. And then in the center, I and I. Okay, so we drop off. Like so. And then 190, we're going to close them up. So first volt, we'll close this one up, like so, and then come to here, and then come to here, like so. And then what we'll do is we'll move it back, and then we'll open it up finally. So I'm going to press I in the center, I and I. And now we can actually start making our way back to where we actually came. So what I want to do now, I want to get it back to exactly the same point as what I had when I first started. Now, this is obviously round here, so everything will be around but we want to make our way back slowly. First of all, it's easier if we just go straight back now, so you can see now closed. And if we go straight back, so let's go from here, we'll hold on here. So we'll grab all of these. Grab this. Same point here because we want to open it up as well. So same point here. We'll grab this, press in I, pressing I. And then on 210, now we can actually bring it back. So all I'm going to do is grab this and this. I'm going to put this on, and I'm going to pull it back into place. Now, I've got to be careful because I really want to put it back into the same place that it was. So where was that? Let's first of all, turn this off just 1 second. So this was where everything was. So I've got both of these. I've also got this as well. So what I'm going to do instead is, I'm going to grab this here and I'm going to put it on 220 I'll move it to. So Shift D, let's put it on 220. We'll come to this one as well. We'll grab this one, Shift D, 220. And then finally, this one here, as you can see, it's moved all the way back here, and I don't really You know what? Yeah, we will. We will do that. So we'll grab this one here. We'll press Shift D, 220. And let's see what we've done there because sometimes this is not going to work out right. So we've come over here, bring it over. Pick up our present, drop it in. And now the moments of truth. There you go. It sets back over to the place where we had it. And now we need to do is, is it over the place where we had it? No, our place where we had it is over there, so that can be the final part. So from here, then, we're going to grab this now and we'll do it to 240. So Shift D, 240. We'll drop this in there. We'll also make sure that the hand, so the hand is actually closed. So I and I pull both of those on. And then we also want to make sure now, so this is 220, that this part here is also there. So 220, what was this part? Have a look, 240. Sorry. So let's put this part one shifty, 240, and then this one, shifty, 240, and now it should all line up. So let's see the moments are to let's see if it all lines up. So we come out, we go down, we grab, we pull up, we go, we drop. And then we start moving back into place with it open perfectly. Now what we should do is we should be able to press A on this part, and we should be able to bring in a modifier. So if we open this, we'll grab all of these. We'll put in a modifier with the cycles. And then what we'll do is we'll come to, this one's, that's right. Okay. I'm wondering what's happening there. Then we'll grab all of this, open it up, grab all of these, modifier cycles. And then we'll grab this one. We've got all the keyframes and the transforms. So let's open up all the transforms first. Grab all of these, modifier cycles, and then we'll open up the keyframes. Grab both of them, modifier cycles. Now, let's see. Let's see if this all works. Does it all come together? All of that bit is good. Except this bit with a flicking. And the reason the flicking is happening is because it went from here to here and then flicked back again because it should be open. So here, it shouldn't be open, as you can see. This part should be closed. So let's come close that off, like so, press the eye button, and now let's see. There we go. And I think that's okay, but the one thing I'm thinking is if I come to here, so as it comes, it should be opening. You can see it takes a long time to open this. So what I'm going to do on here on the 20, I'm actually going to fully open it and press I, and now let's see what that looks like. There we go. Now it's better. Here, grab our box, drop it in, pull it back. And there we go. Now it's working perfectly. Alright, everyone. So that is the hardest animation. What we need to do now is we need to save our work. And on the next one, all we need to do then is put this present into place, drop in or whatever it needs to do. And then we just need these little knobs to move left and right. And then, basically, we've got this finished. From there, then all we need to do after that is just render it out, show you how to render things out, bring in the composite, and that then is the end of the long journey of this master class. Alright, everyone. So I'll speak to you on the next one. Thanks a lot. Bye bye. 96. Working on glass for claw machine and its window frame for Blender Beginners Mastercl: Welcome back, everyone to blender beginner's master class, the cookie factory. Okay, so all we've got now is this present to actually bring in here. So what I'm going to do is just hide out the top. I'm going to go over the top. And what I want to do is see where this comes down, first of all. So where is this point coming down? So I think it's around 120. So it comes down ran about 1:20 90. So 90 by 90 has dropped down. So it's now come in, and what we'll do is we'll drop this over the top where it's actually going to be grabbed. So it'll be something down there, and we'll stick it round about here. You can see now if this comes in and grabs, that is what I'm looking for. And I'm looking to put it on round about the halfway point, as you can see, something like this. Alright, so now let's go back to 100. Or, yeah, 100, we'll have it there. And let's press I on this part. So we're going to have I it's going to be there. And then from here, we'll let it grab it. So one, what is it one? So 116 or something, 120, it's still there. I don't think it started to lift up, so let's press I, and we're actually going to move this there like