Blender Beginners Ultimate Stylized 3D Scene

1. Blender 3 The Ultimate Stylized Scene Guide Learn how to Create Scenes In Blender: Welcome everyone to our latest course, the ultimate stylized scene guide. And if you've ever wanted to create scenes within Blender that have that Sims or city skyline stylized look and feel, then this is a class for you. Join me as I take you on a journey to create this beautiful, sun dren scene, complete with other models on your screen right now, and especially that amazing ocean. So if this sounds like something you'd like to learn how to create, then stick with me for a few more minutes as we take a look at what you'll learn and what's packed into the class. From the very basics of modeling, all the way up to advanced techniques to create a stylized, aesthetic look and feel. We'll be covering everything from most of Blender three's modifiers to things like curves, and topology. All materials will be creating blender from basic shaders to advanced node set ups to create amazing materials. Get a head start in shader creation with things like cobblestones, foliage, and oceans. We take a deep dive into the blender compositor to really make your scene pop and come to line. Learn all about how to set up complex node trees to make your work stand out in any portfolio. Welcome to Blender three's Complete Asset Manager Guide. Here we devote a whole lesson to learn about what's new, and now you can create huge asset libraries. Create huge scenes simply by dragging and dropping your models into the viewport. And best of all, this class comes in a massive download pack, featuring nearly 50 references, so you'll never get lost, letting you focus on building your scene. Air conditioning units, scooters, hammerhead sharks to name but a few. Advanced lighting techniques, including gradient and HDRI setups. We'll be taking a deep dive into how you can light your scene. Oh, and did I mention, we also discuss cycles X renderer, the brand new renderer to Blender three. Like all my courses, this course comes with a comprehensive step by step blender guide. With our intuitive, animated pop ups letting you control the pace you want to go at. So whether you're a complete Blenda Beginne or a Blenda Jedi, I'm sure there will be something you can learn from this class. So, why not come, give us a try and be blown away by what you can achieve. And there's always happy modeling everyone. 2. The Basics of Blender for Beginners: Welcome everyone to Blender three, the ultimate stylized scene guide. As you can see in this one, I'm using Blender 3.0 0.0, and I would say anything above blender 2.8 or above should actually suffice. If you're using Blender 2.7 something, you might want to upgrade to Blender 2.8 plus because there are some things that might be in the course that you won't be able to do with Blender 2.7, or they might just not work correctly. We're talking about things here like the EV renderer, or the node system. Some of the nodes might not be there, things like that. With that said, then, let's get started on the actual course. The first thing you want to do is you want to actually download a download pat that comes with the course. So here is my download pack. You can see in here, we've got HDRIs, we've got a human reference, and we've actually got our references. All of these things we're going to go into pretty shortly actually and throughout the course, we're going to be using a lot of these things. So just make sure that you've actually got that downloaded. Now, the first one we're going to actually discuss is this human reference. If you click on there, this actually is a OBJ of a human reference, which is 1.8 meters tall, and we're going to use that actually to kind of scale all of our parts around this. So you will notice that on your actual reference pack, so if you go to our references, you will see that on all of these, but just pull this over, we actually have human here, and that is what we're going to scale all of these things on. And that's why these are here. Now, you will notice that a lot of times when I'm actually creating the references, you can't actually see everything. That's up to you then to actually add what you think you would like to add there. But we will be building it out all of it, the front, the back, the sides and things like that, but you might actually want to change a few things. I just gives you the ability there just to change things if you actually want to. Let's close that down now, now you understand that. All right. Now let's actually bring in our humans, so I'm going to go to file. I'm going to come down to Import. I'm going to go over then to where it says wayfront OBG normally use FBX and OBJ, and it will be putting down on the right hand side he what the difference is between them. Also, you will notice every time I move my mouse that you've got keystrokes, it will show my keystrokes down here, so they will be on as well. So file, let's go to Import, OBJ. And then what we're going to do is go to that download pat now. Here's my download pack as you can see. Inside there, we're going to double click the human reference, human reference here Bj, double click it, and there it comes. As I say, this guy is 1.8 meters tall. If I press number one on my actual number pad, you will see that each one of these corresponds to a meter, so you can see is roughly 1.1 0.8 meters tall. All right. I want to do is at the moment, I want to grab hold of him and you can see that I've got a little dot over here. This is the orientation of my man. Now, if I just rotate him, so if I press R and y and rotate him, you'll see that the orientation is rotating from here, and that's not what I want. The first thing I want to do is actually put the orientation in the center of my man just to make sure that it's rotating and moving from the correct place. I'm going to do that is I'm just going to write come down to set origin, and then go to origin two geometry. Just make sure that you've actually got him selected, so this yellow outline should be around him, right clip, set origin, two geometry. And now you can see that the orientation is right in the center of this actual geometry. Next of all, I want to put in the center now because this basically where this cursor is, this little round red and white cursor, is the center of our world. We generally call this the ground plane. And what that means is where this red line is or if you press three on the number pad or this green line, you can see now if I just turn that round, so I've got a red line and a green line. This is the x axis, this is the y axis, but it's a great place if I press one to actually put a ground plane on and actually position all of your parts on because then you've got something some kind of reference to work from. So let's first of all, put them in the middle. So the way I'm going to do that is, so I'm going to do that, first of all, I'm going to show you how to move your cursor around, so I'm going to shift right click anywhere around here, and that then we'll move the cursor over there, which means now that if I press shift S, come down to where it says selection to cursor, and because I've got my man selected now, it will put in bang where the cursor is based on the orientation of my man. Now, I want my man in the middle of the world. I'm going to do that is, I'm going to press S again, cursor to world origin, and that then will always put it in the center. It's a good idea if you build everything around the center because it just makes things easier because you can always position this cursor in the center. All right, so let's move our man to the actual center. So we're going to press shift S, selection to cursor keep offset, and now our man is actually moved to the center. Now, you will notice that his feet are actually through the ground plane, and that's not something we want. So what I want to do is I want to press shift space part. And then what we're going to do is I'm going to come down to where it says move, and that then will bring me a move gizmo, where it can actually move my man up and down left and right. With this actual Gizmo. So I'm going to do is just going to pull him up and put him on the ground plane like. Now, why I press one on the number pad is because I can really see now where his actual feet are, you can see his feet are nearly there, and that's why I actually did that. Now what we're going to do is we're just going to save this out, so I come to file. Save. I'm going to save it in the file where the other references are and things like that. I'm just going to call it Bach. Beach seen lender build. Press center, press center, again, and now it's actually saved out, and you'll notice on the top of the here, you can see where it's actually saved out as. Now the thing is now every time you save it out, just come to file, save and just save it out. I would say, save it out after every single lesson, or if we're doing something really, really complex, so actually blend the crashes, you can always get your work back. Now what I'm going to do is I'm going to give you the basic introduction to Blender. If you're new to blender, then please go ahead and watch this, and I'll see you on the other side. If you already know this, just head on over to listen to, where we'll actually carry on and actually start building something out. All right, everyone. I hope you enjoyed that and I'll see you in the next on. Thanks a lot. Bye bye. Hello, everyone, and welcome to the basics of Blender part of the course. I recommend grabbing a pen and paper or aw document and join down these keyboard shortcuts. He'll be going through the very basics of Blender and the keyboard shortcuts you will need. With all that said, let's get started. So on the left hand side, your kit see, I have key casting on. This will show you the keys I'm pressing in real time, and this will be on pretty much, if not all of the entire course. The next thing I'd like to show you is any new keys we use, there will be a small animation that will appear down at the bottom right hand corner. This will only appear the first time we use that particular new key, and I think it really helps keep the flow of the lessons to a decent rate, both for beginners, and those more familiar with blender. Because they only appear once, they won't plow up the screen, and there's always screen casting to rely on. Also down the bottom right hand side, you'll see a detailed animation of anything that needs more context. This is useful if you new to three D modeling in particular because there's a lot of jargon and technical terms that need a decent explanation or more context of why we are doing something. I recommend then, if you need more information, jumping onto the blender website and checking out their detailed explanations of pretty much anything blender related. So now, when we mention Blender viewport, this is actually viewport, you can see it. All of this gray area here is actually viewport. Now, if we go to the UV editing bar up here, you'll see that O left hand side, it's now in two screens. And if I say the UV editing viewport, all that means is just this gray box over here. So now let's go back to modeling, and let's go a little bit further into how to move around in actual blender. So, the first thing I will discuss is that the middle mouse born actually, if you hold it down, you can rotate anywhere within the blender viewport. And then if you want to Zoom, is just scrolling in and scrolling back. Now, you can also press control shift and the middle mouse, hold it down, and then just push it forward or push it back, and you can scroll in very, very slowly. Now, to pan, all you need to do is you need to hold shift button and the middle mouse, and then you can pan from left to right. And to zoom to the object, which is very handy, let's say you're really far out, and you really need to zoom to it. All you need to do is press the dot on the actual number pad, and that will zoom you right in to the object you want to zoom to. So for instance, if I'm zoomed out and I want to zoom to my light, for instance, it's very easy then to come across DCN collection, click on your light, press the dot on the number pad, and that will zoom you right in. Now, the next thing we need to discuss is just deleting objects. So to click on an object is just left click. And then what you can press is you can press the delete key, and that will just delete it out of the way. So I've just lead to my light there, and now I'm going to come across to my camera and actually delete that out of the way as well. The next thing I want to discuss is if we click on this cube and we press Shift D, what you'll notice if you move the mouse now, it's actually going to make a duplication of my actual cube. If I don't actually click anything on my mouse and I just click the right click butt, it will drop that back in place. Now, you can't see there's actually two cubes in at the moment, what there actually is. We need to bring in the gizmo, and the gizmo is basically something that we can move things left and right up and down, things like that. So if I press shift space bar, come down and you'll see we've got one that says move And now we actually have our gizmo, and if I pull this to the right hand side. You can see now we can pull this away, and now we're able to move this around. You can also freely move this as well. If you press the G key, you'll notice if you've got it selected now, you can move it basically anywhere around the viewport. You can drop it back with the right click or you can put it wherever you want it. So G and then click, left click, and it will put it wherever I want to do. Now, also, why the dot born, the Zoom tube born is important. If I press the dot born now, you will see that if I just o mow and hold the middle mouse and rotate around, you'll see that I actually rotate around the origin of this actual cue. Now, if I click on the other cue and I press the dot bond, you can see now that I'm actually rotating around the origin of this cue. The next thing we want to discuss is object mode and edit mode. At the moment, we are in object mode. We can't really do a lot with this cube, except move it around. Now if I press the tab, we will then go into edit mode. And in edit mode, we can actually do a lot more things with this cube. Up on the top left hand side here, you will see that we've got three different icons. One of them, this one here is vertices. The next one across is edges, and the next one across is face. Now, if we're on vertices and we come over to this verts, for instance, I then, if I press shift space part to bring in my gizmo again, I then can move this around. Now if I come into edge select, I can grab the whole edge and move this around like so. Finally, if I come into face select, I can now grab a whole face and move it around like so. Now, the other thing is, if we come to our vertice select, I can select to verts. You can also select another vertice or another object or something else like that, just by holding the shift button and actually clicking on the other vertice or the other object, or if we come to face select, for instance, we can grab this face, shift select, the second phase. And this is how we can select multiple objects. Now, the next thing we need to discuss is the axis. So we can see we have a red axis and a green axis. Now, just to show you what this actually relates to, if we come up on the top right hand side here, where you've got these two interlocking balls, and you click this little down arrow, you will see that we can turn on the Z axis. Now, we're just going to turn this on just to show you what I mean. So if we turn that on now, you'll see another axis appears here. Now, the green axis is representation of the Y. So if I want to scale this out on the y, all I would have to press is S and Y, and now you can see, I can scale it out along that axis. Now, if I want to scale it out on the x, so that's the red axis, I'd press S and x, and I can scale it out along the axis. And again, the same thing. So S and Z, the up and down axis is Z, and it's S and, and then you can scale it up and down. Finally, as we, this is also important if we actually want to rotate it because we'll rotate it on an actual axis. So what I'm going to do is I'm going to grab the whole of this by pressing the A button, and then I'm going to rotate it around. I want to rotate on the y axis, so it's r, y, and then you can see it will only rotate on the y axis, and no matter where put the mouse, it will always rotate on that axis. To click it back to where it was just again, the right click. And if you want to turn it, all you need to press is r and y again, and then let's give it a degreese. So all we're going to do is going to press 90 on the actual number pad, so 90. Enter button, and now you'll see it's rotated by 90 degrees. So just to summarize that, S is scale, and R is rotate. Normally, when we scale something or we rotate something, it's followed by the actual axis, and then it's followed by a number. Specifically when we rotate something. Normally, when we scale something, we just hit scale, pull them outside and we'll scale it up. When we rotate something, it's normally R, followed by the axis, followed by a number on the number path. So now the last thing I want to discuss is if we go to object mode now, we need a way to actually view this a little bit easier than the way it is at the moment. Let's first of all, turn off the t axis. And what we'll do now is we'll use the number pad to actually view this. So if I press one on the number pad, that will go actually into the front view of our viewport. If I press three on the number pad, that will go into the side view, and if I press seven on the number pad, that will go into the top view of our viewport. Now, the opposite to get to the opposite, all you need to do is you need to hold control. So in this occasion, we'll press Control and seven, and that will bring us to the bottom of this object in the viewport. Control one is the rear of the object and Control three is the opposite side of the object. Now, before we finish this section of the course, I need to show you something that's also very important. If we come up to the top left hand side, you'll see you've got a button here that says edit, and if we come down to preferences, one thing they should always do that when you first download a blender, you should always put on the status bar, which is this button here. If I click all of these on, you will see now If I click them all on and I close that down, down at the bottom right andide, you have all the details that you need. So for instance, we've got how many faces and how many triangles are actually in the scene and the objects are in the scene, and the memory and V ram that it's actually taken up. This is really important if you want to get a good idea of how much power your computer is actually using and how many polygons and triangles are in the scene. Polygons and triangles, you'll learn more about as we progress through the course. And that pretty much covers the basic of blender, and I hope you'll found that both helpful and informative, but more importantly, easy to understand. So now, as they say, on with the show. A. 3. What are Polygon Counts & Why They Matter: Welcome back everyone to Blender three, the ultimate stylized scene course. Now you've gone through the basics. Let's take a look actually at our references, so I'm just going to pull these across, and here you will see that we have all the references for all the parts, all of the hotel, and the actual parts of the windows and things like that. Now, you will see that the windows and things. These aren't actually taken with a straight view. They're actually taken at a little bit of an angle just to make it a little bit more difficult to actually create them. I've done that because generally, when you're actually trying to get your own references and things like that, you're basically not going to always have them straight through. You just have to think about it and make sure that these are actually correct based around our map, and that's actually what we're going to do. Now, things like the hotels, if you click on one of the hotels, you can see that these are straight on, which means that these are exactly the right size. If you're going to get schematics and things like that to base models around, then you should get them where they're straight on, and where ideally, they've actually got some reference point, or you can actually cut out your own reference point and bring it in and make sure then that actually fits. What we're going to do is we're actually going to pick something pretty similar out of all of these just to make a start. You can see we've got all of these parts. Now, I'm thinking that the best way to do this, as you can see, we've got something like a moped which is actually an incredibly difficult part to actually make straight off the bat. That's going to require a lot more skills within blender. Then let's say something like the actual door, which is this one here. So I'm thinking, if we start with something like the door, you're going to learn a few basic modeling tips and tricks and things like that. And then as we work through, we'll actually build on that up and up until eventually you're creating things like the actual hotel, the bar, the moped, things like that. All right, so I think the first one we're going to actually start on is the actual sun shader. Now, what I'm going to do is I'm going to show you how to actually bring in reference and actually work from it. But for me, I'm actually going to have it on my other screen, which is on the left hand side, so I'm just going to put this over there. So when we talk about bringing a reference in, that is your cue to actually change the reference out. I'm going to show you how to do that as well. So let's put that down for now. What we're going to do is going to press shift A, and we're going to come down and you'll see you've got image and reference. Now I'm going to show the wrong way and the right way to do this. I press shift A to bring in a primitive, come down to where it says image, bring in a reference, and now I'm going to find a reference. I'm going to find a reference, and it's called the sun shader. If I scrolled down, I should have one, that's sunshader. Now when you bring that in, you can see it's at a really, really weird angle, and if I press one now, it's not very good to work with at all. What I want to do is I want to set this up correctly in the first place. What I'm going to do is I'm going to leave that out the way. And then going to come to shift A image reference, and now let's bring in that sun shader once more, so sun shader, and now you can see that it's perfectly straight, and that is because I press one on the actual number pad and add that straight on view that we're looking for. Now what I want to do is I want to bring this up and I want to make sure that my man roughly fits in place, which he does as you can see. It's roughly fitting in place. Now, it's important that when you bring a reference in, just make sure that your guy is the right size. Now, as I say, I'm going to be a lot of the time using my reference on the other side of my screen for something like this, though I can actually use the reference. Now I'm going to show you On the right hand side, if you look over here, you've actually got one that's like a little image with a triangle. If you click on there, this is actually this image. You can see here it says Sun Shader. You can also see that you can actually mess around with a few of these like the opacity. We can bring that down if we want just so we can have it a little bit more seafood and things like that. I want to do is I want to change this reference out, let's say. If I come here, and let's go to the beach bar. You can see now it changes out. And as I say, the one thing you would need to do is make this a little bit bigger just so it lines up to our actual human there. And now you can see it's that easy just to change these out. All right, so what I'm going to do now is, I'm just going to press control there just to go back, bring in my other reference, and there we go. Now we can actually start building this actual sunshader out. What we're going to do is that we're going to bring in first of all going to put this roughly in the center just so I've got something to work with. And then what I'm going to do now, I'm just going to move my man over this side because I know where I'm actually working to. I don't actually need him at the moment. I'm still going to leave him in the scene because I am going to need him for future builds and things like that. So let's first of all, bring in our primitive. Now, it's important again to make sure that the cursor is in the center, so shift S, cursor to world origin, and then shift A, and what you're going to do is you're going to bring in your first object, which is going to be an actual cylinder. Now, when you first bring cylinders in, You'll notice that this cylinder has a ton of actual vertices. What do I mean by that? Well, if a press tab, you can see we've got all of these lines here, and this basically is adding to our polygon cam. Before we do anything else, the most important thing to do is come up to edit, go to preferences, come to interface, and you will notice now that if you scroll down, you've got one that says status part. If you open the status bar up, you'll see we've got all of these that aren't ticked to pot from blender version. You can see down on the right hand side of your own blender, that says 3.0 0.0 or whatever version of blender using. Now, if we tick these on, You can now see that we actually have how many actual vertices are in the scene, how many faces, how many triangles, how many objects, and the memory we're actually using. This is really important because we don't want to go too crazy with our polygon count, because if we do that, then we're going to really, really slow down blend it. This is really helpful if you want to find bottlenecks within your own blender scene and things like that, which are really starting to slow it down. Now, if I close this down and you can see that this menu is actually disappeared, and why there is is, if I delete this out the way. Let's also look at why we need to bring polygon counts in and how we can lower them and things like that, and also why that cylinder disappears. If I come to my man here, if I press H and hide them out of the way, you will see that now we've actually got no objects in the scene. The man, if you press tag to bring him back, as a fair few polygon counts. We can see this. If we actually press tab, you can see just how dense this polygon count is of this actual human. Now don't worry in the end, we actually get rid of him. He's only there as a reference. Let's just hide him out of the way scene as we don't need him, and let's press shift a and bring in our actual cylinder. For bring in a sun, you can see at the moment, the triangles. This is the one that we're actually looking at. The triangles is basically the polygon count. To put down the bottom right hand side here, what polygon count is and why it's important. But be safe to say that the higher the polygon count, the slower anything is going to run to the point where if you've got millions and millions of polygons in the scene, it's going to be very hard getting around, very hard sending anything through to other piece of software, things like games engines and things like that. It's important we can keep our polygon count to a relatively low number, especially if we're dealing with things like stylized assets, we can really get away with actually lowering it down. You will notice on things like games, for instance, that everything looks kind of blocky in some games, and that is basically because they brought the polygon count right down in order to run that game faster. So in other words, the higher the polygon count, the slower generally the game runs, unless it's very, very well optimized like something like Witcher or something like that. All right, so you will notice as well, if I open this up, we've got a menu here with the vertices, and the vertices are each of these edges that are coming down here. Now, if I click off there, you will notice that if I go back to my cylinder, we don't have that option anymore. So it's important that you change this before doing anything else. So I'm going to again, delete my cylinder. Shift day, bring in a new cylinder. What I'm going to do is I'm going to reduce this down to something like 14. 14, bring it down and you can see it looks a lot more blocky. Now the thing is, You want to get away with this that it's still blocky, but still actually able to shade smooth. If I right click and come up to Shades Move, so if I shade it's smooth, and then come over to the right hand side where this little triangles, come to normal and click on AutoSmo. You can see now that if I go round it, it's still in blocky, but it's actually smooth. So I'm going to show you what I mean by that. I'm going to actually delete that again out the way. Press shift A, bring in a cylinder. I'm going to put this cylinder on eight, like so, I'm going to right click, Shades Move. Auto smooth. Now you can see even though I'm smoothing it off, it's still actually blocky, and that is because Blender simply hasn't got enough vertices to actually make this actually smooth. So you've got to take that account into account when you're actually doing this. Finally, let's bring it in once more. Cylinder. Let's put it on 14, like so Let's write click shape smooth, Auto smooth, and there we go. Now you can see it looks absolutely fine and you can see how many vertices have gotten there. All right, so let's make this smaller. So one is going to press one on the number pad. I'm going to press S, I'm going to shrink it down to the scale that I want it, which is around this scale, you can see bit more maybe bring it up, and you can see it slightly out on this actual reference, but we don't need to worry about that. All right. Now we need to do is we need to bring it up to the top off here, so I'm going to press tab to go into edit mode. Then as you learned before what each of these dos, let's go into face select, grab the top face, and because I'm in edit mode now, I haven't got my Gizmo there. All I need to do is press shift based bar, come down to move and bring in my Gizmo, and now I can simply drag it up. If you have problems dragging it bit base it means that you've just not got the top face selected, you've probably got some other parts selected and just bring it up into somewhere around here. All right. The next thing we need to do is now, we need to actually bring this down to actually make this actual copy for the top of here. There's an easy way of doing that. What we'll do is we'll use the same actual size, 14 basically to create the top of here. What I'm going to do is, I'm going to press shift de, to duplicate just this face, and then I'm going to bring it up like so. You can see now that we can actually use this to create this top. What I'm going to do now is I'm going to press one on the number pad, and I'm just going to press the SP, shrink it in just a little bit, just to get that top. I don't actually want this real point on here. I just want it to be slightly round on there, something like that. Alright, so what we'll do now is we'll come to file, come down to save, and then on the next lesson, we'll actually should, get this actually finished off. Alright, every one, so hope you enjoyed that, and I'll see in the next one. Thanks a lot. Bye bye. 4. Wireframe & The Blender Shading Options: Welcome back if we want to blender three, the ultimate stylized scene guide and. This is where we left it off. Now, what we want to do is we are now actually start making this into an actual canopy. The first thing I'm going to do in edit mode. I'm still in edit mode, I've still got my face selected, I'm going to press E for strewed, and you can see there that I actually can pull that down on the Z axis. Now, the one thing is if yours not pulling down straight down which basically, you shouldn't be able to move it left and right, just press the Z button, and what that enable you to do then is have free in over where you actually move it, press the Z button again, and then you'll be able to pull it straight down. So I'm going to pull it all the way down to pretty much the bottom. Now, I can't actually see the bottom. So I'm going to do is I'm going to press one, I'm going to pull it down then to where this actual circle is, and then I'm just going to press the S button, and I'm going to pull it out all the way to the edges of here as you can see. Now, you can see that we're getting somewhere with our canopy, but it's not perfect because it's not quite lining up. So what I'm going to do is I'm ws going to pull it up jaws to the top of here because I want the edge of this canopy, Jaws to be a bit more flat on here, and then I'm going to press E again, pull it down like so. Now what I'm going to do is I'm going to come to the sides of this canopy now, so I'm going to press control. To bring in an edge loop and then I'm going to bring in probably four, something like that, left click, right click, and now you can see that we've got four edge loops here enaing us to actually bring this in even more. Now the one thing is, I can't really see the reference anymore, and I do want to be able to see that. I'm going to do is I'm going to press the ZD button, and what that has enabled me to do is to go into the wire frame mode. Now up on the top here, we do have the other shading options, so we the object mode, which is what we're on now where it's basically not going to show you any materials. It's just the basic outline of our actual object. We have wireframe mode, which is the one we're going to use, and then we have material mode, which we'll discuss in a bit. And finally, we have our rendered mode. Now, we're going to actually go into our wireframe mode. So click on that. You can see now that can actually see through this actual mesh. Now what I want to do is I want to bring these parts in. So if I click on this edge loop here, you'll see that I grab one of the edges. Now I want to grab it going all the way around. So if I shift and click, you can see now that we've grabbed going all the way around, really, really easy to actually grab a whole edge loop band. If I press one now, were going to go back to the front, and then what I'm going to do now is, I'm going to come up to the top here, and this is called proportional editing. Now, what that means is when I grab this normally without putting this on and I press the S b to scale it in, you'll see that we scale in just this edge loop. If I put on proportional editing and now I scaling, you can see that we end up with a big circle. Now if I scroll my mouse with a lot, we can make the circle smaller. If I scroll it out, we can make it bigger. What I want to do is I want to get that kind of happy medium where I'm actually bringing it in. And actually bringing these in now altogether. It makes it much easier to do to actually do that. Now, the other thing is if you click on this little down arrow, you will notice you've got a load of options here, but you've also got one that says connected only. We need to make sure that we're actually using connected only. The reason for that is that I'm not actually making this actual pole smaller at the same time. You can see as I bring that in the pole is actually coming in as well. Let's press Controls and go back, and what I want to do is now I want to put it on Connected only. Now when I bring this in, you can see it has no effect on that pole whatsoever. Let's press S, bring it in. And then let's work all way up, so it's going to be click. Shift click just to grab that site going all the way around, press the S button, bring it in, like so, and now let's all way down, so shift click, press the S button, bring it in. And then finally, you can see now we're probably going to need another edge loop on here because we can't actually bend this in because we have no mesh to actually do that. Simply press Control off, left click, right click, and we've already gone more selected now so I can press S and bring them in. All right, so now it's just a bit of refining, and you can see we're probably going to need another edge loop in the top here. So let's do that first. Let's press Control. Left click, right click. Let's turn proportion editing off now, and let's press S, bring it out, like so, so we're going to get this into place, move it down. Then let's come to the next one. Lt, shift and click, S button, bring it out, work our way down. S, and just keep working your way down, shifting plate S til we can get it into exactly the way that we actually want it. S. That's looking pretty good. Maybe you want to bring this one out, S and bring it out. A little bit like so. All right. We could have another edge loop in as well, so let's press Control, let's press S, bring it in. Now, if I press Z, going to solid mode, you'll see that we've got something like that, which is looking really nice. Now you can see that although it is smood off, we do have some hard edges here, which we probably don't really want. Let's actually fix those now. If I come to the top of here again, I'm going to click on it. I'm going to press tab, I'm going to come again to my edge select I'm going to select all of these edges, and then I'm just going to press control B and then just pull it out very slowly. Now you will notice now that basically it's beveled off that edge, giving us two edge loops. Now you can come in and bevel it off even more, just turn the edge loops up as you can see that smooths it off even more. But for now, let's just leave it on one, and let's not worry about these other options or anything like that. All we want to do here he just bevel off that top pot. You can see now it's actually smoothed off. Now the thing is normally before you bevel anything off, you will also see that that option now has disappeared. It's exactly the same way is with the cylinder, with the bevel option, once you actually move or press tab, it's actually going to disappear that actual menu. Now, the one thing you should do before actually bringing in or using the bevel is you should always grab the object, press control A, come down and all transforms. Basically what that's doing is at the moment, Blender still looks at this object as though it's a cylinder or two cylinders, and it doesn't know that it's actually been manipulated, a load of edge loops added in and things like that. Always think to yourself, if something's not working, generally, it's going to be that the transforms haven't been reset. Always, always press control or transforms. Then finally, always put your origin to the center normally. It's on the occasion, you wouldn't do that, but normally we press right plate, set origin to geometry. It goes like this. Okay, I'm going to bevel let's press Control A, all transforms. Let's right click, set origin, two geometry, and it's just those two actual commands that we're actually using. All right, so let's come in now and bevel off this part here. So why we actually reset our transforms as well is because when you use the Bevel tool, a lot of the time, it doesn't actually bevel it correctly because the transformations haven't been reset. So now we've reset them, this should bevel off absolutely fine. Let's press Control B, bring it out. Let's have a look I'm fully happy with that. Let's bevel it off once more. Probably with this bit down here. Just not this bit on here. I'm going to come in now. I'll shift and click. Control B. And if it's going too fast as well, so you can see that it's really, really jagged, going really, really fast, press the shift and hold it, and then you'll see you can really, really slow that down. All right, Let's press tab, and there we go. I think I'm happy with that a pot from this heat. Is sill a little bit jagged, so I'm going to come in now. Control B, pull it out, d in the shift, and there we go. All right, that's looking really, really nice. Now, of course, we do have another problem on here in that, the bottom of here. Well, it's a solid piece. It shouldn't actually look like that. Let's actually go in now and fix that. We're going to come in, come to face select. Grab this bottom face, pres delete, faces, and then you should end up with something like that. But one thing we don't want is actually two D objects. We don't actually want two d objects. We need them to be three D. If I come and just to my actual reference, had that other way because it's getting a little bit in the way, and now you can see that this is just a flat two D object. Now the reason we don't want those is if you send this through to an real engine or something like that, it will basically be C through. The reason for that is all of the games engines and three D, they can't really work with two D planes because it's either when you put material on, the material goes on the outside. In other words, The material would come on this side, which means that it would just see straight through. We need to have material on both sides, and that's why we actually need to create this into a three D object. I'm going to do is I'm going to click on it. I'm going to come to my actual bottom part of it. I want to press L, and what that'll do is that I'll actually select everything in that actual island. Bearing in mind, if what we're going to do we going to discuss seams and things like that. Next, if you've got any seams on there, it perhaps won't go all the way through. So just make sure if you're selecting something with L, always have it on edge select. So come again, click on one, press L, and then what we're going to do is we're just going to separate it off now from the actual top of here. I'm going to press P, selection. Tab. And now you can see that these are in two parts. All right, so let's come to this top part. Let's press Control A again. Let's press all transforms. Let's click, set origin to geometry. And finally, now let's save it out so file, save. And as I say, I recommend, even if I forget, you save about a file at the end of every single lesson. Now, what we're going to do on the next lesson is, we're going to discuss our first modifiers and how to actually turn this from a two D object into a three D object. All right, everyone, hope you enjoyed that, and I'll see you in the next one. Thanks a lot. Bye bye. 5. An Introduction to Materials & Blenders Node System: Welcome back everyone to Blender three, the ultimate stylized scene guide, and this is where we left it off. Let's now bring in our modifier. Over here, we have a little spanner and this says, add modifier. If you come over, add modify and the one we're looking for is called solidify. If you come down to where it says solidify, you'll notice straightaway that it's actually got bigger. You'll also notice on closer inspection that now it's not two D, it's actually a three D object. Now if we press tab, you will see that you can't actually see actually where it's done. It's just grade out. But if you actually click on this part here, then you can see actually what it's done. You can see it's added thickness in. Now you don't have to actually add this on, but you can click it on just to see what it's actually doing. Let's just click that off a minute. Let's put it on even thickness, and then let's drag this out now. This is basically the thickness. If I drag this out, you can see I can make it really, really thick if I want to. Now, of course, I don't want it that thick. I still want it to be relatively thin, but I actually want it to be a three D object, and that is what this has actually turned into. Now the last thing is why you've actually got this modifier in place, you can still edit it. For instance, I can come in, press G, which is the free movement tool, pull it out, and you'll see that it still actually gives it some actual solidify. So you can actually do this on the fly as well. Let's press Control Ed, and now I'm going to do is I'm actually going to come in and I just want to make this top here just a little bit smoother. I'm going to come underneath. I'm going to come then t shifting click, and then I'm going to come round this side. I'm going to press Control B. And going to bevel that out, making it nice and smooth, like so. And there you go, you can see that it's easy as that to do that, and now it's looking much, much nicer. All right. So now what we need to do is we need to actually, once you're happy with the thickness, we need to apply the solidified. Bear in mind, you can't actually apply any modifier while you're in edit mode, so you must be in object mode. And then what we're going to do is going to hover over it and press control. Now you can either come to the little down arrow and click apply or you can hover over it and press control, and that actually will apply it. And then once you've done that, you can see now that it's actually a solid piece and it's all mesh. All right. Now lastly, what I want to do is I actually want to bring this part up just a little bit higher so we can it looks as though it's actually sat on something, not actually floating in the air. I'm going to do is I'm going to come round to the top here. I'm going to grab, sorry the underneath of it. And then to press tab and you'll notice that I can't see through it again. So I want to press Z, go to y frame, and now I'm going to come to face leg. And when it comes to face leg, just to help us out. You can see now we've got all the little dots, which are the faces. So if I click on this top dot, you can see now that I can actually manipulate this from the inside and pull it up to where I need to go. Now, generally, what I tend to do is once I've actually brought it up, I'll press the tab button, I'll press Zed, go back to solid, and I just want to make sure that if I press tab now it's not actually pulling through. So I don't want to poking through like that, I want it jaws to actually sat on the top of the leg so. All right. So I'm actually happy with how that is. It's a very simple build. It's one that I've picked just to make sure that we're really going to get our teeth into actual blender. So I'm sorry if you've done all this before and you know all this, and you dab end at doing things like this, but we had to go through this part. All right. So now let's join it all together, so I'm going to grab this button, shift select the top of it, press Control J, join it all together. And now I want to do is want to actually go in to put in some materials and things like that. So one we're going to do now is I'm going to play a short tutorial on how to actually bring nodes in and what the different nodes do. And then what we'll do on the next lesson is, we'll start getting some materials onto this. Okay, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. Welcome everyone to the short introduction on importing texture maps and creating materials within Blender. Here we'll be going through basic material setups and easy ways to import your texture maps all within Blender. We'll be moving on to an explanation of what maps do, and why they're important. So with all that said, let's get started. So in this basic scene that I've set up, you will see that I've got these three objects, and they're all UV unrated. So now let's come to our first object, and let's say we've already marked our seams as you can see. Now, let's come up to edit, first of all, and what we're going to bring in is a add on called node wrangler. And this is going to make it very easy to set up materials within your scam. So let's come to edit, come down to preferences. Come over to where it says add ons, and then we're going to search for node N ODE. And you'll see one called Node wrangler. Make sure that's ticked on, and then let's close this down. Now I want to do is actually create our material. So if you come over to the right hand side, you'll see this little football kind of icon. Let's click on the Plus. And then what that actually does is create a new material, and let's click new and give it a name. So let's call this wood. And because I've already created a wood, it will come up as wood.001. If you've got a 001, it will come up as wood.002, and so on. You'll notice as well that this has come in as a principle BSD F, and this basically is the magical node, shader within blender that makes it easy to import all your maps and things like that. So now we've got this. What we need to do now is we need to head on over to our shading panel, which is this button here. Once in the shading panel, you'll see basic setup, same as what we had in the modeling panel. And now if I zoom out of here a little bit, you'll see that we've actually got a basic set up already. So we've got our material output. And of course, this is where all the nodes end up in the end. Then we've got our principled, which is what I told you about is the magic kind of blender node. And if we zoom in a little bit, you'll see we've got all of these things where we can plug things in, or we can mess around with these without actually a map plugged in. So now let's come and click on our principle BSDF. And what we're going to press is control, shift, and T. And that then will open up the file of where you want to actually find your map. So make sure you store them in a place where you know where they are. Go and find them, and then you should end up with five maps. Normally, it's five maps that actually you can download. One is the base color. The next one down is metallic, the next one down is roughness. The next one down is height, and then you've got normal there. Normally, the basic five maps. So now what we need to do is you need to come to the first one. And shift select the bottom one, and then that'll select the mole, and then come over to say it's principal texture setup and click that on. And there you go. They've all actually come in. And you'll notice blender has automatically set everything up for us. And this is part of what the node wrangler actually does. Now, if we zoom in a little bit, so we can see what we're doing, and now we can actually go through some of these nodes over here. So let's zoom into here as well. And the first one we've got is texture coordinates. Now, basically this node tells blender whereabouts to place this texture on this object. So you notice at the moment, it's basically plugged in from the UV. Now, if we quickly just go over to the UV and I grab everything, you can see this is our UV map, and this is how basically this texture is placed on this. So, for instance, you can see that this one has been turned round, so it's going the correct way. Now, let's go back over to our shading panel. And if we plug in the generator instead to the vector, let it load up, and you'll see now that blender is trying to generate how this texture is actually going to go onto this object. This is useful when you create textures within blender itself without maps, but useless if you're actually bringing in your own map. So let's put it back on UV. Next one, Macros is called mapping, and this basically is how this texture is mapped onto this object. So you can see here that we can actually move the location of our actual texture, and this basically is kind of moving the UV map. Now, if we come, we can also scale this up, as well as you can see, so you can se it smaller and bigger, and it gives you a lot of control within actually the shader to mess around with the scale and things like that. Normally, I would actually do this in the UV map. But if there's any small details that I want to make, a little bit smaller or something like that, I will do it within the shade. Moving across, you can see that all of these nodes over here, which are our maps are plugged into our mapping node. So let's come to the first one. The first one is color. And basically, down on the right hand side here, I'm going to be showing you exactly what they mean. And then if you want more information, you can go onto the blender website and find all of the rest of the information out about all of these maps that we're talking about. So, as I say, the first one is the color, and if we unplug that, it's basically what we can see is it's just the base color. Now, sometimes you will get colors where they come in with ambient occlusion, and I'm going to talk about ambient inclusion just in a few minutes. So if we plug this in, we can see we can actually alter the color with other nodes that we can kind of slide into here. So I'm quickly going to show you that. So if we press shift do a search and we'll just bring in a gamma, which is just going to lighten or darken our actual color. Now, I've put that in then, you can see if I bring that down or bring it up, I can make it much darker or much lighter. So that's something that we can actually do, and the node wrangler enables us to bring in a new node and just drop it in there. So what I'm going to do now, I'm just going to delete that, and I'm going to plug that in. Now, to go on to the next map is metallic, so I'm just going to head on over, where we've actually brought in a metallic texture. So here we are in our setup now with our actual metal texture and material. So if we zoom in now, we can see that we have the next one down, which is metallic, and we can see that if we come and actually unplug that, you'll see that not a lot happens. And this is because this metallic is very closely based on the metallic that's already there, which is zero. It's quite a dull metal. Now, if we come in and we turn up our metallic, you can see that it goes really, really, really metallic, like so. And you don't have to actually use a map to make something metallic. All you need to do is turn up this metallic. Now, normally, when we're doing things like using this slider here, a no map, either something is metallic, so if I turn this down, or it isn't like so. We don't really have anything in between when we're not actually using a map. So if we plug this back in now to our metallic, And let it load up, and there you go. Now, the next one down is roughness. And roughness is basically, if you think of a sheet of glass, when you look at it, it's not completely see through. You might have certain scratches on there. You might have things like smears, handmrk, things like that. And basically that is what the roughness map does. Basically, the roughness is determined by this map. So if I unplug this map, you can see we've got a lot of kind of shinier parts and duller parts on here. So let's unplug this. Then you'll see that it's all one kind of shine. You can also see if I come in and actually turn the roughness, or turn it down, I can make something like ice, or I can make something very, very dumb. And this is why we use this map because it gives us a lot of control. Of how much smearing and things like that and makes it look a lot more realistic. So now let's move over back to our wood, and what we'll do is now, we'll come down and look at our normal map. So if I double tap the A quickly, that'll just unhighlight this, and then we can just zoom in a little bit and look what this normal map does. As you can see, the normal map always plugs into a normal map node, and then we can mess around with the strength. So if I turn the strength right up, you can see now we've got a lot more pushing through of that actual texture. Now, just be very careful when using this node. You can't turn it up too high, and it will look It won't look very real. In other words. So try and just get it somewhere where you're really happy with it, and it still looks realistic. For instance, you do get some wood, which looks like this, where it's really kind of elevated from the base, but I wouldn't go again too high with this. Okay, so that's the normal map, and now let's move to the displacement map. For the displacement map, I'm actually going to bring in a new material now, so I'll head on over to that one. So here we are with our cobblestone texture, which we're going to use for our displacement example. So what displacement does is it basically gives this texture. It basically pushes it out. It's like using teslation, as you'll see shortly. Well, the one thing is, if you're using the displacement map, you really need to well, you really need to know two things. First of all, it doesn't work in e. Second of all, it really needs a lot more geometry than what you would normally have. So here, we've got a flat plane, and we can see that they're slightly pushed up, and you can still see that this is basically a three D texture. So how do we create displacement on this? First of all, what we're going to do is we're going to come over to our little spanner. So, first of all, we're going to do, we're actually going to subdivide this a couple of times. So let's press tab, and what we're going to do is right click and subdivide. Right click, subdivide. And now what we're going to do is we're going to press tab, and we're going to bring in a modifier. And what we've done now is basically increase the geometry a lot. So let's come over to add modifier. We're going to come down to where it says multi resolution, and we're going to subdivide, subdivide, And again, and again, four times. And if if you press tab, you'll see that it still actually looks like this, so you can't really see all the subdivisions on here. But when we finish this, I'll actually apply it, and then you'll b to see them. Next of all, what we need to do now is we need to put this on cycles. So if we come over here and we change it from EV, and we put it on cycles. And then what we can do is we come down now to our material, which is this button here. Scroll down, and you'll see one where it says settings, and under settings, you'll have one that says surface. And what you need to do now is change this. It should say bump only. Change this to displacement and bump. Once you've done that, then, all you need to do is go to your cycles Shader, which is this button here, and there we go. You can see now how actually realistic that looks. And now you can actually mess around with these, so we can really really bump up the scale, as you can see, and we can also change the mid level like so. So it really push it out or you can really pull it in as well. Okay, so that's a bit of an explanation on there. Now, as I said, I will move over now to the actual spanner. Where our modifiers on. I want to press Control A to apply that. I want to press tab, and now you can see just how much geometry that actually took. Now, you can get away with a little bit less geometry. So if I press Control Z and just bring it back and just bring it down one. So if I bring this down one, like so, and you can see that it's still looking quite good. But if we put the viewpot level up a little bit, it's nowhere near the level of this. So if we put it on three, press Control A, press the table, and you can see now there's not so much geometry, but we're still getting a pretty decent effect. Okay, so the last thing I want to show you is, if we come back to our material shader and we put this back on EV, so come to our computer, a icon, put it back on EV, and now we'll just scroll around and zoom in to this wood. Now, what does ambient occlusion do? So I'll put a brief explanation down the right hand side of what actually ambient occlusion is, but we can actually enable it by coming over to our computer, putting this on EV, and you'll have one that says ambient occlusion. When you click this on, you can see already that we really, really get much more shading on here, much more realism and things like that. Now, as I said, you can get textures where they have ambient occlusion already built in. But I find actually doing it this way generally gives you a better result. Now, the other thing you can do is you can mess around with the ambient inclusion and really bring it up or down, mess around with factors and things like that, and really get kind of the shadows that you really want on the surface of the actual object. So that concludes the material and texture introduction part of the course. And I hope you all got a lot out of it and have a much better understanding of maps and materials within blender. So with that said, let's get on with the show. 6. Working With HDRI's & Realistic Lighting Setups: Welcome back, everyone to Blender three, the ultimate stylized scene guide. Now, I hope you enjoyed that introduction into notes and things like that, and I hope you have a better understanding now of what actually we're going to do. So basically, we need to actually give this two materials, and we also need to see what we're actually doing with this. In other words, we need to be able to see it in shading view just so we have a good idea where it looks like. So what I want you to do now is, I want you to go over to again. And you'll see here that if I open this up that the one that says HDRI. So if I double click on here, you will see that we have a HDRI in here, and we also have a blender day HDRI setup. Now, this setup, you're free to use when in any of the other scenes. All you need to do though is make sure that you've actually got it open because I'm going to show you how to actually use it. So what you want to do is you want to double click on that. And what it's going to do is open up a new blend file. So let this open up and you'll see that this is what it actually looks like. Now all you want to do at the moment, before we actually use this is just come up to file. Then what you're going to do is you're going to external data and just automatically pack everything in there. Now it will say no new files packed, and we're just doing that just to make sure that we've actually got it and everything in it. Now what you want to do is you want to come to file and save. Now it's going to save it out exactly where you actually opened it from, so that's fine. So just save that out. Then what we can do is we can just close this blend file down. And now find that we can come back to our own file, and what we're going to do is we're going to come over to our actual wild. If you click this on, you'll see that it says Wild and there's just a background, a gray image and things like that. Now, if I click on my Shader now, which should be on EV, because EV is what it should be set on, which is the EV render, I'll put down the bottom at and side what the differences between well, what EV renderer actually is. We're just going to go basically into the very very basics of the EV renderer right now. I'm going to do now is I'm going to come over to my shading panel. You'll notice at the moment that this is set on object, and I've actually got nothing here. For Zoom at, there's absolutely nothing here, and that's because we've not actually put our material on this. Now if you come over to our materials panel as you saw on the actual introduction and click new. Now you'll see that there's a principled with a material