so. Now, what I want to do is I want to follow this all the way up. So as you can see, if I come to 122, I then want to bring this up to make sure that this is in the same place as what it was. So 124, ring it up. Same place, 126. Bring it up into the same place like so, and then 128, bring it up into the same place, 130, bring it up into the same place, like so, and there we go 130. Now, let's see if that actually picks it up. And there we go, it's picked it up. Now we need to do the same thing going this way as well, unfortunately. So what we want to do is now from 130, we want it coming in, opening, and then dropping down and restarting again. Okay, so 132, it's still there. So we're okay on that. So we might as well just press the I button, and then from 134, we're still there. So I, 136, still there, I, 137 or 38 I. And 140 I, we're still there, 142, now we need to start moving it over. So we're going to put it here, like so making sure then it's in there, like so, press the Ib, 144. And we need to do this on such little frames because it's moving pretty fast this thing. Put it on there, I, and then 146. I'm going to put it on here. Press the I button, 148, bring it over. Press the I bone, and then 140 or 150, I think it stops there. Press the ebon and then 150 onwards, it's going to release. So from here, we can see it starts to release in here. Now, there will be a slight delay. So if you put it on 162, we can press I, and then from there, we know it can start dropping down now. I can start dropping down all the way down to here, round about here. So let's put it in 170 and see. That's probably going to be too fast. So what we'll do is we'll just put it through there, like so and press. We don't need to press, actually. Now, let's have a look what that actually looks like. So we grab it, we pull it up, we move across, and we drop in. And now you can see that's actually dropping in maybe, maybe a little bit too fast. So what I'll do is I'll just move this over to 175, and now we'll try that. And there we go. Now that looks more realistic. Now what we need to do is we need to now bring it back round to the actual start point. So what we'll do is, first of all, we'll bring it down inside the machine. So what I'm going to do is from 185, let's say, let's bring it down inside the machine. Let's then bring it across on 195, so let's bring it across. Like so, and now I want it back in exactly the same position. So we'll do it on let's say two oh five while the rest of the things moving. And then what we'll do is we'll press Shift D and bring it over to here for two oh five, and there we can go. Now, let's see if actually how that comes so you can see here. We don't want it actually coming up so fast. We want it nice and slow. So what I'm going to do is I'm going to move this out a little bit, and I'm going to bring this out all the way over. So let's put it on 225. And then what I'm going to do so you can see nice and slow now. Now, we want to move it more to the side. So I'm going to put it I'm going to put it down and move it more to the side like so. Then we'll have a nice linear fashion, and it's still too fast, so I want it under here, this last bit. So this last bit, as it rises up, where is it to actually go? So it actually has to go here. So now, what I'll do is, I'm thinking the best way to do this is I'll press Shift D and I'll bring that over, then what I'll do is I'll pull it down into here like so. Now we should ring this part now. So this part where it started out all the way over to two, two, five, like so. And then this part here just put down, like so. And now we should have it. Let's see. Yeah, you can see here it's dropping in, moving all the way over there. Now we definitely don't want that. So we want it to come down from here. The moment we release it, it wants to be dropping straight through. So this bit we've kind of messed up on, so let's pull it over. And let's see what that looks like now. And then we go, now it's coming back round. Now, we're kind of messed up here because it's kind of going, you can't see actually that. It's going a bit to this side. Now all I want to do is then I want to move this G, put it at 2:50, something like that. And then we go nice and slowly back into there. Now the thing is, what does this end on? It ends on 240, so we need to make sure that this is ending on 240, like so, and it's starting where it is now. So all the way this, so shift D, start it on one. Alright, so far so good. And now what we should be able to do is just press Space Bar. So we're going to start it on one, grabs it, picks it up, drops it, and then we go, and then it'll go all the way back, and then it starts all over again. Perfect. So now we need to do is just grab all of the object data, like so modifier cycles. Let's put this then on modeling now. So we'll go back to modeling, double tap the A, t H, bring back the rest of the part, and then all I'm going to do is put on render view. I'm also going to turn off this bit, so I've not seen any of those other parts, and let's have a good look what that looks like. So come down, get up. Drop it in place. And there we go, perfect, perfect. So hopefully, yours has turned out something like that. Now the next thing we need to do then is actually work on our glass now. So let's do that now. What I'm first of all going to do is I'm going to come in. I'm going to put it on Object mode just for now. I'm going to come to this part now, so not this part, this part. Let's click this song, and we can see what we're doing. And then what I'm going to do is press Control, left click, right click, and then we're going to just do Control, left click, right, click. Come round to here, Control, left click, right, click, and now just grab them all again. And then I'm going to press Control B, pull them out, so pull them out like so, and then we're going to press E enter Alterns just to bring those in a little bit like so. Then finally, we want the glass onto here. So another one. So control, left click, right, click, Control R, left click, right, click, and then finally Control R, left click, right, click. Re grab them. And then what we're going to do then is press Control B and pull them out very slightly. And then what I'm going to do now is I'm going to fill these in. So I'm going you know, before I do that, actually, before I do that, what I want to do really get the right color on so you can see here, these will be orange. I think this will be orange. I want to make the inside of here yellow. So let's go in Control plus. Altshift and click, I mean, so Alt Shift and click, then Control plus. So Control plus Control plus, factory yellow, click assign, and now for the glass. So what I'll do is I'll come to this one here. So Alt Shift and click F, and then Alt Shift and click. You know what, before we do that, let's just come in, grab this part plus down arrow, and we're looking for glass. So what glass do we have? We have oven glass, sprinkler glass, and we have this main glass here. So let me just check that out, first of all, I'm going to go over to the shading panel. Is this the glass I want? No, it's not. I want the one with the fresnel. So I want let's have a look. Sprinkler glass. Let's have a look. This is the one I want. So this is the exact one I want, 1.450, so it's called the sprinkler glass. Let's go back to modeling now. And let's click a sign like so. And now what we'll do is we'll put it on to, you know what, we won't do that. What we'll do, first of all, is adding all our glass. Then wait and see what this looks like. So F, let's do the same thing now on the outside of this. So Alt Shift and click, F, Alt Shift and click, F, and then Alt Shift click, F. And finally, Alt Shift click, F. And now let's just add in all of those glass pots. So what am I going to do? Did I do it on this one? Let's press teach. Yes, I have. So all I'm going to do now is grab this, sprinkle the glass, click a sign, hide it out of the way, hide this one out of the way. This one, a sign, hide it out of the way, this one, a sign, hide it out of the way, this one, a sign, hide it out way, and this one, a sign, hide it out the way. Ol tate, bring back everything. And the moment of truth, let's have a look. And there we go. And I would say that we definitely need to turn down the IOA on this. So I think on the next one, I'll actually come in and have a look. It might be the fact that I've got double glass on there or something. But anyway, I'll have a look and see. It's not right. It's way too far. I'll have a look and turn that down a little bit. Alright, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 97. Final placements of our cookie factory, making sure everything is connected, and anit: Welcome back everyone to Blending Beginners master class, the cookie factory. And now we need to do is just go to the shading. And I don't forget I've got these little knobs to do, and then once I've done that, everything else is animated. These are really easy, though, in comparison to what we've been doing. First of all, though, let's come over, pull out this one and this one. Let's set these to zero. Let's set this to zero. Let's set the yo war to zero on this. Let's set it to zero on this, and let's plug them in. And this way, you'll be able to get exactly what you're looking for. So if I come in now to this, start turning this up, now you can see if I turn it up to something like not 0.4, we actually have a nice view on and it looks exactly like it should be with the glass. We're getting a nice glint over there, and it actually looks like a real nice grab in machine. Okay, so now, finally, then, let's come over you know what? We'll go to our animation. So I just need to keep an eye on what this is doing, so let's come over to our animation. I thought I'd finished, actually, but no, I haven't. So what I'll do is I'll actually put it on Render View. I think I can actually get away with that. If not, just hide this out of the way. You don't need to see this. All you need to see is it actually moving across. So first of all, we've got this one that we need pulling back or going forward, and then this one. So let's come to this one first. So what I'm going to do is I want to put the orientation right down at the bottom of here, so it looks as though it's bending from there. So all I'm going Hi this out of the way. We'll come to this one first, press a little but dot but so we can zoom around it. Come to this part, Shift Desk, cursor selected, grab this little knob, then, Control A, and then right click Set origin, two, three D cursor. Come to this one then, exactly the same thing. Shift desk, cursed selected. Grab this then, right click. Set origin, two, three D cursor. Now we've got both of these level and ready to go. So first of all, we haven't got any bonds on here. I should have put some bonds on there to press the bon, but never mind, we didn't do that, so we're not going to worry about that. So let's first of all, come, and we've got this on at the moment. So just remember you've got this on. And what we're going to do in frame one, we're going to press I, and we're going to come to this one and press I. And then what I'm going to do now is coming over. So it's going to start moving near enough straightaway, so we want this one to start moving all the way over to frame 40 because on frame 40, then it starts to go forward. So let's just make sure it's just moving sideways up to frame 40, so you can see, as we get to frame 40, then it starts moving. So from frame 40, really, it starts moving, but for now, I'm going to then put it going to the left. So let's have a look, so we want it going to the left from here. So I'm going to start bending it from here. So R and Y, let's start bending it, like so. So we're going to start bending it all the way over there. And then what we want to do frame 20, want to copy this one, Shift D. Like so, let's have a look what that looks like. There we go. If you want, you can just grab this and make it last a little bit longer, like so now you'll see. There we go. That looks good. Now it's going to start coming towards us from frame 40. So what I'm going to do is grab this. Then from