output on our actual canopy. Let's first of all, give this a material. I'm going to call it Canopy top, like so, and then I'm going to click the plus button, new Canopy bottom. Like so. Now what I want to do is I want to actually come in and give this a material. So let's come to the canopy top first. And all we're going to do is give it a simple, simple base color, what I want to do is I want to bring that down first. This is how dark it is, and then I want to make it a nice brown color. You can see here that this brown, it's a horrible color. I don't really want it that. I want it a lot more darker than where it is. Something like that we'll do for now. When we've actually got our shading in place, we will be able to see this better. Give it this for now, and of course, the bottom of it, we probably going to want a little bit lighter than the actual top. I'm going to do now, I'm going to come to the bottom. And then I'm going to press tab. And what I'm going to do is, I'm just going to come to Edge select, select the bottom with L, and then I'm going to come over to the right hand side and click a sign. And now you can see we've actually got two materials on here. We've got the Copy top and the canopy bottom, which is not actually done yet. So now if I come in and change this color, you can see we've got a little Pipette, and if we come over and just click on there, you can see now we can change it. It's pretty much the same color as this one. Let's actually now though make this a little bit lighter, so I'm just going to bring it down. I'm going to bring down the actual brown color, something like that, and then just bring it down. I think actually, we've got them the wrong way round. I think I would like to use this color because I'm happy with it on the top and this color on the bott. Let's quickly change those over. I'm going to press tab, grab the top, and then going to come in. And give it the bottom. Copy bot, click a sign, and then I'm going to come to the bottom press the button, click the Copy top, click a sign, press the tap on, and now I can see that I'm much happier with the way they are because obviously, this part is the sums beating down it and really bleaching it out and things like that. Now, the other thing at the moment is you can see this is really, really shiny, and that's not something to want. Let's come in. And turn the roughness, this one here. Let's turn this this way, and you'll notice that we can't actually see anything at the moment with the roughness. This is because we actually haven't got it on shader, we've just got it on our material. Let's come over to the right hand side and put this actually on our EV, and you'll see that we can't see anything. And the reason is we've got no light in the scene. Let's now come over to that blend file that we're actually saved out. The first thing we're going to do is going to come over to object, come down to W, Now we're actually in our world, and you can see we've got our background and world output. Now, of course, this is not what we want either. We actually want that set up that we have in the other blend file. How do we actually bring that in? What we're going to do is we're going to come to file. We're going to go to Append, then what you want to do is you want to find the file where the actual blend file is. It's in the HDRI. See here, Blender Day, HDRI set up, double click it, because we've appended it now, we're actually able to go into the actual blend file, you'll see one down here that says World. If I double click the world, you'll see one that says HDRI setup, double click it, and now nothing happens. But if we come over to the right hand side now, we can actually find. We've got actually one called HDRI setup. Click that, and now end up really, really pink, and you'll be wondering, well, this don't look right. Indeed, it doesn't look right. We still have a few things to do. First of all, though, make sure that it's name. Let's call it Bach, lighting, or something like that, and now that's actually going to be saved out as soon as we saved this file, save it out, and there we go. Now, why does it look pink? The reason it looks pink is because it hasn't actually got a HDRI in place. So we still have to bring the HDRI. You can see here on the environment texture, nothing's there. It's got new and open. Let's bring in our HDRI. Again, we're going to go back to our HDRI. We've got our XR and the EXR is basically a proper HDRI. Lighting. Just make sure if you're bring in your own HDRI or anything like that, that it ends in dot XR. Let's double click that, and now you'll see we have lighting and we have our sky. Now, this is really great. You can bring in any HDRI, but what's actually better about this setup is, we don't actually have to use the HDRI backdrop. We can actually change it and still keep the lighting and that's the best thing about that. What we're going to do is, we're going to come in. And you'll see here that we actually have one called gradient and color. Now if you put this, drag this and put it in surface, it will be a solid color, and you can see here that we can change this color to pretty much anything we want. Now, I don't like really using just the color. I prefer using the gradient, so I'm going to plug that in. Then what I'm going to do now, actually that's quite nice for a beach scene or something like that. But again, we don't really want that ether. What we want to do is we want to change it jaws to be little bit of lighter, something like that, and now you can see, it's looking pretty nice. We've got Maybe we want to put this on a tiny bit of blue like so, and then the sky will have that on a nicer blue. Something like this probably looks a little bit better. Now you can see that the lighting on here, it's still a little bit light, so we can't really see that much. Remember this is on actual EV. What we'll do is we'll just turn up the strength to 1.5, something like that, just to give it a bit more light. Now if I come over to the left hand side and we go down to object, you will see that if I zoom out, and I come now to my top. Let's go to material, Canopy. Actually, I think we've got these names the wrong way round. So we're going to call this Canopy bottom like so, and we're going to call this canopy top. Let's put them the right way round, so TOP, and then find I'm just going to rename this and put it at capital B because that is important for when we actually save our materials and things like that. All right. So let's do the canopy top first. I'm going to click on that and now want to come in and change the roughness. You can see now we actually have control over how rough and shiny they are. Now, it's always better not to put it on one. Just put it a little bit down, just so it's got a little bit of bouncing light off there. Nothing really in life. Is like just completely soaps up the sunlight or something like that. So just put it relatively high, don't put it all the way on one. Now let's come to the bottom. The bottom, to be honest, is probably going to be a little bit more shinier. Why is that? Because people are handling it all the time? Generally, if people are handling something that smooths it off and makes it a little bit shinier. I'm going to come to this bottom and I'm going to turn it up a little bit, but nowhere near as high as the top. All right. There we go. Now we've got our axles sunshader. Now the last thing we want to do before finishing this is we just want to come over to where it is in our collection, and let's rename it to sun Shader, like so. Now, leaving this lesson, we've got it built. We've got our lightening. We've got both of the materials named, and we've actually got our sun shader named as well. All right on the next lesson, then what we're going to look at is creating assets in the new blender asset manager. Now, this is only available in Blender three onwards. Unfortunately, if you use in Blender 2.8 or something like that, you won't actually be able to use that feature, but we are going to cover it, and we will keep using it all the way through the scene. All right, everyone, so I hope you enjoyed that and I'll see on the next one. Thanks a lot, bye bye. A. 7. Blender 3 Asset Manager: Welcome back, everyone to blend the three, the ultimate stylized scene guide and. This is where we left it off. Now, what we want to discuss is, let's first of all, go back to modeling, and let's press tab just so we can see what we've got. Now what we want to discuss is at the moment, we've got this on EV. Now, in this actual build, I actually want to use our cycles render engine. Down the bottom right hand side here, I'm going to pop exactly what the cycles render engine is. I find that basically EV is real, really good for actually actually taking a quick image or quick render of something. But if you want something to really really pop, I feel like cycles is really good at doing that. As long as you know how to use the composite in. Now later on in the course, we're actually going to be using composite in. The other thing is I should say, is that EV is also really good. At the moment, you can see there's no stutter here. We can actually see all the way around here, and even if we've got a lot of things in the scene, we'll see around there instantly. It's like an instantaneous. It's a bit like a games engine where everything's rendered instantaneously as we actually move around. That's exactly what EV does. Let's come over to the right hand side, and let's put this on cycles and you'll see straightaway, it takes much longer to actually render out. It's also very very grainy at the moment in the actual viewpt. But it gives you an idea much, much more how it's actually going to be rendered out in the long run. That's why we're actually going to put on cycles. Let's go through though a few of the cycles options. For instance, at the moment, you can see the feature set is unsupported and it's on our CPU. Now, most computers, nowadays, you can use your GPU to actually render things out and it does make the process much quicker, especially if you want to use cycles x, which is a new thing to blender three as well. If you come up to Ed come down to preferences. And what we're going to do now is we're going to go to System, and you can see here that we have QDA Optics and HIP. Now, I'm not sure what the actual HIP is, but I do know that this Optics x is a new one. So we're going to actually use O ptics X and QD, make sure both of these are on, so if you're having trouble where they actually don't come up, then just make sure that you've updated your drivers for your actual GPU, and then you should be able to have these coming up. The normally the G four RTX, which is available to use. You can see here, I've got 2070 super, mine is actually available. I think they start at 1080 or something like that you should be able to use it. Just make sure that they're actually updated. All right. Now I'm going to put both of these on. In other words, if my GPU is not running as efficiently as it should, in other words, getting a bit hot or something, hopefully Blender then should switch to the actual CPU instead and carry on rendering it out and that's what that's there for. Once you've got those both selected, what you can do now is you can close that down, come over to the right hand side. I always put this on the experimental. And then what I'll do is I change it over from the CPU down to the GPU. Like I said, unfortunately, if you've not got a compatible GPU, you might have to use your CPU, depending on if you're working on a laptop or a lower spec or something like that. The next thing I want to do then is I want to get rid of this speckled part on here. I'm going to turn on the de noising and then what that does now you can see now it's much smoother looking around. You can also turn on these little interlocking links. I'm going to turn those on like that, and that then gives us a much better view of what it actually looks like. The thing is, at the moment, I'm finding that this background is a little bit too much for actually looking at our assets. What I'm going to do is, I'm just going to head on back over to my shading panel, put this on my weld, and what I'm going to do is, I'm just going to plug in my HDRI. This is great than that for rendering things out. The gradient is, but when you're actually looking at something, you really want to be able to see it properly. If I put it on there now, I can really really see what I'm actually looking at. The other thing is why it looks like this is because we're getting no bounce off the bottom. Because obviously, this is basically see through the bottom. We don't really want that either. Let's go back over to modeling now. L et it load up and let's just finish. I think everything on here can stay the same pretty much for now. It can change when we actually come over to actually rendering it out. Now, you will notice before we actually leave here, the viewport maximum samples at the moment is on 1,000. If yours is stuttering and taking a long time to load, just drop this down to 200 or something like that, and it's going to load up much faster for you. Now, let's put our two interlocking links on, Let's press tab, and while we've got a cursor in the middle, I'm going to press Shift S cursor to world origin, and then I'm just going to bring in a plane. Shift A, mesh, bring in a plane, and you'll notice now as I bring this out, so I'm going to scale it with S, bring it out, and you'll notice night. It's much much easier to see what this actual copy looks like. I'm going to double tap the A. And there we go. Now you can still see, it's still looking a little bit dull. This is because we only have one light source, which is from the actual HDRI. We could either turn up our HDAI, so if it comes to our wild, we can turn this up to something like three and make it much, much brighter as you can see there, O we can add some proper shadows and things like that with our actual sum. Let's bring in a sum. I'm going to do is I'm going to press shift A. I'm going to come down to where it says light. I'm going to come over then to where it says sum. Then what I'm going to do is I'm going to bring this up now, bring it back. Then what I tend to do is I always tend to move mass on in a certain angle just to give us some nice shadows. I'm going to press R and x and move it this way. You can see now we've got some nice shadows, and then I'm going to also turn it around a little bit. I'm going to press R and Z, turn it around a little bit so now you can see we've got a really, really good idea of what this canopy is going to look like in really, really bright sunlight as what you'd expect in a beach scene that we're actually creating. Alright, so that's that. Now what we're going to do is we're going to go into New Blender three Asset Manager, I'm going to show you how to use that. So I'm going to save it out again, so file, save. And then what I'm going to do is I'm going to play that for you now, and I'll see you on the next lesson. Alright, everyone, so I hope you enjoyed that, and I'll see you in the next one. Thanks a lot. Bye bye. Welcome everyone to the short introduction on the asset manager within Blender. Now, before we get started, let's take a quick look at what we're actually trying to achieve here. So if you see on the top left hand side here, I have actually one called assets, which we're actually going to create. If we actually click on that, you'll see it opens up a new window, and within that window, we have assets on the left hand side grouped together. Not only do we have assets, we also have actually a material library as well. So we're going to learn actually how to actually put these into this group, and now Blender can actually find them. But before we do that, let me just show you how they actually work. So within my stylized assets, I have all of these assets which are from multiple courses, and I can simply drag and drop my asset actually into place. Now, the asset doesn't just come in with the actual model. It also comes in, if I click on my materials tab with the actual materials, so I can bring any asset in, and they should come in nice and flat view into any scene that you want to create. Now, with the actual materials, if I actually just bring in a cube, so I'm just going to bring in a cube. I'm going to move it over to the left hand side, and I'm going to come over to my stylized materials, and I'm simply going to drag and drop onto my actual cube. And there you go. You can see this one is glass. I've only got on materials at the moment, so you won't actually see through it or anything like that, but you can see that we can just drag and drop materials onto our actual cube and things like that. You can see that this one is water, and you can see how easy it is just to drag and drop them on. Now, some of them depending on how complex they are going to take a little bit longer actually to place on your cube. But apart from that, they work really, really well. Now, enough for all that, let's go back now to a brand new blender file, and I'll show you exactly how we're going to set this up. So where we are in our blender actual default view. And what I'm going to do is, I'm first of all going to come up to the right hand side. I'm going to come across, and you'll notice if we come across the general, we have one that says asset. Now, some of you might not actually have asset, and if you haven't got asset, just click on something like modeling, or click on modeling, and you'll notice now that we've got another one called modeling.o1. And the reason is, of course, because we already have one called modeling. Now, if I come and let click, so double let click on here, let's call this asset. Like so. And then what I'm going to do is I'm going to right click, I'm going to preorder this to the actual front. So we now have asset layout and modeling. Now at the moment, this is just a copy of my modeling, and I don't really want that. So what I want to do is I want to come down to the left hand side. As I come to this corner, you'll see this little kind of cursor appear. And I I left click and drag, so from the corner, left click and drag up, you'll now have actual two windows. Now what you want to do is you want to come over to where this actual ic on it. See it. Left click it, and over on the right hand side, you'll have one that says asset browser. And there we go. So now we actually have our asset browser, and now you can click on this anytime that you want. It's important for this to actually work. That first one I want to press tab just to get out of my edit view. If I come over to file, and I come down, and what I want to do is, I want to come to default. I don't want to save it as a start up file. But you don't probably want it here like looking here in the assets when you first open up blender. So if you don't want that, just come to modeling, and then what you're going to do is you're going to go to file, default, save start up file. And now every time you load a blender, you're also going to have this asset manager in place. Now, how do we make groups? The way we make new groups is you can see here, we can change this from all. You can see it's current file, and you can see there's also an unassigned button. Now, it's important that we keep that unassigned button there because many times I've created assets and I can't find them, and of course, they'll be in the unassigned. Now, let's create a new group, so if we create one called material, materials like so. And then we know we can place all of our materials in this one. So it's just a little plus to create a subgroup under all. If you want to subgroups under materials, you just click the plus on the actual materials, and then it'll create a subgroup under this actional materials as you can see there. All right, you can see there's also a little star there. That just means that we need to save this blend file out. So just save your blend file out. If you actually want to save out these materials, once you've actually got them in place. Now, how does Blender know, where to actually look for these assets? Well, what you need to do is you need to come up to edit, go down to preferences, and then what you need to do is you can see how here where it says, use a library. This is where Blender needs to actually know where to actually look. You can see mine at the moment I've created a desktop icon, that's called Blender assets and that's where I'm actually a time blender to actually go and look. Now, the thing is, any blend file that you create, just create a copy of it and actually put it into this new desktop blend file, doesn't have to be a new desktop, but it needs to all be in the same file to actually work. Once you've actually done that, then we can close that down or save preferences, you can also do it that way. Close it down, and now you'll see if I come down to use the library, you will have a problem here that we haven't actually got anything in there. If we go to open preferences and now we click on this, and I'm going to go to my desktop. And now I'm going to find my Blender asset library, which is this one here, and you can see I've got all of these blend files in there. If I click accept now, close that down, and now when I come and actually click on my catalog, you can see that I've got all of these actual materials and things in place. This is why it's really important that you actually make sure that you actually put in your blend piles into that directory. Now, the next thing we need to discuss is how to actually create our actual assets. So, for instance, let's create a material. So if I come over to the right hand side, I'm just going to create a cube material. Like, so. And then what we're going to do is I'm going to make a base color. So let's just change the base color to a red. Let's put it on material so we can see it, and there we go, we've got our cute material. Now what I want to do is I want to right click. I want to come down and mark as asset. And you'll notice now that it's got these kind of books stacked together, and that basically means that this has been saved out now as an actual material. Now, of course, this blend file hasn't been saved out into my assets. So all I need to do now is go to file, save as, and then I'm going to go to my desktop and come to my Blender asset library, which is this one. And now I need to save this out as a blend file within here. Then what Blender will do is it will pick up that this is a blend file within that actual file, so this one here. Then you'll actually have access to this material. Now, the next thing you need to do is you need to a let's save a cube, for instance, instead of an actual material, let's save out an object. A you do is you right click, come down to Marker's asset. Again, you'll see now that we've got those three actual stack books. Now, because you have actually saved this blend file out into your asset library every single time now that we open blender. So if I close this down and re open blender, you'll see you can go to your assets, and now we can see that we can go to our user libry Open preferences, and let's find our actual blend asset library, click except. Close that down. And there we go, you can see, I've got all of my assets in. You can even see the ones that aren't actually assigned, where you can see, I've got all of these assets in place already. Now, just before we finish up, a couple of things to remember. First of all, when you go to edit and preferences, you will see that this is normally red. You just have to name it something so it's not actually red, and then you won't have any problems with it. Second thing is that once you've taken the time to actually create all of your assets and all of the materials and things like that, by right clicking them and markets asset. Just remember to save that file out in the actual place where you save them out. So for me, it's my Blender asset library. If you don't save out a separate version of blender in there and you end up overwriting it, then you will lose all of those assets, of course. Basically, it's a blend file just with all of your assets in there. That's all that should be in there. All right, everyone. So I hope you enjoyed that. A few troubleshooting problems at the end, as well. And as they say, on with the show. 8. Creating Rocks With Blender Inbuilt Addons: Welcome back everyone to Blender three, the ultimate stylized scene guide, and this is where we left off. Now, you've learned how to actually do the asset manager and how to actually put them as assets. What I need to do now, if you didn't watch that, you can just do what I'm doing. You go to file. Sorry, we go to edit preferences. Let's come down to file paths. I'm just going to take off both of these, and I'm going to add a new one, and the new one is actually going to be my Blender Bill. If I come in now, you can see, I've got one here. And I'm going to collect Add asset library. And then what I'm going to do is, I'm going to close that down. Now, what I'm going to do is I'm going to make a new actual one of these, and I'm going to call it actually asset manager. So I'm going to come over or asset, something like that. You can see have great asset here, so I'm going to right click, and I'm going to move it over to the front. So I'm going to move it over to the front, you can see I've got one here, which I can also delete. So I'm just going to right click and delete that one. And I'm just going to rename this to assets just to show you how I'm actually doing it just in case you miss that. Now I'm going to do is at the bottom right and side here. You will see if you come to the bottom right hand side here, you can see I've got this set up here. And then what I want to do is I want to drag this up and make a new one. So I want to actually get rid of this one. So if I pull this down, so left click where that little cursors, you can see that I've got rid of it and now I want to create a new one. So if I come down here, left click, pull it up. And there we go, I'm making a new window. Now, let's come over to the left hand side here. Let's put it on asset browser, and here is my asset browser. I've already set it to the current file, which I don't particularly want. I want it actually to be the file of the scene. So what I need to do now is go to edit preferences, and there you can see that we've got our actual scene. So I want to do is I want to select this one and just make sure that it's actually selected. Now, if you can't select it, just close that down. Come to edit and you'll see that we've got lock objects modes on. Just make sure that actually is not ticked on. Just make sure it's ticked off. Okay, let's turn these now into actual assets. What I'm going to do is I'm going to come to my actual sunshade, I'm going to go over to the right hand side. I'm going to come down. I'm going to put Markers asset. There you go. You can see that this is actually in our assets. You can see that's also in on the sign. We need to sort these out. But before we do that, let's actually make sure that our materials are also in this. I'm going to right click. Markers asset. Come to the second one, right click, markers asset. There we go now. We've got our three actual assets in there, so we've got the sunshader, we've got both of the materials, and now we need to put these in some sort of plate. What I'm going to do is going to click Little Plus, and I'm going to call Let's call it materials. Let's click Little plus again, and let's call this one assets. Like so. And now we can put these into place. If we go to on the sign now, I can grab both of these with shift selecting each, and I can drag those into my materials. I can drab my sunshader, and I can drag that into my assets. And that's it. That's all you really need to do. And now, basically, you can use these assets within any of your blender scenes as long as you move this blend file to wherever it needs to go. In other words, you need to set up something on your desktop, like we discussed in that tutorial, and then you can actually pull them in whenever you want. All right, we're also going to set up HDR. Let's set that up just so that's not there all the time. So I'm going to put lighting. Like so, and then I'm just going to come to on a sign, drag that and drop it in my lighting, and then I'm not going to have to see that all the time. Okay, so I'm happy with that. Let's come to file now, and let's save that out. And now what we can do is we can start working on our next asset. The next one we're going to start working on is our actual C rock. If I double click this and open it up, you can see these are our s rocks. You can also see that they've got a grading on them going from the top to the bottom and things like that, and that's something we want to actually replicate here. I'm going to do is I'm going to close that down. I'm going to also put that down. Then what I'm going to do is I'm going to press, I'm going to go to modeling first. I want to press tab just to make sure I'm an object mode. I'm going to go to material mode just to make sure that I'm not in rendering it all the time. As it really does slow things down. What I'm also going to do now is I'm actually going to move this over to the left hand side. I'm going to press tage. Bring back my reference, bring back my man. And then what I'm going to do is I'm going to change this reference over now on the right hand side, I'm going to change it over to my actual rock. I should have one if I scroll down, which says C rocks. This one here, so double click it, and that actually changes it over. Now, let's start bringing in these s rocks, but before we do that, we can see our man is tiny here. Now, if I bring my man over, I actually want to make this actual reference bigger, not my man smaller. I definitely don't want to do that. I'm going to do is I'm going to press one, I'm going to press S, bring it up then and just try and get it to be the right side. You can see there pretty much the right size. Again, it doesn't have to be perfect as long as it's there or thereabouts. Now I want to do is we actually need to bring some rocks in. Now, we actually have an option on Blend a press shift day and come over to Mesh. You won't actually see anything here. This is because you have to actually enable one of the add ons within Blender to actually be able to use the rock generators. I'm going to do is I'm going to come over to edit preferences, and then what I'm going to do is I'm going to come over to add ons, and I'm going to type in extra. Just type in extra and you'll see one that says extra mesh and extra curve. I recommend turning both for these on because it's going to give you a lot more options in the long run, a lot more things to play about with and understanding what's actually available. I'm just going to take both for these on, like so. Then what I'm going to do is going to hit that refresh. Close that down. And now on a presif day, you'll see if we go over to mesh, you'll see that we've got all of these extra options. If we go over to curve, we've got all of these extra options now and it really really makes it much easier to build certain things out once you know what these things actually do. Now, we'll be going through a few of these, same as on the mesh, we'll be going through a few of those as well. But for now, the one we want to actually select is the actual rock generate. If I click that on, You'll see that straightaway, we end up with a rock coming into place. Now the thing is, if I move this to the left, it disappears again, which is annoying, I know, but that's the way it is. I'm going to do is, I'm just going to move my reference just over here, and then more going to press shift a mesh rock generator. Now, the first thing I recommend you do is if you turn the scale up, you can see that it brings them both up and makes them much bigger. I don't actually recommend doing that. What I would say is just bringing your rock generator at the moment. So if I come down and just put these both on one again, like so, and there you can see that we've actually got those in. What I recommend doing is coming down to the bottom where the presets are, and these are all the presets, so you can play around with these. But actually probably the one that we want is the actual asteroid. That seems to give as me the best start. If I come to River Rock, for instance, it's too smooth, I don't really actually want that. So I'm going to put an asteroid. Then what I tend to do is I just tend to come over and just create a few of these. Like ten, something like that. Now, you will notice when I've actually created these on the right hand side, we've got all of these actual displacements and things like that on, and that's not actually Well, what it's doing is adding, as you can see, 600,000 triangles on this or polygons, and that's not actually something one. So I'll tend to do now is I'll pick the ones that I actually like. I like this one. So I have a look at this one. I also like this one. Do we need one a little bit flatter or a little bit more rounded, something like that I'll do for this one. And out of all these, you should be able to find at least something that actually fits what you're actually looking for. So I think I'm going to go with these three here. So what I'm going to do is, I'm just going to shift select these, press delete, and just keep deleting these out the way, not delete a man, of course. All right, so now we've got these, you'll see. That if I click on one and press tab, you don't actually see anything at the moment because these have got all of these modifiers on. I need to do is first of all, I need to make sure that A, they are all joined together and B that the rolls smoothed off and things that. If I join all these together though, you'll see, if I press Control J, that they actually change. Just make sure when you join them all together, that you're still actually happy with how the rocks are, which I am. If you're not happy with them, We'd have to do it a different way where if I press Controls Ed, I'd have to come in and add all of these modifiers on first of all. I'm going to show you how to actually add these modifiers. You may just have to split yours up and do this separately. I'm going to join them again with Control J. Then what I'm going to do now I'm going to write click shades smooth, and you'll see no lot happens at the moment, and that's still because we've got all of these modifiers on. Now let's start adding these modifiers. Now, it's important, you don't start from the bottom. You've got to start from the top. If I press Control A, control A and just start applying them. Yours might be a lot slower than mine, and now you can see they're applied, and now I press shades smooth. Again, nothing happens and why doesn't happen B We've got a lot of polygons in here. What we need to do now is actually sort this out because we've got 240 maybe 200,000 polygons. Let's hide our man out the way, so we're going to grab our man, and you can see we've got 200,000 polygons, which is just way way too high. Let's click on them. Let's come in then and add in a decimate modifier. Let's put this then on something like No 0.1, so type not 0.1. It will take a bit of time to load out, but now you can see that we're actually getting somewhere. We're down to 20,000 polygons. Still probably a little bit too high. You can see here this is the face count of these actual polygons now. Let's put it on something like No point Not fine, and that then should hove it. Again, to 9,000 polygons, and I think 9,000 polygons for these rocks. We're not actually taking it into a games engine or anything like that. So I think actually that's going to be quite nice, actually. Let's press control late and apply that, so I'm going to hover over it, press control lay. There we go. And now for a press tab, you'll see that's what we've actually got. And they look really really nice mesh as well. I'm still not able to shade smooth. If we come to actually the Shades Smooth options, if I turn this up, you can see that now I'm actually able to shade them smooth. But there is another way we can actually do something with this. If we come back to the modifiers tab, you'll see that you have one that's called Smooth, and if I click that on then, you can see that it starts to actually smooth those off. If I just put this back on 30, and now I actually come back to my modifiers tab and actually turn up the repeating process and bring this up a bit, you can see that we can actually smooth them off at that 30, and now they're actually looking pretty nice and realistic. That's an easy way to actually smooth off rocks and create rocks for yourself and things like that. I think I'm happy with these rocks. Remember that rocks like this, they wouldn't really be jagged maybe in a few places where the waters actually hit them, but not in many. If you want to smooth it off completely, just turn it up just that little bit more. To actually get it all smoothed off. Now, I think for me, it's still a little bit too high, so I'm just going to bring it back just a little bit, and I'll turn up the amount. I'm just going to look where I want it. Something like that, I think I'm happy with. All right, so let's off over there, press Control A, and now in your press tab, you'll still see that all it's done is actually smoothed off the actual edges and vertices and things like that. It's not actually added any more polygons to it. So we're still at the 10,000 polygon count. All right, Last of all, then, I'm just going to save it out, so file save, and then what we'll do on the next one is we'll actually get in our material. Okay, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye. 9. Creating Ambient Occlusion Shaders: Welcome back everyone to blender three, the ultimate stylized scene guide and. This is where we left it off. Now, what we want to do is we actually want to give these rocks obviously some material. So let's ramp it up a little bit, and let's make a material that's a little bit harder than the P material that we actually created. First of all, though, let's split them up, soon as they're going to be split up, so I'm going to grab this one. I'm going to press L. And press P selection, and then I'm going to come to this one L P selection, and just split all those off. Now I'm going to press tab, and you can see at the moment that all of the orientations are over at this one, which this shouldn't be. What you can do though is you can grab them all, like so, shift select them all, press Control A, all transforms, and then right click and set origin to geometry. You'll notice now, the best thing is it actually selects individually the origins, so you can do all at the same time, in other words. Now, what I'm going to do is, I'm just going to hide my rocks and my actual reference out the way with H, and then what I'm going to do now, I'm going to come and actually put these rocks jaws together just so I can see what they're actually going to look like, going to press one. Like so, something like that. All right. Let's come to this first rock here. Let's come over then to our materials. Let's click new and we'll just call it rocks, like so. And then what we'll do is we're just heading over to our shading panel, and then we'll put this onto object. All right. This is what we're going to start with. You'll always start with the principled and a material output, and on this one, we still want to keep our principle, but we want to make it a little bit more complex. I'm going click, grab my material output. What I'm going to do as well as as on the material gad that I showed you, I'm going to come to edit. I'm going to go to preferences, and then what I'm going to do is I'm going to search for the node wrangler. We're going to bring in the node wrangler. Here is a node wrangler. I'm going to tick that on because it does make things like duplicating or creating certain nodes much easier. Let's just tick that on, and then we we do is hit refresh. Close that down. All right. Now I'm going to do is I'm going to first of all, bring in a ambient occlusion. The reason I'm bringing that in is because ambient occlusion is really easy to get dark spots and light spots in your actual shader. What we're going to do is going to come over here to the left hand side. What I'm going to do before extra start this is my actual shading panel, it looks wrong because we've got all of these files here. We're not going to need them. We've got the UV over here, which On this occasion, we're not really going to be using things like texture max and things like that. We may as well just come over and just bring it over. I'm just going to grab this little plus there, pull it over to the left hand side and do the same thing down here. Grab it, pull it over to the left hand side. If I do need it, it's so simple, then just to come over and just drag it this way and bring that back in. I'm just going to bring it over to left hand side like so. All right, let's bring in ambient occlusion. Shift A search. Of course, the nodes that I'll be using, I will give an actual guide on the right hand side about what I'm using. Let's bring in ambient occlusion first. Let's drop that in there. Let's zoom in a little bit. What we're going to do is we're going to actually put the distance on 13.3. Let's put that on. If I click on here, 13.3 like so, and now I'm going to do is a color ramp. Let's press shift A, search color ramp like so. Now let's plug the AO into the fact of the color ramp, then what I'm going to do now, I need this color ramp to have two features coming out of it. One, I need the actual color, and two, I want the actual how glossy the actual rocks are. Let's bring in a glossiner. Shift A, search glossy, and what we're looking for is the actual glossy shader, which is this glossy BS dF. This is actually a shader. They're actually going to be two shaders, and we're actually going to mix them together. All right let's plug the color to the color of our glossy, and let's plug the color also into the base color of our principle. As soon as I plug that, this disappears, and the reason it disappears is because we're basing it now on this actual color, not on the color from the principles. Now, let's join these together. I'm going to do is I'm going to push shift a, and we're going to look for an shade. We don't want to mix shade, want an add shade, and then I'm going to drop this in there. The reason that actually got put in there is because of the node angular that I brought in. Now let's plug in the glossy to the bottom of the add shade. Now you can also see that it's glossy on top of it and it has given us that kind of shine that we're actually looking for. Now, At the moment, you can see on these, they haven't actually got this material on, so we might as well bring in that material. Let's come down and add on a rocks to this one and the same to this one. And then as we change this one, all three of these are going to be changed. All right. Now I'm going to do is, I'm just going to zoom in to match your color. What I'm going to do is I'm actually going to give you the colors that you need to Put your actual positions and the colors that you're going to be using. So what I'm going to do is I'm going to be working on the left hand side on my other screen, just to help speed up this process a little bit. So first of all, grab the first one, which is this one here and put it on position. So if you click on this position, naught point naught 36. And then what we're going to do is now you're going to head on over to the color. So the color on this one If I click on it is I'm going to give you the x color, so I'm going to copy mine, Control C, and then I'm going to come over here, and then we're going to go to X Copy, Control V, hit the end of button, and that is the color that it should be. It's 051 d22. Now we need to add in another one, so I'm going to come and click on the next one. And then what I'm going to do click the plus button, and now you'll add in another one. And then what I'm going to do is I'm going to position this on naught 0.205, like so. And now let's change the color. Again, over to the left hand side, I'm going to copy my Hx color, so Control C. Come over to this one we're working on now. Click on the color, x and then Control V, enter and just put that into place. And now you can see 29 d9b. Let's now come over and bring in a couple more. Let's come into the third one. Again, I'm going to hit the plus. I'm going to move this one over. You can see it's coming here and I don't want it there. I'm going to move it over to here. Then what I'm going to do is I'm going to put the position on not 0.409. Then what I'm going to do now again, I'm going to get the x color. X color over here, Control C, and then over here. Control v4c4, c4c, hit the enter button, and there you go, you should end up with something like that. Now one more. We're going to add one more in. I'm going to click to plus, I'm going to drag it over. And then I'm going to check where the position is, which is not point 0.795, and then the color is going to be this one. Click on this color. Zero, it could be a. I'm not actually sure. I think it's a zero, so b23, zero, E. All of these are always zero actually. Just make sure it looks this actual color. Finally, now, let's change the actual color of this last one, and then that should actually change the way our rocks look. If I grab the last one now, come in with my hex copy, and then come in and x control, enter, and there you go. Now you'll see actually that the bottoms of the as you can see the more in the shade they are, or the more when the actual water is going to interact with these, the more you'll actually be able to see of this green and this blue. That is exactly what we're actually going for here. Because what we want to do is want the water lapping against each of these and actually changing how they actually look. That is exactly what we're looking for. All right now we've done that. Let's go back to our modeling. Let's press tab and let's come to our first rock. We've got it already rock dot one, and I don't really want that. I just wanted to say Rock one. So, let's come to the second one, Rock two, Enter, and then this one, Rock three, like so. Then I'm going to grab this one right plate, markers asset. Markers asset. Markers asset. Now when you mark these as assets as well, it's important to know that the actual colors will actually come in. These will come in with actual materials on them. The reason we're actually saving out the materials as well, is in case we want to actually use that material for something else in another scene or something like that. It's actually really useful if you make a material like our water shader that we're going to make for the sea and things like that, that you've got that then. You can use in any scene. It's really really easy if you build up all of these materials just to drag drop dropping your assets and things like that. All right, so let's actually come over, right click and Mock as assets. And finally, now, let's go to our assets. Let's look at unassigned, and let's bring our rocks into materials, and let's bring all three of these rocks into our assets. And there we go. We've got our copy, and we've got our three rocks. Alright, everyone. So we're going to go to file, we're going to go to save, and then what we'll do now, is we'll just put these out of the way somewhere press shift space to get my Gizmel move toll in, and I'm just going to put these out of the way somewhere like that. What we're actually going to do is when we come to actually create our scene, we're actually going to open up a new blend file, so we've not got all of these in. So you're going to have two blend files. One of them is going to be full of these assets, where you can move that one anywhere that you want, and the second one is going to be actually our actual scene. All right, everyone. I hope you enjoyed that, and I'll see on the next one. Thanks a lot, bye bye. Oh. 10. Working With Pipe Joints: Welcome back, everyone to blend the three, the ultimate stylized scene guide. Now, which one are we going to create next? Well, I think the next one we're going to do is the basic door. The reason I'm picking them in this order is to really take you from not really knowing anything up to a level where you can actually create the moped or the bins and things like that because they're much more technical than these simple things. All right, so I think let's pick the door. So I'm just basically going to open the door to show you exactly where it looks like, this is the one we're going to pick. We've got some hinges on here. We've got a handle on here, and we've basically got a standard door. Let's close that down. Let's bring it in. So I'm going to put this down as well. Let's go back to modeling. Et's press tab. Let's press tag, bring everything back. What I'm going to do now is change this out. I'm going to come over to my references. I'm going to come to where my crops, open that up, and then I'm going to do basic door, which is this one here, double click it. Again, the first thing you want to do is just make sure that you guy is the right side. I'm just going to press one on the number pad. I'm going to press S make that smaller, and then bring my guy down to be the right side. A little bit big there. A lot of this is about using your own initiative as well. You can see if the doors looking way way too big or not. All right. With that done now, Let's put our reference in the middle here. Let's put it up to where it needs to go. So you can see this doll is probably a little bit too high. I might make it actually a little bit small. It's a little bit too high there. All right. So what we'll do is now we'll bring in Let's bring in a plane, so we're going to bring in a plane. So y 90, let's spin that plane around. Now you'll notice when to spun that round, it actually only spun around this way, so Y to spun it round. I need to spin it around again. Oz 90, let's spin it around. Let's press one, and now let's make it much much smaller. Let's press S. Bring it in. Bring it over. Bring it up just so it's sat on the ground plane. Let's press tab. Grab our edge select, so grab the top edge, pull it up like so, and now we've got the right actual size. Now let's just pull it out a little bit. The next thing I want to do is just turn this into a three D object. Now, we could use or solidify, but there's absolutely no point in that. We might as well just extrude it. E, pull it out and just make sure you're going along the correct axis, which in this case is my Y axis so. Now you should have a pretty solid do. Now we need to do is we need to make the hinges and the actual handle. Now, because we've already brought in our extras, if I press shift day, you will see if I go over to the mesh right hand side, you'll see that you've got one called pipe joints, and Pipe joints are really, really good thing to actually make handles with. Let's use that. So I'm going to do is going to come over to what it says Pipe elbow. I'm going to bring that in. The first thing you'll notice is that it will always come in the center. I don't think actually if I put my cursor over here, let's try bringing in another one that CFA actually comes out because if it does, it's really going to help me out a little bit, it does actually, so we'll do that. I'll do is I'll just delete this out the way, and I'll press shift right plate, put my cursor over here, and then shift A, and I'll bring in pipe joint, pipe elbow, and there we go. Now, first of all, we can see that well, for me, the actual angle here is wrong. Now, why we use the pipe elbows or pipe joints is because when I come to turn the angle, It actually moves it really nicely this part here for me. It's really hard to actually get that angle like this. The other thing, of course, is I can turn down the subdivisions on the actual flight. I put this on 14. You can see that it turns them down, and then I can put this on 90, and you can see there because I clicked off for it, it messed it up. But if I press shift A come down, bring in my pipe elbow again, all of it comes back exactly the same. Let's put this on 90, like so, and then what we can do now we can also make the radius smaller on the fly as well, and that's why we're actually using that. All you need to do is you just need a basic angle like this, and what you can actually do then is you can also with the elbows is you can actually save them out. If I click this little plus, I can make a new name and call it a door handle, like so. Okay, and now you'll see that our preset is here door handle. Then all you need to do is save it out, and you should have these presets already saved out now every time you want to actually use them. Now what we need to do is we basically need to create another one of these. We need one basically underneath this and to be the right size of the actual door handle. What I tend to do is I just basically put my door to the back here. I'll bring this over now. I'll spin it around. So I ZD -90 on this occasion. I D -90. Make it smaller with S. Press one on the number pad, and let's just bring it into place is going to bring you Like so, press the S b, like so, and then I'm js going to put it into roughly the right place. You can see it's still a little bit big like so. The other thing of course, is you want to make sure that if you bring a Mnover that is actually the door handles in, first of all the right place, so you can see here, it's probably a little bit high here. Probably wants to come down even though the reference is saying otherwise, s going to bring it down here, and then I'm s going to make this now a little bit longer like so. I'm going to do, there's now. I'm going to press shift, S, cursor to selected, and what that's going to do is going to put my cursor right bang at this part here, and that's exactly what I want to create this. Now I want to do is want to press tab. You want to press control A, all transforms, right plate, origin, two, three D cursor. The reason we're doing that is because we just want to mirror it now on a bottom bit as well. If we come in now, Add modifier, come down, bring in a mirror, and then put it on I think it will be the Z. Let's minus those two off. You can see now that we've got a mirror, we've got a door handle, and now I'm looking for is the sizing of it. If you want to have this bigger, all you need to do is come in. L, grab everything with edge slick and just pull it up like so. Now, we've got it big enough. Is it in the right place? I can actually come and bring it down if I want to a little bit lower in object mode, and what I want to do now is just join these two together. I'm going to come over and turn on clipping, and I'll show you exactly what that does. I'm going to press t shifting click, bring it down. In fact, I'll turn it off first of all, just to show you if I bring it down, you can see how those overlap each other and you're free to bring them together or not. Now if you put clipping on and then you bring them down, you'll see that I can still bring them together and pull them apart, but the moment I bring them together and let go, now they're actually pulled apart. Now they're actually joined together. That's what clipping does. It just joins them together there, and that's exactly what one. The other thing is, I want to make this a little bit more rounded. It's a little bit at the moment too much of a hard edge. What I'm going to do is I'm going to press holt shift and click. Then I'm going to press Control B, pull it out, and now you can see it's a much more smoother and exactly what I want. Last of all, I actually want to make sure that the inside of here has these round bits on here. Let's do that now. I'm going to do is then I'm going to press control lot. Left click, right click, drop that in the center. And then what we're going to do is I'm going to press three to go into my side view. I'm going to actually move my guy back just a little bit, Joe, so I can see what I'm doing. Come back to my handle then, press the tapo. And now I'm going to do is I'm going to press S and y, but just make sure that you're on medium point. So if we me if we're on individual origins here, this won't work, and now if I press S and y, I can actually straighten that out like so. So I'm just pressing S and y just to get it as straight as possible. And then what I'm going to do is I'm going to pull it over. Like so, and now find me. I'm going to come to Facet. Lt shifting click. So grab the facet shift click, like so. Just to make sure you've gone and grabbed all the way around. And then one w two is I'm going to press E. Now, if I pull this out on S, you'll see that they come out like this, and that's not 11. But if I press lt S and pull them out, now they come out nice and straight. Left click, right click. And there we go. That's the easy way to make these handles. All right, so that's looking pretty good. I'm happy with that. And now I'm just going to press tab. I'm going to come over to M mirror, press Control A, so right click, shades move. There we go. Now the one thing you might not be happy about is just this part here. For that, you could actually come in and make this smaller and move them out and things like that, if you're not happy with it. But being as this is a tiny, tiny handle on this door, I'm not really going to mess around with that at all. Now what we can do is we can start on our actual hinges. Hinges have got really good technique to show you how to do hinges. Swing do first of all I'm going to bring in a cube. Shift A, bring in a cube, and you might be thinking, a cube seems a little bit weird of a primitive to bring in to start. Swing I'm going to bring in my cube over here, I'm going to bring it up. I'm going to press the SP, just to get to the right size. Make sure it's overhanging the actual door so the hinges look like actually on something. Press the and z, get it to the size that you want. So something like that, maybe a little bit bigger, so press tab, press Control, one, two, and three. So control, three, left click, right click. And now you need to do is bevel. So Control B, Bevel them. Hold in the ship born just to slow it down. Left click. And there you go. That's the start of our actual hinge. Let's come up now and save this out, so file, save. And then what we'll do in the next one is, we'll get these hinges finished, and hopefully we should get the whole door finished. All right, everyone. So we enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 11. Dealing with Sharp Edges in Blender: Welcome back everyone to Bla three, the ultimate stylized scene guide, and this is where we left off. Now, let's bring in this part, this top part on here. What I'm going to do is I'm going to come and grab the tops. Of these. Basically, if I bring them in now, you'll see that they come in really weird again. What you want to do is you want to make sure where these interlocking links are that you put this on individual origins. Now if you press S, you can see that they're coming the way that basically is supposed to. All right. The one thing that we've not got, first of all, though, is we need another edge lookinre. I'm going to press Control off, left click right click, control, left click right click. Now, I'm just going to grab both of these with lt shift click. I've grabbed them both. I'm going to press lt S. Bring them out. Like so and now you can see that's looking a little bit nicer. The next thing I want to do is I want to come in now, Alt Shift and click Alt Shift click Alt Shift click, and I want to extrude these in. I'm going to press E, enter. Make sure you only press it once because if you extrude in time and time again, you're going to end up with lots of them. For instance, I will show you if I press E enter, e, e enter, e enter. You can see now I've got loads and loads of pots in here, and my polygon counts gone through the roof. And it's really easy to actually do this. If you're unsure and you've extruded and you're not sure about just grab the whole thing with A and then come up to mesh, come down to clean up and just merge by distance. And you can see 120 vertices removed. Now if I come in, you can see if I try and move this, it's actually not extruded away. Just in case you have problems with the extruion, like many people have sent me a message where they have, that is the way to fix it. Now I'm going to grab these I'm going to press E for extrude just once, and then we're going to press t and S and bring these in so you can hold the shift button down as well, and there you go, you can see already we're gaining quite a nice actual hinge on there. I might want to bring them in a little bit more so I'm going to press the LTS again. There we go. Nice, easy way to actually create inges. Now the thing is the backs of these inges normally are a little bit further out, so I'm just going to grab the backs of these, pull them over, like so. And there's your hinge. They look in though very, very sharp at the moment. This is because they're not actually beveled off or anything like that. What I tend to do with all my parts and you're going to see that as we work along is, we should be beveling everything off. Once we've got these hinges in place and the handle, we should then start beveling everything off and making sure that nothing like in real life is absolutely razor sharp edges and things like that. Let's bring this hinge first of all to the edge of our door. Let's put it on object mote so I can really see what I'm doing. Let's press one to actually get the hinges in place. I'm going to put the hinge roundabout here because part of this hinge is going to be in the door. Then what I'm going to do is I'm going to press one again, Z, wireframe, and now I'm going to line these up. I'm going to press Shift D, bring this one down to the bottom, like so, and then shift D, and then bring it up. To the middle, something like that. Normally, I would put these perfectly in place, but because it's just this door, we don't really need to do that, but we will be find out later on the course, how we actually do that. All right so now let's grab all of these. Let's grab our door, press Control J, and now's grab our handle, and let's pull that also into place. I've got this in the front now. Let's press sad going into solid mode, and let's now fit this into place like so. You can see we've got a problem with us moving. We're not going to worry about that at the moment. We're going to just join it all up, so Control J, join it all together. Now we've finished our door. We need to press Control A, all transforms, right p that origin to geometry. Now we can actually come in and shade it smooth. Shades smooth. Come over, little triangle, autos move on. And you can see that we do have a slight issue with this part here. We can either come in and turn this up very slightly just to get rid of that, just to make sure that's got rid of it on the bottom, and I think that's actually going to do it. The other way of course of doing this is actually bring in seams and sharps into place. Now, what I'm going to do is I'm going to play you a short actual demonstration of why we use seams and sharps because you might actually want to bring in some of your own textures and things like that, or you might actually want to know how to actually sharpen edges off. That's what we're going to do once you've actually seen that. All right, everyone. I hope you enjoyed that and I'll see you on the next lesson, once you've actually watched this introduction. Thanks a lot, bye bye. Welcome everyone to the short introduction to marking seams and sharps, part of the course. So before I give you examples of what I'm actually talking about, let me just briefly explain what they are. Seams you can think of like seams on a piece of clothing, like a shirt or pair of trousers. The main job of seams is to make sure the texture that you're trying to place on your mesh goes on correctly, but more importantly, gives you control of how that texture will look. Sharps are marked like seams, but serve an entirely different purpose. We use sharps to give us control of how sharp and soft angles are on our meshes. This makes them look realistic. It is also important we do this, not only for rendering in blender, but also sharps carry on through to other software or games engines, we want to use, like substance painter or real engine as an example. So with all that said, let's get started. So here we are in blender with our starting cube. Now, if I click on my cube and go to my UV editing, you'll see that the cube is basically unwrapped in this actual way. So basically, it unwrapped like a present. Now, if I come across and I grab this cube, and I press Shift D, and then we press shift spacebar to bring in our Gizmo, and we move it across. 