there, I'm going to pull it back now, frame like so and then R and X. We'll pull it back like so. And then we're going to pull it all the way over to frame 60 like so, then I'm going to press Shift D, bring that up to frame 60, bring this up a little bit, like so. Okay, so let's see what that looks like. So first of all, let back. Perfect. Down. That's the bun press. And then we'll move it to the right now. So we'll do from here, we'll press I. And then what we'll do is it'll start moving. So from frame 142, we will start moving it, so Y moving it like so, and then it'll go to over here. So we'll go to frame one, five, 15. Moves very fast over here to 150 maybe. So let's go and grab this one here. So Shift D. There, and then shift D, bring that over to there. Now, let's see. And there we go, Is that too fast? It does move fast. So, yeah, I think that'll actually be okay. We've got it down. We forward. Moving to the left, and there we go. Now, we need to know this is on 240 frames. So what we need to do is we need to go to 240 now, and we need to put it on 240, like so, and then press I and then press I on this one, like so. And then what we can do is we can come to this one, go to Object, all the locations, cycles, and then we'll go to this one here, all the locations, and then cycles, like so, and now every time should move over back Grab over again. And then we go, we've dropped our present in, and then it all goes back. Alright, that's perfect. Now, let's go back to modeling. I told you that one would be easier and compared to what you did before. OT H, bring back everything. So now I want to do is I want to save out my work, first of all, and we should have everything available now. We should be able to clean up pretty much everything. So let's just make sure everything's completed and clean. So we've got a plane here. What is this plane? Oh, that's my ground space. So let's press M, and we'll call it factory floor. Like so, and then what we'll do is we'll close that up. I want to also bring that up to where the grabber is. We'll put it there. Got human reference, conveyor belt objects. Now let's see if we bring everything in. This is our conveyor belt. We've got then our collection. So our collection is this, we're not going to need this anymore. So let's just press Delete on that and delete our collection. Delete it over here like so. Then we've got our chocolate drops. We're not going to need to see those. We've got our flour mill. Now, the other thing is that I need to tell you about. Also on the right hand side here, you will see that we've also got a little renderbw. We have also this little down arrow, and that then you can actually use to change a few of these things. I don't recommend using any of these, especially for this course. But what I would certainly say is the chocolate drops, anything you're not seeing actually in the viewport, turn it off. Then we'll come to flour mill. That's all lined up now, so we sorted all that out, so we need that on the water adder. That's all looking good now. Make sure everything's okay with that. Then we've got the mixer. Okay? That's looking good. Then we have the stumper. That's all looking good. And then we've got the sprinkler. Then we've got the oven. And I just want to make sure, actually, on this one now, you can see that is definitely not looking right. That is because we changed the glass for this. You can see it's sprinkler glass. So this is why we're checking everything. Now, let's click the little down now, copy material. And then what I'm going to do click Plus, and I'll change the name of this to grab a glass. Like so. And then I'll come down and paste material, so new, and this will be sprinkler glass. Like so and then I'm going to paste it in there. So paste material in there. And then what I'll do is now, I'll minus that off. I'll minus that off, and then what I'll do is I'll come grab just this part, change it to sprinkler glass, click a sine, and there we go. Hopefully that's gonna be right. Click a sign. And if I hide that out of the way, what's behind there? Let's have a look. Okay, let's have a look. Have we still got our chocolate drops on? Let's press Altag. I'm just looking. Where are our chocolate drops. There's where our chocolate drops should be. So Alt Shift and click Chocolate drops, click a sign. And now put this on rendered view. Yeah, we still can't see in there because the sprinkle glass is on there, which means then let's go into our shading and let's comb to our sprinkle glass. And what we're going to do is just remove this, remove this, put this on 1.5, like so, put this one on 1.5. Like so. And can we actually see anything now? So this here should be assigned our sprinkler glass. And I'm just wondering why can't see anything? And I think it's because we've got the wrong one. Sprinker glass, click a sign. Hide it out of the way. You know what? Let's come in. Okay, Old ship, click sprinkle glass. Click a sign, hide it out of the way. Chocolate drops, click a sign. Hide it out of the way or ltatee, bring back everything. Render view one, tab, and there we go. Now they're looking. Or they're looking right. Can't really see through them. So sprinkle glass is not right, so let's get this right first of all. And it's because I'm just looking now which way I want this set up, and it's because yeah, put it on 150. Alright, 1.5. That all to do it. Alright, there we go. That looks be. Now what we can do is we can plug this in. So we can plug this in now to whatever it wants, so let's plug it back in. Let's put this in on 1.5 instead. And there we go. We've got our glass bag. Right, then, back to muddling. Let's just make sure before we do anything else that everything is working properly. So we've got our oven in. Everything's working on the oven. We've got our box mixer in. Box maker, sorry. Then we've got the box packer. Then we've got finally the supports, and then we've got the grabber. So the grabbers already done. Now, let's see if we turn this off now, let's see this working in action. And there we go, guys. That is looking. Really, really nice. Alright, so on the next lesson, what I'm going to do is I'm going to play you a short video, which is camera and turntables. And from that one then once you've learnt how to do a turntable, we've already got a camera set up, and we're going to go in then how to take a decent render and how to set up the compositor. Alright, everyone, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. T 98. Camera turntable basics for Blender Beginners Masterclass: Welcome back, everyone to Blend beginner's master class, the Cookie factory. And now, as I said, I'm just going to play a short video about cameras and turntables. And once you've learned that, you can actually set up your own turntables. And then what we're going to do on the next lesson is dive straight in to the compositor to show you how you can get a really, really amazing render of this factory. Alright, everyone, so I hope you enjoyed that, and I'll see you on the next one. 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 primitives 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 wheel out 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 zoom in 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 two, three times. And then why there 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 place. Now from here, I want to discuss a few of the camera options that you can actually do with the camera, as well. So what 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. Print there 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 you're going over to the right hand side here, we'll see we have a type called perspective. And if I click this little downo you'll see that I also have orthographic on here as well and panoramic. Now, we're not really going to discuss panoramic because 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 is basically as though you're viewing this yourself, orthographic to keep it simple, basically it 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 lens slightly, and then that will be able to zoom you in and zoom you 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, 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 with 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 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. Alright, so going back now, let's go back to the camera, and let's now discuss our clip Store 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 the 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, want another shot going around the roof or something like that. It's important to know how to actually change the view to render these pots. 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 in 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 A, 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 want to press Control Alt and zero to bring my camera there. And then going to Ja Zoom in a little bit, go to View and going a 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 close 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, too 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 as you want in the scene. Now, what about rendering? 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 at long range. And if we click this, we also have camera at short range. And now, basically, I can render out this actual short range like so so I've come up 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 you're 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 turn table. And the reason we're doing that is because many, many times people want a turn table of where they're actually going to be going around their scene or their actual assets. So 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 desk and you want to put cursor to world origin. That then we'll say cursor to the center. And what I'm going to do from there is I'm going to press Shift Day 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 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, cross Control P, 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 is grab my circle and rotate it round, so's rotate it round, 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 shifts, and then cursor to selected. Next one I'm going to do is press tab, and then we're going to go to my camera. And what I'm going to do is press shifts and selection to cursor keep offset. That then is going to put my camera there. Now, you will see if I press the spaceboard 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. Let's now set this back at zero, and the camera should be exactly where they'll put it. And now what we need to do is we need to 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 press 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 shifts and cursor to world origin. Shift A, bring in an empty plain axis like so. And the reason we're using a plain 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 plain axis in there. I recommend that you pull it out, so keep pulling out 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 constrain, 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. 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. So something like this. And then all I'm going to do is I'm just going to press the S bod to expand the circle, pull it out, and now you'll see, we've got the perfect place where we need it, need to pull it up a little bit more, maybe. Let's pull up the empty a little bit. And there we go. And now if we press Space Bar, you can see that we've got a term table. So one more thing before we actually finish this, we obviously need to control how fast the actual how fast the actual camera is going around the circle. So all we need to do to do that is we will select our circle. So if I come out and select my circle, 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 button, press Space pot. You can see now that we have a render, which is going to last 0-800 frames, or we can change this to 600, so let's say 600, 600, like so. 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 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 you on the next one. Cheers. 