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. I'm going to go into Face elect, click the top face shift spacebar to bring in the move tool. Bring it up like so. Now, let's say I want to unwrap this. Now, if I grab this with L just to grab everything, and I press the U button for unwrap, you'll see that it unwraps exactly the same way. Even if I reset the transformations of this, it will still unwrap exactly the same way. Now, let's mark some seams and see how that has an actual effect on our actual unwrap. So let's grab the top and we'll come down to the bottom. And what we're gonna do is we're gonna press control. Then come down to what it says Mark seams. Now, it's important to remember that it's control leak to mark seams in Face lx. But if for instance, we're in Edge slick, so if we come to this edge, if we press control leak, you will get this option up as well, Mark Seams. But you can also right click in Edge slick, and you can also see we can mark seam this way as well. So for now though I'm not going to actually mark this scene. What I'm going to do is I'm going to grab the whole thing with L, like so, and now I'm going to press Unwrap, and you can see it unwraps completely different. Now, let's bring in some textures so you can see what exactly I'm talking about. So if I press tab, I'll come up to my materials panel up here, and I'm going to give this material. So I'm going to come across to the right hand side, click on my material button. So let's now bring the material I've already prepared. So if I come across this little down arrow, come on down, you can see I've got one here called wood, and let's click that on. Now you can see what's happened. We've actually applied our material to this object, where you can see, it's pretty much a mess. The top of it looks fine, but the bit going around the side is all bent and skewed. So if I zoom out and I press tab now, you can see that the reason is that it's not actually UV unwrapped correctly. So how do we fix that? If we come up to Edge slick, and we grab this edge, and now I'm going to do is I'm going to right click. Come down to mark Seams, and now grab the whole thing again. I'm going to press you, Unwrap, and now you'll see it unwraps absolutely fine. You can see that 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 face and this face, you can see that they're going round. If we have no seam, when I talk about infinite loops, it's basically going 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, what I'm going to do, I'm going to come over to the left hand side, the viewport of my UV editing, press A to grab everything, 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 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, I Z 90, and now go to this one where we can see, you can see that these line up perfectly. And the reason is because obviously, there's no seam there. The seam is here. So you need to take that into account on your own measures and objects that when you're applying textures and materials, that try and put seams where you're not going to see them. So if it's on a door handle, for instance, try and put them on the inside where no one's actually going to see them. So always bear that in mind when you're actually marking your seams. So now, let's discuss sharps. So if I bring in a new primitive, so if I press shift A, I'm going to go across the mesh, I'm going to bring in a cylinder. Now, you'll notice that this cylinder has all these little edges around there, and let's say you want to make a cup or something. The last thing that you want is all these hard edge 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 cylinders. So I'm just going to move this one out of the way. So shift base bar, bring a Magismo, move it out of the way. Shift A, bring in aother cylinder. And this time, I'm 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 do 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 Shades Moo. And now you'll notice it's actually been smoothed off. But the problem with this is, if I turn up my Auto smooth, you can see if I turn it up all the way, it goes really, really funky. And that is because at 170 degrees, Blender decides that these edges along here needs moving off. It doesn't give us a lot of control. If we do this on the other one, so grab this one, right click, shapes move, Autos move on. You can see again, even with lower amounts of polygons, we're still able to smooth it off. But if we turn this 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 the bottom, press control E because we are in face elect, and we'll come in and mark a shot. And now you'll notice if I press tab, that now has 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, I will not get rid of those shops that we mark. We can also mark shops around the edges as well, sever grab, this one and this one. And now because we're in edge select. We can right click. Come down, and mark a shop. Press the tab, and now you'll see you've got hard edges on there. So it's very important that you mark sharps, where you're going to actually want hard edges. It's also important that you get into the habit of marking 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, for one, so I hope you enjoyed that introduction to marking seas and shops. And as they say, on with the show. 12. What are Normals & How to Correct Them: Uh, Welcome back everyone to Blender three, the ultimate style. I see guard and this is where we left off. Now, let's come in and just add in some sharps like what you've just learned. What we're going to do is I'm going to add in a sharp to this point here. You can see that this this one and this one. Right click, and we're going to come down and a sharp. Press the tab and now you can see they look to tons better like so. Now you can also come in just with the hinges, grab them all, L L and L, right click and mark sharp, and now you can see they look even better like so. Now, finally, there's a few checks that we should always always do, especially when we've finished all of our assets, but you might as well do it as you're actually going through. Now, if you come up to this little interlocking links here, click the down arrow. You'll have one that says face orientation. Now, if I zoom out, you can see that all of my objects are actually blue. I'm going to have to do just to show you what I mean is, I'm actually going to turn one of these faces around. If I come to my door, press the elbow, just to grab it all, press shift n, and then put it on the inside, you'll see that it turns red. Now, if you've got any of your parts that are actually red, what this is is the normals. Again, I'll put something down the bottom right hand side that explains what the normals are. But basically what it means to you is that the mesh is actually inside out. You might even just have one part that's inside out. You could have, for instance, if I just turn these around, this part on here and on the back, that's the wrong way round. Now, how do we fix it if we actually come across this and what does it mean? First of all, it means, if we take this into a games engine or another software like substance painter or something like that, it will just see through the mesh because it wants to render out just the front of the mesh. To save on computer power and things like that, what the render engine tends to do is just render out one side of the mesh. It renders out the front side. It doesn't render out the rear side unless you put on a special shader or something like that? That's why this happens. What we need to do is we need to make sure once we've built everything now, that the normals are facing the correct way. To do that, all we need to do is just press A, just to grab everything, press shift n, and that then will recalculate all of the normals like so. Now you can see they are perfect. Now all you can do is just carry on with your build. Now you know that these are fine. As well, the last thing I want to do, which we didn't really do on any of our rocks or anything. The reason for that is because it's not going any odd edges on. Anything with dd edges on though, you really want to use the bevel modifier and bevel them off. What I'm going to do is I'm going to press control all transforms, right clicks origin to geometry, as we should always do. Then what we're going to do is I'm going to come over to the right hand side. Modifier, come down to where it says bevel and just bevel off all of these edges. You can see exactly what that does. If I put this down, so this amount down to zero, you can see their razor sharp and if I put this up, you can see now we're beveled off the edges. It's really important that you use this because you can see from this to this, just how much difference that makes and just how nice that actually looks doing actually this. We're going to be beveling off pretty much most of our actual assets. Once you're happy with that, Come over. In fact, I will show you. You can see at the moment that if I turn this off, that we can see we've got that one line here. Now, if I come in and apply this, press tab, control, you can see now that it's actually supporting lines in as well as actually beveling it off. That's important to know because if you actually unwrap something and then you level something, you probably not going to work correctly because of the fact that you've got these extra edges and things like that in there. All right. Now we need to do is we need to actually give this some actual color. Now the material that I want to use on these hinges and this door handle is going to be the same materials that I'm going to use for the frames on my windows. I want to bear that mass. I'm going to do is going to come over to my material new, and let's call it frames. These are the frames of the actual windows. Then what I'm going to do is going to make another one, and I'm going to call it basic door. Like so. We tend to have basic doors, either a brown or a green, whichever you want to make. So I think I'll actually make a green. So I'm going to go over now to my shading. Then what we do is, I'm just going to press dot on the numb pad. And what that's going to do is it's just going to zoom in. I'm pretty close. The other thing about that is it will then orientate around the actual origin of the thing. If I, for instance, press all tape, bring back my man, which is here, let's press shift space for, moving forward. Let's press dot on the numb pad, you'll see it zooms me in, and I'm orientating myself around his orientation. So back to the door, dot on the number pad, and there we go. All right. Let's come we'll do the basic door first. I'm going to zoom out. A I'm going to do is just again, use the principle. The principle is just a great great shade used for many, many things. Let's put it onto a type of green color. Let's actually also assign the door so L, come over basic door, click a sign, and now let's make it darker like so. You can see already that's looking pretty nice. Now, how shiny would this door be? First of all, it wouldn't have any metallic on it, and it would be probably not that shiny. So something pretty dull like so. Now let's move on to the frames. The frames, I want to have the color pretty gray, something like that, but I also want to make sure that it is actually metallic. Now, generally, something is metallic or it isn't metallic. The only time you really want something where it's metallic and not metallic is if it's painted metal. That's the only time. This is why frames. If you look at any frames around your windows and things like that, you'll notice that they are metal, but they look like they're painted metal. They're not like like solid metal. What do I mean by that? If I put this metallic all the way up, you can see now that they look completely like metal. If I put the roughness down here, you can see that now they look like really, really samurai sore shiny metal and things like that. We don't actually want that. What we want to do is want to turn this roughness up a little bit like so, and you might then want to turn down just this metallic field just a little bit. Now you can actually see that they look like metal, but they look like a very dull metal. As I say, this is the only time really when you want to have the metallic not 100% or not zero. Normally with most things, as I say, it's either zero or it's 100%, but on this occasion, we're actually going to leave it as that. I think that's going to be fine for the frames. The good thing is as well, if I come to my frames, I'm not happy with it, I can just change this and it'll change it on the door as well, so that's really good. Now I'm happy with that. We can see that on here, and we don't seem to have orientation. You can see in our shading panel, there is no orientation. All you need to do is come to your little interlocking links, and you can see one that says origins. Now when I click that on, you'll see that origins of back. You can also see that we've got relationship lines and things like that. Things that are turned off. Normally when you're in your shady mode for instance, you can see the floors turn off, you can put the floor back on and things that just in case you're worried that they've disappeared or anything. I'm happy with that. Now the next thing I want to do is want to come over. I want to call this basic door. Like so, and then I want to right click and I want to mark as asset. And then what I want to do is, I want to come to my frames, mark as asset, basic door markers asset. And now let's go over to our assets. What I'm going to do is come to an assigned and drop both of these into my material and my basic door into my assets. There you go, you can see we've got our four assets now, which we're going to add to a lot. There's going to be a lot of assets in this. All right. So now with the basic door, let's move it over to here, and let's pull up again, our actual references. Let's open our references. Let's also make these a little bit bigger just so you can see. I'm going to put an extra large icons. I think the next one we'll actually take a look at. I'm thinking that deck chair requires a few different things. I'm just trying to think what we'll do now is we'll do the actual beach props. We'll go ahead and do those because they're quite simple, the starfish. I'll give you a few more skills that we've not actually come to yet. Let's put that down and let's change over our reference. Let's also go to modeling because I just find things a lot easier to work with in there. Then what we'll do is we'll come over now and change over this to beach where is it Beach props. There we go. Let's also press one, and let's make this reference in line with our guy, so bigger and there we go. A the right size like so. All right, I'll thing what we'll start with on the next one is we'll start with our actual surfboards, and then we'll move on to these and finally onto the actual starfish. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. A 13. Useful Ways to Use Mark Seams: Welcome back everyone to blender three, the ultimate stylized scene guide. Now, let's start with our actual surfboard. Let's first of all, what'll do is, I'll just move my guy over here. Then what I'll do is, I'll put the cursor right bang in the center, so shift S cursor to world origin, and then what we're going to do is I'm going to press shift and we'll bring in. Again, we'll bring in a plane. I think it's going to be much easier to do it like that. O X, and then let's press S. What we want to do is make this round about the size of a surfboard. If I move this over, you can see Although my surfboards are turned a little bit different, what we're trying to base it on is the guy here, so how it looks from there. I'm happy with that. Now I need the height. Sens, pull it up. Let's pull it into place and have a look. That looks round about the height of a surfboard, so you can pull up another reference if you want just to look at the actual height. I'm happy with that. Now what I'm going to do is I'm going to bring in some edge loops just so I can make this into that shape that I'm looking for. I'm going to press tab to go into edit mode. Control, bring in one edge loop, I'm going to bring this edge loop down to here. Then I'm going to press Control. Bring the next one up to something like here, and then finally one at the top, so control, bring it up to the top. Now, remember, these surfboards, they're pretty small in comparison to our whole scene. You're not going to be zoomed up to very much, but if it on the occasions where you are actually going to be zooming up to an object, then just make them more detailed. In other words, these surfboards, they haven't got the fins at the back like you would see on a normal surfboard. And they don't look like that, also. Just take that into account. The closer you're going to go up to something with your camera and things like that, then the more detailed they're going to have to be. We're basically trying to build a scene here that we can take in something like C skylines or kind of Sims based where you don't actually zoom up very close to it. So it's from a far near enough, so just take that into account. All right. Now we've got that What I really want to do is, I want to actually bring in some edge loops to make these colors because making colors on things is really easy by using the actual edge loops in here. In other words, if I want to make this blue strip going down here, it's just really easy to come in and press control to left click, right click, and now I can actually just paint out this actual line on here. While I've got these here as well, as discussed in the seams and shops, we might as well actually bring in some seams. If I right click, come down, you'll see one that says Mark s. Now, if you're on Face select, it will be control E, instead, come down Mark Seam. There we go. Now seams are mark. Now, why did I do that? The reason is because now I can come in with face select and when I grab it with L, L, you'll see only grabs it up to where the actual seams are. That makes it really easy then to say, let's paint the middle of it, just to grab it, click a sign with our material, and that's really easy to do it that way. Let's make this now more of a surfboard shape. I'm going to do is I'm going to grab this edge here, Control select this edge, and what control select does is, it will grab it going all the way up to the one select. If I control select this one, you'll see it grabs it all the way up to this side. Now the thing is with control selects, it will always take the shortest journey to get there. In other words, if I want to grab this part here now, instead of pressing control select and up here, I press Control, if I come here first, so control select, then control select, you can see now that wasn't control those. Control, control select, and now you can see with great going all the way around like so. Just a really, really quick way of grabbing things. All right. First of all, I'm just going to grab these. I'm going to bring them in then so S and X, bring them in. Now, You will notice that it's bringing them in in this way, and what that is is because it's on individual origin. What I want to do is want to come in and put this on medium point, and now in to press S and X, you can see it brings them in in the desired way. In other words, you can see on here that this is quite flat down here, but we could bring them in the material on here to actually come in at the bottom. Let's now pull this out as well. So is going to pull that down and now I can see we're starting to get that nice shape. Now I'm going to press t shift and click and bring in this top, S and X, bring it in. Now finally, the very top. Let's grab all of these, we shifts let. Bring them in and now let's bring that out like so. You can see just how easy it was to actually create that actual shape. Again, we're creating a basic shape here just for these surfboards. Now you might want it to come in. These lines up here, you might want to come in as they go further up the top, and you also might want to make it a little bit pointy. Let's make it a little bit more pointy, like so. You will also notice now that we've got this problem in here. Now, that problem in there is caused by the fact that we've actually got two actual vertices here. We didn't really want those, but being as we've got them, we might as well fix it. So what I'm going to do is going to grab one verte, grab the second vertice, and then I'm going to press J. What that's going to do is it's going to actually create for us a new piece of geometry. Now I can actually come in with Edge lt, I can pull it up like so and make it a lot more Surfer. Now, the other thing is if you've not got those there, all you need to do is you just grab one side, grab the other side, right clip, and you're going to subdivide. What you're going to find now is, if I come back that I've got another couple of these and now I can do the same thing. Grab one, shifts like the other, press the J barn. There you go. Simple as that to actually create those. I'm happy with that. Now, what I want to do is, I want to actually make sure that the top of here, this part here goes in a little bit, so these lines are actually going in. All I'm going to do is, I'm just going to grab This one here, I'm going to press S and x, pull it in a little bit. I think I'm going to grab this S and x, pull it in a little bit, and then this one S and x, and now you can see you've got a much nicer clean line let. All right, so I'm happy with that. Now what I want to do is I want to pull this out a little bit. So I'm going to grab the whole thing with L, and then I'm going to press E, pull it out a little bit. Then what I want to do now is I want to make it a little bit smaller on the back side because surf boards, they're a little bit in going towards the bott. If I press S now, I can bring it in like so and that's much bet. I'm happy with that. Let's pull it up a little bit so I can see exactly what I'm looking at. Let's also pull it in a little bit more on the side. I'm just going to grab it all still. I'm going to press S and x and s, pull it in js a little bit more, and that's what we should be left with. All right. Finally, now, I want to actually bevel this off. But I want to level it off myself because I want to give it a little bit more bevel than what my modifier is going to give me. I'm going to do is I'm going to press tab. Control A all transforms, right clicks, origin to geometry, and now I'm going to grab just the back, so shift and click, press, Control B. Like so and be level that off. You can see now it's pretty smooth and now let's grab the other side. Shifting click, press, control B. Let's be level that off now, and now you can see it's looking like an actual surfboard. I'm happy with that. Now I'm not going to give it the materials yet. We're just going to put it to one side, and then I'm going to lift up my reference just a little bit so we can see what I'm doing. Now, let's make a start on our actual beach ball. What we'll do is, we'll just press one. We'll bring in, this is set to the center, so we'll just bring in a UV sphere, so we're going to bring an UV sphere. Now, of course, the UV sphere on this has way way too many polygons or zs, whatever you want to call it, and the reason for that is because the segment is also set to 32. Let's put the segments on half, 16, and let's put the actual rings, which is these ones going down on eight. Can we get away with eight? Something like that. Again, to test it out, right click, Shades move, and there you go. That will be a beach ball. Now, because this beach boy is so tiny, in comparison to the scene, really no point in giving it more polygons than this actually. I'm happy with that. I just now need to come in and mark some seams. I'm also going to make it a little bit smaller, so it's the right size for the beach ball, so we can see our guy here, which is going to make it a little bit smaller like so. Now we can see it's the right size. Now let's come in and actually mark some seams off just so we can make these colors. So I'm going to do is I'm going to press lt shift and click, lt shift click, and there you go, now, you can see, that's where I'm actually going to mark this red. Then I'm going to go round and every second one. Lt shift click ****, click and just work your way around every second one till we get actually back to the start. Right click, come down, mark scene, and there you go as simple as that. The reason it was so easy is because all it did is alve it. So it was an even number. So I know that if it's an even number, I can get away with every second one like so. Now with the beach ball, I'm not going to do anything else to it. All I'm going to do then is just move it over to my actual surfboard and just put it next to that. All right. So what we'll do then on the next lesson is, we'll make a start on the actual sand castle. We'll make a start on our spade, and hopefully we should get to the starfish as well. Alright, everyone. I hope you enjoyed that, and I'll see you in the next one. Thanks a lot. Bye bye. 14. Creating Small Simple Prop Assets: Welcome back everyone to Blender three, the ultimate stylized scene guide, and this is where we left off. Now, let's make our actual spade. So let's press shift A, and bring in. I'll think what we'll do on the spade is we bring in probably a plane actually or X, make it smaller, let's bring it up so we can see how big the spades going to be. That looks actually about right, and then what I'm going to do is I'm going to put it up because a spade, it's a bit longer. Remember as well that this spade is a plastic spade, so probably a little bit too big. It's not going to be a real spade, something like that. It's a kids spade after all. Yeah, I think something like that should be absolutely fine. Then what I'm going to do is I'm going to bring in the bottom of it. I'm going to press S and x, bring it in. I'm going to grab the top of it, E Z, pull it up, like S and X. Then what I'm going to do now is I need to actually create this handle going up. I might as well do this all in one go because it is a plastic spade. A I'm trying to do is just make it as easy as possible for myself. I'm going to do is I'm going to press E, bring it up, like so, press the S one, bring it in, like so, and then press E Z, and bring it up to the height that I actually want the actual spade. Something like that. Maybe this is a little bit to thick still, so I'm going to press S x, bring it in. So. Yeah, a thing that looks absolutely fine. The next thing I want to do though is, I want to Probably bring in a couple of edge loops. I'm going to press control lot. To left click, right click. And the reason I want to bring these in is just so I can indent this spade a little bit. I'm just going to grab each one of these, not these two top ones. I'm going to press S and x and just pull those out just a little bit like so. Now, let's give this a little bit of thickness, so I'm going to grab it. I'm going to press L. I'm going to press E, pull it out. There we go. Now, let's bring it in these bits like we just spoke about. And what I'm going to do to actually give it the illusion as though it's being pulled out a little bit. I'm going to press t shift and click, t shift click, and now for pull these out, you can see they all pull together. And the reason for that is because of this part here. I need to actually bring just this part in. So I'm going to do is I'm going to grab this part, and I'm going to press Control. To left click, right click. And then what I'm going to do now is I'm going to pull these parts out again. And you'll see why I'm trying to do that in so SN X, like so and then I'm just going to grab this one, and I'm just going to pull it in just a little bit like. So just to make it a little bit more spade like. And if you're unhappy with how this bit is going, remember, it's very, very small, so you don't need to worry so much about it. But if you're a little bit worried about, just pull it down, like so, and then it's going to look just a little bit better, like so. I'm going to also, I think, pull it back. There we go. That's looking much much better. Now, let's Shades Move, Shades Move, let's bring in auto smooth and you should end up with something like that, which looks actually quite nice. Now finally, let's bevel this off. I'm going to come. And I think I'll bevel the handle off first, so I'm going to be level this off, so I'm going to grab all of this. Shift select in each one of those, press Control B, and bevel it off. Now the thing is, remember that before you bevel it off, what you really want to do, I'm just going to go back. A press tab, to control a transforms, right click, set origin to geometry, tab again, and now I'm going to bevel it off because I reset the transforms, which means it's going to be vel off correctly. There you go. All right, that's looking good. Now, just these tips down here that don't look good. So lt shift and click, lt shift click. Like so and the bag like so. If I come around the back, we've got any problems in there no indentations or anything like that. But you will see that it's grabbed it going pretty much all the way up here and I really, really don't want that. I've got to actually end it on this bit. What I'm going to do instead of that, I'm going to come to the edge, l shift click shift click shift click and l shift click. Then what I'm going to do is I'm just going to come in and grab this from here, and this from here, like so, and do this manually. Then I'm going to do is I'm going to press Control B, bring it in, and now you should end up with it nice and smoothed off like that, and now it looks like an actual spade. All right, so I'm happy with that. Let's pull this over here. Let's put it into place like so. Again, Because we're going to add in materials when we've built these, I'm just going to actually reset all of the transforms. I'm going to just grab all three of these, control A, all transforms, right click origin to geometry, just to reset all of those. Now let's come to the actual castle, what we'll do is again, we'll bring in a cylinder this time, so I'm going to press tab. Sorry, I'm going to actually press A, bring in a mesh and cylinder. It's on 14 at the moment. I think we should be able to get away with 14. The easiest way to check that is actually to go to the top, make it smaller, and then just pull it out. What you're going to do is to make that castle actual structures, you're going to going to edit mode, face leg, grab the top, you're just going to press, bring it in. Now what you want to do is you want to make sure that you can make that castle top. If I press seven to go over the top, you'll see that I can probably grab every second one like this, and you can see that because it's on 14, we have an issue here. In that, we've got only one space on this side, which tells me that I need two more. What that means is if I gleve this, Press sift the mesh cylinder, put it on 16 instead of 14. Now let's try the same thing. I'm just going to grab the top, press the iborn for insert, and now we're going to try exactly the same things. I'm going to grab these two, grab these two, grab these two, and grab these two, and now you can see it actually works. Now what we can do is we can actually bring those up, and there you go. You can actually start creating your Ax Castle. Of course, the inside should also be in, so let's bring that in as well. Let's press i to insert it, and then let's press E and pull it down, not quite to the boondo. We don't want it going all the way through the bott. So just bring it through the bottom and then just bring it up to somewhere like that. Now because this is going in the floor, we don't actually need this bottom on here, so I'm just going to grab this press leave faces and just leave it like that. Finally, what I'm going to do then, I'm going to grab the whole thing with, I'm going to press S. And make it smaller. I'm going to press one. Put it into place. Let's see how big this is, so you can see there's still probably pretty big here, press S, like so. That's part of the castle. Now let's just grab this and make another part. If I press shift D, while I grab all selected and bring it over. Now we can just make a simple wall in the center. All I need to do, I've got one grabbed already, press L on the other one, press shift S. Cursor is selected. Let's press shift A now and we'll bring in a cube, press the S b. So Let's come round now and just pull it out. S and X, pull it out, too far. We just want it there like that. Let's pull it down now. I'm just going to come round, pull it down, and then I'm going to come underneath, grab the bottom. Pull that down, so now let's make a bit in this. I'm going to grab the whole thing, S and pull it in. So tab and there we go. That's looking pretty nice. Now let's press Control A. All transforms, clicks the origin geometry. Let's shade smooth, so Shade smooth. Let's put Auto smooth on. Now finally, let's also bring in a bevel. Come on to your modifiers a modifier, bring in a bevel, and let's just be level them off. You can see already, it looks really good. I'm actually going to leave it on not 0.1. You could put it a little bit smaller. No 0.1 looks absolutely fine. Let's press Control A then and bevel that off and there we go. That's the actual sandcastle actually finished with the actual modeling. All right. Now all we've got is the actual starfish. The way that we're going to start to starfish off, you can see that we've got one, two, three, four, five. Five sided, we might as well actually use a cylinder here because that we can actually bring to five sides. I'm going to do is I'm going to press shift A. Mesh cylinder. Let's put this on five, so five like so, and then we're going to make this a lot smaller. S, and then S and S just squish in to get that right shape. Now let's actually work on these actual legs coming out. What I'll do is I'll come in. I'll grab each one of these going round. The good thing is about the insert mesh is we don't actually just need to use it to insert. What I mean is, if I press i, I'm inserting all of these low. But if I press i again, I'm actually inserting them individually. Now you will notice that when I'm inserting these, there's a lot more width than what there is on each of these, and I don't really want that. When I press controls, Press the tab, controle transforms, plate origin to geometry, and now try again, insert in them and you'll see that the insert really, really nicely. Now the next thing is we want to pull these out. If I press E, er, and S, I can pull them out, like so, but you will notice how they gain much, much bigger and that's not something I want. The reason that happen is because I'm on medium point, medium point here. If I now put this on individual origins and I press the S pone, you can see now that they get thinner. And you'll notice how they go into looking like an actual starfish. Now, the one thing is that you can see that these are much, much thinner here and these are also really, really small at the end. So we don't want that. Let's press Sen's d while we've still got it on individual origins. Then what we're going to do is we're going to press Control law. Left click, right click, control, left click, right click, and just bring in some edge loops on each of these. Now what I can do is I can grab them all so shift and click. Press the S bond, and now I can start to make this into the starfish that I want them. Control L. Left click, right click, control, left click, right click. It's just a simple way to make an actual starfish. Grab them all now. Press the S, and there we go. Now, we'll notice that at the moment, they're not looking quite right. It's looking a little bit flat and things like that. So on the next lesson, I'll show you actually how to turn this into looking something like that. All right, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 15. Creating more Complex Shaedrs With Nodes: Welcome back everyone to Blender three, the ultimate stylized scene guide, and this is where we left off. Now, you can see our Starfish. It's looking a little bit flat, a little bit hard edged and things like that. Let's sort that out. L's first of all, grab our Starfish, and let's pull it out a little bit just to make it a little bit fast. I'm going to do is going to press essens d and just pull it out like so. Then what I do is, I'm probably going to grab just the bottom off here. I'm going to come in. Grab the bottom of here and just pull it up just a little bit, just to make it a little bit flat. I'm actually going through there, you can see I'm not going through this, that's just going to break the geometry, I'm just pulling it up a little bit. Finally, now we're going to do is going to press control A, all transforms, click origins geometry, and then come over to add modifier. This time, we're going to bring in a subdivision surface. Now you'll see straightaway, Wow, that's looking pretty nice, it's looking like a starfish already. The reason is what this has done is it's smoothed off the edges as well as adding in some actual subdivisions. If I click this on now and press tab, you will see now all of those subdivisions that it's actually added. You can see them in here. Actually, I'm just trying to see, there we go. You can see that's what we had, and this is how it looks now. By actually added missing. Really, really looks much much better. The one thing I would say is that these ends, they're looking a little bit thin. The reason is because if I press control left click, right click and add just one more edge now you can see, just make them look so much better. So I'm just going to go around control left click right click. Like so. There we go. You could also come into, let's say the top. You can press and you can see how that actually changes it and makes it much much more rounded on the top. You might like it like that or you might like it the way you had it before, but I think I'm actually happy with how this actually looks. Now, of course, you can come in and just turn this off. Grab each of these, so the ends, for instance, let's grab the ends just so I can show you and make them a little bit fatter, or you can actually extrude them. If I press E enter, you'll see now how it's actually made them flat ended. You might want that as well. The other thing is, of course, now I've grabbed all these, so I'm just grabbing them all, I'm just going to press S, and I can make them fatter that way as well. Just to fin them out a little bit, just in case you're worried that they're a little bit thin. I think for me, I'm just going to put them back. I think I'm happy with how they look, so I'm not going to mess around. In fact, I'm going to make them a little bit bigger, so I'm just going to pull them out just a tiny bit, and I think I'm happy with that. All right. Finally, let's right click. Let's shades Move. Let's also come in now and actually apply subdivision, so control, and let's also put on Auto smooth. I think I'm going to turn up my Auto smooth jaw a little bit, like so because I'm not joining this with anything else, so the Auto smooth should be absolutely fine. All right, so I'm happy with my starfish, and let's move that over to the rest of the actual pots. Now, I need two surfboards. I'm going to grab this surfboard presse and then just pull it over here. Let's make a start on our actual surfboards first. Got two surfboards here. Let's come over to our materials. Let's also go over to our shade panel so we're actually in there. Let's press dot to zoom into it, and now let's give. We'll call it Let's think. Let's actually look at our reference, our references on here. We've got white and we've got blue and red, so we might as well make a new color. A I'm going to do is, I'm just going to make three colors. I'm going to just call this shiny. We'll call it white, shiny, and then we'll make another one and call it blue. Shiny. Also, we'll make one, which is going to be, where is it so red? Shiny like so. The white shiny. Let's come in then and we'll give this the white shiny. You can see they're already sh. Let's put the roughness down, so now you can see that's shiny like that. I'm wondering if we've got shades to move on, and now you can see that looks fair. I'm also going to shade to move on this one, I'm going to come in then and bring in my auto smooth because I didn't actually do that. Abnormal Auto smooth There we go. Auto smooth. I'm also going to turn this up just a bit, smooth it all off. Also going to turn this one up just a little bit to smooth it all off. That looks much much better. Now we've got white shiny, as you can see, that looks really nice. Now let's come and give it the blue shiny. I want to though keep this roughness on because I do like it being that shiny. All are going to do come to my material. Click the down arrow, click copy material. Come to the blue, click the down arrow, paste material, red, down arrow, paste material. Now let's come to the blue. First of all, though, we have to sign the blue to one of these. What I'm going to do is I'm going to come in with face leg. If I press L on here, it should just grab them going all the way around. Click the blue, click a sign, and now let's change the color to a nice blue like so. There you go. Actually this is probably looking a little bit washed out, so we probably need to just make it a little bit darker like so. But I'm not sure whether to have it this blue or not, actually, I'm just going to make it a little bit more blue. Actually, I think it does look bad like that. Let's come to the next one, we'll come to this one, I'm going to grab it with L like so. Then I'm actually going to come in now down arrow. Let's search for white, white, shiny, plus down arrow, red, shiny, and then a click a sign. Then let's put this on red like so. Yes, I'm happy with that apart from the fact that it's probably not read enough. Here we go. All right. We've got that washed out low that not quite as bright as these, and that's exactly what I want. Now let's come to the beach bowl. We'll come again and we'll come down to white. And I'll add another one and that'll be the red. Because we actually applied our seams, we can see again, really, really easy just to grab every other one. Let's come in a sign, and there we go. All right. Let's come to our actual spade, down arrow, red, shiny. Now let's come to our sand castle. I think what I'm going to do is make a new one. We'll just quote sandcastle because the actual sand on the beach is different. Sand Castle, I'm going to do is, I'm going to come two, my base color, click on it, go to the hex, click this, Control V, and then you just copy this. It's c4b 69 A, that's the color I'm going to make mine. Now the thing is with sand, it can be either really shiny or really dull, just depends. What we really need to do is we need to put this in the scene, and then we'll have a look if it's too much roughness or something like that. Now, we need to move on now to our actual starfish, and the starfish is a more complicated actual material. If we come to our starfish, new, and we'll call it starfish. Now, what we'll do is we'll head on over to our shade. You will notice what I'm also trying to do, as well as actually build out more and more complex things. I'm actually also trying to do that with the actual shades or along the way, we'll have some very simple shaders, but I want to save the most difficult shaders to the last so that you have a good understanding of what's actually going on. With the starfish, let's come in, and what we're going to do is we're going to bring in a muscve texture. Shift A, search, Musgrave texture. Now, this mus grave, basically, if I plug this into my surface, this is what mus grave looks like. You can see already that that is the kind of look that looks like a starfish with kind of these swirls and things like this. Let's come in though and alter a few of these, so We're going to put this on four d. We're going to change this two, five, two, two, and two. We're actually going to leave it on there. Now the next one we're going to bring in is a Veroni texture. Shift A, search VO R Veroni texture. Bring this one in. Let's plug this one also into my surface like so. Actually, yes, that's right into the surface like so. With the Veroni texture, We're not actually going to mess around with any of these options here. All we're going to do is we're going to grab it, and we're going to press control T. What that's going to do is it is basically going to give us a mapping and texture coordinates, and then it's going to tell blender where to actually base these colors on. You can see on the left hand side here, we've got a generator. This is basically like a random generated based on the actual object. We've got normal, which is basically which way the normals are facing. We've got UV, which is if we actually unwrap it, and then we've got things like objects and reflections. The one we want to base it on though is the actual generator. Then what I'm going to do is I'm actually going to Grab both of these, press the G b just to pull them up here, and then I'm also going to plug in this vector as well, just to make sure that these two things are actually together. Now, let's bring in our color amp. So I'm going to do is I'm going to press shift. A, search, color, ramp. And I'm going to drop that then into there, so. And now what I want to do on the next lesson is, I want to actually bring in the colors and actually start mixing these two things together to create that kind of starfish look that we're going for. The other thing, of course, is let's plug this into the color. Let's plug this into the surface, and there we go. Now it's looking a little bit better. All right, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 16. Ramping up The Modelling Difficulty: Welcome back everyone to blend the three, the ultimate stylized scene guide and this is where we left off. Now, let's come to our actual colors. Again, what I'm going to do is I'm going to grab my colors from the left hand side, I'm going to give you those for you to use. First of all, we'll come to this one. We'll put the position on 0.214, like so, and then we'll bring in another one. So let's click the plus, and let's put this position on 0.609, and then we've got the last one which be on one. This one should be on one. Now let's come with the colors, so I'm going to grab my color. So let's grab the first one. Grab this one. He Control V. I've just messed up there. Let's do that again. Control C, Control V, like so orangey Yuki color, I guess, we could call it that. Let's come to the next one, which is a really, really nice vibrant orange. Control C. Come to this one. Control and there we go. Now let's finally come to the last one, which will be this, and let's copy the color. Of course, once you've put in these colors, you're free to go away and put in your own colors. If you don't like my colors, it's just to get you roundabout in the ballpark. F fa2f2. Again, if I've gone a little bit too fast, just make sure that you actually pause it and look at the colors. Now you can see that's what it's actually looking like. Now the thing is at the moment, If you plug in the height of this onto here, you'll see what difference that actually makes. It's up to you which one of these you actually use. You could use both of them if you want to. You can also see if you want to a little bit more stylized, we can plug in the color instead of the actual distance. But I think I'm happy with that. The one thing I think I need to do is either bring b roughness down or bring it opens up to you. I don't really want it. That shiny I guess, something like that looks absolutely fine. That's that. Now, the other thing is that, if you're not happy with the colors, you can make this darker. There's a really easy way to do that. All you do is you press shift a search, bring in a gamma. Drop that in, and then if I bring this down, I can make it really, really dark or really, really light. You've got a lot of control over it once you've actually done it. I think actually I'm happy with how that looks now and I'm just going to put it over to the left hand side. Now I want to do is now we've got all theses. We just want to rename them, and then we want to actually put them in our assets, get them out of the way and start the next asset. Let's come to modeling. Let's put this on material just so I can see which ones which. Let's save it out while we're here, then what we'll do is we'll come to the starfish first. I'm going to come to this one. We'll call it starfish. We've already got our materials name. Let's come to the next one, Castle. I'll actually call it sandcastle. Sand Castle spade. We'll call this. If you can't see it, by the way, rather than scrolling up and down, just press the dot board and that'll take you straight to it as well. We'll call this plastic spade, like so beach ball. Let's dot f like so, and then surfboard surf board, and we'll call this red, and then we'll have surfboard blue. L so. Now we'll come and actually make them assets, so right click and right click and mark as asset and come to the next one, right click, markers asset, next one, right click, markers asset, spade, right click, markers asset, San Castle, same for that one, and finally, the Starfish mark as is it marks that set? Starfish, we're going to come to this one, and we're just going to click on each one of these, marking them as I set. Trust me, it's really worth doing this when you see how many you're going to have. Make sure you actually do it, so blue mark as I set. All right, Let's go over now to shade, sorry, not shade assets. Then what we'll do is we'll come to assign. We'll grab each of our models first. So I'm going to drop them then in our assets, and then I'm going to c the Bach poll as well. I looks like a material, so we'll put that in our assets, and now we'll just grab all of our materials and let's put them in our materials, and shall we of our materials, and you can see that this one really stands out and you can use many many things. We've got our assets then all there. All right. So now let's go back to modeling, and then what we're going to do now is, we're going to press tab, and we're going to bring in our next asset. Let's again, pull up our assets, and what we're looking for now is we're looking for one which ramps up the difficulty a little bit more. I don't actually want to come to my windows and things like that yet. Because I actually want to build those closer to the end before we get onto the really difficult things, which are things like this moped and things like that. Probably the moped is going to be the last thing that we actually build. All right, I think the thing that we'll build next is probably going to be the actual solar panels. Let's bring in the solar panels. So I'm just going to click, click on my references. And also before because I like to have a tidy scene. I'm just going to put these out of the way. Into some sort of ordered chaos. Let's put them out the way you like so. Grandma starfish, and let's move that out, like so. The one thing is about the starfish is it's way way too big. I'm also going to make it a little bit smaller. By the way, when you make it smaller, The asset will actually change size as well. Don't worry about that. The asset will, of course, change size. The other thing is, I'm just making sure, I've got all of my origins in place. Let's change this out, so I'm going to change this over here. Let's open it, and then which one did we say we're going to do? We're going to do the solar panel? Let's come down and we can see that we've got solar panels. All right, this is our solar panel. Something a bit more difficult. We can see we've got a fair amount of structures on here. Let's make a start on those. I'm going to actually build one actual solar panel, and then I'll just make another one and add them together. I think that's going to be easier, so we'll do it that way. First of all, make sure your cursor is in the center of the world. It's going to make it easier, so shifts cursor to world origin, grab your reference, and make sure that they're the right side. You can see here that they're a little bit to small this. I'm going to bring it up. Making sure is the right size, something like that. Then I'm going to place my solar panels. I'm going to place the actually in the middle. Now you can see that the solar panels a funny angle. Don't worry about that. Let's press shift A, first of all, bring in the plane, let's press, x, 90, and then let's make this smaller. To be roughly around the right size. Let's pull it up like, let's press tab, grab the top of this edge, so edge slick, bring the edge up, and something like that, I think is going to be absolutely fine. Now, let's make this solar panel. I'm going to do is we're going to grab the middle. I'm going to press tab, Control A, all transforms, right click, set origin. To geometry. Tab again and now I'm going to press I to insert that. I'm going to insert it just a little bit like so. All right. Let's press dot just to get us back where we are. And let's grab the whole thing. So I'm going to press E to extrude it out. Grab the middle. I'm looking at the thickness here and making sure that I'm actually happy with it. It might be a little bit too thick, so let's just pull it out a little bit just so we can see. Yeah. I'm thinking It's probably a little bit too thick. I'm going to show you another technique of how to quickly grab something as well. Grab the center, so left click it. Press the control plus on your number pad. Hold control plus plus, and there you go, you can see that we can actually select the next one over so I'm just going to bring that out again. If I press control minus, it will deselect it as well, so Control plus just increases the selection like so. Now I'm going to do this because they're a little bit too thick, I'm going to pull them back a little bit. Now I'm going to grab the middle part. I'm going to press E. And just pull it back like so. We've got that nice frame there that we're actually wanted. That's the frame. Now, if I grab all of this, press one, press shift, bring it over like so and put them next to each other and there you go. We've got part of our actual solar panels. Let's grab them all now and just pull them out. The one thing we should need to do is we just need to make sure if I press one, or you're happy with the size of these? I think they're looking probably a little bit too small. I think I need to make them taller. I think what it is is the size of these is being made smaller because they're actually an angle. I think what we'll do is we'll make them a little bit taller. I'm going to do. Rather than if I grab them and a press SNS, what that's going to do is it's going to make them taller, but what they'll do is it'll accentuate this part and this part here. I don't really want to do that. Why I want to do it instead is, I want to actually grab them going all the way around. I've grabbed one of them, control, select the next one, shift select this one. Control select that one and now I can pull them up like so now I think I'm happy with those. All right now I've got those. Let's press Control A, all transformed, right click, origin geometry, and now we're going to do is we're going to actually rotate them. If I press on x, I can actually rotate them to where I actually want them like so. Something Something like that, I think looks really nice. Let's pull a guy back now and now you can see they're looking about the right side. All right. So now we want to do is on the next lesson is we want to actually start building out this structure. So let's come to file, save it out, and I'll see you on the next and everyone. I hope you're really enjoying it. Alright, everyone. Se the next one. Thanks a lot. Bye bye. 17. Easy Ways to Scale Noise Textures in The Node Editor: Welcome back everyone to blend the three, the ultimate style C guard and this is where we left off. Now, let's make the bottoms off here just to make sure they look right. What I'm going to do is, I'm just going to pull these forward just so I can go a little bit more room to work. Then what we're going to do is I'm going to press Control A, all transforms, collects rogs geometry, Shift S, cursor to selected. Now when I bring something in, it's going to come right with the cursors. Shift A. Let's make a. Let's make it smaller. Let's bring it up to where we want it, so it's probably going to be somewhere around here. It needs to be quite thick because they would be quite heavy. There won't be anything flimsy. I'm going to make them a little bit thin however, and then what I'm going to do is I'm going to press S and x and just pull them out near enough to the actual end. Now, I'm not going to bend these. All I'm going to do is just make sure that it's out, so they're actually leaning on there, and then what I'm probably going to do is I'm probably just going to vel off this edge. So I'm going to grab this edge. You can't see grabbing through there. If you click on it and then press control B, you can see that you've actually grabbed it like so. All right. Now what I can do is I can actually pull this a bit more into place like so, and then I'll just grab the top of here and then just pull that a little bit more into place, so it actually fits a little bit better. All right. We can see on the rest of it. It's got three going down, and then it's got these going down here, so just two on this side and then a bottom one. Let's start with that. Again, I'm going to press shift A, bring in a cube, and this will be my middle part. So basically going to bring this over. I'm going to pull it up into place, and fit it. Under there, like so. Then what I'm going to do now is I'm going to aj pull it down. Going to make it a little bit bare. Pull it down, down to the plane. I'm actually going to hide this ground plane, so I'm going to hide it out of the way. Just to make sure that this is level. I'm going to press three, and now we can see where we're working to. This probably going to be okay there because we're going to put another piece on the bottom of here. Again, I'm going to press shift da, bring in a cue, press the S one, and let's bring this part down to the bottom. Let's press S again. And let's make this a little bit thinner. S said, Let's press three. Let's put this into place like so. I'm actually going to grab the whole thing, and I'm just going to lift it up just like so, and now I'm going to pull this one down. Then I'm going to do is I'm going to press and bring it over. To maybe something like that. And then I'll do is I'll level this one off as well, so we'll come in and you can see here that I didn't pull these out. I'm just going to grab them both S and X, and just pull them out to the edge, like so. Then what we'll do now is we'll come to this part. Again, we're going to grab that one. You can see that I've got knock on my gizmo and that's because I've not grabbed the face. I'm going to grab my face, the top face, pull it back. Yeah, I think that's going to look fine like that. Now we get somewhere now, Let's come in and what we'll do is we'll pressure. We'll pull it over. Do the same now shift D, pull it over. Just making sure that they're roughly in the right place. Then I'll do now is I'll bring this one probably a little bit thinner. I'm going to press shift D. I'm going to press S and y and just make it a little bit thinner like. Then I going to do is I'm going to press r and x I think it is and put that under there. Now, it's important that we get this leveled up properly. I tend to start the bomb. What I'll do is I'll pull it into here and then pull it against there. You can see it's roughly against there. We also move this over a little bit, pull this one over now ale bit, just to get that flat along there. Then what I'll do now is I'll com. To the top of here, so, T again, and then I'll pull this out and pull it up into place like so, leaving a little bit of a gap just going down there like so. You can see now that's fitting into place really nicely. Now let's press tab, and then what we're going to do is going to press shift D, bring it over, put this one into place, shift D, bring it over, put this one into place like so, and then finally shift D, bring it over and put it into place along here. Like so, and just making sure that it's all fitting in to place where I actually want. You can see these are crossing over a little bit. I don't really want that. Remember again, you're not going to be looking really at the back of it, so you just want them to look in the right place. I think I'm happy with how that looks now. I think that's enough support on there. I'm just going to check This one more just to make sure so we can see these are quite thin on here. Are they looking too thick. I'm going to press dot. I'm going to grab them all. Press Control J. Tab A, make sure I'm on individual origins. Press Ssn X and as, make them jaws to tiny bit. Thinner, like that. I think actually they look like that. Let's join the whole thing up. I'm going to do is I'm going to grab all of these parts now. So I'm going to press G just to make sure I've got them all. Then I'm going to press control J, join them all. Press Control A, all transforms, clicks the origin to geometry. Now finally, let's come in and actually level them off. Add modifier, bring in a bevel. Let's put it on jet mode so we can see so you can see how that's actually looking. They're probably be leveled off a little bit too much. So let's bring it down to zero, and let's put it up one. You can see still that they're still be leveled off too much, and I don't want them levelled off that much. I'm going to do is not 0.5. Now you can see that's looking better like that. I'm just having to look round, making sure that I'm actually happy with it. And I think I'm happy with how that looks. All right. So now, let's come over, press Control A, and let's now give these the material. So we'll just put onto material just for now, what we'll do is we'll bring in the first material, which will be the frame. If I click the down arrow, put in frame, like so, and bring in that material, and now want one more material, so that's going to be the solar, solar panels, like so, and now let's come in. Grab each of these faces, and where do I want them coming up to probably next one over so Control plus, and then click a sign. And let's put it onto cycle Shader, and there we go. You can see now that coming up to these parts here, which should be absolutely fine. All right, so we've got our frames in, and now we need to do is need to create the actual solar panels material, and this materials a little bit more complex than things that we've done before. But that's what I'm trying to do actually move us along and create harder and harder things. Let's first of all, put this onto material. Then let's go over to our shading panel. Make sure you're on solar panels. Press the dot born to zoom in so you can see exactly what you're doing. Make sure that they're on actual cycles render and now find that we can make a start. The first one I'm going to bring in is a brick texture because you can see on the actual solar panels that they actually look like bricks. I'll actually put this here just so you can actually see what I'm doing. Then what I'm going to do is I'm going to press shift. Search brick texture, bring it in. Now the good thing about brick textures, you'll notice that has three separate colors, and these three separate colors can be used in a way to actually make these different colors on here. Let's actually come in, press Control T, the first thing we'll do is bring in a texture and a mapping, and we'll bring those in just so we can actually create something from the bricks. Then the next thing we'll do is we'll actually bring in now a RGB and plug those in. If I press shift date, let's do a search and we'll do mix RGB, not that, we need just an RGB, so I don't need a mix, actually, so I'll do a search RGB. There we go, and we're going to bring that in to that. Then what I'm going to do is I want to duplicate this, so shift D, duplicate again, so shift D, and now I'm going to start plugging this in. If I plug this into here, this one into here, and this one into here. Then what I want to do is I want to now plug this in because basically, I want to see where it's going to look like before I do anything else with it. If I grab my color, and plug this into my base color. Nothing really happens. You can see a little bit of something. Now what we're going to do is we're just going to mess around with these colors. If I bring this color all the way down and bring this color all the way down, now you can see that we're actually starting to get somewhere. Now, this color here, we want it on a slight green just to make them that slight green color. Then what we want to do now is we want to turn this offset down to zero, and you can see now that we're actually starting to get somewhere, these are starting to lopply actual solar panels. The next thing we want to do before altering anything is we want to come down to where it says U V, and we want to plug the UV into this vector here. Now you can see that they're looking quite nice, but if yours don't look right, we need to actually fix that. If you come over to our UV editing panel, you can see that this is how they're actually unwrapped. They're pretty square, they're not the way that they should be. The way that you could unwrap it is pressing U on the wrap, but you'll see that the unwrap in a really, really weird way and we don't actually want that. What I want to do is instead, I want to press one on the number pad. Press U, come down and project from view. In other words, I want to project exactly the way I'm looking here to make them rack correctly. Then if I come out, grab one of them, so L, G, x, and just move them over, near enough, just over the top of it, and know that they're going to be near enough, exactly the same. Now I can grab them both, press S, pull them out a little bit, and now finally go back over to shading, let it load up, and now you can see the near enough exactly in the same place, and that's why I'm actually hoping for. You see that this and this are exactly in the same place. Now we can actually move this over on, I think it's the ys. This is not actually moving at the moment. Let's see if it rotates. Yeah, there we go. Now I can bring this up or down to where I want it. I'm actually going to pull it up. Something, something like that. Then what I'm going to do is now I can alter the scale as well if I need to. You can say I can alter the scale to how I want them, something like that. I should. I'm just wondering why I can't actually move the UV. I think it's because it's the UVs being put in place why I can't move it. But what we can do is we can come over here and change the scale on this side, and that definitely will change the scale. So there we go, we can move it. That size, like so. All right, so I'm pretty happy with how those look. On the next lesson, then what we'll do is we'll actually come and bring in our glass because we need some glass over the top of here. At the moment, they don't quite look, right? It looks this one here, for instance, looks way way too bright as well. So we need to give them some glossiness and things like that. Alright, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 18. Creating the Handrails: Welcome back everyone to Blender three, the ultimate stylized scene guard, and this is where we left off. Now, let's bring in a transparency. So let's press shift A, search, transparent, and where is it transparent? This one here? Let's mix these together now. So I'm just going to pull this one over. I'm going to bring in my color over here. I'm going to bring in then add shader. So add shader. And basically, difference between a mix shader and dg shader off course, that we can add them over the top of each other rather than trying to mix them into or blend them into one shade. Let's drop that in there. Let's move actually this down to the bottom, and let's put this onto the top like so. Now what I want to do is I want to come over and I want to turn this. If I turn this, nice and dark color like so, and then bring it in green. L so now you can see they're actually starting to look a little bit like actual solar panels. Now, the one thing is we need to make the roughness a bit more, so they actually shine properly, like so, and now they're starting to really come together now. Let's have a look at our mortar size. Let's make them a little bit smaller. Like so, and now they're starting to look like solar panels. All right. They're looking pretty nice. Now, you could take this one step further and plug this into the displacement. I don't actually think I'm going to do that. I think I'm actually happy with how they look because they are quite a small piece on the grand scheme of things. Yeah, I'm not going to do anything else with them. Again, you can come in and mess around with a few more of these options and things like that, but I'm pretty happy with how those turn out. Now let's come to modeling. Let's press tab, and let's come over. What we'll do is we'll right click and Markers asset. We'll press the dot born. And we'll come to our cube and we'll put port solar panels, like so, and then I'm going to press dot, I'm going to right click. I'm going to mark as asset, and I'm going to come to my assets unassigned into assets and into materials like so. Then finally, I'm just going to put these over here ready to use in our sc All right. It's that time again, let's have a look on our actual references, and I think the actual next one we should do one that's relatively well, it's a little bit harder than what we've actually been doing. I think something like this should be the next one. This is the beach hand rail. I think we'll probably do this one next. The thing with the beach hand rail is that we have to remember is that we will probably be using the array, be arraying this over, which means that we don't actually need this side on it. We'll do this one next and we'll get that the way. I'll do is we'll come to modeling. We'll change our actual reference, Let's come to our reference, change it over for the beach hand rail. Let's press one and we'll do what we do every single time, so we'll grab our reference, make it smaller. Let's put it into place, make them a little bit bigger. Like so. And that then looks round about the right size. Then what we'll do is now, we'll bring in I think the way that I've done this actually is I've done this part here pretty much with a cube, and then I leveled the cube out, and then the other parts, I think, same as the top is also done with a cube, and then this part is done with I think it's done with some roundness, but, I'm going to give it a try with just a cube. What I'm going to do is, first of all, I'm going to make sure my curse is in the sense. I'm going to pre shift S, curse to world origin, and then shift A, bring in a cube. Make the cube smaller, S and then I'm going to put it into place. I'm going to put it up to something like that. I'm going to press S, pull it out a bit, and then pull it up. So I've roughly got it in the place that I want it, and then what I'm going to do now. I'm going to press dot first of all, move into it, grab the top of it. One again, pull it up. S and bring it into place like so. Now you can see that it's actually going in. If I press Z wire frame. You can see that goes in here near the top, so I actually want to actually do that as well. So I'm going to do is I'm going to press control. Left click, bring it up. One again. I want it from there, and I'm going to grab the top. Shifting click, make sure you've got all of those one again. Press the S, bring it in. Now let's bring it up, so I'm going to press E Z, Z again, just to make sure it's following that up like so. Now I'm going to create the top pot. I'm going to press E, enter S, pull it out. E Z, pull it up. Make sure it's following it, so press Z twice if you have to, and then E Z, and again, pull it up to here, and then S, bring it in, like so. I'm happy with that so far. Now, let's create this top. The top of it, I'm going to press to bring it in. On again, E, Pull it up, and then S, pull it in. Let's press sad, go back to solid, and let's have a little we've created here. Now, let's see if we can round this off. What I'm going to do is I'm going to come. I'm going to grab all of this going up, so shift and click on all of these sides, then we press Control B and pull it in like so. Don't pull it so far in though that these points here are actually going over there. The other thing of course, is we spoke about many times as well. I should really press Control A, all transforms, right clicks origin to geometry, and now should press tab and pull it together. Control B, but I don't want to pull it past those parts. I just want to put it up to here. I hold shift there just to make sure it's not coming past there. Then what I'm going to do is I'm just going to turn up my segments, to make it a little bit more rounded. There you go. You can see that's actually looking quite nice. Is it looking better than the original? Actually, probably is, probably looking better than the original as well. All right. Now I'm going to do is put these two parts near and see if I can get these fitting in properly. So you can see we've got some cylinders and they're going over here. Let's put those in. At the moment, we've got our cursor right in the center. Let's press shift S and use that. Let's then press shift A, bring in a cylinder. So five at the moment. Let's put it on 14 and see if we can get away with that. Let's spin it around so r, y 90, and let's make it smaller like so, and let's put it into place. Something like that. Can we get away with it being that big? I'm going to hide my reference out the way just for now, and then what I'm going to do is I'm going to press S. And pull it out, Press one. Old tag, bring back the reference, and now I'm going to do is press Z and just have a look at how big this is. So you can see Yeah, it's probably too big. So if I press I'm thinking I'm thinking I'm going to need a lot smaller. So if I press S, you can see that I'm actually not grab that, so let's grab this part and then make it smaller. Like so, like so, and then let's press S and X, pull it out. Let's press Z, solid, double tab the A. Yeah. The thing is this bit here needs to be much smaller. What we're going to do is I'm going to grab this all the way around, so lt shifting click, and then I'm going to press lt and S, and that then is going to bring it in the way that I need it. Alt S, bring it in L so tab, and there you go. That's looking better. Now the thing is the top of this. Is way way too big now. I'm thinking that I need to make it much much smaller. So what I'm going to do, I'm going to grab the top of it. So lt shifting clay control plus, keep going all the way down to the underneath of this, and then what you're going to do is tes and bring it in. Very slowly to where we actually need it. Something like that, so it actually fits. All right. So now that's looking much better. The one thing is a thing. I'm just wondering if I should make this a little bit higher as well. Yes, I think I do. So I'm going to do is I'm going to pull it up a little bit like so and then I'm going to grab the bottom of this. So ult shift and click, pull it down, and just make it a little bit thicker. It's looking a little bit flimsy. All right, so I'm happy with that. I'm actually thinking that that looks better than the original that I did because it's a little bit more blocky. If right click now, shades move. Let's bring in Auto smooth. Yeah, I'm thinking that looks a little bit bare. So what I'm going to do now is I'm actually going to come to this part, right click Shade Smooth. Let's bring in Auto smooth on this one. I think if I press shift D now, bring that down. There we go. Now, let's bring these in, so I'm going to grab both of these together, control J, and then I'm going to come. Grab both of these, like so. Press the born, bring them in, and now I should be able to extrude them this way. So E, x, pull them out, and I'm going to put them probably up to the halfway point, and there we go. That's looking pretty nice. Yes. I think I'm actually happier with these than now they're looked on here. On here, they're not quite strong enough. They've not quite got the sides that I'm looking for, but on this one, it's looking pretty nice. Now on this one, I'm going to do this as well is, I'm going to use a material. I'm going to make material which is painted met. I'm going to do this. I'm going to come to my materials panel. Let's first of all, join them all together though. Control J, join them all together, Control A all transforms, right click set origins geometry, and now we'll just make sure that we've beveled them off a little bit. So you can see leveling them off turn that down all the way. Turn it up a little bit. Make sure that I'm actually happy with our day looks. Now you can see we've got that kind of rounded look that we're actually looking for. Except this bit, which I'm actually happy with. I think that square look looks better. Let's hover over here, press Control A just to apply it, and now let's bring in a simple material. I'll call this painted metal, and I'll call it dark like so. All right. So with the painted met, I don't even need to go into my shader. All I'm going to do is first of all, make sure that I'm actually on cycles, and then going to put the metallic up all the way. And then what I'm going to do is I'm going to turn the color to something more gray, and maybe even a little bit of a brownish Just a slight brownish, tinge to it. Maybe that's a little bit too much. Let's just rain it back in. Something like that. Then what also we can do is change the roughness, make it a little bit more shiny like so. That's looking really nice. A live better than this one, actually, that's really good. Now, let's to our pot, so it's a cube, and we'll call it handrail. Like so. And then what we'll do is right click and mark as asset like so. All right, so let that load up. Then what we can do is just put it on material. Let's put this out the way over here. And then what we'll do is we'll right click and mark that as asset as well. Let's go to our assets quickly. Hand rail, we'll move to assets, material, we'll move to materials. Modeling, file, save out. And then on the next one, then, obviously, we'll start another of the actual parts. But you can see already that they're really starts to come together, and we've really got a fair few parts to actually w with. So you'll see in the end when we actually come to create our scene, just how easy it is to bring all these parts in and really really create a nice looking scene. All right, everyone. So I hope you enjoyed that, and I'll see on the next one. Thanks a lot, bye bye. 19. Working with Transformation Orientation: Welcome back everyone to Blender three, the ultimate stylized scene guide, and this is where we left off. We're going to pick the next one that we're going to do next. And I think the next one should be something like this bench. If I double click on this bench, let's load it up, you can see that we've got a nice swirl actually coming round and it bends in a little bit and then it comes out. It's actually a bit hard to see actually what it looks like, but I've done that on purpose because sometimes when you've got references, you can't actually see the whole object, so it's good to actually try and make your own thing from the reference that you've got to an. Let's close that down and let's bring that in then to scene. What I'm going to do is I'm going to click on my reference. I'm going to come off to the right hand side, and I'm going to open up and the one that's called, or is it Bench. There we go. Let's open that up. Let's make sure reference is the right size first of all. I'm going to make them a little bit bigger. Pull him up. Thinks about something like that. Yeah, I think we can actually start from this. All right. The first thing we're going to do if you're make in the benches, basically, you've got your guy here, and you're going to have to make use of V because you're going to have to work out how far back the bench actually goes at this reference, you can't actually see that. If we press Shift S, cursor to world origin and then I'll press Shift A, I'm going to start with an actual plane. I'm going to start with a plane. I'm probably going to leave it just flat for now because then I can bring it up. And then what I'll do is I'll press seven to go over the top. And you'll notice that I can't actually see over the top, so that's not going to work. What I'll do is I'll press one, and then I'll spin it around. So r x 90, and I'm going to bring it out, so S and x, let's pull it out. So it's like halfway in between each of these, and then I'm going to pull it up, and that's where our bench actually starts. And then what I'm going to do now is I'm going to actually pull this bit up. So if I pull this bit up by coming to the bottom, so grabbing this bottom edge, pull it up. We can see it comes back to something like that. And then what I'm going to do is pull it out now. So if I press E and y and just pull it out. And now what I'll do is I'll get my little guy, bring him over. Put it on top jet motor, I can actually see what I'm doing. And I'm looking now to see where he's actually going to sit. You can see that this even with our reference is probably a bit low, and the reason is that our reference probably needs bringing up just a tab like that, so it's sat on the flouf, and then we'll bring this up. Like, something like that. And I can see. A bench normally is where the actual bend is in the knee of an average person. That's how benches normally work. You can see though on this one, though that this needs kind of pulling down a little bit, so when he sits in he kind of slouches in there, that's how the bench is normally done. All right, so I'm happy with that. Now what I'll do is I'll just pull them both out. And then what I'll do is I'll bring some H loops in now. I'm going to grab my bench press tab to go into mode, press control. And let's bring in, I think three, something like that. It's important that we bring in the right amount of edge loops on this because we're going to actually use these edge loops to create these plants as well. Now I'm going to do is on the bottom one I'm probably going to bring in, we've got three on this one. Let's see even get away with four, so control for left click, right click and one looking for is just to make sure they're kind of the same size, which I believe they are. All right. Now what I'll do is I'll actually come in, and I'll use my proportional editing and now I'll pull it back like so and get a nice kind of slope, something like that. And then what I'll do is I'll pull this down like so, and then I'm probably going to pull this bit down for bring it in, like so and you can see now that that's actually a pretty nice slope. The one thing I'm not happy with is this one. You just need to come in back a little bit without distorting that too much. Something like that looks pretty nice. All right. Rather we might as actually well, you can see that this is, I'm I'm going to have to actually take portion of, press three on the number pad, and I'm just going to smooth this out a little bit. I'm not quite happy without that look, so I'm just going to press three, pull it up and I want a nice gradual slope like so, that's looking a little bit bet. Now I want to do is I want to actually create the arms of the actual bench. A I'm going to do is I'm going to press old shift and click and just grab this piece going down here. Then what I'm going to do is I'm going to press shift. I'm going to bring it out like so, and then I'm going to press E and x and just pull it over this way to get that little arm rest. Now, what I want to do is want to split this off away from everything. So LP selection. Grab this again, control late, all transforms right clicks a origins geometry because we're going to bring in a modifier. One we've used before, which is the actual solidify, let's bring in solidify. Let's pull out the thickness a bit, so something maybe not quite that big, something like that, Let's put it on even thickness just so it goes out properly. Let's also make use of the actual offset. Now the offset is really, really handy when you're doing anything like this because what it does, at the moment, you can see that this is perfectly flat to here and we don't really want that. But if we pull this this way, you can see that we can put it into the actual middle like so, and it's in the middle going all the way around. That's really, really handy to actually know. Now, let's Have a look at our actual bench and. You can see it's quite beveled on these parts as well, so that's something that we want to actually achieve as well. I'm going to do is I'm going to come in and actually apply my solidify. Just make sure you're happy with the thickness of it. I think I am, so I'm just going to apply it Control A. Then what I'm going to do now, I'm going to come in and I'm going to bevel them off. Again, I'm going to press control A, all transforms because we actually use the solidify. Set origin to geometry, and then what we'll do is we'll try bringing a bevel in first. Now I think actually, we'll be able to make use of that. Sometimes when you bring the bevel modifier in, it doesn't actually bevel the edges that much, but I think on this occasion it what I'm going to do is I'm going to bring it down, and then we're going to turn it up slowly to what I'm actually wanting. I think actually something I think actually I want it halfway between this one and this one. So I'm going to do is I'm going to put point naught point naught 15, like so. I think that's going to look pretty nice. All right, I'm happy with that. I'm just looking to make sure I'm happy with the rest of it, and I think I am. Let's now come in, and what we'll do is we'll change these now into actual planks. The way I'm going to do that is, I'm going to come in, and I'm simply going to grab each one of these like so. I'm going to right click and mark C. I'm just doing that, so it's easier then to split them up. Just get into the habit of actually marking scams like this if you're making planks because it does make it a lot easier. Then what I'm going to do is I'm going to press L on each of these. Every other one, and then I'm going to press Y. And what y does is it actually splits it up. So if I press G now to free move, you'll see that they're all split up, and they're ready now to go. So if I press A now, make sure on interlocking links on individual origins, press the S bond to bring it in. You can see now that they're all split up, and now I can actually shrink them in as well. Now if I press S and x, I can pull them back out now and put them into place, and that's looking pretty nice. Maybe accept this one here. This might need poly now a little bit more than where it is, but we'll see once we've got them into place. Alright so now, What we need to do is we need to actually give these some thickness. The problem might be with the thickness that we've split them off like this is that this one here might not actually work correctly. Let's actually see if it we can get to work correctly. So I come in, let's press control A again, all transforms right, plex Origin geometry, and now bring in A solidify. Let's make sure even thickness is on first, and now let's bring them out this way and see. You can see there how this is not working going that way. We haven't got a split in there. But if if we put them the other way, so go back the other way. So you can see now that's actually looking much much better. I'm just holding the shift button down. That's looking much better like that as you can see. Now we've got that split there and it's looking a lot more like a bench. Now we need to do is just make use again of our offsets. Bring our offset in. We've still got that split there, and we've actually moved them a little bit as you can see. That's looking a lot more realistic. Now, I might have gone a little bit too far with my offset, so let's bring it back. Just a little bit. I still too far. That's the thickness messing around with the thickness. Let's put that back. Let's pull the offset back, so we're going to bring it back there just to get that split there. I might still have a little bit further to go. I think I have. So let's bring it back a little bit more, something like that. Now you can see that I'm probably going to have to move this back a bit. I think I'm actually going to move this back. Like so. Then what I'm finally going to do is I'm just going to come to the front of here. I'm going to grab the front. This has this has still got the bevel on, so that's really good. Now, there's another little trick that you can use when working with something where it's facing this angle. If you come up to where it says global, click on it and put it on normal, you'll see now that the actual gizmo is pointing in the way that we want it, which is really handy to just pull something out like that and in the right direction that you want it. Now you can see that this is really starting to come together. I'm just looking round to make sure that I'm happy with it. I think I need to drop it down a little bit as well, so I'm going to drop it down to ta. Like, so, and now it's kind of fitting into place. Alright, so I'm happy with that. Now I want to do is on the next lesson. I want to put this on the other side. I want to pull this out a little bit, and then I want to give this bench some legs. So I hope you enjoyed it, and I hope you learned a lot from that one, and I'll see you on the next one. Thanks a lot. Bye bye. 20. Smarter Ways to Work With Modifiers: Welcome back if everyone to blend the three, the ultimate stylized scene guide. The other thing is, as we actually move on through these actual references, they are going to take longer and longer each one, unfortunately. That's just the way it is. All right, what we'll do is we'll actually mirror this over the other side, so I might as well apply our pebbles. So what I'll do is I'll press control. First of all though let me pull up this one, this part here. So I should have really probably not applied it yet, but I can just grab it like so, press Control plus, and then what I can do, I'm still on normal, I'll just pull it up into place like that and just make it actually fit, and that looks really, really nice. All right. So now we'll do is we'll again, control Ale transforms, right click and this time, we're going to set the origin to three D cursor because we're going to use that origin then to add a modifier, which will be the mirror. See here we have a problem. The problem is because I've probably moved this part of it Swain. I'm going to grab this. I'm going to press control A, all transforms, right click origin to geometry. Then we we're going to do is grab this one again. Actually need to grab this one first, press shift S, cursor to selected. Then we should have that really in the middle. Now let's grab this part, and let's put the origin where the cursor is. R clicks origin to three D cursor, and there we go. It's actually put it in the right place now. Now we want to do is we want to build out the actual leg so we can see the legs look something like this. This is a very very simple leg base basically. Let's start that Swain do. I'm going to bring in a cylinder. I'm going to turn a cylinder, make sure it's on 14, something like that. I'm just going to then bring it over like so and make them chunky enough, so they're actually stock into the actual metal way because this is fully metal, so just make sure that we can actually get underneath and make sure that they're in. And then we need to think about where is it going to be supported from? I'm just going to get rid of this ground plane just for now because it's get in the way of it, and then I'm going to press S. And then what I'm going to do is I'm going to bring it back. I'm thinking probably somewhere from here is where it's actually going to be supported from. Then what I'm going to do is I'm going to grab the bottom of here and face select, press three, just to go into the side view, and I'm going to pull it down. To this part here, and then we're going to grab this with L shift D and then bring it over to where I actually want it, which will probably be somewhere around there. I don't actually know how that managed to get over there. That's why. I should tell you, I'm going to delete that. That when you've got normal on, it can make actually moving things really, really funky. So just make sure that you've got it in global, and then we can move it. I'm going to press L. I'm going to press Control seven to actually go over the top. I'm going to press Shift D, and now I should be able to move it into the place where I want it, which is probably going to be around here, actually supporting this kind of this end part of the bend. So something like that, I think's absolutely fine. All right. Now I'm going to do is I'm going to grab both of these. I'm going to press Shift S. Cursor to selected. And then what I'm going to do now is I'm going to bring in a cube. So Shift A, bring in a cube, make the cube smaller. So make it flat. I said, then let's pull it out, so S, and y, let's pull it out into place, so let's pull it down. And then what I'm going to do now, I'm just going to try and fit this into place. I'm going to press S and x, bring it in a little bit more. And then what I'm going to do, I'm going to grab each of these edges now. And if you guessed it, I'm going to bevel it. So Control B, bevel it off. So now you can see that looks really nice. Now, just bear in mind, I will show you that before I leveled it off, I should really reset transformation. Control A, all transforms right click, set origins geometry, tab control B and now bevel it off and just also make sure that I've got mine on two as well. You can change the amount of bevel as well with this boat here. You can see that actually changes the amount of bevel, that space like pressing the control B and actually holding it. You can also change the shape of it here as well if you want to. If you want something like that, maybe you want to go for that bot. I'm going to leave mine on actual here. So happy with that. Now I want to do is, I just want to split this off away from the other parts. So LP selection. Grab it again, control transforms, set origins geometry, add modifier, and let's bring in a bevel, bevel modifier. Let's turn it down to zero, and let's turn it up one. And I'm just thinking that's probably Probably a little bit too high. Let's put a naught point naught naught five, something like that, and that to me is looking much much better. Now, the other thing is, I need to shade smooth. I need to then bring on my auto smooth, and you can see that it looks really, really nice. Let's grab both for these as well, and what we're going to do is Shade Smooth on those. Bring on Auto smooth, and there we go. Let's now just make sure that we apply our bevel, so control A on this part, join it up with these part, so control J. Then finally, we want to join it up to this part. Before we do that, of course, we need to not bevel. We need to smooth this off as pot. I'm going to grab this part. I'm going to not apply mirror. I'm going to shade smooth. I'm going to bring in my Auto smooth. Then what I'm going to do is, I'm going to grab this one, and I'm going to join it with this one. If we do it the other way round, it will take the modifier off and we don't really want that. But if we join it to this one, it'll actually incorporate the origin, and it'll incorporate the actual mirror. If I grab this one, last, press Control J, and now you'll see we've actually put that over to the other side. We're nearly there. Now what we need to do is we need to come back to this one. We need to press Control A, just in case we didn't do that, right clicks the origin to geometry, and now we're going to come to our ad modifier. At the moment, we've got a slido fion, let's just make sure we're happy with it, which I think we are. Let's press Control A, And the one thing I think I need to do is, I think I need to pull it out a little bit more. So what I'm going to do is I'm going to grab it, press S and x, and as, pull it out, making sure it's actually in where I actually wanted to be. All right. So now the final bevel on this one, so let's add modifier, come down, add a bevel. Turn it down to zero, turn it up. There you go. You can see just how easy it is to create that beautiful bench. Let's apply that, Control A. Let's apply the mirror, Control A. Let's join it all together now, Control J, and then finally control A. Transoms, right clicks the origins geometry, and now just shades move. Autos move on, and there we go. Simple as that. All right. Now, let's create a couple of materials for this actual bench. The first material, I'm actually going to use a material we've already used, and the second material is going to be a material that basically randomizes the parts of the bench. In other words, every actual face on it is going to randomize it. But what you actually do is you create it in such a way that the very, very subtle and where it does it really actually makes it look realistic, while stylized. It's basically like giving it shading of some kind and makes it pop a lot more. All right, rather than just a base color. What we'll do is we'll come over first, I'm going to grab it. I'm going to come up and I'm going to rename it. I'll just name it bench. And then I'm going to press dot, find it again, right click, and I'm going to mark it as an asset. And then what I'm going to do, now, I'm going to come to my actual materials, which is this portion here. Come down and what I'm looking for is frames. So this one here says frames. And I should mention as well that the other thing is, when you can actually delete any of these colors that you don't want to use. If you come over to it, sorry, file, and you go to cleanup and you get rid of unused data locks. There you go, purging 86 unused data block, six images, 40 textures, one materials, one wheels, 37 measures, and one screen. Now what that's done is, if I come to here, for instance, and look at this one and go back to my world now, you'll see that I've only got these two here where I had free before. If I come to my materials now, you'll also see if click this down arrow, that it's got rid of all those materials that we weren't actually using. This is a really, really handy thing to actually use. Now, before, you'd have to delete blender and things like that. It didn't work very well, but now you can see that they've made it really, really easy to actually do that. Now, et's come in and actually think about bringing in the material for this one. Let's name our next material, and I'm going to call it new and I'm going to call it wooden planks. Random. So. And then what we're going to do is we're going to actually grab all of my actual planks. Just make sure you're an edge sect because obviously, you've marked seams on these things, like so. Not that one. Grab this one. And then what we're going to do is we're going to assign these, and now we're going to head on over to the shading panel. And for some reason, this is on normal. I'm just going to put mine on global. And now I'm going to do is I'm actually going to go bring in a geometry node. Shift A search. Geometry node, like so. You can see on the bottom of the geometry nod, random per island. That is the one that we're actually looking for. Now, if I bring in a color ramp, so shift A, search, color, Ram now what I'll bring in is a RGB curse. I'll tell you the reason I'm bringing this in is it's a really, really good way to actually change the overall darkness or lightness of what you actually do. This is the best node for this. You can use gamma, but the RGB curve just gives you a lot more actual thinness over it. All the next thing I'm going to do, then I'm going to plug all of these in. If I can plug this into the base color, I'll plug my color from my color ramp into the color of the RGB curves. And then finally, I'll come and put my random per island into there. You can see already what that's done, so you can see that we've got all the way along this, all the way going up different actual colors. Now, the other thing that you need to be aware of, is that what this will do at the moment, it's on linear, so it'll take any color from here to here, and anything in between. If it's on constant, if I put this on constant, you will see now that it changes it over and basically what it's trying to do now is take this color and this color, which is basically black. But if I put this, let's say, if I move this download, now you can see what I'm talking about. Now it's bring different colors in there. Now what I tend to do is, I'm going to have probably four different colors in here. I'll move this up. O, two, let's add another one, three, Let's add another one, four like so. Now I tend to do is I'll put one to the brown color that I want, so I'm going to bring it down and put it on the nice brown color that I actually want. Let's make sure we're on cycles render engine. I think I want to make this a little bit darker and a little bit more brown like so. I also feel that the shininess on here is a little bit too much. So let's come over and turn the roughness jot down a little bit like so. And then what I can do now I can come back and actually start to create this color. This one here, I'm going to actually put on my red like so, and this one here, I'm going to put onto a green like so. And then the final one, I'll put onto a yellow like so. Now, the only reason I do that is just to make sure that it's all working. And now what I tend to do is, I'll come to this one, grab the red, come to my little pipette and what I'm going to do is, I'm going to click on here. Then I'm going to come to the next one, grab my little pipette. And put this one on here and then find the last one, grab my Papete, and put this one on here. Now what I can do is I can come into this one and just turn it very, very, slightly a different color. This one, very, very slightly a different color, and then finally this one, and we'll put it on a little bit of a reddish color like so. There you go. That's how easy you can actually do that. You can see now it's really, really effective, and then finally now we can come in with our curves. If I put this on, you can see that we can either darken them or lighten them up and you can just see how much control you actually have over them. Something like that, and you can see now the very, very subtle difference in that actual bench. That's how we actually do that. You can see it's a really, really nice process of doing it. Finally now what we need to do is need to Right plate markers assets. Let's go to our assets then, and then what I'll do is I'll just this into our assets, and I'll this wood into my materials. And there we go. You can see, we're really really building up this now. All right, finally, then let's just move this over to the back near the rocks, and this one's gone a little bit longer than normal, so I'll see on the next Np. Thanks a lot. Bye bye. 21. Creating Meshes with the Knife Tool: Welcome back, everyone's blend, the three, the ultimate stylized scene guide, and this is where we left it off. Now, let's come back to modeling, and let's bring in our next. I'm going to put this actually onto material. And then what I'll do is I'll press tap just to make sure I've not got that grabbed. Grab my reference, and what I'm going to do is I'm going to go straight over then to my references. And let's actually show you how to actually see the because at the moment you can't see anything. If we come over to this one here, and What we're going to do is going to click on this, and now you should actually be able to see them like so, and I can just make it bigger. I think actually we can make them bigger as well. You've got a regular size here, click on down and that's put on large, and now we can really really see what we're actually do. Let's actually do something a little bit different. I think at the moment, we'll actually make this actual exit sign and this arrow, and I'm going to show you how to actually create those just so we just mix it up that little bit. All right. Let's double click on this, and there we go. What we're going to do is we'll create the exit sign and then we'll in fact, we'll create the arrow first, and then the exit signs. What we going to do is first of I'm going to make sure my curse is in the center, so shift cursor to world origin, bring in a plane, so shift A, so plane. Spin it around, so X 90, press one on the number pad just again in front view, and then what I want to do is I want to cover up that actual arrow. So I'm going to press S, bring it out, like so. And then what I'm going to do now I'm going to press Z to go into wire frame, and there we go. That's what I actually want to do with my actual arrow. So how do we do that? Well, basically, I'm going to use a technique with the actual n tool. I feel it's a very easy technique to actually use. And since we don't need to have this absolutely perfect, it's a good time to show you the ni tool. So if I press tab, press the button, and then you'll see you've got this little knife here with a little green dot. Now you can actually do, you can actually grab onto any part of the edge of the actual plane, and you can grab it and then you can come all the way down to the bottom, like so, and you can actually put another dot there. And if you press enter now, you'll see you've actually got an actual edge there. You can see that you can really actually start to build up this into whatever shape you really want. Now, what this enables us to do is if we come to the next one, bring it down, We can actually make a really, really nice cut to, like so. Now you will notice when I come round to one of these parts, it's actually attracted to it. But if I hold the control button, I can get really, really close without actually being attracted to it. I can even go through each of these, and I'll actually put an actual vertice there as well. Now if you want to stop doing whatever you've done and you're not happy with it, just press the escape button, and I'll actually get rid of it. If you're happy with what you're doing, all you need to do is just press right click and then we keep them there and you can start from where you're going again. So right click, as you can see, or you can get to the end, grab the n one, press the n to button, and that will do the same thing. I'm just going to get rid of that with Control Z, and then what I'm going to do now is I'm going to put anther piece in here. I'm going to come to this part, I'm going to bring it down and make sure my line is straight can see it's a little bit jagged at the moment, so I'm just going to move it over, like so, getting it as straight as possible. You might have a problem actually getting it really, really straight. I'm going to give it a good go. So something like that's nearly straight. There we go straight as you want press the bond, and there we go. All right. Let's now come in and work on this bit here. So what I'm going to do is I'm probably going to grab it from here. Press the Kb, grab it from here, and bring it over to the side here, can see that straight. Then we're going to go back to this part and then come to this part here. Like so, and then I'm going to press the bone. Now I'm going to come from probably this part here, Bring it over to the side, making shot it straight. It takes a little bit of time and then come back to this one. Making shot it straight again, like so, press the ter bone, and there we go. Let's now come in and make these parts here. I'm going to do is I'm going to grab this part here. I'm going to hold the control bone and then come to n. Same on this one then, so I'm going to grab this part here. Control bone. Come to here, and there we go. Now, let's make these final parts. I'm going to come from here. K, let's come from this part here up to here to here to here, enter, and now the final part. Let's actually grab our man, hide him out of the way. Let's come back to this. Now, K. Making sure this bit is straight, two here, two here, and finally, two here, press the enter button. There we go. We've got our actual arrow. We've missed one piece up here, I think, just this piece up here, so now I'm going to press K, and then just drop that down. Enter there we go. Now, how do we get this out of here? Well, basically we come to face select, and we're going to grab each one of these faces. Don't forget the little parts that you've actually made, these parts here, and then all you're going to do, press shift, enter, pull it out, There you go. There's your actual arrow. Just make sure you've got these parts on there, so. Now you will notice at the moment that this has got loads and loads of engons in. I'm not sure if we spoke about engons before. I don't think so, so it's important that you actually look at what I'm going to put down here, what tells you all about the engons, because we don't actually want engons or anything like that. What I'm going to do, first of all though, I'm going to actually make this into a piece of meth. I'm going to split it off from this actual This actual plane over it. I'm going to press P, selection, tab, grab it again, control all transforms, click, set origin to geometry. And then what I'm going to do now, I'm actually going to press Z, going into solid mode, and now I can actually grab this as well. I think actually, this is also, let me just have a look. Let's grab this. As it go material on it. No, it's not. It's just, I think it's the wrong way around the mom. I'll check that in a minute. I'm going to press tab. I'm going to grab it all. I'm going to press E then jaws to pull it out. Like so just to make it into a nice piece of mesh, which it is now. And then what I'll do is I'll just check my normal. Face orientation, just making sure they're actually correct, which they are, and we've already been through that, so you'll know exactly what that is. Let's now grab this, delete it out the way, and now finally, let's sort out those ngs. You can see at the mo on we've got loads and loads of gons. Luckily, for us, it's an easy button to actually fix this. Just press L. Make sure you've grabbed everything, right click then, and then what you're going to do is, you're going to come down to what it says triangulate faces. That then is going to make sure there's no eng ons in there. Finally, what I like to do to make it a little bit cleaner is actually tries to quad slate. And you can see that just cleans it up really, really nicely. All right, so that's our arrow. Now what we need to do is our actual exit sign as well. Let's press tab. Let's press one again, and then what I'm going to do is I'm going to press Shift A, bring in, I think I'll bring in a plane again, so RX 90. Let's make it smaller. So, I'm going to bring it into place. L so, and I'm going to pull it out on the Z. S and Z. Let's pull it up. Grab this edge, tab edge select, grab this edge like so. Now let's grab it all. Now if I press the ye button, is it all going to come in evenly? You can see that it's probably a little bit out. So I'm going to do is right click, tab control, all transforms right click, origins geometry, Z to go into wire frame, and now I'm going to press tab, and now I'm going to press and bring it in. I bring it in like so. All that it's looking good, I'm going to press the little dot on the number pad now. Now what I should be able to do is go back now into solid and bring this out. I'm going to grab it all, so I'm going to press control plus. I want to press E to pull it out. Then we're going to grab this bit, and all I'm going to do then is press E and pull it back to make that actual where my exit can actually sit in there. That's looking really nice. Now, we actually need the actual exit part of this. The easiest way to do this within Blender is also an actual text option. We'll actually look at that on the next lesson, so we'll start actually creating the exit part of it, and then hopefully we should be able to get the material on these and actually get these assets finished. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 22. Working With Fonts & Text in Blender: Welcome back everyone to Blender three, the ultimate stylized scene guide and this is where we left it up. All right, so we might as well put our cursor right in the center of now. What I'll do is our press Shift S, cursor selected, and now I'm going to do is I'm going to pres shift date. If you press shift date, you'll see where the primitives menu is down here is one that actually says Text let's bring that in. You'll notice it comes in near enough like where actually my cursor is, and now all I want to do is spin it round. So O X nine spin it round, and then what we'll do is we'll press the S button, and s put it in place like so. That's probably going to be a little bit small. Let's bring it into place. Like so. Now, over on the right hand side, you're going to have basically a little bit like the curve menu, but this is actually our text menu. So we've got the same features here, which is geometry. We've also got something that is the actual font. You can see at the moment of B font. So what I can do is I can come in, first of all, press the tab button, and then what we going to do is click the backspace and put in exits in capital. So Cast, exit, like. You can see that actually luckily for us, this actual font works really, really well with the exit sign. But to change your font, just click on this button and you should have a load of fonts that come up and shows you basically what they look like, what they look like with capitals, and things like that. You might want to actually change your pont out for something different. All right let's close that down. And then what I'm going to do is I'm going to pull this out, so I'm going to press tab. I'm going to pull it out to where I actually want it. So I want it probably something just back behind here. And then what I'm going to do now is I'm going to come to the depth, and I'm going to pull it out, and that's the wrong one. Sorry, not the depth, the extrude. I'm going to pull this out. So you can hold the shift boton as well to make it a little bit smaller, and then when I'm going to do is, I'm going to pull it back, so it just sits on there like so and you can see just how easy that was. And maybe just maybe this back panel is a little bit too far back. So I'm going to grab my back panel, so I'm going to pull it then just to where that exit stops because I don't want it floating in front of it, plus I want this to actually shine onto the back of it a little bit. Let's actually grab this. We can't actually shake smooth or anything like that now. Just make sure that you're actually happy with it. We can also if you come and where I showed you that depth is, if you turn this up one, you can see that you can get a really nice bevel going on there, so you might actually want to put that on. It's important that you put this on before. You actually finished the reason being is that if you don't, it's much harder to put bevels on two words, but onto letters, sorry. You can see that when I click this up, it's probably a little bit too much. If I put this on point, Nought one, instead, you can see now that we've got a tiny, tiny bevel Maybe that's not enough as well, but we can bring that up just a tiny bit. Not point, not four, try that. There you go. You can see we've got a really, really nice beble on there, and that's probably going to look much, much better. Again, like the actual curves, we can come to object then, come down, convert and convert to mesh. When we've done that, that option will disappear, and if we press tab now, you'll see what that's done. You can see we've got that tiny beble on there. Now what we can do is we can right click shades Make sure my autos movies on, and there we go. That looks really, really nice. Now you will see that we've actually got a lot of polygons in here as well, which is really, really great because sometimes if we don't bevel it off, sometimes it just puts tons and tons of polygons in there and we really don't want that. I'm happy with that. Now I want to do is I want to join this to this back part so press Control J, like so. Again, now we're just going to have to click Auto Smove on, and there we go. We've got our little arrow, and we've got our exit sign now. Now we need to do is we need to actually just bring in some materials. What we'll do is we'll bring in a new material. We'll do the exit sign first. First of all, control A transforms, right clicks a origin to geometry. Let's go over here now and press dot, and we'll call this exit sign, like so, and then I'm going to press dot again, and you can see that, that I've messed that up because I had caps locks on. Let's try again sign, like so. Let's come to our arrow. We're going to call it parking arrow. So on the parking how before I actually do anything, I just want to right click. I want to mark as asset. And then what I also want to do is I just want to shade this move and bring this in to Auto smooth. And last of all, I think I need to bevel this off a little bit. So I'll come to my modifiers, I'd modifier. Let's bring in a bevel. I'm going to turn that down to zero, and then bring it up to one. You can see that's probably a little bit too much. I'm going to turn this down to No point, five, something like that. And yeah, I think that looks much much better. All right, Let's press control, lay on that, and there we go. That's peveld off. Now, let's come to our material, so I'm going to pick. Let's have a look see if we've got one first. I've got a material 01. I'm not sure what that is on, but I'm going to click it on there, and then I'm going to click on let's have a look at actually what that is. That's actually look quite nice actually. I think I'm going to keep that. What I'll do is I'll call it sine, white, like so. I'm thinking that it's not got a lot of glow on there, ever or anything like that. Yeah, that's actually looking quite good. All right. Let's now come to our exit sign, and the first one we'll bring on is the metal. We'll go to frame. Frames. Let's put that on there. Let's now make the back part of it, so I'm going to click the plus new, and I'm going to call it exit. I'm going to actually call it sine, green, So Always try and put the color of where it is because it's going to be really easy to find within your assets. And then what I'm going to do is I'm just going to first of all, apply that. So let's assign. Let's make it a green color, and let's make it darker, something like that, maybe wants to be a little bit more green, maybe. Let's have a look or a little bit darker, one or the other, or even a little bit lighter. Let's have a look. Actually, that looks nice. Now what we'll do is click the new and we'll put this as, let's call it sine, and we'll call it emission. Looks about that right emission like so. Then what we'll do now we'll change this principled to actually emission. Then what we'll do is we'll come to our actual sign now. Just make sure you edge so you grab everything. Sometimes actually with letters, as you can see, they're actually split up. I don't know why it does that, but sometimes they just are. I'm just going to come around, just make sure I've groped them all. I'm actually as well going to just hide this part out of the way first. I'm going to hide this with H h and just hide it out of the way so I can actually and it's not actually hiding it. I'm going to press on material for now. And then what I'm going to do is I'm just going to see if I grab them all, like so. Just keep grabbing them. So. And there you go. I'm thinking of basically deleting the backs off of these. I don't think I'm going to need the backs on these. So I'm just going to press H, hide, A to grab everything, delete, and faces. All t bring everything back. Now, we should have, if I just hide this sign out the way again with H, all of the backs actually got, which is going to save us some polygons. All right, so that's good. Let's now come in and grab all of these once more. So L like so. Then what we'll do is we'll come to sin emission, and we're going to click a sign like so. Let's put it back now onto our cycles render engine, and we can see now that they're actually glowing. Now, the thing is, we're going to have to probably go in and look to see how much these are actually done. If I put this on ten or something like that, you'll see now it glows. But what we're going to do in the composite, we're going to actually bring in some bloom and things like that. We don't want it to actually be too. For now, I think I'm going to err on the side of brand something like five just to turn it down a little bit, and then I'll work with that as I go. All right. So if I press dot now, we've got our exit sign. I can see here that I haven't marked as an asset, so I'm just going to mark it as an asset. I'm going to come to my arrow, and that one's marked as an asset. So now I should be able to go over and also mark these as assets. So right click Marker's asset, right click Marker's asset, and now let's go over to our asset. Let's come to assigned, and here we are. Easy easy to put those in. Let's grab these two as well. Let's put in materials. And finally, now L et's actually put these into place, put them into place and this one here. You can see just how quick it is now to build up all of those assets into our scam. Let's actually save that out, so save out, and now let's take a look at our next reference, what we're going to build. If I come over to our references, click the open. We can see now we're really starting to get down the simple ones on this, so you can see that actually there's not that many more real simple ones. I'm thinking that probably the next one to build is probably going to be this parking because I'm thinking that that's That's something that we could do or we could actually build out this. I think we'll build out this one. The reason is because we've just made a parking. We don't want to make another parking sign straight after. Let's pick this one here, which is the water heater tank. Let's grab that one. Let's bring it in. Really hard to see this one actually, but you could pull up your own water heater. Just put in something like Greek water heater or hot country water heater, roof or something like that, and you'll get an idea exactly what this is. But we should be able to work with this anyway. Let's go back to modeling, and what we'll do then we'll make a start on that on the next lesson. All right, everyone. I hope you enjoyed that and I'll see in the next one. Thanks a lot. Bye bye. 23. Creating the Roof water Towers: Welcome back, everyone to Blender three, the ultimate stylized scene guard, and this is where we left off. Let's put it back on material for now, and let's now make a start here. What I'm going to do is, I'm just going to bring in a cylinder and then I'm going to put it into place. If I press shift A, let's come into mesh, and let's bring it in a cylinder. I think for this, I'm actually going to put the number of divisions up. I'm going to put on 20, something like that, just to make sure that it's actually rounded. Now, let's press one and let's spin it round. Y, 90, and then we'll press S and bring it to the place that we want it. I'm just going to fit it in place. You can see there fits pretty much in place like. Then we're going to do is going to press S and X. Pull it out, and again, fit it into place. SN x is a little bit too big there, something like that. Now I need to do is I need to bring each of these ends out. What I'm going to do is I'm going to come in. Press the tab button, grab this phase and