99. Working with compositor addor to adjust our render for Blender Beginners Masterclass: Welcome back everyone to blend the beginners master class, the cookie factory. So now you've got your camera sorted. You know how to do turn tables. Now, we mad about this, but we actually decided to include into this course the actual I built compositor add on, which is going to revolutionize the way not only you do this course, but all of your projects in the future. So you'll find that within the resource pack, and let me show you how that works. So first of all, let's go in and go to Edit preferences. And what we want to do is we want to go to add ons, and we want to go to Install From Disk. The one we want is going to be under compositor. So here it is, double click it. You don't need to, you know, unzip it or anything like that, and there we go. Now, at the moment over on the right hand side, you will see over here. So we've got it on cycles. We've got it on 200 frames of the moment. Over here, you will see all of these. Now, all of these are basically layers. These layers do different things, so you can make, for instance, the gloss shine more, the actual light glow more, the actual colors of all of these things can be changed. So let me show you just how good this is. So first of all, we're going to go over then to our compositor, and we're going to go to use nodes, and at the moment, you're going to end up, this is basically the default. This is basically the default for blender. What I'm going to do then is drag and drop this down, and then we're going to drag and pull this over, and I'm going to go and put this onto Image Editor. Now at the moment, we won't have anything in there. So what we'll do now is coming over to the right hand side, and you can see one that says three D Tudor, compositor. And what we're going to do is click that on, and then we're going to set up the compositor. This guys is going to do all of the work for you, setting up every single node that you could ever want when you're actually rendering something out. So let's go to setup compositor, and here we are. So this now has set all of this up for you, and you can see all on the right hand side here is all the options. Now, before I go ahead, let me just show you, first of all, it's also turned on all of the actual layers that you're going to need unless you're doing something really, really crazy, these are all the layers that you'll actually ever need. And it's also come in. And if I scroll down, you can see under film, it's also put transparency on. Now, I don't want transparency on. I'm actually going to turn that off, so just make sure you turn that off, and then what we're going to do then is go back to modeling. So we're going to go back to modeling, and we're going to set up our camera now. So you can see at the moment, we've got our view. We need to camera to view, press the end bunch, close that down. And all I'm going to do then is just zoom out a little bit just to get everything in the frame like so. There, then what I'm going to do is I'm going to put it onto Object mode. I'm going to make sure my interlocking links are actually turned on or off sorry, so we've got nothing in the background, and this then is going to speed up the render. Now, before always clicking render, just make sure you go to save, and then all you're going to do is hit that render button. So now it's going to take a little bit of time to think through everything, load everything up, and let's see what happens. So at the moment, the compositor, so the three d tudor compositor, you won't do anything at all because nothing's turned on. Now, you can also see that I've got all of these things in the background. So what I'm going to do, I'm going to wait till this finishes, and you can see it's already finished. I'm going to come in then and just hide all of these things in the background because I really don't want them on, so you can see all of these things have turned off. So all of these parts here, I actually need to turn these off like so, making sure they're all off, and then sit at that render button once more. And now you'll see that nothing should be in the background, and we should get a really, really beautiful render. Once this is done, we're going to go through all of the options, and we're going to show you how everything works. And from there, you're going to end up with a beautiful render every single time going forward, not only in this project, but as I say, in every project, going forward, you're going to end up with a very, very nice render. Okay, so let's close that down. We'll come over to our compositor. We'll come up to the left hand side, and what we want to put it on now is render result, and this is what we'll be left with. Now what I want to do is I can pull this all the way over. I'm not even going to need to go into my rendered screen. I can do everything from here. So, first of all, let's go into color. We can actually change the color. You will see actually changes on the fly in real time, as you can see, it's updating it. Let's change the color. Then let's put it a little bit brighter. Just make it old. Maybe that's a little bit too much, a little bit less. Something like this. Alright, next of all, then, we're going to come down. We're going to close that one up. We're going to go to the gloss. So the gloss basically is the layer that controls all of this metal and things like that. We can actually turn that up now and make these much, much shinier, as you can see. Now, to get real kind of looking really nice, we've also added on there a metal glint. And what that's going to do is just going to add some glints on there if needed. Now, I recommend that you actually turn this down if needed, as well. You might not want that on there. Not that far, by the way. Turn that down. This is only in case you've got some sun shining onto the meal and wanting the actual glint to come into effect. So what I'm going to do, though, is I'm going to turn that off for this one. And what I'm going to do is mess around with the brightness. So let me turn up the brightness of the metal. Let's turn it up to, like, not 0.5 or something, and then you'll see a bit of a difference there, and there we go. All right, so that metals looking nice. Let's turn it up a slight bit. Just like that, just to get that metal shine really, really good. Let's close up our gloss. Next of all, then we've got transmission. Transmission is glass, basically, anything like water or glass. And you will see that if I come in now and turn this up, the glass on here and on here will actually change. So you can really fiddle around with this now and change what that actual glass is going to look like. So for me, I'm going to put it a little bit lighter, like so. And then what I'm going to do is I'm also can change the light level, so I can actually change it so that we actually have a little bit of light in there as well if needed. From there, then I can actually pull it down a little bit, change it a little bit more, and you can end up with a real glow on things like that. What else am I going to do? I'm going to turn this off. I'm going to come then to my colors. And what I can also do is add in a little bit of blue if I need it, or even some yellow. So let's add in a little tiny bit of yellow like so, and now you can see it's really starting to bring that glass out. Let's add this a little bit of blue. And there we go, and we can really play around with this, as you can see. That is the transmission then. Next of all, then, we have got volume and miss controls in here. Now, the thing is with the volume and mist, we're not actually using those. They are way, way more advanced than what we're trying to do here. So at the moment, we're not going to be using those, but when it comes to the future and you will be using those, you will see these are a Godsend to you because if everything is set up, you'll bring in your volume, and then you'll be able to play around with it or you're mist. Now let's come to the light blu. A light bloom, what we can actually do is you can see our little light here. We can actually turn on our bloom, and there you go. And now we can also increase the light, like so. We can also change the color of the light. We can increase the range of the light, as you can see, and we can really, really turn this up to make it much, much brighter than what it was before. And then we can turn this all the way up. Like so, and then you get a completely different look from that actual light source. It's looking really, really nice, as well. We've also got streaks in here that we can add in, lens flare we can also add in, and all kinds of things that we can actually do with this light. We can also come in if you want to and change the color of your light, like so, whatever you want, really. Alright, so that is the light bloom. Next of all, then, we've got the environment. Now, of course, this is an environment what's behind you. So if I come in then and change this up, for instance, I can actually come in and change how bright this is, for instance. I can also come in and change the colors of it. So if I want it a more green color, there you go. You can actually change the color of the light. We can change that darkness as well. And already now, you can see that's looking much, much nicer. But it gets better, guys, because finally on just the limited options, we can also change the ambient occlusion, bring in more ambient occlusion if needed, bring in less if needed. And we've also got a color here. So if I drop this back, for instance, I can bring it all back, as you can see, and now we've got a lot more dark, and what we can also do is turn this up a little bit. To bring back that light, and I can also come in and change the color of those. So if I come in and put it on, let's say, a yellowish color, you can see now that actually changes everything to that yellowish tinge. I can even come down then and bring it down a little bit like so. And then I can come in and make this a little bit darker. So let's make it a little bit darker, maybe too much there. So let's pull it up a little bit, pull it. Let it load up, and there you go. You can see you can get exactly the look that you're actually looking for. Now, for me, what I'm going to do is I'm going to turn off the color and just have a little bit of ambient occlusion. I don't want actually too much because I still want it to be really nice and kind of bright. Now, don't worry, though. This is just the ambient occlusion. We can come in and make it all brighter, and I'm going to show you that on the next lesson because guess what? We've got a ton more options here that we can actually play around with. So I'll show you how to fiddle around with these, as well. And in the end, you'll have an amazing render. Alright, everyone. So that's it for this one. On the next one, then, it is probably going to be the final lesson. And from there, you're able to go forward and create some amazing stuff. Alright, everyone. Hope you enjoyed that. See you on the next one. Thanks a lot. Bye bye. 100. Color correction in blender compositor, setting up denoiser and sharpening up our render for Blender: Welcome back, everyone to Blenenbgin as master class, the cookie factory, and this is where we left off. Now, the other thing we can do before moving on to these then is also the background. At the moment, I've got none. Now, this always works better when we're actually bringing in something like a transpant background. So, in other words, we need to actually have this as a transpant background to start with. And then what we can do is bring in any of our images. If I open up this, you can see I can actually bring in a background image straight from here. So we'll actually do that first, so we're gonna come in. We're going to re render it out with transparency. So if a come down, put it on transparent, like so. And then what I'm going to do is render it out, so render image. You can see now it's got a transparent background. And then from there, what I'll do is I'll show you actually how we can actually bring in an image. And then from there, what we'll do is we'll actually come in and finish