this phase. I want to press e, enter S and x, and you notice mine doesn't come out, and the reason for that is because I need to be on medium point. S and x, pull them out like so. Now I want to do is, I want to bring these in. But if I bring them in with medium point on, it's not exactly going to work properly. What I want to do is I want to put this on individual origins and then bring them in like so. You can see just how quick and easy it is to actually make that Now, let's make the top of this to actually go into here. So what I'm going to do, I'm going to press Shift S. Cursor to selected and shift a and bring in another cylinder. And you can see the way that I'm teaching you this. It really really speeds up your work flow, makes it really easy to just bring in parts, stick them together by using your curses, by using medium points and things like that. Really speeds up that process. If I press one now, press the S button, bring it up like so, and let's get into place. I'm going to press S and, and then we're going to press the S like so, and I'm going to pull it up like so. I'm really really happy with that. Now, I'll show you another little trick as well, if I grab both of these, press a little question mark on, you can see now that I can actually isolate those out just in case that you need to actually really work on something without anything else in the way. Just to bring everything back, just press the question mark again. So you will sometimes have it where you can't actually see it part and you won't actually come back with the question mark. It's normally just pressing tag, and that's bringing everything back or the question mark. So try both of those things and you should be able to see exactly what you're looking for. All right. So now let's grab the top of this, so I'm going to grab the top of this. I'm going to press one again, and then what I'm going to do is I'm going to press e, to S, bring it out. Like so and then E, bring it up like so, and then I'm going to bring it in now. Now we could use extrude to bring it in, but I never really like using extrude to bring things in. What I tend to do is just press I and bring it in like so. On cylinders, you've got real no danger of it not coming in evenly. We don't need to actually reset your transformations for a cylinder with insert. Now if I press one and then bring it up, I'm going to press E, bring it up and then press the S button and bring it in like so. It's a little bit different from the one I had, but I think I'm actually happy with it apart from the fact that this is the top on here is looking a little bit flimsy. I'm going to do is I'm going to grab this edge going round, ult shift and click, and then all I'm going to do is just bring it down, just to make it a little bit more chunky. Finally, I'm going to actually bevel off these edges just to make it a little bit more rounded. So ult shift and click on each of these, Control B, and just bevel them off. You can see at the moment. I've got two actual segments on. I don't think I need that. So I'm going to do is just bring it back to one. Now, if you're having trouble again with the bevel, just make sure that you reset your transformations before. All right, so I'm happy with that. Now, let's think about the parts that are going to be help with this. There's a really easy technique to actually create those. All I'm going to do is I'm going to press tab, I'm going to press one, I'm going to look where these are. There's one here and there's one on each of these side. Let's press control. Let's press three, so left click, right click, and we we end up with one in the center and then one each side. All I'm going to do then is shifting click to grab that edge loop going all the way around on both of these, and then I'm going to press S and x, and I can't pull them out again because I need to be on medium point, and now I can actually pull them out. Like so and get them even on both sides. Let's once again just move our man to the side so we can see what we're doing. Let's go back into our mesh. Now what I'm going to do is I'm going to grab all of these now. I'm going to press Control B and actually pull those out like so. And these are going to be the actual bands that are going to hold this into place. Let's actually create those now. So what I'm going to do is, I'm going to probably mark a scene on each of these sides jaws to make it really easy for me. So I'm going to grab them that side, go around to the other side, and it should be this one here, like so. And then we're going to right click, come down, mark a seam. Now I'm going to mark some more seams, I'm going to grab this one, coming around to here, so I'm going to actually move out my reference just for now, just to make it a little easier so I can see what I'm doing. And then what I'm going to do now is, I'm just going to press Alt Shift click Shift click on each of these, like so right click, mark seam. Let's press one now, and let's basically go into wire frame, wire frame. And then what I'm going to do is I'm just going to try and grab these now going all the way through. Luckily for all, there's a real easy way of actually doing that. So I'm going to do is going to press B, and that then is going to give us box select. If I click, and drag. You can see that I can select all of these edges now. If I write, click now, come down, clay seam, you can see that I've got rid of my seams here, except these ones in here, so I'm going to do it again, so I'm going to do it be box select, and there you go. The reason that did that, by the way, is because you have to go past the halfway point to actually grab them. Now for right click, come down and clear seams, doubt at the A, you can see now that we've got them all the way through because we're in wire frame as well when we use box leg. In box select, let scare, put it on face leg, you can select through the mesh when you're actually in wire frame. But it's important that you straight on so that you press one on the number pads so that you straight on. Again, if I want to grab all of these, I can grab them all like that, and it goes all the way through. You can see how easy that is then. Let's press Z go back to solid. Now what I can do is because of mama sines, I can just press L, L and L, and you can see just how easy it is to actually grab all those now. Now I can press shifty. Then basically what I've got now is, I've got a separate part with just these. If I press P now, selection tab, now you can see that we've got these parts here, which again, is a really, really easy process to actually do this. Now I'm going to do this, I'm going to grab these. I want to press Control A, all transforms, right clay set origin to geometry, and then I'm going to come over to my modifiers tab. Add modifier, bring in a solidify. And then let's pull it outwards like so, and that is how easy it is to actually make those little struts that we actually need to hold this into place. All right, I think as well, can we actually add in another modifier? Let's see if we can add in a devel, and yes, we can. So we can even round those off. Actually, I think that's near enough right. Let's pull down our bevel. Let's pull it down, then turn it up slowly so it gets to what we actually want it to be. We're also going to shade to move, and I'm also then just going to bring in my uto smoth what that looks like. And yeah, I think that actually looks really, really nice. All right. So what I'm going to do now is going to come over to my modifiers. Again, when you're applying your modifiers, just make sure that you apply from the top, so control A, control A, and there we go. Let's bring back our reference then. And here we can see just some little struts going down. And we also might as well put a little strut going across each of these just to finish those off. So we'll do that now. So what I'll do is, I've got my cursor in the center, so I'm going to press shift A. I'm going to bring in a cube. I'm going to make it smaller, I'm going to pull it out into place, so let's bring it up. So we want it jaws kind of covering that. So let's press S and x and pull it out. So jaws past each of those. Maybe that's a little bit too much so S and x, bring it back a little bit like so and then let's also bring this in. So I'm going to come in with Face elect, grab this phase, pull it in. Like so. And then what I want to do now is I just want to rotate it. So if I press N X, just rotate it round like so, and I think that looks much much better. Except this bit is also needs to be touching the tank. So something like that, I think looks really good. Now, of course, we're going to level this off as well. We're just going to get our struts into place first. So I'm going to do is I'm going to grab this now with L. Shift S, curs selected, press the tab, and then shift A, let's bring in A Q. S, and let's bring it down from, let's say something like here, here, and then let's press S and Z. And bring it up, press one, and let's put it into place. Here's the ground plane. Just don't look at the actual ground plane on here. This actually tank maybe needs lifting up then, I think. Let's have actually have a look because I think I've got this in the wrong place, so we're going to put our guy on here, and now we can see, yeah, the tanks much much higher than that. So it does look about the right height. What we'll do is we'll just grab everything like so, the tank at the top, and let's just pull them into place, so now we have something to wit with. Let's pull this down now. Into place like so. Let's pull it back, so it starts from this point here. Let's press S and make it a little bit smaller, like so. Now that's looking really, really nice as you can see. Let's press tab now, and what we'll do is we'll grab press one, and then what we'll do is we'll pull it down to the place where it needs to be. I'm thinking actually that it's going straight in the ground. I'm I'm going to put it there for now. I'm going to put these struts here and we can move these around if it's too tall or something like that because it might actually be too tall. I think actually looks nice, it just may be too tall. Now what we're going to do is we're going to just press L. And then what I'm going to do is we're going to press one. I'm going to press shift D, just to duplicate that, and then I'm going to move it over to this part here. So I just get it very slowly in place with shift button, and then shift D, bring it over to the other side now. Put it into place like. So press the tab, double tap the A and just make sure they're actually happy with it, which I actually am. All right on the next lesson, then what we'll do is we'll get these mirrored over the other side, and we'll get these little kind of feet on there, and then hopefully we should be able to start gaining the material on there. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 24. Speeding up our Workflow in Blender: Welcome back everyone to blend the three, the ultimate stylized scene guide, and this is where we left off. All right. Lots to do on here. Let's first of all, hide out our reference. And then what we'll do is we need our actual cursor in the sense. So I'm going to grab this cylinder here. I'm going to press Control A, all transforms, right click, set origin to geometry. I'm also going to shade so, and I'm also then going to bring in my Auto. And I'm going to actually fix these edges here. We've talked about many times. We don't actually want ngns, which is what these are. So let's right click, and we'll come down and triangulate faces, and we'll also come down then and tries to quad just to clean them up a little bit. All right. So that's that part done. And now we want to do is want to move our cursor to here. So shift S cursor to selected. Now what we can do is we can grab all of these, all of these parts, press Control J, and then what I can do is now I can actually put these over the other side as well. Control A, all transforms, right click origin, two, three D cursor. Let's come in then and add in a mirror, mirror, and let's put it over the y. Turn off the x, and there we go now we've got those on that side. Now we just need the little legs that are going to come down, and we might as well do this in here because then it'll mean that the mirrors also transferred over the other side. If I press tab now, double tap the A just to actually deselect everything. It's a to select everything, double tap the A to deselect everything. Let's press shift A, and what we'll do is, we'll bring in a cube. Let's move the cube over, make it smaller. Let's press essens head, and these are base they're just going to be some basic feet os port into here. I'm just looking. Are they on the ground plane? Yes, they are. Do they need to be a bit bigger maybe? Perhaps something like that. They probably be made of concrete or something. That I'm happy with. Now, I want to really put this over to this side right in the center. The way to do that is I can actually Can I actually do this? If I can? I think I can. I'll do is I'll just hide my ground plane out the way, then I'll come back to it. And I'm going to do is I'm going to press shift S. Cursor selected. I'm going to grab this square. L, shift D, move it here, left click, and then shift S, and then selection to cursor keep offset. I'm hoping that although it's not at the right height, you can see that they're perfectly in place here. I'm going to do now is I'm going to press shift d again. I'm going to come to this one. Shift S, cursor to selected, grab this again with L, and then shift S and selections cursor. Now I'm going to grab both of these, press one, and then all I'm going to do is bring them up into place, looking at this line here. They're about right, something like that. There we go simple as that. Now we need to do is just bring in a modifier. I'm going to bring in a bevel modifier. I'm going to turn the bevel down all the way down and then put it up one. Maybe even that is a little bit too high. Let's pro No point, not five. Something like that, a, that looks much better. Double tap the A, and let's have a look that's looking, and that's looking fantastic. Now, let's apply that, so we're going to apply the mirror with control, apply the bevel with control A, and there we go. Now, let's join all of these together. Control J, and that's going to also smooth that offer. You can see that's looking really nice and now just finally this bit here. What we're going to do with this bit is, I'm going to basically smooth it off. So shades move. Autos move on. Control A all transforms, right clicks a origin. Two geometry and now let's join it to this. Let's join it to this. We have control J. So. Now I'm just looking at this edge here, probably a little bit too hard these edges, so we might as well bevel those off. Now the thing is it's quite hard to bevel off when you've got each of these in here. You can see at the moment that these are going to be quite hard to bevel off because we made it basically a face there. We have to work out what we want to actually do with this. I think what I'm going to do is I'm going to just grab one of these edges. I'm going to grab this edge here, and I'm going to breast control click. And sometimes you have to do this if you've messed up like I am. I should have done this before. So one ints. I'm just going to come round control clicking like so. So Control click each one. Right click, I'm going to mark a scam. I'm going to come to the next one. And just control click going all the way around. Try not to cut too much out because if you do, you're not actually going to get the edge. It's going to try and cut through there, but this is a really easy way. And the reason by the way, you can't press lt shift and click to get a bit up going all the way around is because these are triangles and blend the struggles using old shift and click. So right click and Mark sm. Now what I can do is I can actually come in and L and L and just delete those out the way. So delete faces. And now let's just fill them in. So come in, lt shift and click, and then F just to fill it in, and then the same on this side, so Alt Shift and click, F. The reason I do that is because now I can actually come in, grab each of these, press Control B, pull it out very slowly and just round them off a little bit as you can see. Let's now do the same on here. Very tiny bit, so Control B, hold the shift board if you need to, hold the shift bard very very tiny bit. And now you can see just how much better that looks. Now we can go in, grab each of these faces, right click, triangulate faces and tries to quads and there we go. Now that's perfectly done. One thing I think we missed is We've got a bottom on this part. So what I'm going to do is I'm going to come in. L shift H to hide everything else. Delete this bottom, so delete faces come to the top face. Again, we're going to triangulate faces and tries to quads. Press alt H, bring everything back, press the tabon, and there we go. Beautiful water heater. All right. So let's press control A all transforms. Let's click, set origin to geometry, and let's come up and call it a water eater. So and then let's press dot find it again. Right click Markers asset. Now, let's come in and make sure we're on material. Let's find our materials. I think we've got some painted white. Let's see if we have. So one and we're just going to do a search for white, and we've got white shiny and sine white. Not sure if any of these. I'm going to click on the white Shiny first. Let's click it on and let's have a lot. Yeah, that's actually going to work because these do have a little bit of a shine as though they're actually painted. White shine is going to work. I think what I'm going to do is, I'm going to make a black plastic as well. Let's do that now, so new black plastic. Like so. I'm also going to click the plus and put in my frame, like so. And then what I'm going to do is I'm going to grab each of these now. I edge select, I'll grab this, this, this, and just work my way down. This part here could be concrete, this bottom part, so y, I think I'll do that because we are going to need some concrete anyway. So let's come in and grab each one of these from the bottom ones and around the other side, like so. What I'm going to do is frames, click a sign, like so, and then we'll make some concrete. Plus new concrete. So I think what we're going to do for the actual concrete is we're going to actually do something a little bit different. If I press ol tag, I'm going to bring back my actual ground plane, and then we're going to make this concrete. What I'm going to do is I'm going to come in now. I'm going to grab each of these. This basically is going to be for the hotel anyway. So we're going to need this color. What I'm going to do is, I'm just going to I'm going to call it concrete and gray actually. We'll call it that. So as I say, we will be using this as well. The black plastic. Let's first of all, assign that to these points down here, so I've got concrete gray. Now let's come to this point on here. What I'm going to do is I'm going to actually assign this to the black plastic. I want to press old shifting click. Grab that going all the way around. Control plus, control plus, and you can see now I've grabbed all of those to there. Black plastic, click a sign. Then all I'm going to do with this black plastic is I'm going to put it on a darker color like so, and I'm probably going to also do I want it duller or lighter? Let's have bring it in like so, and let's also make it a little bit lighter. Maybe you notice when it's been in the sun, it really fades it out, something like that, I think is absolutely fine. Let's have a look. Let's double tap the A. Hide this out of the way. Yeah, there we go. Do we want the actual top as well to be that? Maybe. What I'm going to do is I'm going to come back in and I'm going to grab This one on here, shift click Control plus, just to grab all of those. Black plastic, click a sign. Yeah, and that looks just a tum bear. That's the way it should look. All right. So now on the next one then, what we'll do is we'll actually create this concrete gray. And this concrete gray, as I say, we're going to use for the out parts of the actual hotel. And what we're going to do in there, we're going to actually throw some ambient occlusion in there just to get some nice shadows and things like that in our actual built. Alright, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Oh, before we go, let's save it as we always should, and I'll see on the next one. Thanks lot, bye bye. 25. Creating the Deck Chair Loungers Supports: Welcome back, everyone to blend the three, the ultimate stylized scene guide and this is where we left off. Now, let's take this head on on this ambient occlusion one. What we're going to do is we're going to go to shading, then what I'm going to do is I'm going to make sure I'm on my concrete gray. I'm going to zoom out a little bit. The first thing I'm going to bring in is going to be a ambient inclusion. Let's press shift A. Do a search ambient occlusion. Let's bring that in. Then what we'll do is we'll also bring in then a color ramp, so we can actually get some color variations going on between what is shadows and what is light and things like that. Let's press shift A. Do a search, and we're going to bring in a color. Ramp like so. And then what I'm going to do now is I'm going to bring in a overlay. So I'm going to press shift a search. Now you don't actually have one that's an overlay. What you need to do is you need to put in mix RGB and then turn the mix to overlay, like so. Now I'm going to do is I'm going to plug in my color from my actual color amp into number two on my overlay. I'm now going to put my overlay down to not 0.175, so not 0.175, and then I'm going to plug in the color to the base color of my principle. I'm just looking to make sure what happened there. Yeah. I was looking. I thought it had actually changed those, but no, it hasn't. All right. So now what we need to do is we need to plug in our AO. If I come to here and plug in my AO to my FAC like so, and now we should be able to change this. I'm going to come in. I'm going to put the white at position, not 0.905. So if I click on this, not 0.905, Now just to make sure we've got the right colors. I'm going to grab my black, grab the hex again from my other screen. And then what I'll do is we'll bring this into here, so the hex control the, enter, and there we go. Now you can see we've actually got some ambient occlusion down here as you can see. Double tap the A, and there we go. Now if you want to change the color of your gray, all you need to do is just bring it in and it'll actually change the color for Obviously, though this is a gray color. So you don't want to change it too much as what I'm trying to stay. I'm just going to put that on white, and then what I'm going to do. I'm also going to put this onto constant so now you can see that changes that over. If we change this, for instance, you can see that I can change this and you can see that the black is coming from down here. If a press control Z, Put that back, you can see that we've got that nice ambi oclusion down there. That's that part done, and that is as to say what we're going to use for our actual hotel. I'm looking forward just making sure that I'm happy with that now and I think I am and then finally, what I'll do now is I come. I'll actually go to assets. Then what I'll do is I'll come over to the right hand side as well and just make sure that all of these, you can see, this one's got one, this one hasn't, so right click. Mark as I set frames has got one concrete gray hasn't got one, mark as I set. Let's pull the actual water heat. Into our asset. Let's pull both of these then into our materials. Let's save it out and there we go. Finally, then, let's bring this new asset over to the left hand side. We can see now we've got. The only thing we're missing actually from the roofs and things like that is the air conditioning units. But we're going to do in a little bit because they're a little bit more complex than what we've been doing. So let's come over again to our assets. Let's **** it open, and let's have a look what we've got next. We can see now getting on the actual really easy ones. We can see we actually haven't got that many molt to go really. I'm thinking from the easy ones. I think what we'll do is we'll attack where is it? This, the deck chairs, and then what we'll do is we'll come to the pocking sign, and they're basically then the last of the easy ones, I think, really. Let's come into our deck chairs. Let's bring in our deck chairs and let's make sure that this guy is the right side. If I press one, let's press S, bring him down, making sure is the right size, so let's pull them across. There we go. That's about the right size. For the deck chairs, let's first of all make this part here seem as that parts really, really simple, and then we'll try and make this part coming out here. What we'll do now is we'll just bring in a simple plane. So for press shift A, let's bring in the plane, and then what I want to do is, I just want to make sure it's the right size. Now, it's a bit hard to see actually on this how big or small it is. I'm going to do is, I'm basically going to base it on my man instead, R X 90, and we can imagine we put it behind, press one, S and X, bring it in. Like so, and then something, maybe a little bit taller, so S and Z. Something like that looks about the right size for a su bed. And then what we'll do is we'll also put in a edge loop, so control left click, and I'm going to put the head rest, something like that, maybe a little bit further down, something like that. All right. With that done now, let's actually create this part here. So what I want to do is we're going to turn this round. So R X 90, 90, let's spin it around. And let's bring it down. Now, we're having trouble really seeing that. So I'm going to do is I'm going to press dead, going to wire frame, and now I can actually see it. You can see there that that's quite low enough for our actual sum bed. Let's actually hide the reference out the way for now, I don't really need that at the moment, and there we go. Now we can see this is what we're working with. How am I actually going to do this? Well, I'm probably going to extrude and then solidify it. I think that's probably going to be the best way of actually doing this. What I'm going to do, first of all, I'll bring in, in fact, I'll steal this actual side. I think that's a good way to start. If I steal this side, press shifty, bring it down, like so, and now let's press one. Then what I want to do now is I need two parts coming down to two parts coming down to here, and then a third one coming down to here. What I'm going to do is, I'm just going to bring some edge loops in, so I'm going to press right click, subdivide, and there we go. Not edge loops, really called vertices. Now I've got vertices here. Now where do I want them to come from? If you look at if I just press tab tag, bring it back, you can see it comes from here to here and then from here to here, and then finally one from here. We'll actually use those. If I press one now, I'm going to grab, let's say from this one to this one. I'm going to grab these two, I'm going to move them down like so. Then what I'm going to do, I'm going to grab this one and this one, and I'm going to move those down as well. Then what I'm going to do now is now I've grabbed all these, I'm going to grab all of these. I'm going to press E and Z and pull them down, like so. Now I can put all of these together. If I grab this one here and press S and x, bring it in. You can see if I bring this one in as well, S and x, bring it in, and now we can actually play around with these. If I pull this one over here, this one to here, something like this, this one to here, here, and here and here. I'm thinking something like that. Then finally, this one here. We really need one coming from here to here as you can see, from here down to this one here. Let's see if I joining these two together, so I'm going to select this one, shifts this one, press J, and join those together. Now what I can do is I can actually get rid of the ones that I don't need. You can see at the moment, I've got, if I put this on face, got all of these faces and I really don't need that. I only need the actual edges. What I'm going to do is I'm going to come in. And I'll just delete all of these faces first. We'll come in with delete only faces like so, and now we can delete all of those edges that we don't need. So I don't need any of these edges here, so I can press delete and dissolve edges like so, and you should be left with something like this. Now, let's see if we can actually get this to work. I'm going to do is I'm going to press L. I'm going to press E and just pull them out. Like so, and we should end up with something like that. Now let's split these off then. So LP selection, grab them now, control A all transforms rightly, set origin to geometry, and now let's put it back onto object mode, so can see what we're doing. Now, hopefully, I'm hoping that I can do this together. We might not be able to do it together. We might have to split these off from each other. But while mainly looking for is just to make sure I'm happy with how that sum bed actually looks with these holders. The one thing I can see that I'm not happy with is actually the height of it. I think I need to shrink these down. I'm just going to press Ss, pull it down a little bit, and now that looks nicer actually. Let's come over to add modifier. When let's bring in our solidify. And let's see if this is going to work. Let's put even thickness on. You can see straightaway, we do have some problems. The reason for that is normally is because one of the normals is facing the wrong weight. You can see here if I press A, press shift n, spin those normals around. You can see now it's starting to look right on some parts but not other parts. The reason is because it's making it hard for us because it's in basically one p. Let's make it easy for ourselves. What we'll do is we'll just separate these parts off from the other parts. I'm just going to grab this one. Then what I'm going to do is, I'm just going to press P selection like so now you can see already it's starting to look better. I'm going to pull this up now. Then finally, I'm going to deal with these ones now. I'm going to make these thick enough, so let's grab the thickness. Something like that looks absolutely fine and now let's grab this one. What we're going to do is we're just going to check our face orientation, and we can see these are the wrong way. Let's have a look if I spin this around, so shift n, spin that around. Shift n, spin that around, and there we go. Now it's looking back. Now, let's just check the thickness. Of this one. So it's not 0.2 now. I'm just going to click it, press Control C. Now I'm going to come to this one, so I'm going to grab this one. Press Control V, enter, and now we've got the same thickness for each one, and now I should be able to pull this down like so. All right. Finally, we're actually getting somewhere, and it's looking pretty nice. So what we'll do now is we'll actually apply, or solidify. So Control A, come to this one, Control A, so now let's make this a little bit thicker. S and X, Y. Pull it out. There we go. All right. So now let's actually pull those underneath, so let's pull them underneath like so. Now let's press seven to go over the top, and you can see them a little bit out. Let's pull them there, and let's make this a little bit bigger, so S and x, like so, and now they should be fitting under. Absolutely perfect. Let's grab this bit now, press A, press E, pull it out. Like so, and then A and bring it down on top of that. There you go. We're starting to get somewhere, so it's really starting to come together now. I actually looks better than the original that did. What I'm going to do then on the next lesson is, I'm going to pull those maybe a slight bit over, mirror them over the other side, and let's just put some bars going down just in case you want to tipped over some lounger or something like that. All right, everyone. I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 26. Creating the Parking Sign: Uh, Welcome back everyone to Blender three, the ultimate stylized scene guide, and this is where we left off. Now, let's first of all, press shift S, cursors to selected, and now what we can do is we can grab both of these parts, join them together, so control J, press Control A, all transforms, right click, set origin to three D cursor, and let's bring in a mirror modifier and let's put it over the y. Now finally, let's grab all of this, and let's just pull them out just a little bit. Maybe not that close, just a tiny bit closer to the edge, something like that. Now, let's put in some bars under here. To make sure that they actually look right. What I'm going to do is I think, I'll probably just actually make some instead, so shift A. Let's make a Que. Let's make the cube, much smaller, like so. Then what I'm going to do is I'm going to pull it over to this side. Much, much smaller, bring it down. So we can see it still, need to be smaller. Essens, let's make it a little bit thinner. There we go. That's fit into place. Now let's pull it over to this edge. Then what I'm going to do is I'm going to put clipping on. I'm going to grab this face, and I'm going to pull it into place and let go and now they should be joined. Now I should be able to just press L. Hide the ground plane. Grab this now and just grab this one and basically just move it across. Shift D, move it over into place Shift D. Into place and shift D. I'm just looking to see if I need one on the other edge, look. Let's go to that edge and no we don't. That should be absolutely fine. All right. That's looking really good. They look absolutely perfect. So I think I'm happy with those. I'm just having one more look around, making sure they're happy with it and I think out. I'm going to do now is I'm just going to come over, add my mirror so control A ad my mirror. So now what I'm going to do is I'm Jaws going to join these up to this. So press Control J, join them all up together, and then control A. In fact, we won't do that. We'll do, first of all, another one, so shift D, bring it over. And then we'll do when the bottom of this is just bring this up, so I'm Jaws going to grab the bottom of here, pull it up like, so There you go. Simple as that, Let's rotate it round though just to make it look right, so O Y, rotate it. There we go, that looks fantastic. Now, let's reset all the transformations. Control layle transforms, right click, origins geometry. Same on this one, Control layle transforms right, origins geometry, and let's bring in a bevel, modifier, let's bring it all the way down, bring it up one, and that's probably a little bit too much, so I'm going to bring it down to not point, not five. Then I'm going to do the same on this one. Not 0.5, like so, and that's looking good. Control A, Control A, and then we'll just call this S lounger. S lounger dot to find where it is and let's mark as asset, and then I'm just going to copy that, so Control C, come to the next one, dot, Controv then I'm just going to put down. And then dot, right click and Mark as asset. Now, let's bring in some colors for this asset, so we can see we've got this nice blue color on this part. We'll come down and we'll call it C blue or something like that. S blue. I don't actually want it to be really fabric. There's no point. We could make it a fabric material, but I think just C blue will be fine. Let's come in. Put it on a nice C blue. T's have a look at that. There we go it's a little bit too light. Yeah, something like that looks fine. Let's click the plus down arrow frame. There we go, and let's then come in and just grab all of these, or we could just hide this part and then just grab the other part and then click a sign, and that's going to be a bit quicker to do it that way. Let's come to the other one and we'll go for C, blue. Then we'll click the plus down arrow frame, like so. Then what we'll do is we'll come again, hide the top of it, L H, A, and then a sign, and then lt double tap the eight. There we go. Some mound is a little bit different color to the originals, but I still think they look absolutely fine. Finally, then let's just right click Marker's asset. Let's bring them over then and rotate them around, so 90, and let's put them into some place like there. Then finally, let's come to our assets and let's just drop these into place. All right. They were a little bit more technical than what we've actually dealt with before. Let's go to modeling now. Come back to our actual reference, and let's come and velo at the next one we're going to take on. Let's have a look down so you can see, Got a lot done now. I'm thinking that we're probably going to do this parking sign next and the reason is because we've already done the text, so we know that one's pretty easy. We're really molting along now actually, so you can see there's a couple of difficult ones that we're going to actually have to take on pretty soon, including the palm trees, they're not actually that easy either. But I think we'll do the parking sign next. Let's double click on the parking sign and let's bring this one in. You can see part of the parking sign is pretty easy. It's just the P and these parts here, but I'm actually going to probably cut out most of this because it's a very small sign anyway. If I press one, and I'll press shift date, and we'll bring in let's bring in a plane. Where's my plane? There it is. X, 90, let's spin it around. Let's zoom in. Make it a little bit smaller, so it's roughly around the right size. Then what I'll do now is I'll press tab, Z, let's go into wire frame, and now we can start making this. First of all, I'm going to bring in probably a couple of edge loops, and I'm going to do that just to help me out. Let's bring in the first one. Control, left click, and let's put it to this point here. Control, left click, let's put it to this one here, and then control. Center, and then control to the edge of here, like so. One basic as you can see is, I'm just trying to make the start of it because it's going to make it a lot easier. Control, bring it down, and then control, let's have the bottom of here as well. Like so. I'll move that one down a little bit. So, and then control, and then control, and then control. You can see why I'm doing this now, I hope. So just in that part there. I'll think apart from this one, control one more. Bring that over. So. Let's come and do this bit first. What we do is I'm going to press K, bring my knife. E K, and you can see now I brought those edge loops in just how easy it is. E and then K. From here to here. I'm going to hold the K. Sorry, the control bon, and then I'm going to come back to here, press the answer bon. Like so. All right. Let's do the actual P now, so we can see it comes all the way over here. I need to really start from here, so K, from here. We could have actually probably got a letter. With a text, we could have probably done it that way, but as I say, because of how small they are, we might as well just do it this way. Still going to look good. Let's bring it there. So. We've got that one, that one, and now we need is this one. I'm going to come to here and then just work my way round, like so. It's good practice anyway with the actual nt. And there we go, I'll flatten that out as you could see. All right, so that's that bit now. Let's do this one, so K, straight to the middle, as you can see, straight to this edge, Enter, K, Straight to this edge. En and there we go. Now, let's see, the moment I've tve, let's see how they've come out, so I'm going to grab this one. I'm going to grab hopefully this one, this one, and this one, and then I'm going to grab this one, this one, this one, this one, this one, and this one. All right, let's press shift deep, bring them out, and let's see if I've missed anything. So bring them out. There we go. Simple as that. Now I'm going to do is while I grab those, I'm going to press P selection and just separate the control layel, transforms or clicks a Origins geometry, and I'm just going to delete this part out of the way. So what we're going to do then on the next lesson is, we'll actually start to build this out more. But you can see now you've got the basics how quickly and easily it is to do something like this, so we should start really molting along now. All right, everyone, so I hope you enjoyed that, and I'll see you in the next one. Thanks a lot. Bye bye. 27. Creating The Lampost Mesh: Welcome back, everyone to Blender three. The ultimate stylized scene guide and. This is where we left off. Now, let's actually bring these out first, so we know that they're all at the same actual depths, so they're all pretty much flat on. So if I come in and grab them all and then press A, and then what I'm going to do is just pull them out like so, and there we go. Let's press Z going into solid. And yeah, they're looking really nice. Now, one thing we know already is that there at the moment, they are gns, as you can see. So all we need to do is press A, right click, triangulate faces, right click and tries to quads, and there we go. Now, let's fix the back part now. So if I press Shift S, cursor to selected, and then press Shift A, let's start probably with a cube. Let's start with a cube, let's press S, get it to the right side, so something. Something like that bring it up a little bit and make sure that this is the right size. Yes, I think it is, and then what I'm going to do is I'm going to make it thinner, S and y. I'm also then going to bend in these parts here. I'm going to level these parts separately. So I'm going to grab these and hopefully they'll bevel okay. Let's press control B, bevel them in, so I think that's a little bit too much. I'm going to do I'm going to turn that up one, and yeah, that looks absolutely perfect. Now, let's bring this in. So I'm going to do is I'm going to press control A, all transforms, right clicks the origin to geometry, tab, and let's bring it in a little bit. I like so, and then let's press E and pull it back into place. There we go. Now let's make this metal part. It's very simple metal part. I'm just going to press shift A just because I know that's actually in the center, press the S board, so, I'm going to make it a bit thinner, so S and y, and then S and X. Something around that thickness, I think should be absolutely fine. Then what I'm going to do is going to press one, bring it into place, and then press S and Z, bring it up a little bit. Like so and then ness little tiny bit more. Now now I've got this part of he matters, we'll use it, so I'm going to press Shift S, because it's selected. Shift A. Let's bring in a cube. Let's make it smaller, and let's actually pull it out, so S and X, and then let's pull it into place. S Y. How thick do we actually want it? Maybe a little bit more, S and, something like that. Let's pull it this way. Then what we'll do is we'll pull it back now. Grab this into place like so, and then L one, Pull it up, and then let's press S and Z and just make it a little bit thinner, and then shift D, bring it down. L so. All right. Now we can actually join all of these together, like so. Let's press Control J. Join them all up together. Control A all transforms, right click the origins geometry. Add it in a modifier, which will be a bevel. Let's turn it all the way down zero and then turn it up one. Still too much there. Naught point naught naught five. Let's try that and that then looks perfect. Right click, shade smooth. To move on. There we go. That looks really, really cool. Now, let's grab these parts here and I'm going to do pretty much the same thing I think. I'm going to press control layel, transforms right clip, origin, two geometry, a modifier, bring in a bevel. Turn it down to zero, bring it up one, probably too much still, so point, not five. Still too much, I think, No point, not not one. I'm a look at that. Let's shade it smooth. Autos move on. Yeah, and they look perfect now. All right. So let's apply the bevel, so control A. Let's apply the bevel on this one, so control A. Let's join all of these up, so Control J. Let's press control A all transforms right clip. Set origin to geometry. And then what we'll do is we'll rename this to parking sign, so parking, sign like so, and then we're going to right click and I'm going to mark as asset. All right. This will have as the frame this we've already got, and I'm not sure about blue color. Let me just have a look. Have we got anything with that blue color on? No, we've not, so we'll need to make the blue sign color, so that's what we'll call it. So first of all, we've got a green one for the F cost but not blue one. Let's come in and give this first of all the frame. So we're going to come in two materials. Frame. Then we've got the white, so let's have a look at where's the white. I'm just going to print white and hopefully, sign white. There we go. Yeah, I need to do another one. So frame like so and there we go. Now, let's grab all of this, all of this, all of this, all of this, and we'll click frame a sign. Now let's click blue. We'll call this blue sign. Like so. Then what I'll do is I'll just come in, grab this face. T for press dot that I need to just press control plus one more just to get it into there. I'm going to click a sign, and then I'm going to change this to a blue. I'm going to press tab. Now I can. I'm just going to make that blue a bit darker. Maybe that's a little bit too dark like so. Let's put it onto cycles just so we can see what that looks like. Then there we go. I'm happy with that. Okay. Now I want to do is I want to move this over there because that's all done. I also want to mark this as asset, everything else on here, the sine it isn't actually marked as assets, so we'll mark that as well. Let's move it over here, seven, go over the top, let's put it into place. Let's come to our assets, and let's move them into place, like so, and there we go. You can see now we've got a load of assets already to actually be using. Now I want to do is we want to probably take on something a little bit more hard than this parking sign. Let's come back to modeling, press the tab. Let's put it on material. Then what we'll do is we'll come to our reference. Let's open it up and see what we've got next. Let's leave that. Let's leave that. I'm thinking probably going to be this lamppost next, or the, we'll get the lamp post out the way. That's quite a hard one. We'll do the lamppost. Few skills in there that we can actually need. Here we go. Let's bring the lamppost in. Let's make this first of all, the right size. So I want to press S. Bring it out. Making sure, I'm going to pull up with blue, as you can see. Making sure my guy on here is perfectly the right side, you can see it's quite a night size lamp post. Now I'm going to do is, let's first of all, move this across now to somewhere round about the center so I can actually start makes it a little bit easier for me. What I'm going to do now is I'm going to bring in a cube. Shift, let's bring in a cube and we can base it off of that. Actually, I'm not going to do that. I'm going to first of all, put my cursor to world origin, and now bring in a cue a cube. Let's press S, and now it should give me the right size to actually go with so. I'm going to put that there. Then what I'm going to do is just move my reference just a little bit more, and now I can actually see how big this lampost is. I'm going to press S, bring it out, pull it up, and now we've pretty much got the actual right scale for lamppost. Now we've got that there, we can actually bring that into place. And now you can see just how big our lampost is going to be. Let's press altage, bring about the ground plane. Now what we can do, we can press tab. Come to this top, press one. Bring it up and then press S and bring it in. And there we go. Now I want to do is want to make this little square part going all the way around here. I'm going to do that is I'm going to come round. Grabbing all of these. Then what we're going to do is going to press the ie button. If yours is not coming in correctly, just press the i again and then I'll make it come in properly. Then what we're going to do is going to press e, er, and then the S. We can see we have got a little bit of a problem here in that, they come in like this, and I don't really want this actually. I'm going to do is I'm going to put it onto. Let's see if we can get away. I think it'll have to be on individual origins actually. Let's see. Yeah, I'm not going to get away with it like that. Sometimes that can happen. What I want to do instead is, I want to put a medium point like so. I don't want to press test and then bring it in. And now they all come in nice and square for us, like so. Just make sure they're not too far in. All right. Something like that? Is it too far? Let's probably bring it out a little bit more. All right. That looks perfect. Now, let's come in and grab the top, so Shift S. Cursor to selected tab, press one on the number pad. And then what we're going to do now is, we're going to make this bit with a cursor, sorry, a cylinder, and then we're going to make this bit with an actual curve. So let's do this bit first so we'll press shift A mesh cylinder. Let's put it on something like 16. I think that should be enough. Let's press the S button. Bring it into place, something like that. You can see that I didn't pull it up quite straight there. Then what I'm going to do is I'm going to pull this up all the way to the top now so I'm going to grab the top of this one and pull it all the way up. Then what I'm going to do as well is, I'm thinking now probably going to press Z, going to wide frame, and now you can see exactly where it needs to pull it in. Control, bring it down to here, and then it needs to be straight going all the way up. I'm thinking probably going to be easier actually not to do it the way I was going to do it. I'm going to do is I'm going to press S, bring it in, to there. Then instead of doing it that way, I'm going to come to the top because it's going to be easier. Press Control plus, press delete and faces, and then come back to it now, grab the top of it. Lt shift and click one, and let's press E this time and pull it straight up on the Z axis like so, and that's going to make it just a little bit easier. Press the dot one, and now let's bring it in. I'm going to press E to S, bring it in, one, and then E, bring it up on the Z again, like so, and then E, bring it up on the Z again, and then S, just to round that little bit off. Now you can see this is a bit too big, so I'm going to shift click Control plus, old S, bring it in like so now you can see that's much, much more fitting. Z, solid, and Let's put the top on here. Can see we've got an extra loop in here, I think we have, or is that actually behind there? No it's behind there, so it's absolutely fine. Let's now shift and click. Right click. Just mark a scene just in case some one tool to the top and then lt F fill it in. Actually, I'll show you one more way to do this. You don't actually have to press that as well I'm going to press controls, go back. I'm going to grab it shifting click, and then what we're going to do to really make this nice and clean. I'm just going to delete both of these sides, right click, and then we're going to com and bridge edge loops. And there you go. You can see how clean that actually is. All right, so another little tip there of how to actually fill in holes. All right. So on the next one, then, what we'll do is we'll actually start work on this part. And by the end of that lesson, we should have this lamb actually completed. Not sure about the textures, but the actual lamb should be completed. All right, everyone. I hope you enjoyed that, and I'll see in the next one. Thanks a lot. Bye bye. 28. Working With Curves In Blender: Welcome back everyone to Blender three, the ultimate stylized scene guide, and this is where we left it off. All right. So now let's start with this actual really, really nice bit that comes around here. So what I'm going to do, first of all, I need to make sure that my cursor is right in the center, which it is. And then what I'm going to do is, I'm just going to bring in a curve. I'm going to press shift a curve, and let's bring in. I think probably a bezier curve we can do this with, so I'm just going to bring my bezier curve in. I'm just going to be careful that I don't move it along the other axis. So I definitely don't want to move it on this way. And what I want to do now is turn it rounds to its face in the right way. So if I press Y, 90 and then Z, 90 and then A Z, 180, and then that's going to put at least the right way round to where I'm trying to work with, as you can see. All right. So now we need to do is we need to bring it up into place like so. Now what we want to do is start it around where this actually starts, somewhere around there. Then what we can do is press tab, and now we can start to move these into line. If I press shift space bar, bring in the move tool, and now I can bring it over like so. You can already see that we're going to have a lot of problems here, but the first thing I'm going to do is I'm just going to bring it all the way over. Moving this handle, this is what it's called handle up to where I want it, something like that, and then bring it over into place. And pop it down there. Now, you can see that we do have a problem in that. We don't seem to have enough edge loops to actually bring this up. I'm going to do is I'm going to grab this one. I'm going to put it into place in the middle, and I'm going to grab this one. Then what we're going to do is I'm going to right click and subdivide. I'm probably going to have to subdivide again. We'll just see, so I'm going to bring this up now, bring it over, like so, and you can see that we've got a problem in that we need to actually get it round about the center, and that's not actually happening at moment. So let's bring in another subdivision, right click, subdivide, grab this one, bring it over, and then let's do the same thing on this one, so grab both of these, right click, subdivide, bring it over. Let's bring this this handle out a little bit, like so. Finally, let's turn this handle round. If we pull this this way, now you can see were actually again somewhere. Now let's grab it. Let's put it in the center, and let's bring this handle down a little bit. Now you can see that's exactly as it looks. We may need to just move this a bit because it's a ale bit out, so let's pull it up. And let's get that nice beautiful flow there. All right. So now what we can do is we can come over. Let's actually bring out our depth, so let's bring out our depth to the size that we want it. And now we can actually do the refining. So if I come in, I'm going to actually bring in another subdivision. So I'm going to grab both of these, right click subdivide. Now I'm going to do now is jaws, move that over, and now just play around with this. I'm going to bring in another subdivision, so subdivide, just play a making this as smooth as possible. Just be very careful. When you're trying to smooth it off, like so. Now you'll see that that's what it looks like. Albeit, we can see, we do it's not quite smooth yet. Let's press one. Then what I tend to do is if I come in now and just delete like a subdivision, so delete vertices, you can see not that one. Let's delete that one, delete vertices. Let's see if now we can actually bring this up or bring it over a little bit. You just smooth it out a little bit. I think I'm going to be happy with that because the rest of it, I can actually move now with map proportional editing to get that nice curve that we're actually looking for. Now, the other thing is that we didn't talk about before, but on actual curves, you do have some other options which are based of the resolution. If I turn this all the way down, you can see that it really really affects how actual smooth that is, so we don't really want to mess around with that one too much. I think something like six should be absolutely fine. What it's basically doing is it's giving rings going around here and that's what's making that actual bend. The other one you can mess around with is the other resolution, which is this one. If I turn this all the way down, you'll see now it's more of a square point, so you don't actually need to turn up to four, you can probably get away with even three and you've still got that roundness there. Last of all, then, let's actually now create our curve. If I go to objects, come down to and convert to mesh. Now what I can do is I can come in, shift and click, bring in proportionality and bring that out, and you can see now we can actually create that nice curve, what we're looking for. Just with a little bit fiddling around. Like so. Let's bring this one down as well. Like so, and there we go. To make it even smoother, what you could do is you could bring in some more edge loops or something like that. I'm just going to check and make sure. I'm going to bring in an edge loop here, click, right, click, and bring it up. Like so, just make it a little bit smoother. Yeah, that looks about right. All right, I'm happy with that except. Maybe just this bit here. I'm just going to bring it down. There we go. Perfect. All right. So now we've got that. Let's focus then on making this bottom bit here. The first thing we're going to do is I'm going to grab the bottom. I'm going to press S and just to flatten it out. S, flying it out without proportional it on S and Z, flatten it out, keep pressing S and Z, and it's short flying it out really, really nice for you. Then just move it to the side just to make sure it's in place, so move it to the side like so, and then let's just pull it down a little bit like so. Now, let's see if we can actually get the bottom of this, actually coming out then. So one going to do is were going to press E, Alton S, Take off proportion ends in so Alter, that's not coming out. Let's try S. There we go. Not Altern S. Bring it out. Let's see how far we need to bring it out, that's look in. Let's press S a little bit more. Let's pull it down a little bit. Let's press E again with Z. Like so. Now let's press E, enter, S, bring it out. Bring it down. Maybe a little bit bigger, something like that, and then let's press E Z, bring it down. L so that's looking pretty nice. Now we need to actually have an inside on here, so I'm going to press e, terns, I think I need it on medium point, and that's why the alters isn't working. No, Let's try it on individual origins, Ol. Nope still not working, so I'll just press S, bring in. I I'm going to bring it into there first. And then what I'll do is I'll press E again, S, and now we'll ramp it up into where we want it, something like that. Now, I don't need to fill in actually this because we're going to actually put a bulb on here. So what I'm going to do now, I'm just going to press sift S. Cursors selected, and then shift A, and let's bring in a UV sphere. We've already got this on 16 and eight, which should be absolutely fine. Let's press S, bring it into place. I'm looking, actually, if I press Z, let's see how big the other one is. I can see it's round about that big, something like that, and let's press sed, solid. Let's have a look at that. Yeah, that looks absolutely fine. Now we just need these parts on here. I'm going to actually press Shift S. Cursor to selected, that should put it right bang in the middle. If not, just use this to actually bring your part in. Shift A now, let's bring in a cylinder. Let's spin it around, so net, Let's make it smaller. So, let's press one, and we'll get it to be the right side, let's put it in here. Pull it over S and X into place. There we go. Now, is that a little bit too thick? Let's have a look? Maybe it is. Let's make it a little bit smaller S and x. That looks spare. Let's have a look at that. Let's bring it down then, so shift D. Like so and then shift D, like so. Then I'm just going to grab the edges of here, of course, pull this into place, then I'll grab this one, pull it into place, like so. All right. That's that. Now, let's join all of these up together. Sorry, let's press Control G, and then let's shade smooth and let's put on auto smooth on. Like so. Now what I'm worried about is just this bit here needs to turn up is way way too low. Let's just turn it up like that and that looks to tons better. So. Let's level these off now because we don't really need to level a lot of this off, so we might as well do it manually. If I come in now, grab both of these, like so and probably this one here, press Control B. Bevel it off. There you can see it looks just a ton there, and we might as well as well. See as we've got this, grab this one, Control B, Bevel that one off as well. There we go. Think Pot from this one. Let's fill this in first. O shifting click, F, while I've grabbed it, control B, and then I'll fill this face in now, right click and we're going to triangulate pass and tries to quads. Finally, let's join it to this one. This one here, this one here, Control J. And that looks really, really nice. All right, then, what we'll do now is control A transforms, right clicks origin to geometry, and then we'll go over to the right side and call it street street lamp. And then little dot sorry, right click mark as I said. Now on the next lesson, then what we'll start doing is bringing in some of the materials. But you can see, we've ramped up the difficulty ale bit. It's going ale bit harder now, and the next one should be a little bit hard than where it is. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 29. Creating Shaders With Transparency: Welcome back, everyone to blend the three, the ultimate stylized sen guard in this is where we left off. Now, pretty much, the actual all of the lamppost can be actually one material. So that's no problem. Let's bring that one in. So we've got painted metal dog. Let's use that and we'll actually put it onto our actual cycles render. Then what we'll do is we'll come in and we'll make one that's street. New street light. And then what we'll do is we'll come in and grab all of this and assign it the street light like so. Then we can press tab, and now we can head over to our shading panel. Let's do that a little bit. Now, if this was a night scene, I'd be very tempted to add in something like a emission as well. You can actually make it so that you've got a mission where it actually sees through it as well. Depends how bright the emission is. By the moment, because it's a day scene, I don't really see a lot of point in that. But what you can do as well is, we could give it some noise as well, in case when you've learned a bit more, you actually want to do that. Here's what I'm going to do. I'm going to come in first and bring in a noise texture. Shift A. Let's bring in a noise. Texture so I I plug this in, you'll see exactly what this does. If I plug this into here, and then you can see already that's actually what it's doing. What we'll do is we'll just set some of these up. First of all, we'll put this on four D, not three D, four D. There we go. Then what we'll do is we'll set this scale up to something like 208th, something like that, and there you go. Now, I can see, we've got that actual detail in that we're actually looking for. Let's set the roughness also to one and set the detail down to zero. Now we'll do is we'll bring in two color ramps and a transparency. First color ramp, I'll bring in and stick in here, like so, and then the next color ramp, I'll bring in here. Search color ramp, like so, and then we'll bring in a transparency. So shift date, search transparent. Like so, and then we also need a add shader. I'm just going to move my material output over there. I'm going to bring in a add shader. Again, we don't want to mix these. I want to add them together, so I'm going to bring this in and drop this in here. I want this to go down to the bottom going in there. I you go. There we go. Okay, now you can already see that because we've added this transparency in, we've got some parts of this, which are transparent and some parts which are. Now we need to do is basically mix in the color, so mix in the color, and then mix in the actual transparency as well. So I'm going to So I'm going to grab the color, I'm going to drop it into my color ramp here, and I'm also going to drop it into the transparency here, and that just brings out a little bit of darkness. Now what I'm going to do is I'm just going to move this darkness up like so, and then we're going to bring this one up. So now you can see it's still see through, but it's actually got a glow to it or something like that. Finally, now, what I'm going to do is, I'm going to come to this color ram, and I'm going to put these both onto white. If I bring this up and I bring this down, As I drop this one down, we should see that starting to go to a white color like so. One thing I do need to do is I need to make sure that bringing this down enough so that I've got my transparency, I need my transparency in there. So, is that enough let's have a look? I think it's a little bit. It's not see through enough let's try and get it more C through. I'm not very happy about this at the moment, the transparency isn't going enough to what I actually needed to. What I'm going to do instead is I'm probably going to change this out for a mixed shade. Let's just delete that other way. Let's press shift a bring in a mixed shader. Let's see if we can mix these instead and have a little bit more control over the actual colors. Let's bring that in to here like so. Now for bring this down, we can see that we've got a lot more control over how see through it is. That's actually looking a bit better. Now let's just bring that down. Just a little bit. There you go, now you can see it's looking a little bit better. Let's bring that that hit in as well. Like so. Now you can see we've still got those little bits on in case you want to take a close up, but it is a little bit too transparent the moment. I'm going to do is I'm going to bring this up just a little bit just to make it just transparent, so I'm going to bring it up a little bit more. And that will do. That looks really nice. There we go. Now we can see it's transparent. And that's perfect. All right. There you go. That is the set up that I have used and should give you an idea in case you want to do any types of glass and things like that, really, really easy way of actually doing lights and things like that. All right. Now we've got actually street lights. Let's actually right click Mark as assets. Let's see. I think I've already marked that as an asset as press dot. Yes, it is. Now it can come to assets, and then what we can do is on assign and just drop these into place. Assets and materials. Now finally, let's just move it over. Let's move it over to the rest of our assets. Over here, like so. Now, fin, let's take a look at our next actual reference. Let's open this up so we can see we've got some really difficult ones coming up. I'm thinking that probably we should make a start on our windows or our parking barrier. Let's make a start on some of these windows. We'll make a start on this window here, the small hotel windows, and then at least you get the idea of how to create these windows. Let's double click it. Let's bring it in. L et's press one. In comparison to other things, this one is actually going to be quite easy, actually. So we'll make a start on this window. Then move to this window, and finally to this one. This one is actually, we're going to use a Boolean just to bring our window back and you're going to be using a Boolean a lot to actually build these hotels out. Let's go to modeling, and then what we'll do is we'll make sure that our cursors in the center. We'll also make sure raw material. Shift S cursor to world origin, press one on the number pad, and then what you're going to do is you're going to bring in a plane. Shift A, let's bring in a plane, so mesh. Plane, and let's spin it around, so r x 90, let's bring it up. Let's make it the right side, so I'm going to press S. So we can make these bigger if we need to once we've actually got them in place. Don't worry too much about the scaling. It might be a little bit bigger. That's absolutely fine. SN x, pull it out. Z, just to see whereabouts we are with it, so we can see it's a little bit too much. Let's press SN x, bring it back a little bit. Then what we'll do is now we'll press, we'll press control A. Tab A transforms, right clicks origin to geometry, tab again. Make sure you in face select and this is selected, press the eye button, and bring it in like so. That's that part. Now, what I tend to do, to make this part easier for myself is, I will basically bring all of this out. I'm going to come in and grab the outside of it. Then what I'll do is, I'll also grab the middle of it, I'll press e, pull it out. I'm going to press Z, go back to solid just so I can see what I'm doing. Then what I'm going to do now is I'm going to pull this back. I'm going to press, pull it back. Then I'm going to delete this back one. Delete faces, and there we go. Let's pull it all out as well so you can see. Now you should end up with the glass basically in the middle. The reason I got rid of the back is because I don't want actually two pieces of glass, so I only want one piece of glass. You can see that we do have a problem in that. This now is not joined. Let's join that up to make sure this is done properly. So Old shift and click, Old shift click and just go round now to all the sides like so. Then what you're going to do is going to right click and you're going to come to where it says bridge edge loops, and that then is going to bridge the edge loops. But it's actually got rid of our glass. I don't know why it does that. Sometimes it does, press F and just bring it back in, and now that should be fine. Just to make sure as well, just in case you're worried about it, just come to mesh, come down to clean up, and let's just go to merge by distance. Not vertices removed, so that should actually be fine now. Now what we're going to do is we're going to do this one pretty much exactly the same as we've done this. A I'm going to do is I'm going to press shift S. Cursor selected, Shift A, let's bring in a plane. Let's spin it around so R x 90, and let's then bring it into place. Let's press S, bring it all the way down. So S, and then S and X. Pull it over, like so. S and, like that. And then what we'll do is again, we'll press Control A, all transforms, clicks the origin to geometry. And then what we'll do then on the next lesson is, we'll actually create this one, and then we'll get this a little bit harder one created because this one is just basically the same as this. Let's come up and save our file, so save and I'll see on the next one everyone. Thanks a lot. Bye bye. 30. Fast Workflow for Window Creation: Welcome back everyone blend the three, the ultimate stylized scene guide, and this is where we left off now. Let's come to this. I want to make a bit of shortwork of this. What I'm going to do is press tab. I'm going to press I then, bring it in. I'm also going to press Z, going into y frame just so I can see where it brought it in and you can see it brought in a little bit too much. So I'm just going to press S just to bring it out a little bit. You can see actually that It's coming out in the wrong actual scale. So sometimes that happens. If I press S though, let's see if that works. That's not going to do it. So I'm going to do, I'm going to press S, and then I'm going to press S and's and pull it up like so. Let's do the same thing then what we did for the other one. So I'm going to press L to grab everything. Let's grab it with L. Grab it. There we go. Then I'm going to press E, pull it out. So. And then what I'm going to do, I'm going to grab the middle bit. Again, go back to solid, and I'm hoping that I can just grab this one, press the e bon, pull it back, and then we'll get rid of this face, so delete faces, and then just join this face up with this. Lt shift and click, again, you won't to go all the way around for whatever reason. I'm not sure why that is. Right click, bridge faces, and of course, you know it's going to disappear. So all you need to do now is just join this one up, F, and there we go. Let's bring it out so we can see What it looks like. Yeah, that's absolutely perfect. All right. Let's make a start now on this one here. What we need to think about when we're actually creating this one is this one's a part that's actually stuck out of the wall. It needs to be far enough out that someone could actually put actual ornaments or something like that on. That is what I'm basically going so. That's what you need to actually think about when you're actually designing this one here. So it's thin, but it's big enough to actually put ornaments on. That's basically what you're looking for. Let's Press one on the number pad, and then what we'll do is we'll press Shift A, and I think, we'll start with the plane. I think it's just going to make it easier. So R X 90, let's bring it down into place then. We'll press S, get it to be the round about the right scale. Like so. Then again, what I'm going to press now is going to wire frame, and now I'm going to bring it out to these sides. I'm going to press S and x, bring it out, something like that, I'm going to put it more central. Then we're going to do is I'm going to press two edge loops. Control Tab, Control, two, left click, right click, and then bring those out. S and x, if they don't come out, just make sure that you're on medium point, S and x, pull them out. Like so. And you can see here what I mean by it's a bit out. And the reason it's a bit out is because when you get different references, they might not be straight on. So the hotel, I'll actually show you what I means. The hotel, like I'm saying, this one here is straight on. If I double click this, you can see it's absolutely straight on, but the windows are not straight on just to make it a little bit harder for you. Let's now put that down, and then what we'll do is we'll bring all of this out like so, and then I'm going to grab both of these, and I'm going to pull them back. Like so. Again, it wants to be so that you can put ornaments on here. Then what I'm going to do is I'm going to press e and y and pull those back to have a straight bear as well, and there we go. That's the start of our actual window ledge. Now, let's actually make this a full piece of mesh, and then what we can do is we can actually create this window because we're going to create this window separately from it and actually put it into place. I'm going to do is, I'm going to first of all, join the back parts of this, so F, and then I'll join both of these up, so F. Now can see one, two, three, four, four sides going around here, so I'm going to press F. I'm going to press Z to go into solid and there you go, now, you can see that's what it's looking like, and then we're going to do exactly the same. I'm going to actually get rid of my ground plane, so just hide it out of the way. Come in again and let's join this one, this one with F, and then shift and click F and there we go. Simple as that. All right. So the next thing we want to do then is make this actual window. So what I'm going to do is I'm going to come in with Face select, press Shift S cursor to selected, then I'm going to press one. I'm going to press Shift A, bring in a plane. But the thing is, I want to bring in my plane realistically, not part of this object. If I press tab and then bring in my plane, so shift A plane, spin it around, so R X 90. Let's make it a little bit smaller, so we can see where we need to bring it back to. So probably somewhere around here, then press S and z and bring it up. Something like that, I think it's going to look really, really nice. Now let's pull this out. Then what I'm going to do is, I'm going to use this as a boolean. I'm going to press tab, E, pull it out, and there you go. You've got your block there. Now, being as we've got this, we might as well also create this into a window. What do I mean by that? I mean, come in, grab the front of it, shift D, pull it out, and then separate away. P, selection, tab, grab it again, and now it's completely separated from that pot. This is the window, this is the Boolean, and this is the outcropping of the actual wall. So now let's come to this part, press Control A or transoms, clicks at origins geometry. Let's press one now. What I'm going to do is I'm going to bring these parts in and create the window, exactly the way I've been creating the windows before. Let's create the window like so. And then what we're going to do grab the whole thing. Press E, pull it out. Let's grab this part now, press E, pull it back, and now let's come round the back. Delete, faces, and let's come in and actually join all of these up now. Again, it will get rid of this window, right click, bridge edge loops, and now let's bring in our window, so F, and there we go. All right. Now what I need to do is I need to actually create my hole now. I'm going to do is I'm going to bring this into this part of the wall here. I'm going to make sure that it's far enough back to actually have a window. It doesn't really matter how far back you really go as long as you don't go all the way back to here, because you're going to get some light going through the window. That's the most important thing. But we know it's the right size because we actually took the plane from here and that's what we created our window with. That's great. Now you want to do is you want to again press Control A, all transforms right click origin geometry. Again, come to this pit as well, Control A, A transforms right, set origin to geometry, and now let's bring in boolean. Little spanner, add modifier, bring in boolean. You're going to come down now and click this little pipette here, and the one you're going to click is this one here. Click on that. Now, if for any reason that your boolean is not working, you basically want to put it onto fast, and then it definitely will work. Then all you need to do is you want it on difference. Press Control A, come in and you can move this out now because you should have your little holder. All right. Do we need this anymore? Not really. Now we need to do is just grab our window and put it into place? And you can see now by actually creating that boolean, this window looks more realistic than just stuck on the outside of this, and you can see how good that actually looks. Now what we want to do is want to join both of these together, so Control J. Control lay all transforms, right, clicks Origins geometry. Again, we'll do the same with this now. All transforms right clicks a Origins geometry, and again with this one. You could I guess, have done them all together, but I've done them separate now. Let's come to this one first. Again, we need to bring in a bevel, the two actual straight these edges, so add Bevel, bring it down, and sometimes, sometimes it will happen. Where the bevel is not working correctly, let's have a look. Yes, you can see the bevel is not working correctly, and this sometimes can happen because of the actual boolean. If our press controls Ed, let's go and check the mesh out. You can see this is what the mesh looks like at the moment. It's probably a bit broken. Let's have a look and hide this window out the way. Let's press H. Actually, the mesh looks really nice, except you can see that we've got piece missing and a piece missing. Let's come in and fix those. I'm going to grab both of these, press the J, grab both of these, press J. And now hopefully, I've actually fixed that some Looking at one, two, three, four sides here. Everything should be fixed on there now, there shouldn't be any problems with that. Now, let's give the Boolean a try again. Again, control A all transforms, right clicks origins geometry, add modifier, and let's bring in the Bevel modifier. Again, we're having some problems. So let's just check and make sure that it's not our face orientation. There we go. That's what's actually causing this. Let's come in. Press altage, press A to grab everything, press shift n, and let's spin it all around, and hopefully now that should have fixed it. If I bring this down now and turn it up just one, Let's press tab, and now you can see it's looking tons, tons better. Albeit it's a little bit too much I'm feeling, so I'm actually going to turn it down to not point or not five. Just turn it down a little bit like so but now you can see that looks really nice. You can also see though that we've got these both on the wrong side. I'm going to grab both of these. I'm going to press tab. Make sure I'm in face grab this face and this phase press shift. Spin that one round, I'm going to have to spin this one round separate, so shift n, come down, click on the inside and spin that one round as well. All right. So let's turn our face orientation off, so I'm just looking in face orientation off, and let's come to this one first, I'm going to do exactly the same thing. I'm going to come in. Add modifier Bevel, and then let's turn it down to zero, and let's put a naught point naught five. There we go. Let's do the same thing on this one. Bevel. No point, No five, like so, and there they go. They look absolutely fantastic. All right. So now let's apply the bevel, so control, control, control A, and there we go. All right. So what we'll do then on the next lesson is, we'll actually get the materials on these, we'll get the glass on these, and we should end up with these finished, our first windows of our hotel. Alright, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 31. Creating our First glass Shader in Blender: Uh, Welcome back, everyone to Blender three, the ultimate stylized scene guide and. This is where we left off. Now, if we come in and we come to this one first, pretty much the first material we're going to bring in let's put it actually onto our cycles, so we can actually see, and the first material we're going to bring in is going to be our frames, of course. Let's look for frames, and this is what we made this material for. Then what I'm going to do is I'm going to grab now just this one here. I don't think I need to grab the inside or anything like that. Then what I'm going to do is I'm going to click the plus new, I'm going to call this blue glass. Like so. Now let's go and create our actual blue glass. Again, I'm going to give you exactly the right colors and things like that. So you'll end up with exactly the same color I have. And then once you're actually happy with it if you want to change it, you're free to do so. Let's come over to Shading. And what we're going to do is we're not actually going to use our principle because with glass, you really don't need a principle, just complicates it. All you need is a glass and a transparency. So one of them is kind of how shiny the glass is, and the other one is how C through it is. So let's delete the principle, and let's bring in, well, first of all, let's assign that. There we go, and then we can see exactly what we do. Now, let's bring in our glass BSDF. So shift Dave, search, glass, BSDF. Let's put that there, and then let's bring in our transparency, so shift A, and you can use this for water and things like that as well. So transparency, and I'll tell you exactly what this is. This IOR, this is normally what water is. Normally, if you bring that in it's basically to do with the refraction, I'll put something on the right hand side that. Just explains a little bit more what I'm want about with refraction. But just bear in mind that if you turn this up, you're going to make it less see through, or more cloudy or something like that. Let's get add shader. Search, add Shader. Let's plug in this BSDF to here. Let's plug this one into here and let's plug finally, everything into the surface like so, and you can see what that looks like. It's reflecting the sky, but it isn't see through at all at the moment. Now if I come in and I turn up my roughness, 0.38. Now what you want to do, if you want to see our C through is just pull it out a little bit and there you go. You can see just how see through that is. Now, if you want to make this more transparent, the one that you need to mess around with is this color here if I turn this all the way down, you can see it's perfectly transparent and never turn it up. You can see we get more and more cloudy as we go along. We don't actually want that though. I'm going to actually put this on a color. I'm just going to go over to the left hand side, grab the color of it, so I'm going to press control C. Come over, bring in the color, I'm going to press control V. Enter, and there you go. This nice blue color. Now, the other thing is this transparency, what you can do with this is it makes it either completely transparent or very cloudy and somewhere in between. So it's up to you how far you want to actually push this. Maybe you want this window somewhere else in a scene. So just remember that that is how you control how C through it is. What I'm going to do actually, I'm going to come. I'm going to press the end button, and then what I'm going to do is I'm going to actually frame this. So if I come down to my node wrangler, you can see that I I come down, I can frame selected, and there we go. So now I can actually do is come to this, and you can see it's got frame, and let's call it transparency. Like so, and there you go. Now you've actually named that and now you know if I bring this down, that will control how transparent that is. You can see now as well, how we can actually put frames around things. You can actually put frames around two things, come to the node rangular, come down and you've got a frame selected, and there you go. It's just really easy to actually do that. You can also change the color as well. If I come to this frame, come to my node, you've got a color here, so I can change it to red or something like that. There is that. Now, let's come also to the transparent. And what I'm going to do is I'm going to actually copy it. I'm going to come over then and rename it. Contro v, enter. And then what I'm going to do now is, I'm actually going to have a look at that, make sure. I'm happy with it, and I think I'm a thing that looks really, really nice. All right, so what we're going to do now is we've got this one, so let's do the next one. So all I'm going to do is, I'll come to this one, come down, bring in frame, so frames, and then I'll come to my glass now, so plus down arrow glass. So blue glass. Let's come in, press tab, grab this, click a sign on my glass, like so, and there we go. All right, Let's come to the next one, which is my building pt. Let's first of all, do this part. I'm going to come in. L. We're going to click the down arrow frame. Then let's come to the glass. Plus down arrow glass. It's the blue glass, click a sign. There we go. You can see how different it looks once it's actually in the actual building. You can see it's pretty shiny. It's reflective slightly see through so that if you want to put something behind here, you'd probably be able to see it vaguely through there depending on how low or high you've got this. All right. So now what we need is a building material. So I'm going to click new, and I'm going to call it building. This is the main material for the building. So this is quite an important actual shade. I'm going to do is it's still a simple shade where it's important in that We actually create it for the rest of our hotel. So what I'm going to do is I'm going to click on here. I'm going to press tab. So click on here. I'm going to grab all of this, and I'm going to click a sign, and then I'm going to press tab, and now I'm going to do is I'm just going to zoom out. So make sure you're on the building, let's zoom out, and let's bring in a ambient occlusion again, just to give our actual scene some depth. So I'm going to actually zoom in. And then one want to do is going to bring in a color ramp, so shift a color. This one is similar to the other one we made with the other building. What we do is put this on constant, and then we're going to plug my AO into my actual color ramp. Next one word to do is I'm going to bring in an overlay. I'm going to press shift A. Remember the overlay is the mix RGB, like so. Put it onto overlay, plug it in and then plug in my color to the bottom of this color here. Now I'm going to do is I'm going to bring in just a little bit of color for this. The first one, I'm going to go over again and grab the color of it. Control C, let's grab the hex color of this. And let's then come over this side. Grab this control V. This one position is on zero, which it is, now let's come over to the white one. I'm going to grab it. Control C, and then let's come to this one. Let's put control V. It is y, and all we need to do is change the position, which is not 0.905, 0.905, like so. Now we can see if we mess around with these, let's see if we can actually get seeing something in there. So if I bring this down. There you go. You can see you've got your ambient occlusion on there. So that's exactly what we're looking for. All right, that's looking really nice. The building color is looking real nice. You might want to change that a bit later on, and we could change that. I think this white is the kind of white that I'm actually going for. Now what we need to do is we need to just come over and make sure that these are marked as asset, like so, and then we also need to make sure that these are names. So let's come in and we'll call them window Rectangle, large. Then I'll go to the next one. Well, I'm going to press dot first, and what I'll do is all right click and markers asset. Then I'll come to the small one. Again, I'll rename this window. Rectangle, s like so. Again, dot on the number pad, right click markers asset. Now we'll come to this one here. We'll go to this one now, so I'm going to press dot, and we're going to call this, where is it dot? Is it on this one? L. There it is. We'll call it Window. And we'll call it Bay, because I think it's the only bay window. And we'll also call it large, just in case we've got another window. I don't think there is one what just in case so large, dot, and then right click and marks asset. All right. So now let's go to our actual assets, and let's put these three into place. So assets, and let's put this and this into our materials. And let's finally move over our windows. No our sun. We need our windows, like so. And put those into place. I'm going to try and put the windows in a separate place, so a little bit away from the rest of my build like so. All right, so our first actual windows, let's put this on material. So what we'll do on the next one? Then I think we're going to start with the actual parking barrier. Let's last of all, I'll go out, save out our work, and I'll see on the next and everyone. Thanks a lot, and I hope you're enjoying it, and I'll see on the next one. 32. Creating our First Hotel Balcony: Welcome back everyone to Blender three, the ultimate stylized scene guide, and this is where we left off. Now, what I think we'll do on the next one is, we'll create a couple of the balconies before moving on soon as we're doing our windows. And basically, we'll do the large hotel, and we have a large and small balcony within that actual piece. So let's come first of all to this reference. And what we'll do is, we'll change the reference and we'll make this bigger and we'll go as you can see here, that's the corner one, not that one. This is the one. Large hotel balcony, are, large hotel balcony small. I'm just going to open them up and then I'll show you what the differences between them. First of all, though, let's make sure that the scale is okay on this one, so I'm going to bring my man up. So. Then what I'm going to do is I'm going to make this a little bit smaller. So, it fits into place. Round about something like that. As I say, once we've actually got these in place, we can actually scale them a little bit to actually make them fit. Don't be ever scared about scaling things up, once you bring them into the scene. I'm going to do with this now, I'm going to press shift and duplicate it and bring in mail the one because I might as well do them both at the same time. I'm going to click the open button. And let's find that large balcony, small, and here it is, and I think the guy is actually the right size there. We can see that the balcony here is a little bit smaller than the other one, although the doors are a little bit bigger. So I think what I might actually do on this one, is just bring this balcony up actually to be the right size as this one. Sometimes when you build in on the fly and I've been building along, sometimes you lose a bit of perspective on scale. So I think with this, we'll actually bring it up a little bit. I'm just going to zoom in. And then what I'm going to do is, I'm just going to make sure that this one is around about the same. So we can see along here. I'm going to bring it up a little bit more. I think I actually move that one to the back somehow. So. Let's press one again, and I can see it bright up a little bit too much. I'm just going to drop it down. So there we go. And now I've got a nice start in place to actually create it. Let's actually have a look at these balconis. What you can see is this one actually goes into the wall. In other words, it's not actually any bend here. These are parts that go into the wall on the sides, and then we've got this one for putt my guy in the middle, that go into the wall on the back. The need to be realistically the same actual depth, is just that the size of the actual balcony and also the way they go back as well. We'll get into that and they'll discuss exactly what it means. So first of all, let's put our cursor to the center, so shift cursor to wild shift. Let's bring in a cube. I think we'll start with a cube, I think it's going to be easier on this occasion. Let's press S. We could start with an actual plane. There's many ways of doing things, and then what we could do is use a solidify. But I think on this occasion, what I'll do is, I'll start with a cube and we'll just do it a little bit different. I'm going to do is, first of all, I'm going to make sure that it's the right size. I'm going to press S and just bring it out very slowly. We're talking about millimeters here, so it's not worth worrying about if it is not exactly the right size. Let's press S and X. Let's pull it out. And then I'm going to pull it across. I'm going to try and get it as close as I can to the actual width, so I'm going to just pull it out each side, presssx, and just bring it out a little bit, and something like that looks like a good start. Then what I'm looking to do is make this the right thickness. In other words, if I come in and grab this back face, pull it back then in front, what I want to do is make sure that this looks really not chunky, but strong enough to actually hold this guy in place. It's very important that we actually create measures that look realistic. Even if they're stylized, they still need to look realistic as though they're actually going to hold something. So you can see here that this is a fairly chunky size wall, but not actually chunky enough. So let's come in. And bring it out jaws to tab, and now you can see it looks actually a little bit better. All right. So now let's press control. Two left click, right click, so brought in a couple of edge loops, S and X, let's pull them out. What I want to do is basically create these parts here to be of the same thickness as this one here because these are going to be the parts that actually go back. Now, I have made a mistake here because this one here, It's not going to be going back, but I'm going to use this piece over this side so I might as well actually leave them in place. Now what I'm going to do is, I'm going to create a bottom piece as well. So I'm going to press control. Left click, bring it down, and I'm going to bring it down to something like that, fairly chunky again. All right, so that's that piece. Now, we can come in now and bring out this part. I'm going to bring it out, so I'm going to press E and y, pull it out, like so, and then I'm going to stand my guy up on this. Like this. Now what I'm looking for is where his hands are going to rest. If he has this barrier here, then he can't actually really lean over. There's no danger of him falling. What we're also looking at with the depth is, if I spin him round, so Z 90, you can see that that's the sort of depth that has actually got on here. Is there enough to put a table in chairs? Probably so. Maybe put out, something like that, and then he can get a table in chairs in there, and then it'll look great. All right. So now, let's actually bring this over. So if I press sift, we'll bring this over, as I said, we'll do this at the same time. I'm going to bring it over to here. Then what I'm going to do is I'm going to I'm going to put one edge there, and I'm going to grab this edge now. I'm going to come in. I'm going to press lt shift and click, and then I'm just going to grab this edge here, and hopefully, I should be able to move all of that now into place. If I come in now, and move this into place like so. Now you can see that I've kept the actual thickness there. Now, what I want to do is I want to actually create this separately because I actually want sides on here. If I bring this out, I could press E, pull it along, but I'm still going to struggle to get these to line up perfectly, and I really want the mesh to be a little bit nice on that. The easiest way is to come in and simply delete faces, grab this fit, L, delete vertices. Now what I can do is I can fill this in. With F, fill in this one, with F, fill in this one with not g, F. Then what we can do is we can come in now and grab all of these and we can pull them out. If I press three now, you can see that I know where to pull them to. If I press E, pull them along and drop them into place. There you go. That's the easiest way of actually doing that. We've got one that's going to go into the walls either side, this one here, and then one that's actually a balcony that's going to go back there. All right. Great stuff. Now, let's think about actually creating our actual mesh. Probably going to start with this one because this just goes straight into the wall, and this one actually has a actual turn. I'm going to do is I'm going to grab it here. I'm going to press shift S. Cursor selected, and then what I'm going to do, I'm going to bring in a pipe joint. Shift A, let's come down and bring in a pipe. Let's bring in a pipe elbow. Let's put it on 90 degrees. Let's also turn down the number of divisions to something like 16, like so. Now I think we can actually start working with this, just a very, very simple pipe oint. If I press S now, it's sh if I rotate it round, so, 90, let's have a look. Then, y 90, and then R x 90 wrong way, so x -90, and there we go. Now, let's bring it up a little bit and see the thickness of this and we can see that it's way way too thick still, so I'm going to make it smaller, like so. What I'm looking for on this actually is to make sure that the thickness is actually right. So I have to bring my man over again. He wants to be able to put his hands on it. He doesn't want to be able to actually put his hands all the way over it. You can see here that if I compare that to his hands, that actually looks pretty good. I think I'm actually happy with that. All right what I'm going to do now is I'm going to grab my balcony. I'm going to press control A, all transforms, right click, set origin to geometry. And then what I'm going to do is I'm going to base this onto where this geometry is of this part. I'm going to press shift S, cursor selected, and of course, I'm doing that so I can actually bring in a mirror. So I'm going to grab it. I'm going to come over now. In fact, no, not, I'm going to write plt set origin, two, three D cursor. I'm going to add in a mirror modifier, so mirror, put it over the other side, and there we go. All right, let's actually see if first of all, I need to bring it back, and then I need to bring it this way, M them touch. And then finally, I'm going to put some of these parts in just to make it look realistic. All right, so let's come in and we'll grab this edge. So l shift and click and then pull it back into the wall. Go back slightly further. It doesn't matter because this is going to be in the wall anyway. And then finally, let's come to this part. Ol shifting click. Let's make sure clippings on. Bring it to the center, let go, and then it shouldn't go anywhere. Now you can press tab and actually have a look at your work. All right, so I'm happy with that. Now, let's make these ends. What I'm going to do is I'm going to come in. Lt shift and click. And what I'm going to do, I think the easiest way to do this is just to press shift. So let's shift. There we go. Let's pull it this way a little bit. Let's press E and pull it along the y axis, something like that. Now finally, let's actually extrude it out, so lt shift and click, E, enter lt NS and pull it out. Like so. Now let's have a look at the actual thickness of that, so I'm going to grab it all with L and then pull it into place. Press seven on the number pad to go over the top. What I want to do is I just want this then just fitting in the wall like so. I've done it separately away from here just in case I need to move them. The other thing I'm looking at is, I'm I happy with how big this is? Is it a little bit too small? Probably. Let's come in, shift and click, and then lt and S, and going to pull it out. Just a little bit more, and I think that looks fantastic. All right, so what we'll do then on the next lesson is, we'll get the actual corners in. We'll probably put maybe one or two in here just to make it look realistic. And then we'll actually bring those over to the other side and use these actual parts. Alright, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 33. Working with the Bisect Tool in Blender: Welcome back everyone to Blender three, the ultimate stylized scene guide and this is where we left it off. Let's think now about bring in these parts in here. What I'm going to do is I'm going to use this actually in the center. I'm going to also press tab so that when I bring another part in, it's going to come in with the Mr, that'll be great. Let's press shift. Let's bring in a cylinder. Let's make the cylinder smaller. S, let's bring it over this side, and you can see because I've got clipping on, it's actually joined them together. I really don't want that. I'm going to do is just take clipping off for a minute. Them over now and now you've got two pieces, and that's exactly what you want. Albeit, we've actually messed up a little bit because this is 32, I think, and we don't actually want that. So let's go back in. Let's delete those, so delete vertices, and now let's do it again. Shift A cylinder. Let's put it on 16. L so, make sure you clippings off, bring it to the side, press the S button, like so. Now we want to do is make sure that it's going over the top on, going to pull it up. I'm going to press S. Like so, I want to press seven to go over the top, and I'm going to fit it into this corner now. So you can see that it's still a little bit thick because it's going out of either of these sides, so I'm going to press S. Bring it in and then let's put it into the corner like so. Now, if you really want to get it right bang in the corner, all you need to do is press Shift click on this corner. Shift S, cursor to selected, grab the actual cylinder with L, and then shift S selection to Cursor keep offset, and that's going to put it bang in the center for you. You can do it that way as well. I'm going to bring it down. And put it into place. And then I'm just looking how thick this actually is. Is it too thick? I think it's a little bit too thick. You can see it's hanging out on there. I could pull it back, but I'm going to first of all make it a little bit thinner like so. Then I'm just looking now at how that is sitting, and I think that looks much much better. Is it still hanging over? I think actually it's not hanging over. I think what it needs to be is just pulled up a little bit so Yeah, and I'm still not happy with how that's actually sating there. I think I'm going to make it just a little bit smaller just to get past those pieces. Then what I'm going to do is grab the bottom and pull it down like so. Before we carry on though, let's actually grab our banister, let's hide it out of the way. Then what we'll do is we'll also grab our balcony and hide it out the way, come back to our banister, and now I can do I can first of all, control, mark seams. Always do that, just in case you need to do something with this, delete it, right click, triangulate faces. You can see now because I actually mark the seam, when I press L, it just gets it all the way up to the seams and then I can actually delete it as simple as that. Let's come to the bottom now, press delete and come to faces, so delete the faces out the way. Now I'm free to use this over and over again. Let's press l tag, bring back our small balcony, now let's come to our balcony once more. Lag, bring everything back, and let's come in. And grab this part like so. Now, I've actually kept the top just in case you want to bring it up for anything, any reasons, but I haven't kept the bottom because obviously that's actually in the wall. All right let's press shift, bring it over, and there we go. Simple as that, so you can see how easy that actually was to do. Now, let's bring the banister over to this side, so we might as well do. That's what I'm going to do is I think what I'll do is I'll grab all of it. I'm going to press tab to go into object mode, shift. And now what I'm going to do is I'm going to bring it over to this balcony. So if I grab this balcony, press Control A, all transforms right clicks the origin to geometry, Shift S, cursor to selected, grab this balcony then and then press Shift S, selection to cursor keep offset. There we go. Now we grew it in the right place. All right, so now we're free to move these parts right to the end and put it into place. Let's first of all, just put it into place. I'm just going to pull it this way, and basically, I want it in the halfway point. If I press seven, I can't really see over it, where if I press ad, going to wire frame, now I can actually see over it. I'm going to put it halfway, like so. And then what I'm going to do now is I'm going to try and move these parts over here because at the end of the day, as I said, these aren't right, so I might as well get rid of these parts. If I press tab now, L et's come in with old shift and click. Delete those, so delete fases, and there we go. I'm going to keep these parts because I'm going to need them to actually put into the actual wall here because this is where it's actually going to go up to. How am I going to cut this? Well, I'm going to do it I'm going to show you an easy technique to actually cut this. First of all, I'm going to press L to grab it all. And then what I'm going to do is I'm going to come to mesh. I'm going to come down to where it says bst. Basically, what this tool does, is it actually cuts straight lines and gets rid of the other part of you. It's very nice if you want to create pillars that have been broken or you want to create rocks and things like that. Now, I'll show you once you've clicked it, you won't really see anything happening. Unfortunately, there's no shortcut for this either. All we do now is just drag And drop. Now, don't worry as well about it being even or anything like that because you can see this lines a little bit out. If you come down to left hand side now, just open this menu if it's not open, and you'll see along the y axis, you'll always see a minus or plus zero, zero point something. All you need to do wherever you see that, leave the one, by the way, just the zero, zero point something, is just click zero on it, and that straightens that alpha. You can also as well, move this along once you've actually done it. The best thing is you can actually clear the inner, or you can clear both, which I don't know why you'd want to do that, but either way, or you can just clear the outer. It's up to you whichever one you want to do. We want to clear the inner on this occasion, and now we can see that we've got this perfectly flat, and it's done on the other side, of course, because we've got our mirror on. Now we just to move this along to where we actually need it. There we go as actually simple as that. All right. So now let's press Zed, go back to solid. And then what I'm going to do now is grab this part. I'm going to pull it over, I'm going to spin it around, so I'll Zed 90, I then I need to put it really in the center of here. You can see also I need to bring this up. So let's put it in the center first. What I'll do is we'll come in with edge select. Shift click Shift S, cursor to selected. Grab this part, L. Shift, selections cursor. Keep offset, and that's perfectly in the middle. Now let's grab the whole banister, press one, and let's pull it up to where we actually need it, so let's pull it up to something. Like that. Now let's come back to this part here. I think, actually, did we bring them over or not? I don't actually think we did. Look, you can see that. I've either messed up and kept the tops. I think I've actually just kept the tops. Well, look. No, I haven't. I've actually got them all, so let's pull them up. There we go. You can see though that I do have a problem. I think I I've not. I just need to make them a bit bigger. So Let's presses. Make them a little bit bigger, pull them into place. And there we go. Simple as that, and that's actually looking pretty nice. All right. So now we're onto our actual windows. Let's press one and have a look. I think the windows, actually, these are bigger these windows, so not sure why I made them bigger, but either weight, let's actually do our windows. How we're going to do our windows is, again, Well, we've done windows before. These are a little bit different. The one thing I can see as though on these is looking at this is these aren't actually wide enough, I'm actually going to come in, and make them just a little bit wider. At shift and click, pull them out a bit. Yeah, that looks much chunkier like that. I'm also going to actually look at these. I think I'll do the same thing on this one as well. So lt shift and click, pull them out, and there we go, Yeah, they just look tons bare. All right. Let's press one. Et's come to this part here. Let's press Shift S. We might as well make a start from here. Curses selected. And then what we're going to do is we're going to bring in, I think we'll bring in a plane, so shift A plane, and then let's spin it around. So R X 90 and let's bring it up into place. Now, one thing you can see is that I've put this in the center of here, but it's not quite in the center. What I need to do is I just need to have an idea of how actually big I actually want it, so I'm going to press S and X and bring it in. Now I can see that I've got this side this much space and I've got this side this much space. I know it's roughly about right. They don't have to be perfect. The one thing I do want to make sure though is the height is correct. I I bring my man over, let's bring our man over and we'll put him on there and you can see that this is not tall enough. Let's pull it up. To the height that we want it. There you go, that looks much better. Now what I can do is I can actually have a look at the bottom because one thing you don't want, you don't want the bottom to be floating this high up. You want it just to be a little bit because we're going to bring a boleion in, and the needs to look like there's actually a step there because normally on these things, there's actually a step or it's actually in the ground. But I think for us, we're going to make it a little bit of a step. Let's come in, grab the bottom, and let's just pull it down, jaws to tab like so, and that should be absolutely fine now. All right, so now we just need a halfway point. Let's press control, left click, right click, and now find that we can come in on each of these, press the eye button and bring them in. Now, again, if they're not coming in together, press the eye button again, and then they should come in together like that. Now, I should mention, again, before we actually do that, let's press tab, press control A, all transforms, clicks the origin to geometry. And now when we press I, we shouldn't actually have any problems. So we press I again, like so. And bring those in holding the shift button. Something like that, I think, absolutely perfect. All right. Now what we want to do is want to create these windows. What I'm going to do is, I'm just going to pull it back a little bit. I'm going to grab it with L, and then what I'm going to do is, I'm going to pull these all the way out. Now there's a number of ways that we could do this, but I'm pretty much going to do the same technique as what I've done with the other. I'm going to press E, pull it out, then what we're going to do is I'm going to get rid of the backs of these, get rid of the backs, delete faces, and then what we're going to do now, I'm going to grab both of these. I'm going to press E, pull it back just a tiny bit, like so, and then grab this one and pull it back even further. You can see there we've got that kind of window look, and that's exactly what we're looking for. Now I want to do is want to bridge these like we've done many times before. O shift and click. Let's see if I can actually grab it. No, you can't do it like that. So we're going to grab lt shift and click, and then grab each one of these like so, like so, right click and where is it Bridge edge loops, and then we'll do the same for this one now. We'll do them both together. So Alt Shift and click, and then let's come in, grab in each one of these, like so, right click bridge edge loops. Now finally, let's grab this one and this one, press the F button, and then this one and this one, and press the Fon, like so. There we go. Simple as that, you can see how easy it is to do, and you can see they look pretty realistic just with that little technique of moving one back. All right, everyone, so I hope you enjoyed that, and we're going to create the next one over here. I think on that one, we will actually create just another window because it is a little bit wider and I do want a bit of difference between them. I'm going to actually save it out as well. Don't forget to save out your work after each of the lessons, and I'll see on the next one, everyone. Thanks a lot. Bye bye. 34. Linking Object Data in Blender: Welcome back, everyone to Blend three, the ultimate stylized scene guide and this is where we left off. Now. Let's create a another window. Can I actually use this one? Let's have a look. Let's press 50. We'll bring it over. I'm just actually making sure as well that I need to pull this back a little bit. I'm going to pull this back like so, and then I'm going to press sn, pull this back. Like. I'm going to press one then and actually look at the difference in scale. First of all, let's bring our guy over to this one. I think I'm going to keep the same scale on here, I'm just going to make them wider. Can I actually do that without actually altering these parts. Basically I want to bring these two parts out. I'm going to do is I'm going to come in and see if I can actually do that. I'm going to grab this one and press control click on this one, and you can see that go the other way, would go around the other way. I can actually use that actually, so I'm just going to grab it going all the way around there. I'm going to then do the same on here. So like so. I want to basically pull these apart without increasing the size. Can I actually do that? Let's have a look. Let's press S and X There we go. You can see that I can actually do that. Now, the one thing is, is this in the center? That's the other thing, of course. Let's grab this part. Let's press control ate all transform click. Set origin geometry, Shift S selected. Let's now grab this bit, Shift S and selections cursor, now let's pull it up and you can see now it's pretty much centered. Now, let's pull it up again just so it's above that, as you can see now, this one's above it, this one's not. So a press three on the number pad, P Z, going to wireframe, and now we can see exactly where we need to pull it up to, something like that, and let's pull it back. Interplace, and there you go, you can see nope pretty much in the right place. Let's go back into solid mold, and this is what we should end up with. I think I'm really happy with how these are. I don't think I really need to change anything. I could make these a little bit different, so make them oblong or something like that. But I think for me, I'm going to leave them as is. I'm just looking to make sure I'm happy with these parts as well. Do you want them more central or are you happy with them like that? I think actually I'm happy with them like that. All right then. Let's now come in and apply our actual mirrors. Come over. Control late, apply a mirror. Let's see if this one's got a mirror, it has, control, apply a mirror. Now let's join all of these up together with control J, like so. In fact, in fact, we're not Should we do that? Yes, we'll give it a trier on this one, first of all. So let's join them all. Let's press control A. Let's press control A again, O transforms, right clicks origin to geometry, and now let's bring in our bevel. Let's see if I can bevel it even though these are rounded. I don't really want to bevel these off base is what I'm saying. Right click Shade Smooth. Auto smooth on. Modifier, add modifier, bevel, and there we go. You can see actually because these are around it, it's beveled them off very, very lightly, and that's exactly what we want. That's absolutely perfect. Always do it by y, have a look, and make sure that you're actually happy with it. You can see it's not got this raise a sharp look to it or anything like that, and it's got that stylized look. Let's hover over here and come by the way, if you do want to bevel off anytime, the cylinders, just change this from angle to non, and then you'll see it actually bevel those off. On the older versions of blender, this will be set to non. You just need to say it to angle just to make sure you're not beveling those off. All right, so let's apply that with Control A. Let's press tab, and you can see now that there is no bevels on the actual cylinders, so that's really, really nice. Now, let's come to the other one. So we're going to join all of these together with Control A, right click, shades Move, Automo press Control A, all transforms, right click, set origin, to geometry. Now let's again come in, add modifier Bevel, and I'm hoping it's done exactly the same things, which it has. Yeah, that looks absolutely fine. Let's come over, Control A, and there we go. All right. Both of those done. Now, let's come over and rename them, so we've got look, large hotel balcony, small. Let's come over, press the dot one. Large Let's take my caps off. Large hotel balcony. Small. Press the dot again, right click. Mark as I set. Let's come to the next one. Here it is. It's large hotel balcony. Large dot again, right click. Mark as I set. That's that. Now, let's think about our actual materials. Let's go and make some materials. I think we will have to make material for the hand painted this grip hand grip here. Being as I'm from Cyprus, which is a lot of Greeks here, basically, they love the color of that blue, which they have in all their villages and on their churches and things like that. I think I'm actually going to go with that color just to represent where I'm actually from. Will do is, I'll come in and we'll put this onto Cycles render. Then what we'll do is we'll first of all, give this the actual building color. If I come down to my materials, click the down arrow, I'm going to click building. Like so. There we go. There's the building color, and you can see straight away, what's happened here is that the ambient cclusion is kicked in, which is really nice because that's exactly what we want. Now I'm going to do is I'm going to actually come in. I'm going to grab all of this and put this to the frame. Down frame. L so, I'm going to click a sign. Then what I'm going to do now is I'm going to grab my glass plus dowrow, glass. We are going to make a different color glass as well, like so. Then we need this hand grip. Let's grab it all. Like so, and we'll call it new painted metal blue. Like so. Then I'm going to do is I'm just going to make it that kind of blue color. If I put it onto something, I'm going to click a sign as well, so I can have a look at it and there you go, you can say, that's actually that kind of blue color. Sometimes they have a bit darker, sometimes it's a bit lighter, but most of the places I go, it's actually this kind of blue. Now, the one thing is that at the moment, it's looking perhaps, it's probably about right, but you can put the metallic up like so and then just turn down the roughness. I think it's going to be a little bit too much actually. I'm going to put up the roughness like so and then just turn the metallic down just a little bit. Just to get the right shan. I think that actually looks pretty nice. One thing now you can do is you can actually grab this balcony and grab this balcony. With shift click. Then what you can do is a little trick where you can press Control L, and what you can do is you can link materials. You just need to make sure that the last one you actually selecting is the one with the materials that you want to link to. You'll notice that this one is yellow, and this one is orange. Even if I select this, this, and then this, it will always go to yellow because it tells you that this is the last one you've selected. I'm going to select this one. I'm going to select this one. I'm going to then press Control L, and you can see here we've got link materials. Now you can see straightaway that that changes, and we've got all of those materials in place rather than bringing them in separate. That's a little trick there that you can actually do. Now, let's come in. And do pretty much the same thing that we did before. So I'm going to come to frames, a sign, then come to my glass. You can see how quick it is now and then come to finally my balcony, grab them all. So, and then click my painted blue. There we go. Done. Now, let's put it on material, and let's just make sure that this painted blue actually is marked as asset. I'm just going to check the rest of them, which are, and then I'm going to put these in place now with my other windows. So let's grab this one first. Let's press seven. Let's put it into place. Let's press one just to make sure it's in the right place, so something like that, and now let's grab this one. And let's press seven and bring it back, and there we go. So all my windows in place. All right. So lastly, then let's come to our assets. Let's come to our painted metal and put that in our materials, and let's come to our balconies and put those in our assets. There you go. You can see really, really building up now. And you can imagine that once you've got a lot of blend files, the amount of actual pieces that are in here, ready for you to either take into real engine five, just bring them in, export them out. Really, really great to actually see this within Blender. Again, with the materials, although you can't actually send those out. It's just really easy to put things together. A lot of kit Mashin and things that have been done with this new addition to Blender three. All right. So now we need to do is we're just going to go back to our modeling. Let's get rid of one of these because I don't want both of these in, so I'm just going to grab either one. It doesn't really matter. Then let's bring in a new reference now. I'm just going to go to my reference, open it up. And let's actually have a look we've got left. We can see we've got a corner one here. We can see we've still got I think we've done where are all of those small windows? We've got this window here. Again, we've got a corner one. I'm thinking let's actually do something at b different on the next one, so we've got our fish. I think what we'll do is we will look at our parking barrier. Let's bring in the parking barrier. That'll be a nice little bit of something different to actually have a go at. All right, everyone. I hope you enjoyed that and I'll see on the next one. Thanks a bye bye. Oh. 35. Creating The Parking Barrier Base Mesh: Welcome back everyone to Blender three, the ultimate stylized scene guide, and this is where we left off. Let's bring on Manovi, let's spin him round. So Os ed 90, s d, 180, spin in round, press one. Let's bring him into place. Like so. You're probably going to be sick of seeing this guy by the end of it. Let's press. Let's bring it up. Let's pull it up. Maybe a little t, bit smaller. There we go, fitting into place like so. All right. So there's two parts in here as you can see. We've got this part with the kind of speaker in and an opening where you put your ticket in, and then we've just got the actual barrier. Pretty simple. This bits a little bit more square and this bits a little bit round. I feel that that's just adding a little bit something to it, making it a little bit stylized. All right, Let's get started on this. Let's start with this part first. It seems the easy part to start. I'm looking I'm I'm going to actually put my cursor in the middle, so shifts cursor to world origin. Shift. Let's bring in a cube. Et's press S and bring it up. Like