this off. So there you go. You can see our image is already in there. And now if I close this up and go back to my compositor, you will see now that I can actually put this on Alpha, if I want to, let it load up, or I can put it on my image, or I can have it on non, which will be the actual alpha. So so many things you can actually do with this. Now what I'm going to do is I'm going to come in and show you the last thing. So first of all, we've got box shopping. So you'll see that as I bring this in, it's going to sharpen everything up. Of course, you've got things you can change here to actually really, really make it sharper, as you can see Everything is much, much sharper. Now, you've got box and diamond hoping. One of them works better on some things, the other one works better than others, but I'm going to sharpen it up just a little bit, like, so I'm going to close that up. Next of all, then you've got soften. Sometimes when I'm actually working, I will use the box shopping, and then I'll re soften everything and back off. So you can see here that I can actually soften everything back off once that loads up, and you can see now it's kind of softer and looking really good because we've made it crisp, and then we've softened it on top of that. Next of all, then we've got antilicin which is basically these lines running down here. You can have a play around with it's quite hard to actually get this to be the look that you're actually wanting, but you will see if you mess around with this enough, you'll get that look that you're looking for. Let's close that off. Next of all, then we've got the color balance. Now, the color balance is basically how much warmth or cold. So let's say you're dealing with something like the itch King out of World of Warcraft, you might want to bring in a little bit more blue and make it a little bit more cooler. I recommend when you do this, play around with it by coming, setting it all the way over. So if I set this all the way over to red, let it load up. You can see exactly what that's going to do and from there, then really drop it back and only very, very slightly increase it. This is a slight yellow look, and then we've just brought that in and brought a little bit of warmth to it. We can also come to this one, bring a tiny, tiny bit of warmth to this, or a little bit of blue, and there you go. You can see exactly what's happened. Let's bring a little bit of blue in this one. Let's see how that looks. And there we go, I think that looks pretty nice. Then let's close that up, and then we've got the RGB curves, which, of course, if I open this up, this is what controls the lighting. So if I bring this up, you will see it brightens up this whole thing much much more. Let's bring it up, just a tiny bit, just to make it a little bit lighter. Let's close that up. Next of all, we've got correct. Now, this is where you can really accentuate those colors. So if I bring this all the way up, what will happen is it'll bring that yellow all the way I'll completely saturate that yellow as you can see. So you can actually break it down into the colors that you want actually saturated or desaturated because I can also bring this down as well and completely get rid of that yellow if I want to. So this is a little bit more on the, you know, professional use case, but it's there just in case you need it. I'm going to turn that off for this one. And what I'm going to do now is come to my brightness and contrast. Yes, we can play around with the brightness and contrast a little bit. I recommend when you're doing this, turn it up very, very slowly, you'll get a kind of grainy effect on there. And finally, before denoise, we've also got hue and saturation, and this is the one where I'll turn it up for this one just a little bit. So then what we'll do is we'll turn up this saturation just a little bit to 1.2, something like that. You can see everything now gets saturated. Maybe I've gone a little bit too overkill on that, maybe 1.3, something like that. Still, maybe a little bit too much. Let's try 1.060. And there we go, I think that's looking really nice. And finally, the best one in the whole of the composite is the denise. You can see at the moment, we've got a load of noise on here, especially. You can see this noise, click this on, wait a little bit. Let it load up, and there you go. Everything is cleaned up for you. Thank you so much, everyone for joining me in the Blender beginners master class, the Cookie factory. It's been an incredible journey, and I truly hope you've enjoyed building and animating your cookie factory as much as I've enjoyed guiding you through it. Over the course of these lessons, we've covered so much together. You started with the fundamentals, learning blenders interface, navigation and essential tools. From there, you modeled and animated ten unique machines, mastering skills like stylized modeling for vibrant and creative design. Texture creation and UV mapping, and avoiding repetitive patterns, lighting techniques including emission shaders and blender sky texture, particle systems for realistic, dynamic effects like chocolate sprinkles and advanced animations using keyframes, cycles and timing techniques. And of course, not to be listed out compositing with the three Tudor blind Craft add on to bring your renders to life with professional grade effects. If you enjoyed this course and found it helpful, I'd love to hear your feedback. Leaving a review not only helps me improve, but also helps other students find the course. It makes a huge difference, and I'd be so grateful. Now that you've built your own cookie factory, I hope you're feeling inspired to take on new challenges in blender. Whether it's your next stylized project, creating game assets or tackling more complex animations, the skills you've gained here will serve as a strong foundation. Once again, everyone, thank you for taking this journey with me. Your creativity and dedication have been amazing to see. I can't wait to see what you'll create next until then. Happy Modeling and I'll see you in the next course. Cheers.