so. Let's just put it into place something like that, and then what we'll do is we'll bring this back. Too far into place like so, and then I'm going to grab the top. On again, bring it up. And now I'm going to do is just look by eye to see how wide this actually is. Actually, I think that that pretty much is about the right size. I'm actually looking here and you can see, that's pretty much about the right size. The one thing I'm looking at though as well is, it's not stood on the floor, so how big is this going to be? Let's put it on the floor, and let's have a look. Is it a little bit too small in the end. Do I want to make it a little bit higher than what it actually is. I'm probably going to make it a little bit higher even though my reference says not to, I'm going to make it just a tad higher, and then I'm going to bring it across now and start my barrier over there like so. I just think that looks a lot better. Now, let's actually just move it over and let's actually create this barrier. On going to do is, I'm first of all, I'll create this part here because that's quite easy. Let's bring in a cube. Let's make the cube much smaller, and let's bring it up, put it into place. Press one. Press the S b, scale it into place and let's start it over here. Then now let's think about the actual thickness of it, so you can see it's probably a little bit thick for a barrier. S and y, squish it in and then grab it on this edge. O, ring it over all the way. And then what we're going to do is tab to going to object, Control A transforms, right plates that origin to geometry, come round again, tab, and then I'm just going to bevel this off. Control B, bevel it off and just put it on to something like that. A, can you see that looks pretty nice. Now, let's press ad and going into y frame. And we can see that we've got one, two, three, four, five red pots. The way we create those is just by using bevel, so control. Now you will notice that we do have a problem in that. We can't actually use a bevel at the moment, and the reason for that is because we've rounded these edges off. In other words, this is an engon, and we don't really want that. So we need to fix that. But there's no point fixing the engong just quite yet. We need to first of all, put a straight pot down, and then we can actually bring these in. How do we do that? Well, we come in and we grab it with, let's come in and grab edge select. Try grab it. Let's have. There we go. Grab this one, press L. Press one, mesh bisect, and I'm going to cut it down here. Bring it down here. It's going to get rid of the back. I don't really want that. I want to keep the outer and the inner, so click both of these off. Then again, I'm looking for one now that says 0.0 something. You can see it's coors are cut down here, and you can see the fair bit out. Let's just put this on zero, and now we know that's halfway. Now like magic, When we come in, we can press control now and bring those edge loops in. I'm going to bring in five, three, four, five, so, left click, right click. I can see the problem is that they're a little bit out on each other. It's up to you whether you line these up perfectly, like I've done or not. I think it will actually, so I'm going to just come in. I'm going to press one on this one. So grab it, put it halfway in, and then we're going to come to the next one. Grab it halfway in. I'm pressing shifting click, just to make sure I'm grabbing it all the way through. L shift and click. Like so, and then the last one, shift and click, and bring it over. All right. Now again, what we're going to do is shift click, Shift click. All of these. Then all you're going to do is press control B and pull them out like so. What you want to do is just put it onto one. We don't want 21 there. Now finally, what I want to do is, I want to actually mark a seam. I'm going to come in. Olhift click. On each of these, and that then is going to make it really easy for me just to grab these and actually put in that color. Right click, come down, mark scene, and then you should end up with something like that. That's that bit. Now let's think about this bit on here. What I'm going to do. First of all, I'll come to the end. I'm going to press Shift S. Cursor selected, and now let's bring in a cylinder. Shift A, let's bring in a cylinder. It's going to be on 16, which should be absolutely fine. Let's put it onto solid just so we can see what we're doing, and let's finally spin it round. R X 90, spin it round. So that looks about right. We'll have it from there because we want a little bit of a gap. We don't want this brushing up against this or anything like that. Let's look at the sizing now so we can see that if I move this over, it's a bit out, let's just pull it over to something like that. Let's then make it a little bit bigger, a little bit bigger like so and then let's pull this back a little bit, pull it back like so, and then grab the inner or the top part of it, pull that back, like so. Then what we'll do is we'll make the out of it. I'm just going to press I and then E, and then I and then finally E and bring it back like so. All right, that's looking pretty nice. Now, let's bring in our box now. What we're going to do is we'll grab the center of here. I'm going to press shift S. Cursor selected, grab my box, Shift S, selection two cursor. Now let's pull it back a little bit just so that's in front. I'm going to pull it all the way back. We've got a gap. I press seven, we can see we've got a gap down there. That's exactly what we want, now let's just line this up to where we want it, something. Like that. Now, remember that this will be pointing down here. If I grab it all, I'm going to pull it over this way. It's basically sideways on. This one's the other side. What I want to do is just round this off a little bit, just these tops. I come in, grab this and this. Press control B. And just round them off just to tad just like that because that's how they normally are something like that. Now let's make a start on the other part. Can I use this part? Probably not, probably a little bit different in scale. Shall I use them? I think actually I will, it will make it a little bit easier. I'm going to press one. I'm going to press sift, so And you can see it's a little bit bigger. Let's pull it out, so S and x, pull it out, make it a little bit bigger, like so. Then what we'll do is we'll just probably get rid of this top. How we're going to do that is we'll just make a fresh start on it. A, come in, b, bisect it across. Put this on zero, can see this one that says minus, put it on zero. I was nearly accurate with that. Then what we'll do is we'll clear the outer so should end up with something like that. Put in the face with F, press one, bring it up. Like so. Now we just need to make sure that we've got the correct width. All I'm going to do is because I know this is already pretty much a cube. I'm going to grab it 90, I'm going to press one, I'm going to bring it up. And I'm going to look. It's pretty much the right size anyway. I'm just going to press controls, I'm going to put it down, I'm going to move it over here because this is where it's actually going to go on that pavement. I might need to move it a little bit once it's there. I think actually what I'll do is I'll make it a little bit wider, something like that. Now we just need this hole in. Let's put that hole in. I'm going to do is I'm going to press control transforms right click, origin to geometry. I'm just going to round this off, first of all, before I actually put that hole in. Should I do that? I think What I'll do first of all, I'll put in an edge loop and then it's going to make it so that I can actually create better mesh once the actual Booleans in. I'll do is I'll come in, and I'll press Control left click, bring it up, and then I'll come into these edges. I'm going to press Control B. Round them off and maybe put it on three just to make it a little bit more rounded, like so. All right, so we're really cracking on with this now. I'm going to click File. I'm going to click Save, and I'll see you on the next one every on. Thanks a lot. Bye bye. 36. Adding Materials to our Parking Barrier: Welcome back everyone to Blender three, the ultimate stylized scene guide, and this is where we left it off. All right. Let's now put in boolean. So I'm going to do is I'm going to press shift. A, bring in a cube. And where's my cube gone? It's gone over there. Don't really want to over there. So let's grab this. Shift S. S to select to shift A, bring in a cube. Make the cube smaller, and let's pull it out a little bit, and you can see it's wa way too big. We don't want it that, but what we want to do is want to make it smaller and then make it a big like so. Something like that. I'm just doing it a little bit by I here. I think that should be absolutely fine. When I was building this, I would just bring my guy across, and I'm looking at his hand. Can his hand fit in there with a ticket basically is what I'm looking for, or is that a little bit too big? That looks about the right size and I'm going to pull it back then. I'm thinking that's probably about the right depth now. Then what I can do is I can grab this. I can come and reset the transformation, so control A. All transom clicks original geometry. Add a modifier, and we're going to add in a Bolean, gramatle square, and then we'll apply it, so control A. Delete, and there we go. All right. One thing I do want to do though is I want to come in, and because these ticket machines, this bit here is a little bit up, so we just op like that, and it's normally black and shiny on here, might as well do that. You can also see because I put that edge loop around there, how it's actually joined here. Now the one thing is that I need to actually come in right click and we need to where is it. I need to be on Face lit, right click, triangulate faces, tries to quad, and there we go a perfect piece of mesh. Let's actually do that on this one. I'm going to join all of this Control J. Control all transforms, right click, the origin to geometry, and now can come in. A, right click, tri glate faces, right click, tries to quads, and there you go. It's actually done it on there as well and on this bit. Now all of this, there's no ngns or anything like that. All right. So now let's come in and actually make our tiny speaker. Again, we're just going to press Shift A, mesh, bring in a cylinder, R R Y, 90, this time, press the S button. Bring it up, and let's bring it out and then press S and X. Bring it together. Let's pull it into place. Something like that. Mean it's going to be in a car, so we'll be talking to it like this. I think I'm happy with the size. I actually, I'm happy with the size of that. Let's create this into the actual speaker. Now so I'm going to press, bring it in, and then we're going to press E. Then I'm going to press to t just a really small part, it looks as though the speaker is actually coming out of here. Then what you'll do is you'll press E, pull it out, and then S. S, so I'm going to bring it back just a little bit. I'm going to press S, like so and then E S, like so. That looks really nice. I'm happy with that. Now what I'm going to do is, I'm just going to level off this one just so I can have a little bit more roundness on there. I'm not going to bevel it off with all those. I'm going to add one in, something like that. You can see now when I join this all together. I I join all of this together, press control J, Control A, all transforms, right click, origin geometry, right click, shades move, and let's then bring in Autosm. And there we go, you can see now that's looking pretty much like a speaker. All right. So now we want to do is. We want to actually bring in some color to this. So I don't actually think we have a yellow, and we might as well join the whole thing together as well. So I I come in now and join this to this, it should inherit all the smoothness, let's see, Control J. No, it didn't, so let's shade smooth. Now as though it's inherited the actual auto smooth, so that saved us one job at least. I'm just looking as well. Yeah, that's in the right place. So everything's in the right place, let's move our man out of the way. Now let's think about, is this down far enough as well? I'm looking. Yeah, they are the same height as well, so that's good. Now I need to do is bring in some color. Let's come to material, and we're going to click the down how. Let's see if we've got a yellow. No, we have no yellow, so let's actually create it. What we'll do is we'll come, and we'll call it yellow paint and I'm going to cheat a little bit, so I'm going to bring in a yellow paint. Did I actually click new? No, I didn't because I was searching for it. Let's come in yellow paint. What I'll do is, I'll just cheat a little bit, click the plus button, and we're going to look for the blue. So blue, painted metal, I'm going to copy material paste material, like so, put this on material. Then I'm just going to minus this off, minus off this like so, and we should end up with that, and now I can grab a little bit pet and hopefully, I should be able to grab it like so. Now, is that too much of a yoki yellow? I think it is, I might need to make it a little bit more yellow and make it a little bit brighter. There we go. I think that actually looks better like. We've already got the shine and everything else on it. Yeah I think I'm happy with that. Now what we need to do is we need to just come in and make the white and red plus down arrow. Let's see what we've got in white, white, sine white. I think we could use that. We'll use that. Then what we'll do is well and we'll add in another one, plus, do arrow and frame. Like so. Now, this sign white. Let's come in and drop this on here. I'm going to grab all of these with L like so, and let's click a sign on this one. Let's come to this part now and click a sign on our frames. We've got that like that. Let's put it onto Cycles render, have a quick look. Yeah. That's absolutely fine. Now let's come in and look for a red. So I'm going to select all of these. Like so plus down arrow. Let's look we've go in red, red, shiny. That might do it. Let's click a sign. Let's click tab. Yeah, that actually looks pretty nice. Now we've got a frame on this one, so we might as well come in and grab this and give it all frame. So. We need a shiny metal on here, so I'm going to click plus, new. I think actually instead of doing that, we'll make a black glass, we'll make a black glass instead. What I'll do is, I'll actually call this dark glass, and I might change this on the fly. Let's come in and grab our dog glass. Let's click on this little bit here. This little bit here, click a sign. On the dark glass. There we go. Then let's come over to our shading panel and let's do that a little bit. We're not going to need our principle because we're just making another glass. And this other glass actually we're going to use in our hotel. That's why I just want to quickly make it. I'm going to press shift A search, and we'll look for glass BS dF, this one. Then we'll do a search for transparent, so se transparent. You should be pretty much knowledgeable on how to put this shaded together now. We're also going to be a press shift A and bring in a gloss, make a little bit glossy like so. A little bit more complex there. Then what we're going to do is going to look for ad shaded. Like so, and then I'm going to just duplicate the deader. Shift, duplicate it, and now we'll plug this into the surface here. Plug this into the bottom, this into the top, and now finally join these two up. We've basically added in three shaders, if you like. That's the way we've done. We've added these two, and then this one, let's plug this in the bottom. Let's plug this in the top. Now, let's put, let's alter these a little bit. So this roughness, I'm going to put on not point not point not 38. And then I'm going to leave the IOR. Of course, I don't ever want to really touch that if I can help it. I'm going to grab my color from the left hand side just so you can get the same color. Press control V, it, and then what I'm going to do now, I'm going to come to the transparent. And again, I'm going to grab the color. You're going to again pause this if you need to. There's the color of this 17, 17, 174. Enter, and then I'm going to come back this one just to show you because I think I was a little bit quick. So 38, three, nine, 39. All right. Finally, the last one. So we're going to come to the glossy color. Control C and come in and put it on control, and then it's 5f5f5 F. I'm just actually going to zoom in a little bit just so you can see it. This is the number of this one. This is the number of this one, and finally, this is a number for this one. Now let's put the roughness down to 0.115, something like that. That is the actual dark blast. Now, let's put this on two cycles and let's have a quick look at that. Let's zoom in. Let's press the dot b so I can zoom in. There we go. There it is you can see, it looks glass like, and that's exactly what I want. Finally, then the actual speaker, and we're not going to mess around too much with this. Basically, what all we're going to do is just give it a black so new, and we'll just call it speaker. Black. Then what I'm going to do. I'll probably actually give it just a little bit of a velvet color. Let's have a look. I'm going to grab the middle of here, right click, and I just want to triangulate faces, and I want to put tries to quads, and then control plus Control plus going all the way up to there, and I'm going to come down, speak a black, click a sign. Then we'll just change this principle and we'll put it onto let's try velvet, so when you can see it gives it that kind different kind of look. That's what we're looking for. Let's put this then on a bit of a darker black like so. If you turn this down now you can see exactly where it does and how the light shines off it and makes it look a little bit like cloth, and that's exactly what we're looking for. All right I think I'm happy with that. Is it a little bit too dark? Possibly so? Let's bring you back a little bit. Double tap the A. And there we go. All right. So now let's come back to model in a minute. Let's press tab. Let's just have a look round and make sure we're happy with everything on here, which I think I am. I think I'm happy with everything. So I'm going to do now is press Control A, all transforms, right click, set origin to geometry. Come over to the right hand side, and we're going to put parking. Barrier. Dot again, right click, mark as asset, and now let's see as any of these other assets. It's p material to speed it up a little bit that have not got so signed frames. Dark glass, markers asset, speaker, markers asset, and that's both of those. Now finally, let's move it over to our parts, somewhere around there looks fantastic, and now let's come to our assets assigned, drop it into our assets, grab both of these and drop them into our materials. Back to modeling. File, save double tap the A. There we go. All right, everyone, so I hope you enjoyed making that. And we now picking up the pace. We're also picking up the complexity of the pots that we're actually creating. So I'll think what we'll look at next is probably going to be a bit more complex and a little bit different to what we've actually done before. All right, everyone. I'll see you on the next one. Thanks a lot. Bye bye. 37. Creating Organic Meshes to References: Welcome back everyone to blend the three, the ultimate stylized scene guide. Now let's do something a little bit more difficult and something a little bit different. Let's first of all come in. Grab our reference. Press shift. What I'm going to do is going to pull that over to this side. I'm going to come back to this reference and let's go and open up one of our references. This time we're going to have a look at, one of the harder ones, which will be the actual shock. Now, a lot of times when you gain references for shocks and things like that, you will have a problem in that. There's not very many references where it's straight on or it's straight over the top or even a sideways view. You've got to of work out like get into the actual animal. So get into it and feel what it's actually like, take many many references, shots, things like that, save them all out, and then just look through the molti, get a really good idea of how it actually looks. Now, what we're going to do is we're going to bring in schematic, but it's just a simple drawing that I put together, so it's this one here. So again, this maybe in when you're creating your own creatures, something that you have, you have a basic drawing, and then you'll have a reference of some kind. And then probably on your other screen, you'll have 50 something references to actually work with. Now, luckily for us, it's a very small part of our scene and not only that, it's stylized, so we can actually get away with a fair bit more. But saying that, we're still wanted to look like this actual shock. Let's make a start on it. Now, the way we're going to start it is we're actually going to bring in a plane. So I'm going to press shift. A, bring in a plane. I'm going to spin this plane around, so X 90 just to make it flat. And then what I'm going to do is I'm actually going to split this plane in half. So if I press tab, press control, left click, right click, and then just come and delete the other side of the plane. Lete faces. Now, because my cursor was here, it's made it so that the origin is here as well. So if your origin isn't there, just grab this edge, shift S, curs to selected, tab, control, or transforms, right click, set origin, two, three D cursor. All right. Now we're going to bring in is a mirror. So add modifier, bring in a mirror. Then what you want to do is you want to turn down the opacity of this because if we look through it, it's a bit brighter at the moment, so let's come in. Let's turn the opacity down, something like that. Now we can actually see that black line, we can see straight through, so that's a really really good way to start. Now we're going to do is we're going to press Z going to y frame, and then I'm just going to pull this up just to the tip of where this is. I'm going to press one as well, and I'm just going to move it into place. So we can see that it's moved into place. I'm not going to worry about the fins or anything like that at the moment. What I actually want to do is create the body. So I want the body to actually look right. What I'm going to do is I'm going to grab the bottom. I'm going to grab the bottom of here. Remember it's on mirror, so you can just pull one of them over. I've got proportion adit non. Just make sure you've got that is going to make it easier. Now what you want to do is bring in some loops. Control, bring in some loops, left click, right click. Don't worry about this mirror too much. It does sometimes make it a bit iffy. The reason is because you'll end up with a line down here. The best thing to do before you start is just turn this up to something like 0.1, something like that, and then that's going to make sure that they merged and that clipping is on. With that done now, let's actually make a start. What I'm going to do is, I'm going to make sure proportional editing is on, and I'm going to press G, and then I'm going to move them into place. Let's start something like that. G again, and then just work your way all the way down. Like so, creating that outline for this body, like so, and then all the way down to the actual tail. So, something like that. Now, of course, we've got no depth of this at the moment, so what we need to do is we need to grab it all with L. Then what you need to do is you need to pull it out, E, pull it out. Like so, and then we're going to bring in a couple of geos. I'm just going to pull it out a little bit more actually take portion of it's off while grabbed it, like so. Now let's bring in a couple of edge loops. Control on two left click, right click and now just pull them apart. S and y, pull them apart on medium point, make sure you're on medium point. So far so good. Now, think at this stage, we can pretty much get away with putting this into object mode. Said into solid mode like so. Now you'll see that, well, it doesn't really look like anything at the moment, and yes, it doesn't, but that's because we need to add in another modifier, which will be the where are always subdivision surface modifier. Let's put it on two as well to give it a few more subdivisions, and now we can actually start creating something. If we come in now, bring in another edge loop, so control, two, left click, right click, and now we want to create that actual head. What I'm going to do is I'm going to come to this center part here, I'm going to press E and then just start pulling it out so I'm going to press one again, so I'm at the top, and then I'm going to press G and just pull it back. Like so, and there we go. Now you will see that hey, it's not very lumpy at the moment. I know. We need to make some of these smaller as well, so we are going to make this a little bit smaller, so we're just going to press S and bring it in like so. Also the thing is that now basically it's up to you how to create it because it's all about pulling things out, pulling things in, but I'm just showing you the basics of how to do it. If I grab this one, for instance, press the E button, and then what I can do is I can press G now and pull it back into the place where I want it. You can see now we're really actually starting to get somewhere. With the tail, I think I'm going to make it a little bit thicker, so I'm just going to pull this out O maybe or rotate it. I think I'll rotate it on the x, I think it is. No, it's not, it's the y, rotate it, pull it out, so I'm going to press G, and pull it out, and then I'm going to rotate it. Yeah that actually looks better. Now let's start giving it some actual shape. We'll bring out something like this part. Let's press G. Let's start bringing it out with proportional editing on, like so, and let's just work our way down now. G, and then down to the tail, which is going to be a much thinner, so G, bring it down. At this stage as well. I think we can pretty much get rid of this reference. I'm just going to delete that out the way. I don't really need that. Now what I'm going to do is work on actually getting this a little bit smaller because you can see it at the moment way way to thick. I'm also going to put on this, which means now I can grab either one of these. It just makes it really easy for me now to actually start shaping this. I'm going to work my way around bringing this in and start shaping it out. Like so and all I'm doing basically is pressing the g and pulling it into place and trying to get them a little bit thinner on some of the areas like so, and maybe. So I'm actually looking at this reference as well over here a little bit. You can see. I'm still way way out on these. I think that they're just poking out too much, so I'll bring them in and then bring them down like so, and then I'll grab this one and bring it in. How fat don't want it. Probably something like that, bring it in. There we go. We're starting to actually get somewhere. Now the thing is the bottom of it. If you look, they're probably going to be going in a little bit. That's probably going to be more of the shape of this bit more streamlined, G and G like so. Now we can bring the middle part out, so just the middle part. A little bit out O G. Me. Like so. There we go that's stu look in. Pretty nice. Let's grab this one, bring it out. A little bit press tab. Just keep checking. Shades move as well. It's going to help you actually get a good idea of what it's actually looking like. We can see we do have some problems in that. This is folded over. We don't really want that. I'm not going to worry too much about folding over anything. I'm just trying to as I say work on the actual shape of it at the moment. Let's bring these in like so. T I can bring this out. It will take a bit of time as well, just to get the hang of this. It'll also take a little bit of time just to get the right shape. Something like that. Have a look at our reference a little bit more. I looking below here, and how mine looks. You can see we've got pretty much the wrong angle at the moment, so I'm going to come in and grab these parts here and bring it out so and now it's starting to come. Then we'll grab this, G, bring it in. And that's starting to look much better. Let's bring these in. Now, you can see we've got that look where the teeth are going to be. So we'll grab this one. G that's looking good. I think I'm actually quite happy with this at the moment. That's looking pretty good. Except maybe that these probably need to be a little bit thicker. I'm just going to grab all of these, or maybe I'll grab the end actually, I'll grab the ends, and I'll press S, and just make them a little bit thicker, pull them up and then press S and y and bring them in that way. Yeah and that looks better. I have another look on this. Maybe they just want bringing out like that. All right. This is where I'm going to leave it till the next lesson, and then what we'll do on the next lesson is, we'll actually carry on with this, and we'll probably bring out the fins on the end. I think what I'll need to do is I'll have to actually apply my modifiers and then do the fins separately because if not, we'll end up with it trying to join each other and it just makes a mess of it. I'm going to leave it like that for now and then on the next lesson, as I say, we'll just make sure it's nice and clean before we actually do anything else with it, and then we'll actually bring out the fins and the back fin as well. All right, everyone, so I hope you enjoyed that and I'll see on the next one. Thanks a lot, bye bye. 38. Working with Dense Meshes with Decimate Modifier: Welcome back, everyone to Blender three, the ultimate stylized scene guide and. This is where we left off. All right. So let's have a look then at our actual shock, and let's make sure it's actually looking good. So what I'm going to do is, I'm not happy with this bit how it's coming up. It should actually be going the other way. So what I'm going to do is, I'm going to grab one of these pieces here. I'm going to press G, I'm going to make sure then I can pull it in. Maybe like so, grab this one then, and then pull it up, and I think I'm much much happier with that. All right. The next thing I'm not happy with is this needs pulling out a little more. So if I come in to my vertices and I grab this vertice, let's press three, and let's pull it out a little bit, bring it in. Like so, and then I'm going to try and grab this one and this one like so, and I think. I'm going to grab this one and bring it in, and then this one, bring it in. Bring it in, and bring it in and bring it in. Now that looks much, much more streamlined, much, much bar, and it's got that nice shape that I'm actually looking for. All right. So now I'm actually looking for What else I need to do with this. I think I'm happy with it. I think it's just that this probably needs pulling out a little bit to make it a little bit fatter on this end, and then maybe it can come in a little bit more on this end. So I think what I'm going to do is I'm going to grab anything in here really and try pulling it out like so and then grab anything on this end and try pulling it in like so, and there you go. You can see what that's actually done. It's made much nicer as you can see. All right. Now let's think about pulling this bit up a little bit. Let's see if that actually helps. I'm going to press G. Pull it in, and then grab this part. Like so and yet, I think now we're starting to get somewhere. I think I've gone a little bit too far, so let's come out bring it out a little bit. It's all now just playing around with it and seeing what you can do with it. I think also, I need to maybe bring this out a tad, so I'm going to come in. You don't have to worry as well because you're actually just pulling them out with the G. You're not actually going over anything as long as you don't do that, then you should be fine. Something like that. Yeah, that actually looks really nice. Now we really gain the shape. Now, the next thing I want to do is of course, I want to add in a f the main fin. I also want to add the main fin on top. To do that, realistically, I need to really add this mirror modifier in because if I don't do that, it's going to cause me a lot of problems in the long run. The one thing I do want to do though, this is going in a little bit, and I'm not happy with that, so I want to come in and grab it here and then pull it out, G, pull it out, like so and grab this one, pull it out. Yeah, and that looks better. It's a little bit too flat. I feel like it's still a little bit too flat so I'm going to grab both of these, and I'm going to pull them, I'm going to pull them in. I'm going to bring in my thing like so. Yeah, there we go. We've got that a little bit of a line now. Again, down here, it's still not rounded enough, really. I don't feel, but it's going to be rounded off when we use another modifier anyway. So, get to something like this. I think we can be happy with that. All right. Let's come over then to the right hand side. Let's press Control A and we'll apply that mirror, and now we can actually think about bringing out our main fin. If I press control, left click, right click, and then what I'm going to do now, I'm going to bring this out. I'm going to come in, and I think I'm going to bring it perhaps from here. Grab both of these, pull them out with E, like so, and then bring them back like so, and that's w I'm actually looking for. You can see the still a little bit too fat. I'm just going to bring them out a little bit more. Pull them back like so. And there we go. And now let's squish them in. S, X, pull them in. Now let's pull this bit up as well. I'm thinking that I'm just going to hide this, just for a second, not this one, this one here, and I'm going to come in and grab this and grab this one. B remember we haven't got a mirror on now, so just remember that and then pull them up like so and then put the thing back on. There you go. That's the actual shape that we're looking for. Now, we can really pull it in like so. There we go. That's the shape. I'm happy with that. Now we just need the tail fins on here. Again, I'm going to probably think about making these two, much thicker with E. What I'll do is I'll come in. Probably again, hide the actual subdivisions. Maybe Grab this one and this one and then come in. You can see here, the problem that we've got is that these are overlapping a little bit, so I'm going to fix those while I'm here, so I'm jaws, going to pull them back. So now they're not overlapping. It looks much much nicer. Again, don't worry about mesh because I'm going to show you how to actually fix that. Now what I'm going to do is some jaws, going to grab all of these. Both of these. I'm going to press E enter S and y and just pull those out. You can see that's not working, so I'm going to press S and y, can I pull them out like so. There we go. Then what I'm going to do is now, I'm going to put on back on. And there we go. Looking really cool. Now, we need to pull them back, so I'm going to pull them back like so, and now we can see we're starting to get that actual fish look. I'm really really happy with how that looks. I think the one thing is I need to make this a little bit sharper, so I'm just thinking, that I'll probably, I'm just wondering if I can actually grab hold of these bits like so and spin it round, so Z. Yeah, spin it round, like so. And then I'm thinking that. Yeah, actually, that's not looking too bad. I'm just wondering if I put an edge loop in here, so left click, right click. Can I actually move these a little bit closer together now? I'm going to put one down here as well. Left click, right click, like so. And then one going to do is, I'm going to come in, I think. I'm just not trying to make a mess of it, as you can see, and then bring this in. So if I press G, can I bring that in with proportional editing no? Let's bring it in. Like so. Yeah. There we go. That's looking a little bit bad now. I think I'm happy with that. One thing I'm not happy with on this one is I think I need to bring them in, so SNx, bring them in, make them a little bit thinner. All right. There we go. Now what we can do is we can actually come in and apply our actual subdivision. Control A, ply subdivision, and you will end up with something like this. Now what you need to do is you you can see the mesh. It looks actually quite nice, but just in case your mesh isn't, what you need to do now is you need to come over, add modifier, and you're going to bring in a re mesh, mesh is here, and you'll end up with something like that. Now you can see we've got a few broken pieces down here. Just put it on smooth shading, and then what you need to do is you just need to turn this down to where you actually want it. So something like that, have a look at that. Now, the thing is when you use this re measure as well, you have to be very, very careful when you're altering this that you actually do it in stages. If I bring this down very slowly, you can see that we get in a really good shape. But if you move it too much, you're very, very likely to crash blender, so just be very, very careful with it. That's coming along really nicely. I think I'm happy with that. What I'll do is I'll apply this so control, and there you go, you can see that's what we've got. If a press tab, you'll see that the mesh is 12,664 polygons, which is actually quite dense. Now, I don't actually want it. Probably that dense and I'm not happy with how this has actually been done on here. If I right click shades move, you can see, we've got a few of these jaggedness here. What I'm going to do is I'm going to first of all, clean it up a little bit. I'm going to press A to grab f vertex, let's come down and smooth off those vertices a little bit. If you come over then to the right hand side, you can actually repeat this smoothing process. You can also increase how much it actually smooths it off as you can see. If you do have problems without any jaggy pieces or anything like that, just come in then and actually smooth it off like I've just showed you. The other thing is as well, If it is really jagged, you can also come in and come to a smooth. You can actually smooth it off in this way as well. You can bring it up, so if a press tab, bring this up, that I can actually smooth it off. So, I can smooth that off in that way. And then what I can do is I can press control ate. Then again, now we can actually come in and remash it. So if I come in and remesh it, and then you can see that's actually bring this down, starting to become really really smooth. Let's pro smooth shading again, and there you go, you can see now just a matter of mixing these up again, press control A, and you can see how dense that is. Now the last thing is I'll show you actually how to actually bring down the polygon count. If you come to add modifier, go over to decimate. Then what you want to do is you can see the moments at 16,000. If I put this on, let's say 0.5, And now you can see that it's come down to 11,000. Let's try not 0.2. And there you go. You can see now it's at 5,000, which is a lot more manageable. Now if I put triangulate on as well, press Control A, and now we should have a really, really nice mesh there, and it looks really, really nice, especially on the back now the backs actually fixed. All right. Last of all, let's spin our shot round now, so X -90. Looks like so. Let's have a look at him and he's looking really, really nice. The last thing I need to do really, I need to get it to actually follow the curve and curve along the curve. I'm happy with him. I also need to think about actually painting him because if we look at our actual paint here, you can see that it follows it going all the way down to here, which is going to be actually a little bit hard now because of the way that this has been actually decimated. What I'll do is on the next lesson, I'll show you actually how to select the ones that we actually won for actually painting. All right, everyone, so I hope you enjoyed that. Let's now save out our work so file save, and then what we'll do then on the next lesson is finish this fish off. All right, good one, S on the next one. Thanks a lot. Bye bye. 39. What & how to use the Curve Modifier: And Welcome back everyone to Blending three, the ultimate style, I scene guide. Now, I'm not entirely happy with my shark. I've got a few sharp bits on here, and I'm not really happy with those. What I'm going to do is, I'm going to bring in another modifier. I'm going to bring in a smooth modifier. And what I'll do is J going to turn it up just before it starts breaking the mesh and then I'm going to turn this up and so off my shark a little bit more like so now you can see i with how that actually looks. Okay, what I'm going to do now, can I actually repeat it a bit? Now, I don't want to repeat it that look. I think seven, actually. Yeah, something like that, I think, and much, much happier with. It's got get rid of most of those jagines on this place. And then all I'm going to do is press control like so. Now, you'll see that we have a mesh pretty much like this. And what I want to do now is, I want to actually grab a line going straight down here all the way around. The other thing of course is though, I would like to mirror it onto the other side, but that's going to be quite actually hard. So probably going to have to just do it the hard way and actually just select them going all the way around. So I I actually come, I'm going to actually get rid of this bit because I don't actually like it. I don't think it's added into it. So I'm just going to delete faces, and I'm going to press dot just so I can move around this, and I'm going to get rid of all of this, delete faces, and there we go. I'm going to fill this face in. So I shifting click, fill it in tab. Yeah, and there we go. That looks a bit there. No quite. I need to pull this this part and it's just irritates me a little bit. I'm going to press G. Bring it in. And there we go. Fland that off. There we go. Much much better now. Okay. It was really bugging me that part and I need to fix it. All right, if we press tab, then, we've got 6,672 triangles. I think I'm actually happy with that. And now what I want to do is basically I want to grab it going all the way around to give it some whiteness on it. I'm going to do is I'm going to grab a piece where I want it from, and I'm going to press control, and you can see that it's got a relatively flat piece now. I'm going to try and grab it going all the way around to where I actually want it, like so. So something heading maybe around here, and then going around here. And I'm thinking probably not that one. Probably around here. I'm going to press seven to go at the top. And I can't see anything because I need to hide my ground plane. So there we go. Now I can come back into it, and let's have a look. So now I want to do is I want to grab it going pretty much all the way around the same place as this one's going. So I can see on here, if I come to this side, that's probably from here, and then going up to somewhere around here. It doesn't need to be perfect. You're never going to see both sides at the same time anyway. So just try and get it pretty much. And also, it's a creature. So it would never be perfect. Something like that, I think. And now let's go straight down, so I'm going to press shift select on this one, and then I'm going to go down to probably here, like so, and then let's work all way down the actual body going all the way down to here, something like that. Then now let's come to the side. And I'm going to work my way down probably to somewhere around here. Yeah, that looks good. All right, I'm happy with that. Now, let's work our way all the way back up to there like so. Let's right click and Marca sin. Hopefully, I've got them all on that and let's have a look. We'll come in L and there we go. One thing I want to do though before I actually finish is I basically want to bring an edge on here, just to make it not quite so jagged with the actual it, just to tidy up a little bit. It's really really easy to do because all you need to do, you can just come in, grab one of these, press the k button, and join it to here, come back, join it to here, come back, and then just join it to there, and then to there like so. You'll also notice because I've done that, it's actually highlighted it for me. Now, I can right click and where is it? Right click and mark sm. There we go. Now, let's get rid of these seams and let's just fix the other side, where I don't want it so jagged, right click and clear seen. Let's have a look at the other side. I don't think there's actually as much work to do. I'm just going to bring it up from here. I'm just going to press K and bring it to there, like so, enter, and then right click, mark seam. Clear s. We've still, for some reason, got those back. I don't know why they've come back, but they have. I'm going to come in. Just get rid of these ones. Right click, cle. Double t the eight, and there we go. Now, I can see that I need to pull it out a little bit, have a look, or do I bring this straight back I can see there's a little bit of difference there. Control seven. Yeah, I think what I'm going to do, I'm going to actually fix this because I'm not happy with this, so I'm going to bring it out. It looks pretty much to be roundabout here, and then going to like so. Right click, mark scene, let's have a look at that. Yeah, that looks much better. Then I'll grab this one, bring it to here, right click. Clear scene. And now finally, I just want to round this bit off. I'm not happy with it. You can also, as well, by the way, come in and probably just get away with pulling it a little bit like so, just to make it a little bit more rounded, as you can see, and even on as long as you're very careful, you won't actually alter the shape, like so. All right. There we go. Not going to mess around with no more happy with that. So I'm going to come in now press and I should be able to grab it going straight down there. Perfect. That's exactly what I wanted. All right. Now, let's come to the material plus new, and we'll call it shark, blue. And then we'll come plus new and then sharp white. This one's been a bit of a long one to get the sharp dumb boy, is quite a difficult piece to actually do. Sharp blue. Let's come in and put it on I'll click on this first, and then assign that, and then come, I'll come to the main bit of the shark press L and I'll assign the sharp blue like so. Let's do the sharp blue first then. What we'll do is we put first of all, the metallic on one because believe it or not, if you want to get the look of the fish, you really need to bring your metallic up. Let's put the roughness on not 0.75, something like that. Now you can see actually, we've got that look that fish have. It's like a glossy metallic look. Let's do the same thing then on the sharp it. We'll put the metallic on one, we'll put the roughness on not 0.75, and then we'll come back to the blue now, and let's go for something like this. Let's make it darker, and then let's make it a little bit more blue. Maybe like there. Now you can see how easy that actually was. Now let's come to the white. I think actually the white is going to be absolutely fine as it is. Let's have a look. Do you want it more white? Yeah, actually, that looks pretty nice. Let's have a look round. Double tap the A. Let's wait for it to load up. That looks really nice. Now, of course, there is something that we haven't discussed, and that is the curve. We need to add in some curve to this to make it look even more realistic. I'm going to do is I'm going to grab it. I'm going to press control A, all transforms, clicks a origin to geometry. Then what I'm going to do now is bring in a curve. I'll press shift A. Let's come down to curve and we'll bring in a bezier curve, and, I didn't They didn't put my cursor back. I'm going to press shift S. Cursors selected, Shift A, and let's bring in a bezier curve. Let's spin this curve round, so O Z 90. Let's make it much bigger so we can actually see what we're doing. Let's spin it around the other way. So O Z hundred 80, like so. Now we can see that if we basically get this creature, we want it to be turning this way, and then the back fin going out this way. So I'm going to do is I'm going to bring in another subdivision, so right click, subdivide, and then we're going to grab this edge, and then I'm going to grab this handle and then turn it like so. Then we're going to do I'm just going to have a look what those look like. I'm going to make it a little bit smaller, and I think something like that looks absolutely fine. Yeah, that looks as though it's really going to be moving. I think we'll do it, I'll just press our head, move it this way, grab this edge, and just y, I'll just turn this handle up a little bit more, grab them both, like so. Yeah, I'm happy with that. Now, let's put this into place like so. Then what we can do now we can grab our shock. Let's put it on material mode, just to make it a little bit easier. Grab our shock, and we're going to do is again, come over to our modifier, and this time, we're going to look for one that says, like so. Now the curve object is obviously going to be this curve over here, so we click on there, there we go. Now, if we bring our shot back, we can see if we pull him over to the actual curve, he's actually going to follow that curve now. There we go. So like so and bring him up. There we go. Now if we actually move this curve, you can see it actually moves your actual shock. You can actually really get him now into a way that you actually want him to actually look. You can see something like that actually looks quite nice. Although we are bending his eye a little bit too much, so let's have a look if we bring him out this way instead, you can see that looks a lot more realistic there. I think that's looking really nice. Now let's come back. Apply our modifier. The other thing, of course, is as well that you can change the y or the Z, for instance, and you get a lot more funkier look and you can also put a minus x, and you can also might be able to you might want to bend him this way instead, so you can actually bend him up as well as the other way. Just that take into account. In other words, bend him up first and then bend him sideways, is all I'm saying. Let's press control the though and I'm just going to put that back to where it was. Then what we going to do is going to hover over here. Press control, and apply that. Then I can get rid of Mc curve, and there you go. Sharks all finished. Now let's come over to the right hand side and we'll come and click on our shark, press the dot board, and we call it Tiger Shark. Like so. Then we're going to do is press the dot again, right click and mark asset. Let's come to the materials now. So materials, right click, markers asset, markers asset, now let's come two, where is it our assets? Let's drop this in our assets, and let's drop these two into our materials. Finally, save it out. Let's go back to modeling, and let's now put him into place. I'm just going to put him over here like so. I'm going to drop him down. There we go. I will say that don't worry if your shock doesn't come out really, really well. It's actually quite hard to do these things when you've never done it before. I've gave you loads and tips and tricks on how to do it. But like I said, don't beat yourself up if you haven't got yours perfect or anything like that. Just go back and have another go when you've got a bit more time and eventually you will actually probably make something that looks really nice. Just follow those basics of basically using the mirror, the remesh, using the subdivision surface, using the decimate. T four things really, I'll get you away with most actual creatures. Most of the time, to be honest, if we're not actually doing something that's tiny and something that's stylized. I'd probably take it into Z bruh. You could use the blender sculpting. I'd just like the Zbrush one better and actually really sculpt it out into the way that I want it. This is just a quick and easy way to get the shape that you're actually looking for before taking it into sculpting. All right, everyone. I hope that's made sense and I hope you enjoyed that, and I'll see on the next one. Thanks a lot, bye bye. Oh. 40. Working with Duplicate on a Circle Radius: Welcome back everyone to Blender three, the ultimate style, I scene guide. Now, let's get start getting into the hard stuff. If you vote the fish was hard, well, we're going to ramp it up a little bit more, especially with the materials and things like that. Let's first of all, actually, one thing I didn't check about the fish, how big is this fish? Is it? Yeah, actually, my fish has actually turned out all right. I think that's around about the right size. Probably a bit too big, we'll see actually once it's in the scene, at in the ballpok. I'm just going to press Control, Zed a couple of times just to get it back into play. All right. So let's come to our reference, and let's bring in now the new reference. I'm just going to put it back onto this. For some reason, mines changing, I'm going to put it also on large. Then what I'm going to do is open this up. Now you can see we're really starting to get down these things now. I think probably the next one we should actually do is probably going to be the air conditioned units. I think we'll give those a try. They will give you a lot of skills as well going forward to create things like the bar and even the moped and stuff like that. Let's double click it. Let's actually press one. As we do, as always, let's actually bring the guy up and make sure he's the right side, so bring him over, for me, he's absolutely the perfect side, so that's great. Now I'm going to press S. I'm going to bring Cursor to selected. What I'm going to do is I'm going to first of all, create these fans. Let's have a go though. Let's first of all though bring in, do I create a fan on its own? Probably better off doing that. First of all, what I'm going to do is I'm going to bring in a cylinder. Let's put the cylinder on 16, if your isn't. Actually, I think on this, I'll put it on 20. I'll bring it up a little bit just to make it so that it's a little bit more rounded. I want this to look really nice. Let's press Sen's and bring it in. Let's turn it around, so Ry X 90. Let's make it smaller then I'm actually going to bring my reference down? And just bring it into place near enough in the right place like so, and now I'm going to work on this. I'm want to press S and bring it down. And then what I'm going to do is I'm going to put this into a place like so. All right. I'm happy with that. Now I want to do is actually want to create this fan blade. So I'm going to press shift S, cursor to selected, and then we're going to press shift A. I'm going to bring in a plane, and I'm going to spin it around. So r 90, I'm going to make you smaller, of course. And then what I'm going to do is I'm going to bring it up now into place. I want it somewhere around there like so, and then I'm going to grab this edge, and I'm going to pull it up. Like so. You can see at the moment, don't look anything like a fan blade, but don't worry. We're going to actually make into one so I'm going to press, go into wire frame. I'm going to dull b back a little bit, so bring down the opacity, and now I can see exactly what I'm doing. Now let's come back to this, and then what we'll do is we'll first of all, bring this in a little bit. So I'm going to press S and x, bring it in, like so, and then we're going to press control, and bring a few edge loops in. Something like that, and then we're going to grab the top, and I'm going to put it onto proportional editing and just move all of these over a little bit like so. Now let's start messing around and bring them out a little bit first. I'm going to come into this one. I'm going to bring it out a little bit like so, and this one and this one and this one, like so. Now let's bring this one out, bring this one in a little bit, and just work your way along like so, like so, and then probably bring this one out and this one in. Now, let's press control. T, maybe three edge loops, so three left click, right click, and let's bring this up and just make it layered a bit rounded like so. That's looking pretty good. Let's press the S button then, bring it in a little bit. Now we'll do is we'll actually press dot to actually zoom into it. Press tab A, and let's give it some thickness, like so. Let's press Z then, going into solid, and there we go. Now, doesn't really look like a fan blade at the moment, but all we want to do now is come over and give it a subdivision surface. Now you can see it's looking nice. Let's grab that. Pull it back a little bit and just make sure you're happy with it. Now what we need to do is we need to make sure that we've got three of these actual fan blades going round. Basically, what you want to do is you want to open up anytime you want to do this, just open up your calculator. Here's my calculator. Just do 360 because that's obviously 360 degrees divided by how many you want, just to make sure the actual fit because if it's like seven or something like that, it's probably not going to fit. If I do 360/7 equals 51.42. That's not what you want because you can't actually put it in going around here 51.42 recurring 1 million numbers or something. You don't really want that. But you can do 360/3, and it equals 120. So you know you can actually do that. Once you've got that amount, so it's 120, all you need to do then is grab your actual first van and just press the little sideways V. You can see now that if I go and put this on three D cursor, so it's a little sideways V, which is next to the question mark on your keyboard and put that on. Now when I rotate this round, if I rotate it on the y, it rotates around the actual cylinder. So it's important that your cursor is bang where the actual cylinder is. Then all you can do is you just press shift D and then Y, 120, just like that. Shift D, y, 120. There you go. It's a really, really simple way of actually getting them into the place that you need them. Now, find that what I need to do is, I need to actually put my cursor back, so the little V again, go down to individual origins and now we can join all of these press Control J, and there we go. Now, let's come back to this cylinder part here, and we want this to actually look as though this fans are being held by it, but also that it's actually coming out and looks like the proper piece on there. A I'm going to do is I'm going to come in. Grab this face, press the eye button, so, press the E button, like so. And all I'm going to do? I'll just bevel it, so I'll press Control B like so. And you can see that I didn't bevel properly. You might be happy with that, but the reason is, of course, is that I need to reset my transformation. Control A, all transforms right click, set origin to geometry, and now let's try beveling again. You can see that. Bevel nicer like so. Just turn the up probably one, and there you go. That looks really, really nice. All right. We've got our first fanning. Let's join it together, so Control J, join it all together. What we're going to do is, we're actually going to create this in actual parts. You can see that we've got a few parts here, and we're just going to create those and then we can actually start joining them together. Let's create now this part here where these fans actually go into. You can see we've got these parts that we can just shove together basically, and then we've got the whole where the fan is actually going to go in. Let's create the mesh. Now, this mesh here actually isn't a mesh. It's basically a material. All you need to do is you just need to create a box here, and then put a face on it basically. Let's actually do that. What I'm going to do is I'm going to press shift A. I'm going to bring in a plane. I'm going to turn my plane round, so R X 90. Turn it round, M it smaller or to where we actually need it. So one, like so. Let's press dead, go into wire frame, and then what I'm going to do now is, I'm just going to make sure it's the right side. I'm going to press tes like so, bring it up, and then what I'm going to do is I'm going to make it probably a little bit smaller now on the inside, so grab the in there. Where's my face, there we go, press the eyeball and bring it in, like so, something like that. Basically now I just need to bring this part out. I'm going to grab going all the way around. I'm thinking I'm thinking I'll do the same technique. I'm just going to go in solid. I'm going to press Control plus, and I'm going to do the same technique I did with the windows. I'm going to bring it out with E. Then what I'm going to do is I'm going to bring that part back in, so I'm going to get rid of the back first. Let's come in, grab the back, delete faces, and now grab this part, and let's extrude it in, so E, extrude it in like so. Now let's join that up to this face. If I come in, shift and click and then com to this face going around here, you can see it here, here, here and here, right click, and bridge edge loops and now just create the actual face, so grab both of those, F, and there we go. There's the actual part actually done. All right. We've got this. We've got our actual fans. Let's move these then to the side, so we've got both of those. Now let's work on this part here. Again, we'll create the first bit. I I'll bring my plane in where this actual cursor is. It's fine. So let's press shift A. Bring the plane. Let's spin it around to our X, 90, let's press S, and bring it over. And let's put it into place like so, something like that. Then what we'll do is we'll press on the face elect, press, bring it in. A little bit thicker this time. Delete faces, and then we'll just grab all of this. Take off proportional editing, press the E button and just pull it out. Now I'm not sure if I pressed me button twice. I'm going to grab it, mesh, clean up, merge by distance, and yes, I did. I press E twice by accident. All right. Now what I need to do is I need to put my cursor in the center, so Shift S, cursor is selected, and then shift A, and let's bring in. Actually, we'll do it in object mode because then it'll separate it out. Shift A, bring in A Q. Make this cube much smaller, pull it out then, S and X, pull it out to where I want it, and I'm going to press one again, I'm just going to get to the right side. I'm going to bring it up to here, press S said, and there we go something like that, and then S and y and squish in like so. Let's now pull it out into the place where I want it, so I want it to start there. Now I want to do is, I want to basically use my array mesh to get it to go down there. All I'm going to do is come in array, put it onto. This is the x going this way. I obviously want this on zero because I don't want to going that way. Basic I want the z. If I pull this down here, like so and then bring in a few more to see what it's going to look like. Now we've got that, now we can alter it on the fly. For instance, if I want to rotate it, you'll see that if I press rx, it will rotate the whole thing and we don't really want that. But if we're going into edit mode, make sure you've grabbed it with L, and then rotate it, so rx, rotate it round, now you can see just how easy that is. You can also see that we can actually bring this up holding the shift button, to underneath each one and now just bring in another couple or something like that, and then just bring them just a little bit more just so, they come right to the bottom like so, and it's just as simple as that. Let's make sure I'm happy with those. Going to pull them up a little bit. I think I am. Let's double tap the A, and let's have a look at that. Yeah, I think I'm actually happy with that. Now let's join both of these together. First of all, let's apply the array, so Control A, join them both together with Control J. And let's pull those over to the other side. Now we can see that we've got on the next lesson. We've got a s one to actually create. Now it's up to you because they are small, we might be able to get away with just making the smaller and seeing if that actually fits. We've got actually these parts here to create, which are very easy, just some plastic things. We've got this little logo, and then we've got some pipes that are actually in the side of this. Once you break it down like this, it's actually pretty easy. All right, everyone. I hope you enjoyed that, and I'll see on the next one. Bye bye. 41. Breaking the Air Conditioner into Smaller Parts: M Welcome back everyone to blender three, the ultimate stylized C and guiding. This is where we left it off. Now, let's think about creating these parts. These seem to be pretty simple. Let's press shift A, and we'll bring in, I think easier for this to bring in an actual cube. Let's bring in a cube. Let's press one and make it smaller, and let's bring it into the middle of this one here, something like that. Let's press S and X. Make it a little bit thinner, put it into place. Where do we actually want it, there. Let's make it thinner on the y. S and y like so, and then let's bring it up. I'm going to press tab. Come in base, grab the top phase, press one, and then I'm going to bring it up to the top here. Now I'm going to do is I'm jaw going to bevel it off, so I'm going to come to each of the edges here and here, and then I'm going to press control B. And try and bevel it off to the way that this is, and you can see that probably making a little bit of a hash of that. So I'm going to do is I'm going to do it again, so Control B and bring it to where it goes, which is rounda there. Then I'll turn this up perhaps to four something like that, and that looks really nice. Now one thing you can see on this is it's got an end on, Of course, if I press tab, you can see, it's got a big fat end on then. We don't really want that, but we're going to fix that once we actually come to bevel these off as well. Now, let's see if we can actually shift this and actually turn it into one of the small events. If I press one, and if I press S and bring it down, And there you go. You can see it's probably actually going to work like that. Can we get away because it is quite a small detail? Can we get away with making it smaller, bringing it up then, and then just pressing Yeah, instead of doing that will probably ruin the form of it. So I'm going to do it. I'm just going to put it over here. Instead of doing that, I'm just going to probably pull it out instead. So I'm going to try and grab all of this, so hot shifting, click grabbing it all that way. Press one, pull it out. To here, and then I'll just come in and grab each of these and pull those out separately, and then that is another piece done out of the way. One, pull it over. There we go. That's the little tiny events done, so I can actually grab this and pull it over there. Now, let's work on this part here. It's basically a logo that I just created just an easy logo. Let's create the logo first. I'm just going to press shift date, bring in a plane again, X 90, make it a little bit smaller. Bring it up, pop it into place. Something like that. Press the S one. Let's press S and x and bring it out. I think that's too much. Let's press Z, go into wire frame, grab this side, and just pull it over like so. Why do we create this simple just with the actual knife tool? I'm going to press K. Come over to this side. Let's start it down here. Actually, we will do that, but we'll make sure that they both start from the same plate. I'm just going to put it nice and straight press the button and there we go. Let's make sure these are both straight as well, so K. Nice and straight, n, and then K. A simple. Does that and then K. So. And then K for the last part of the logo. Because all of the air conditioning units have some kind of logo on them. All right. Like that. Now what I'll do is I'll just grab both of these, and I'll press Shift D, bring them out, and then press E, and just make them a little bit thicker, like so. I'll also press control plus all the way, P selection, and just split them off for now. Press the solid. There we go. Now, let's just mark a seam down there just so it's a little easier for us to grab them, right click and mark seam. Also, again, an n gone, not going to worry about that right now. Let's make then the rest of it. What I'm going to do is I'm going to grab all of these, going all the way around. Press Shift D, bring it out. Grab the back of it. The back one, delete, vertices, get rid of it. Make sure then when you grab this one at the moment you can see, we've got a lot of subdivisions on here, pres delete, limited dissolve. Now what you can do is you can actually fill the face in, so F, fill it in, and then come on. Grab the center of it, which should be grabbed anyway. Press one, press the ibonn to bring it in. You can see there, we do have a problem in that it's not actually reset, so control eight, all transforms right clicks the origins geometry. Tab one, press the eye button to bring it in, like so. Now let's do let's bring it all out so L. And then E, pull it out, and then grab the center, E, pull it back. On this, something like this, I'm not actually going to worry about the back of it or anything like that. Now let's pull this into place. So it sits in there, like so. Let's press one. Make it a little bit smaller, so it's actually fitting in properly like so, and there we go. Maybe drop it down, js to tad. There we go. That's that done, maybe pull it out a little bit. Like so, Let's join it altogether, Control J, and there we go. Another bit down. Now, let's pull that bit over to the side, and then what we want to do now is work on this actual pipe. You can't really see the pipe that well here, but trust me, there's little pipes on here, and you can you can actually see one on here. There's also pipes on here as well. So we're just going to actually make a little pipe. I'll do is I will, first of all, bring in let's bring in, where is it mesh? I've not got my actual extras on, so I'm just going to go to edit preferences, because I reloaded blender, for some reason, it's actually took those off. So let's come into extra. And then we'll add in the extras on the curves and on the mesh. Click refresh, close that down. Then I'll press shift A, and I'll come in and where is it mesh and pipe joints. There we go. Pipe elbow. Let's turn the divisions down to 16, something like that. Let's make the radius a little bit thinner, something like that, and then let's put it onto 90 degrees. There we go. Let's also bring this back a little bit while we've actually got that. You can see that I can actually bring this down like so, and then bring this back. Like so. Makes it that little bit easier. So I think on these pipes as well. As you can see in here the Qi, I'm not going to level those off or anything like that. I think I'm actually happy with those. I'm going to press S then, bring it down. You can see because I made this smaller now, it doesn't look as chunky. Press one, bring it down, press the S but. Let's put it into place. S again, like so, bring it down. There we go. That is our pipe. Looking fantastic. I'm just going to actually pull the button down a little bit just to make sure it fits in place. Old shifting click, pull it down. Press one on the number of pad so I can see where I am. And that looks fine now. I I press Shift S, cursor is selected. Tab shift A. Let's bring in a Que. Like so. Let's make the cube smaller. Let's zoom in. We can see where we need this over here a little bit. I'm going to probably make it a little bit thinner, so S and y. Then if we have more pipes, we can just put them next to each other. Basically, that's what we're going to do. Now let's make it a little bit bigger, S and Z, pull it down. To probably there, and then what we'll do is we'll pick up this back end, so grab the back end one, pull it up, like so. Simple as that. Let's join these together now then, so Control J, like so. There we go. I think that is every part except these parts on here. But I think what we'll do is we'll actually start creating these and then we'll put these parts in after. Let's come in and put these all together. Then what we'll do is now, well, I need to put these back two there. Now we'll do is, first of all, resell the transformation. If I grab all of these, Control A, all transforms, right click origin to geometry. That's all of those reset. Now we're just going to go in each one and just give them a quick bevel. I'm going to come in, add modifier bevel. That's probably a little bit too high thing, so I'm going to sit on zero and then put it up to one. Probably still a little bit too high. 0.3, something like that, still too high, no point not one. There we go. That one's fine then. I can apply that straightaway, so control A. Then I'll come to the next one. Same thing. Add modifier. You can see there that this is orange. I don't know why it was orange. I must have add something else grabbed. Add modifier, and let's bring in a bevel. And again, probably a bit too high. So not point not note three. So look at that. That is perfect. Control A. Just w your way down. This one here. So Bevel, not point point note three. There we go. That looks fine, so Control A. No point not three, and let's zoom in with a little dot on the number pad, and probably still too high, not point not one. That looks fine now, so Control A, how many more we've got we got. I think we've got a fan as well. Let's do this one first. I don't think we're going to need it on there. I also think I forgot to actually reset the orientation, so control A. A transforms, clicks origins geometry. We also need shades move, so Shades move and then put in our Autos. Then I'm just looking, do I need, it looks fine anywhere. Don't think I'm going to mess around with that. The only thing is, I think I need a hard edge along here. And then the other thing is, yeah, I've not actually applied my subdivision. So let's apply that with Control eight, and then let's come in and maybe maybe apply a hard edge going around the center b. So right click Mark Shop. And then what we'll do is we'll just bring this down, and there we go. Now that looks really, really nice, actually. 25.7 And that looks really, really good. All right. So now let's come to this bit and we'll do exactly the same thing. So add modifier Bevel, Not point, No Noth three. There we go. Apply that, control A, and finally, then I've just got my pipe, which again, I'm going to right click, Shades Move, bring on my Auto smove, and now we'll bring in a modifier bevel, and it's affecting that, and the don't know why it's affecting that shouldn't be affecting that. So let's see if we p Not point on Noth three. Now it's not affecting it apart from a little bit rounding off on there, which is fine, actually, that looks fine. It looks more realistic that way. Press Control A, and there we go. Now, let's just check our smoothness on the rest of them. You can see here. Right click, Shades Move. Als move on, right click, Shades move, los move on, right click, Shades Move, los move on, and right click, Shades move, Altos move on. Now, what we'll do on the next lesson is then we'll fix the ngns and things like that. And then what we can do is we can start bringing in our materials ready for them to go actually onto our air conditioning units. Let's save it out finally, and I'll see on the next on. Thanks a lot. Bye bye. 42. Fitting the Fans into Place using Booleans: Welcome back everyone to Blend the three, the ultimate stylized scene. So here's where we left it. Now, let's fix the ones that have ngn issues. So probably we're talking this one, this one, and this one here. All right, so let's come into this one first. Grab it all, and let's go to Facelt, and right click, triangle faces, and tries to quod. There we go. Let's come to the next one. Tab, grab everything, right, triangulate faces and tries to quads. There we go. Now, finally the last one, I think is this one. Let's actually have a look at that because that actually might be fixed because of our subdivision in surface, so we can see. Yeah, that's actually fixed, so we don't need to worry about that one at all either. All right. Now let's start making the actual blocks. What I'll do is, I'll press shift A, bring in a cube, and I'm going to press one. I'm going to use this pretty much to make them all with. I'm going to press S, bring it smaller. And then put it into place like so, I'm going to press S and Z, make it a little bit bigger like so. Now we just need the thickness. You can see this is stuck out way way too much a moment. I mean, that's a big air conditioning unit. We need to actually bring it back a little bit. I'm going to press tab, grab this face, and there we go. That looks about the right size to me for an air conditioning unit. Now, let's grab this press, and we don't want to alter the depth for that. S and Z, like so, and then S and X. Again, they don't need to be perfect, then that's press shift D. Ring it down. I think these two actually run about. Maybe a little bit out so S. Like so, bring it over, and then S and X. There we go. Now, it's important that we reset all of our transforms on these, so I'm going to grab them all, Control A, all transforms right click, set origin to geometry. It's also important now that I actually get my fan, which is this one here, and I create a cylinder, which is slightly bigger than the actual fan. I'm going to do is, I've got my fan here, Shift S, is selected, and then What I'm going to do is just zoom in. I'm going to press shift A, bring in mesh cylinder 16 or 20, it's up to you. I'll probably leave it on, let me think. It's just a whole, so I'm going to press on 16 that then will make sure that we've got less actual polygons over the whole of the actual lair conditioning unit. Let's press 90, press S. Bring it just so. It's just bigger than those parts. S, and there we go. Now just bring it back. To how far you want it. We know it's the right size, lets come in. You rab this face and pull it back like so. Now if I look that if I pull this back, you can see whereabouts that's going to go. I think Probably not quite that far back. Something around there. Now I'm going to do it. I'm going to come. Grab the back of this and pull it up. Just so it sits on there like so. And then what I'm going to do now is, I'm just going to hide this out the way just for now and grab the back of this. Do is I'm going to actually select all of these. C, select, like so, Shift S, curs selected, Shift A. Let's bring in another cylinder. Spin it around, so RX 90, make it a little bit smaller. So it pops out, like so. Pull it back. And there we go. Now, I just want to put it back into place. Now, I just want to looking as though it's actually stuck on the wall. So now, right click Shades move. There we go. I think that's absolutely fine. Now, let's press al tage, bring back our actual cylinder, and then what I'm going to do is put these into place on all of these. So if I press one, bring it over. Let's press Z, going into wire frame, like so. We can see that our fan is a little bit too big. I think, is it too big? Yes, maybe it is. I'm going to grab both of these. I'm going to shrink them down a little bit, like so and then I'm going to make the fan. You can see that the fans not centered then. That's probably what's causing it. Shift S, cursor selected, grab my fan, Shift, selections cursor, and now I can actually make the fan just a little tiny bit bigger. S like so, and that should be absolutely fine. Now I'm going to grab both. Move them over, like so. Then what I'm going to do is I'm going to grab my fan and my actual boolean. First of all, though, I just want to make sure that my boolean is in place. I'm going to get my fan and I'm going to move it to the front, so we can see here this is the actual box I'm working on. If I move it just to here, like so, and then bring this part Into here. You can see now how far I need to bring this back, so you can see it needs to come back to there. I'm going to press S and y. In fact, I'm not going to press control Al transforms, click the original geometry. S and y, bring it back, and then just pull it back into place. All right. That's pretty much already now. Now I can press one. I can grab the fan and the Bole and then I can press shift D, bring it down, like so, and then I can press shift D again. And bring it to this one here. You can see it needs to make in a little bit smaller, so we're going to press S. Put this into place, like so, and then shift D, bring it over, like so. Now let's c to this one. Shift D. Bring it down and just to zoom in, need to make it a little bit smaller again, so bring it up. There we go, that will do nicely there. That's looking good. Now let's press, go back to solid, and now we can actually make alban. We'll join these two together, so Control J. We'll also join these two together, so Control J, and then we should be left. Where's the other one there it is. Let's hide of floor out the way with H, and now let's create alboan. Let's come to our first air conditioning unit. What we'll do now is we'll come over. Add modifier, not Bevel. Boolean. There we go. Let's pick these for the B. Let's press Control A, and let's now delete these out of the way. And there we go. All right, Let's come to the next one, Add modifier, Boolean, PIPA and apply, delete them out of the way. Then the last one. Pit pair and control delete them out of the way. Okay. There we go. Now, let's put this one here, this vent into place. We've got it in the middle. Let's come to something like this one. Let's press shift S, cursor to selected. Now let's grab this, shift S and selection to cursor like I'm not going to move them out of them on because I know they're all going to be in the same place, so I can move out all at the same time and that's going to make it easier for me. What I can do now is I can press shift D, move it over. I didn't actually work that. I don't think. Yes, it did. Move it over with G and left click. Left click, drop it there. Come back to this one, Shift S, cursor is selected, grab this one, Shift S, selections cursor, and we're just going to now work our way along. Again, shift D, left click, drop it there. Grab this one, Shift S, cursor is selected, and just rinse some repeat. Shift D, This, just like that. Then again, shift D. Now what we have to be careful is, of course, as you can see, is that this one slightly stuck out, but we'll come around to fixing that, so don't worry about that. Now the last one, grab this. Shift S. Selected, grab this, shift S, and selection two curse. You can see again, this one stuck out a little bit. Now we're going to do is just grab all of these like so. Then what you want to do is pull them all out together, and hopefully at least the two top ones. I holding shift just to bring them out. The two top ones, just this one now to pull back, so I'm going to pull this one. Into place. Now I've got those in. I just want to look. These ones I'm happy with. This one here, I'm not happy with, so I need to move this out, some jaws going to move it out into place, then I'm also not happy with this side as well. There's not enough gap there. This is a of the final, making it fit properly. I'm hoping I didn't actually check that's have a look at the way frame. I'm just hoping I haven't pulled those out or anything like that. I don't think I have, so that's the good thing of grabbing the actual side. If I grab the side of this one, grab this. You can see when I pull it, it's not actually pulling out. That's the main thing. All right. Let's press, go back to solid and there we go. Now I'm hoping that they're going to look good. Might be a bit refining in the end, but apart from that, I'm really happy with them. Let's save it out. These take a long time because it's three of them. They're not actually that complex. We are ramping up the difficulty obviously, and we're going to carry on doing that all the way through pretty much now. All right, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 43. Finishing our Air Conditioning Unit Meshes: Welcome back everyone to Blender three, the ultimate stylize scene. This way left off. Now. Let's bring in our fan. No our fan, our vent. Let's bring in our vent. Let's pull it over. Let's press one on the number pad. Let's press Z to go into y frame, and let's log where. We need to put this. Sowhere around there. Let's come in now, we've got a bot one. Yes, we have, so let's press shift D. Let's bring this one down. And we're going to have to put a bit over, as you can see, they're not quite in in there. Let's press S. So, Let's press S and Z and make it a little bit smaller. Like so. And that should be absolutely fine, and let's then just make sure that they are in the correct place. I need to just put that into place like so. That looks good. Let's make sure this one's also in the right place, which it's not like so. Now let's bring in our actual logo. I'm going to bring that one over here. One. I the press said again. Of course, when you're making your own, you won't need to actually have the references or anything like that. There is that. Also as well, we can see that this one is a little bit low, so I need to bring this up. Let's bring it up, so I've got enough room to actually put in the things that I actually need. Something like that. Now, let's bring in this logo. Hopefully, shift. Bring in this logo, and we're going to put it a bit smaller. In this corner here. Somewhere around there. I think that actually looks pretty nice. Do I want it that side as well? I don't think so I do want it on here though, so I'm going to bring it down here, so shift D. Bring it over here. Let's make it a little bit bigger. Let's press Z, go back into solid, and then what I'm going to do is I'm going to adjust bring it back. It's actually stuck on there, let's press dot. There we go onto that and then let's come to this one. Press dot again into place you go like so, and then on this one. And it's place. You go as well. There we go. Now we've got left, we've got these three, so let's bring these out. Over here, press one. Z again, wire frame. You can see that we've put these levels anyway, so that makes it easy for D, like I think I've got two more down here, so' to press d. Bring it down. These are a bit smaller, S and then S, like so, and then shift D, bring them over, like so. Now let's join these two together, so control J. Let's join these three together. So control J, and then let's put them into place, so Z again back into solid. You can see how quick that workflow is now, like so, and then finally this one. Like so. That's that. Now, let's think about these pipes. Some of them we'll need more. Oh, no, we need these two little vents. I think just for this one here, so I'm going to press one, bring them over. Bring them up, making sure that they're going to fit on there, so Z, wire frame, and they're going to fit on there. I'm thinking I probably need to make this a little bit higher actually, we'll just t one back to these vents, and then let's pull them and we'll pull this up a little bit higher soon as we've got a little bit more room now. There and then we'll do the same shifty. Put it there. L so and then let's just grab them. I don't think I thought I'd grab that. This one and this one and this one, Control J, join the above together. Z solid. Let's move them back into place. Double tap the A. There we go. Now I know they don't look that much yet, but it's because we haven't got any materials on them, but they are coming together. Don't worry. Let's bring this one in first, and where's the small? I'll bring it out. A little bit. I'll press one and let's think. I think this one does have one. We've just moved it over, though. If I grab this now because we're not going to really need this, we can see we do have one there. We have one on each of them. I think we have three on this big one and one and two or something like that. I'm just going to grab it and I'm going to basically put it into place because this is where the first one's going to go, so it's somewhere over here. Then I think I'm going to put one there and then one next to it, something like that. Yeah, I think that looks absolutely fine. Then I'm going to grab it. Shift D, bring it up to here, press one, and I'm going to make it a lot bigger, S because this is a really big one. This is the one that goes on top of the actual roof. Let's slide that into place, and we'll have three on this one because it's a big one. Let's prom together, like so, like so. There we go. Double tap the A. If you really want to make it a little bit different, what you can do is you could probably get away with, let's see if we can actually think about moving this one down. If I press old shifting click, you can see I'm having a beer problems because if a press control plus it does take me up to there. Maybe I can do that. Let's try Control minus, old shifting click, control click and control click. So we've grown going all the way around. Let's press G just make sure and you can see, I think I've got them all. Let's press Control plus, and then In fact, I'm going to do this easy way. I'm going to press. Go to wireframe. And then one going to do, I'm going to press C and press the middle mouse bo just to take those off. Now hopefully, hopefully, I should be able to pull those down. So let's have a look Z, solid, and there we go. Let's pull it down a little bit, just to make it that a little bit different. I'm thinking. Does it look any better like that? After all that, I don't think so. I'm just going to put it back to where it was. All right. I'm going to leave that alone. Let's come to the next one now. I think we'll probably give this two, but we'll put them. Maybe I think maybe actually we'll move this one a little bit closer to it, so something like that, and then I'll grab one of them, so shifty, and I'm just going to pull it all I don't want to overthink this? I don't want to overthink this at all, I want to pull this down and then put this into place like so? I think the sizing is actually fine on this, and then what I'm going to do is, I'm just going to press shift d, like so. Do I need anymore? Can I get away with another couple, let's press shift d. As I say, I don't want to overthink this, am I happy with how that looks. Is there too many pipes there or is it enough? Yeah, I think actually that looks fine. I think I'm happy with that. All right. So everything now should be done for these conditioners. The one thing is that we need to basically bevel these off. If I come to this one, I'm going to come to add modifier, go to my bevel, and then I want to put it on nought point, Not three, like so, and that looks fantastic. Control A, let's do the same on this one, then, Add modifier bevel, Noah point, not three. Control A, find this one, add modifier bevel. No 0.3 and apply that. Now we've done that. Let's actually join these all together. I'm just going to move my son out of the way. I'm going to press seven to go over the top. I'm going to press B, and hopefully, I should be able to grab all of that. So if I press now Control J, we can see that I need to write click Shades Move. I need to bring in my auto smooth on, like so. And I'm hoping if I press G now, it's all grabbed. All right. Fantastic. Let's come to the next one then. What we'll do is we'll hide our reference out of the way just for now, and I'll grab it going this way instead because that'll be a bit easy for me. So all of this, let's press Control J. I need to grab one of them. If you control J doesn't work, just shift select another one, press Control J, right click shades move, Autos move on, press the G, just make sure you've got it. Now, let's come to this one. B, grab it, and just wondering why that fan is sticking out there. I don't want that. Before I do anything, just going to pull that fan back into place. Then I'm going to press one. Grab them all. Control J, right click shades move, and Autos move should be on. That's looking good. Let's now see if These you can see here it's not 25.7. So let's bring on 25.7. It shouldn't affect the rest of it because it's pretty blocky, 25.7, and the reason I've done that, of course, is because this one is already on that, and this was the actual file. That's what we turn it down to. Now, all that's left is basically to bring in the materials for these. We're going to do that in the next lesson, and then hopefully we should get all of these done, which will be great and another one down. All right, everyone. I hope you enjoyed that. I'm going to save out my file, so file save, and I'll see on the next one. Thanks a lot. Bye bye. 44. Working with Ambient Occlusion Within Shaders: Welcome back everyone. Blend the three, the ultimate stylized send, and this is where we left off. All right. Let's come now and we'll make our white plastic. Sorry, white metal. Let's see if we've actually got the own material for this. Let's put it onto cycle so we can actually see what we're doing. Then what we'll do is I'll also press sol tage just to bring back my ground plane, and I'm also going to pick up everything and just pull it up here, except the ground plane because I want my ground plane below this air conditioning unit down here. What is why I use the ground plane is because you get a lot of bouncing light off of it, and it really shows up how it actually looks. Let's move those to the side. And we've got something like this. The other thing we can do is we can come and just turn on transparent. So just put it on transparent, and then you're going to get a much much better idea of what this is going to look like. All right, so let's come first of all, then, and we'll look for our white. I'm going to come to this one. I'm going to come to my material. I'm going to look see what white I've actually got. I've got a sine white, sharp, white, and white shiny. Let's call one, or let's make a new one. That's called metal white. Metal white, like what we'll do with that one is, we'll just put the metallic on Where's metalico 0.268. Then we'll put our roughness on not 0.205, not 0.205. There we go, hopefully, that should then look nice. What I'm wondering about is, should I add in a ambient occlusion? I think I probably should. I think I'm going to actually change this and add in an ambient clusion. What I'm going to do this. I'm going to click plus new. I'm going to bring in my build not new, sorry. I'm going to click Plus again. Down arrow and look for building. The reason I've left that one that I've just actually created is because I'm going to create another material anyway. What we do, then I'm going to copy this material, and then I'm going to come to metal white, I'm going to paste my material like so and it's just going to give us that edge that we need. All of this is going to really make it pop out a little bit and make it look a little bit dirtier. I didn't do this in the original, but I think I should do it here. Building, I'm going to actually take that off now. And now I'm going to come to my metal white. And we'll see that we've still got these options here. Now we can actually come in and put the metallic on not 0.26 8268, like so. Then I can also put my roughness on naught 0.205. Now I'm going to this. I'm just going to go in now and turn down that ambient occlusion a little bit. I'm going to press dot. I'm going to come in, put it onto cycles render, I'm going to come in now and drop down this ambient too much. So let's bring it down, so we've got our edges like that. I think that looks much much better. Yeah, that looks much better. I'm happy with that. We've got some tone now around these things and parts like that. I'm also wondering if I press tab. Yeah. Okay. That's fine. I'm not going to mess around with that no more. What I'm going to do now is come back to. In fact, I'll leave it on my shading panel because I'm probably going to need it. Now, let's come to this one. We've got it on material at the moment. Let's make it logo logo light blue, so logo, light, blue. And then we'll have another one, and we'll call that one new logo dark blue. Like so. All right, let's come to our logos. Logos, we'll just have it a color, logo light blue. Let's first of all, though, come. And grab all of this. I'm going to grab all of this here, and I'm going to put a logo light blue, sign, and then this one, logo dark blue, sign. Now, let's come to my logo light blue. All I'm going to do, I think, I'll turn the roughness up to 0.957, and I'm going to leave the metallic on zero and then I'm just going to put this on a blue. Something like that. Press tab. Something like that. Now we'll come to the dark blue. In fact I'll copy this. Copy material. Paste material, and then let's just make this one a little bit darker like so. All right. That's perfect. Then what we can do is once we've done this one, we can again copy the materials over and then just put them in. Okay, with the next one, we've got metal white, and then we need one that's a dark white metal. Let's do that now. I don't think we have a dark white metal, so let's have a look. Dark painted metal I don't like that one, so we'll do another one, so plus new Dark white metal. And what I'll do is again, I'll copy in metal white, so copy, material, paste, material. Then what we'll do is I'll come to this part, press L and M and do is, I'm just going to click a sign onto that. Now all I want to do is just make this actual metal a little bit darker. I'm going to come in. You can see my base color here. This is the color. Can I actually change this color? Yes, I can, that's what I want to do. I want to just put that on back on white, so I'm just going to put it back onto the white. All I'm going to do then is just make this a little bit darker. Like so, and that looks really, really nice. I'm happy with that. Now, let's come. I think we need a black plastic. Let's see if we've got plastic first plastic. Have we got ys, we've got black plastic. Let's bring that in because as well, we don't want to actually make millions of materials. We don't actually want to do that. One, it takes time and two, we don't need that many materials. We can get away with using a lot of the materials we've already used, for instance. All right, what we'll do now is, I think, we'll add in black plastic to here, we're going to come into this part. Like so, and then I'm going to add where is a black plastic, click a sign, and there we go. I'm wondering if I go back to my own, this is dark metal, so I'm going to click plus down arrow, dark, and I should have one that is dark painted metal dark. We'll use that one. What I'll do is on these parts here, I'm going to actually come in with L, L, and I'm going to actually put that as where is it painted metal dark clicker sign. I'm also going to hide out these just for now. Then I'm also thinking that this part here, this fan. They should also, if I go to my own, which is this one here, I'm going to make these fans also the plastic color as well. If I grab all of these, and I'm going to come down black plastic, click a sign. Obviously, we can't see anything on there at the moment. The last one I need to do is the black pipes, which I need shiny. What I'll do is I'll click plus again, new, and I'll call these black. Pipes. I want these actually to be fairly dark. If I come in to these, and then what I'll do is I'll come down to my black pipes, click a sign, and then what I'll do is, I'll put these pretty dark. So even darker than that thing, actually. Yeah, something like that. Do I want them shining as much? Probably not. Do I want them made of metal of some kind? Probably so. Let's bring up the metal and let's bring down the shine a little bit. That looks a little b apart from, maybe they're at a little bit too dark at the moment, so let's bring it down. I do want them though. Darker than this. I'm happy with that. Now, let's finish. I'm going to pull this down a little bit just so I can see what I'm doing. Then I'm going to move because a lot of materials on here. What I want is, you can see this one here. This is if I click on this look, if you click on any face, it's going to tell me dark white met. That's what I want these to be. L and L, L and L, and then dark white metal, click a sign, and there we go. They're really really standing out now. Now we have just one more material to me, which is going to be the main material, which is this actual vents that go over it. What we'll do is click new and we'll call it vents like so what we'll do is we'll Zoom out. And then what I'll do is I'll actually click on this vent, so I'm going to press all tag. I'm going to grab both of these, and I'm going to click a sign on the actual vents. All right. So this is quite a complex material. So I'll think what we'll do is we'll actually save this out, and then we'll actually create that on the actual next lesson. All right, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 45. Creating Complex Shaders with Transparency: Welcome back, everyone to blend the three, the ultimate stylized scene gad, and this is where we left it off. All right. Let's zoom in. Let's move over here, and then what we're going to do is going to create a new material. We're going to create the grates, and we're going to base it again on our actual bricks. If we press shift A and search for bricks. Let's bring our bricks in. Why is it not come up? Let's have another go. Search bricks, there are brick texture. All right. Let's bring that in. Let's press control T, select it, control T, and the reason Mys not working is because I need to bring my node wrangler in again, node. You can see mans are not actually selected. This is why we use node wrangler because now I press Control T, actually brings a texture and a mapping. All right The one thing about these is we're going to base it on U V. I may need to unwrap it or it might be already unwrapped. Let's have a look what they look like. The other thing is now, I'm not going to alter this actually at the moment. I am going to come in and alter it though eventually. What I'm going to do now is I'm going to bring in a color am. Let's bring in a color am. Let's press shift A, search. Color. Ram. Let's put one here and let's press shift de, bring in another color ram like so. Now, let's plug these in. I'm going to grab the color from this one, plug it into this one, and then the color from this one and plug it into this one. Now, let's bring in another color ramp over this side. Shift D, let's drop that over there. Then what I can do is I can get the fat from the bras, plug into the fact of the color ramp and then plug the color into the base color of my actual principle, like so, and now you'll see that we're starting to get somewhere. Now, let's also bring in a transparency because we do want to see through this. Shift A transparency like so, and then let's plug the color from the bricks. Into the color of my transparency, let's move my material output over here, and then let's bring finally in a add shader, and then we can start messing around with it. Let's plug that in there. Let's plug I don't know why it always does that. Maybe let's plug the principle into the bottom, let's plug the transparent into the top and there we go. Can't actually see anything at the moment because we haven't altered anything right now. Now, you will notice that you can actually see through here already. Now if I come in and I bring this down, if I bring this one over here, the color down slightly, you will see the more I bring this down, the more actually we can see through it. That's exactly what we're looking for. The next thing we're going to do is, being as this is based on the UV map, let's actually unwrap these, so U wrap, and there we go, now they're actually this way round. What we need to do now is just make sure that they're going to be the right way round and the right actual size. First of all, what I'm going to do is, I'm going to actually mess around with the actual bricks a little bit. I'm going to do is I'm going to put the off down to zero. I'm going to put the frequency onto 15. I'm going to then put the frequency of this one onto 12, and then what I'm going to do now is, I'm going to change the scale. Let's change the scale to something like 2.3. Let's then bring the mortar size to 0.5. Let's then bring the mortar smoothness to 0.9. And let's bring the bias to minus one. Let's bring the brick width to not 0.56 h, and then find the row height to not 0.550. All right. Something like that, and now you can see they're looking pretty square, but we do have more problems in that clearly the way way too big. So I I now, press tab, You can see exactly what they're going to look like. Now if I come over now to my scaling, and let's turn these scales up a little bit. I now your scales won't be the same size as minus you can see. My scales are going to be like this and you might want to thicker piece in here or something like that. The reason is because your UV map might not be the same. It's important that you try this out yourself and get them to where you want them. It's basically turning these up to where you want them. So you can see that's looking pretty nice. Now, the only thing that we've got problems here is that do you want your metal to be a little bit darker? I think I actually do on mine. Now what you want to do is you want to come over to these parts here and we'll grab this one first here. Then what we'll do is we'll turn this up. And then you'll say that that really, really makes it much, much more se through, and if you come to this one as well, can do exactly the same thing with here. Now, I'm just going to put that on white, actually. Now what we need to do is we need to actually make these great parts into a kind of black, dirty color just so it doesn't look to see through. The way we're going to do that is simply come over to this side, and you're going to grab this one, and you're just going to turn it down now. So if you turn it down, There we go. There is our actual grains. Now the last thing you might want to do is you might want to think about bringing some metallic in, like soaps, even bringing a little bit of metallic, maybe a little bit more rough. L so a little bit shinier. There we go. Simple as that. Now you can see, we've got our actual grates on there, and it actually isn't going to cost in us anything. All right. The last thing then I want to actually do with this is I want to put something on these pipes. I'm not happy with how they are. A I'm going to do is I'm basically going to come. I'm going to grab this first pipe. I'm going to press tab, I'm going to grab one of those. Press Shift S, cursor selected. Shift A. Let's bring in a cube, and let's make this cube a little bit smaller. Like so, I'm going to bring it out, so S and y, like so. I'm going to bring it a little bit bigger, so Ss, and then I'm going to press shift space, move it down into place. S, sorry, S X, thinner, and then I'm just going to put it, so it's just like the actual pipes are going in, something maybe pull it out a little bit more, something like that. And then finally, I'm just going to be level off these edges as well. So I'm going to bevel these edges off. I think actually before I do that, what I'll do is I'll bring it to the rest of them because I really want this actual pipe add in, so I'll bring it out to this one here. Let's put it in place to this here, S and y, like so, S and Z, something like that. Then finally, let's put it on where's my bottom one. Let's press shift deep. Put it onto this one here. Press the dot on, bring it up. And then S and y. So. Let's now join this with this one. I've got grab this one and need to split it off first. LP selection, grab this one, grab this one, press Control J, like so. You'll notice now I've done that as well. It's putting all of our materials. Actually, that's quite nice. Let's also grab this one, so LP selection. Grab this one, grab this one, Control J, so. Now finally, grab all three of these, press tab, and then what I'll do is I'll come to this one first. This this press dot. T like so, and let's come to this one now. Just going to do all three at the same time because then I know that the bevels will be exactly the same on all of them. Is my bottom one all the way over here, and I might not be able to do them all at the same time because I'm having trouble zooming in. If I grab one of these, can I press the dot? If I grab just this one here, I press the dot then? Yeah, you see that it won't actually zoom in because it's still trying to base it around there. I've just managed to do it. You might struggle a little bit to do all three, but I've just managed to get mine in. Then what I'll do is, I press control B, pulled them out. Like so, and there we go. All right, I'm happy with that. I'm not happy though with how this one stuck out here, so I'm going to press L and pull it back into place. I'm also then going to check the rest of them because they're all either stuck out or at least the ngns, like so, and then right click and let's put it on face leg, so right click triangle faces and tries to qu. All right. There we go. Now, let's finally come to this one first. Let's put this on, where is it? I think it's the white metal. Let's put a sign. And there we go. Let's put it back then onto our cycles, and let's have a good look at this before we actually finish this one off. That looks really, really nice. I'm happy with that. Now, what I'm going to do then on the next lesson is, I'll go through. I'll add the materials onto these and by Well, we shouldn't finish this quite early on the lesson anyway and we can move on to the next thing. All right, everyone. So I hope you enjoyed that, S on the next one. Thanks a lot. Bye bye. 46. Tips to Really speed up Your own Workflow: Welcome back, everyone, to Blender three, the ultimate stylized scene guide. And this is where we left off. All right. So now let's come to this one. Click on it. Let's press the dot board. Now, I've already inherited all of these colors, so that's good. And at least as well, I think that this is the metal white, which we want it anyway. So that's great. All right, so let's come in, and first of all, I'm going to select both of these and I'm going to put it on ves. I'm going to hide those out of the way now, and then what I'm going to do is I should now be able to I'll do this on material mode. I think it's going to make easy. So I'm just going to grab all of those in edge legs just to make sure I'm grabbing them like so. And then what I'm going to do is I'm going to put these on black plastic and then hide them out the way. And then what I'm going to do is I'm going to come to these are the frames. So dog painted metal doc. I think that's that. And then I'll come to these ones. And unfortunately, I've got to grab these all separately, and they're really tiny. And we'll do them on these as well. I think these are also going to be black plastic, click a sign. Then let's come to this one. I think this is black plastic as well. Black plastic, click a sign, let's have a look. No, it's not. It should be the dark metal, so dark white metal, click a sign. Yeah, that's better. Now, let's come round to this side, and we'll grab these and this and put it on dark white metal as well. Then we'll come to our pipes. And we'll put those on black pipes, click a sign, and now let's come to our logo. Face the this time just so I can split them off and it's this one first, and then this one, second, like so. That is how it should look. Now, I'm looking to make sure that it's all the same, which it looks like it is. Let's grab then the last one, and we'll bring it up just so I can see it. Like that. Now let's do the same thing on this one. First of all, let's come in. Grab all of this, and let's put it on which one is it now? I think it's the painted mel dot. Let's click a sign. Let's put this one onto vents, let's click a sign. Let's press tab. Yeah, and there we go. Now you can see that's the way it should be. Now let's come onto edge, Grab in each of these, black plastic, click a sign. Et's grab these, and we'll put those on black plastic, click a sign. Now, this is the white metal, so I'm going to grab all of this. Dark white metal, click a sign, and I also think that dot w metals these parts here as well. I'm going to come in. Grab in each of these and click in a sign. Now let's come in and just grab each one of these, and then we'll do the pipes. This one here, This one here, and then come round this one and this one. Lack pipes assign. Let's press all tag, bring everything back, double tap the eight, and just have a look round at your work and you should be very happy if you've got this far because these are quite technical. Let's put it onto cycles render. Let's have a look at those and just make sure that you're actually happy with what you've created. I think they look fantastic. Finally, now, let's come in and rename them. I'm going to actually look on my own to see what I've actually called bye. Let's look at these. This one we'll call air conditioner unit large. Just makes it a little bit easier from looking what the name is of them. So a condition condition, conditioner. Unit, large, like so. Okay. Let's name them all first. That'll be easier. This second one then, I'm just going to again look what I've actually called it. I'll do the actual small one first and the small one. So air conditioner unit double is what I've called this one, so I'll do that one first, so let's press dot. Click on it, press dot. So air conditioner. Unit double. Then finally this one, and we'll just call this one single. Conditioner Unit single. So. Now let's come to this pig one, right click and we can see that we can just these as our sets because they're all next to each other, which is. Now we can actually come to our materials and mark the ones Which are not marked as assets, so that one is, that one is. The n one is pre handy material, even if you're just copying it to a looking to see how it was done. It's a good reference basical is what I'm saying. All right. Let's put these. I think we'll put these somewhere around here, somewhere around there. Then what we'll do is we'll just go to our assets, and let's just grab all three of these, put them into our assets, grab all of our materials, and let's put them into our materials. Let's look at our materials now, and you can see we've got a ton of materials that we've just built out and made, and now that you're free to use these in any of the other scenes and things like that. We've also got a ton of assets already made ready to be brought straight in, but when we actually create the scene. All right, so let's now move on to something a little bit harder, so I'm going to put this on modeling. I'm going to come back now to my actual actual reference. I'm going to come over, and let's click on it. Now, let's look what we've got left. Now, we've still got some of the simple things left like these actual windows. We might do those and actually get those out of the way. We've got the bins, the ball. I'm going to say that the bins b, the palm trees and the moped and the hot dog stand. Yeah, they're probably the hardest ones actually to create. I'm thinking that we should. We've got a large balcony done. We've got both of these done, if you can see. We've got this one, this one, this one, and this one left to do. So I think that we might as well make a start on these actual windows actually. So let's bring that one in. Do something a little bit easier. Just have a little bit of a break from making something pretty difficult. So let's actually make this window. So you can see here that what I've done is, this window here, if I turn up my capacity, is exactly the same window, so these two are the same. It's just that I'm showing how big it is before it actually goes around the corner. All right. So with that said, let's then come in. I'm going to move this over. I'm going to make sure my man is the right height that needs to be. Let's move it down and he's looking Probably a little bit too big there, so we'll make them a little bit smaller and pull them into place like so and that looks about right. Let's make this actual one first. The way I'll do it is I'll simply just bring in a cube, mesh cube, and I'll just bring it over to the right size. You can see it's near enough to the right size anyway. Let's press S. Let's press SNS. There we go. Now what we can do is we can simply get rid of all of these. If I come in, we can get rid of this back and this bottom delete faces, and there we go. Easy is that. That's not it though. We're not actually done, so let's actually do a little bit more work on there. I'm just actually thinking how I'm going to do it. I think I'm going to press Control. Left click right clip. Come round, control, left click right clip, and then what I'm going to do then is I'm going to come grab each of these. I'm going to press I and just bring them in. I'm going to press I again as well when I bring them in because They're quite thick this windows as well. Something like that, I think, that looks really nice. You can see a mine, it's a little bit thinner on this window, but actually, I think I prefer it like this. Now, what we can do, On this one is, I want to make sure that this is all coming out correctly. I can do it compress Control A all transforms, set origin to geometry. And then what I can do is I can bring it out. I'm hoping with my actual solidify. Let's bring it out with solidify. Let's give that try then, so we'll bring it out this way. Let's put even thickness on just to make sure it's nice and even. I think this is going to be a much easier way actually to do this. I think it's a little bit too thick at the moment, so I'm going to bring it back. Just a little bit like so, and now I'm going to do is I'm actually going to apply that, so control, and I should be left with something like this. Now I'm going to do is I'm going to grab not the fronts. I'm going to grab the backs, like so pressed lete and faces, and now I'm going to come to these sides. Now I need to extrude them. Along a certain axis. If I press E now, you'll see that I pull them all the way back in the actual way that I want to because blend automatically works out exactly what you're trying to do. So I can actually pull them back like so. I want to press controls that though, and I want to make sure I grab them. I'm going to press E, and I'm just going to pull them back halfway to where they need to go, something like that looks absolutely fine and might have pulled them back too far. I'm going to press controls that again, controls that again because I don't want to get that double extrude, you don't want that, just make sure you don't get that. Press E, pull them back. Hold the shift, something like that, I think is fine. Now let's come in and actually fix these. All I'm going to do again, what we've done many times before. I think this time though I'll just see if I can do them all in one go. I'm going to grab all those, then come to edgeleg, and grab each of these edges, right click and bridge edge loops. You can see it's not going to work. But one thing we did find out there is that we can come in, grab this, then come to Edge leg, right click, and bridge edge loops. You can see that is actually a much easier way. Face sg, shift click, bridge edge loops. Face slick, shift click, right click and bridge edge loops. Yeah, it's much quicker. It's all about finding quicker work flows. Bridge edge loops, and there we go. Now, let's come in add in the face, shift click, adding the face. And there we go. Simple as that, really, really fast way of actually doing that. All right, so what we'll do now is on the next lesson is, we'll create these two small windows, we'll get the materials on. And I think then we'll actually probably create one of the other balconies or something like that. All right, everyone. I hope you enjoyed that. See you on the next one. Thanks a lot. Bye bye. 47. Creating More Complex Balconies & Glass: Welcome back everyone to blend the three. The ultimate stylized scene guide, and this is where we left it off. Let's create now these two small windows. What I'm going to do is. I'm going to press shift S. Cursor to selected. There we go. Shift A, let's bring in Shift A. Let's bring in a plane. Let's spin it around so R X 90. Let's bring it to this one. Let's press Z as well just so we can actually see what're doing. I'm bring the y frame in, and then we're going to press S and X, bring it in. So S and x, bring it in. Make it a tad digger then, so S like so and that'll do with that size, and then shift d, bring it up. And then let's bring this one in, bring it up to here, and then bring this one out to here, and then bring this one into here like so. All right. Let's press sed now, go into solid. Let's grab this one, control A, all transforms, clicks origins geometry. The reason now we're doing this obviously is because we're going to be using the insert again. I'm going to I wonder if I'm doing both at the same time. Let's have a look. Can I grab this face in this face? I might be able to do them both at the same time. If I press, yes, we can, that's always handy to know. Something like that. Looks absolutely great. Now, let's grab them both. Let's pull them out with E. Let's grab each of these and then press E and pull them back like so. Then finally, let's grab these gleat, faces, grab this face, right click, ridge edge loops, grab the middle, press F, and then the same on this one. We're going to face select edge select. Click bridge edges, F. There we go. Now, let's reset them again now, so I'm going to grab all of them. Control A all transforms, clicks the origin to geometry. Now let's bring in a bevel modifier. You'll have to bring them in separate. Unfortunately, that's just the way it is. No 0.3, so have a look at that. Still too much there. No 0.3. And that looks absolutely fine. Let's press control onto the next one, Bevel. No 0.3. Control A. No 0.03. Control eight. Now I'll do is we'll actually come in and give our glass first. Can I actually do them all the same time? Probably not. I could join them all up, then split them up. That's probably going to be the best way, so I'll do it that way. What I'll do now is I'll come in and bring in the first one, which will be glass and frames. Blue glass, and then we'll p plus down and frame. Frames then we'll do is I'll grab them all. And I'll click assign to frames, and then I'm just going to grab each one of these pieces of glass. Click, a sign on the glass, and there you go. Simple as that. All right. Now let's split them up, so we're going to grab them LP selection, LP selection, and that one slope anyway. So now I can do is I can grab all three, control all transforms, right click origin to geometry. And now we can actually name these. Let's come to let's come to this one first, and we'll call it large Window. L. I'm not sure if I've already got a large window. So if I pressed dot, it should show me the other ones, and there's no window there large, so I can actually call this small window. Small window. Again, let's call this corner window. Corner window like so. A Let's right click and mark as a set. Right click. Once we've found it with the little dot, markers I set, and again, dot, right click, markers Iset. The windows done really fast. Let's put those into place where we actually need them. It's going to be somewhere around there, like so. They look absolutely fine, and then let's just move them into place. Three, put in two materials. You can imagine as well, I put those in the wrong one, so let's just regrab them. You can imagine as well. That once you've got tons and tons of assets in here, it's better off then separating them out. It's also a good idea as well to make a new collection once you've got a scene, which we'll discuss later on. But I think for now, what we'll do is we'll click on the plus assets, and what we'll do is we'll call one windows like so. Then we'll have another one for balconies, for instance, balcony And we'll just split those out. If I now come to my assets, and I'm just going to grab all of just my windows, for instance, like this, you can see I've got a lot of windows here. I'm going to drop these in my windows, and then I'm going to come to balcony. Sorry, then I'm going to come to my balconies. I've got one, two. I think that's all of them. And then I'm just going to drop those into my balconies, and now you can see really, really easy. But you will still have access to all of the assets in one go if you want to see them like that. You can see I miss one here, so I'm just going to put that into. I think I'll put that into windows as well. All right. There you go. You can see I've got there. All right. So that's looking really good. Now, let's make might as well make another probably balcony on this one. Let's have a look what we've got left. If I open this up, we've done our large balcony. I'm just working my way down. We've done these for, we've done this one. This one's a corner one, we've done this one, it might be. I'm thinking probably let's make a different one. So something a little bit different, probably small hotel balcony partition. Let's have a go that because that actual glass looks really, really nice, and if I was making this, I'd want to know how to create that. So that's what we're going to do now. Let's go back then to modeling. L et's press dot to zoom in. Let's make sure once again that our guy is the right size and actually y is the perfect size already, so that's great. Let's make this partition then, and you can see on this one that we haven't actually got an actual balcony as such. A is like a those really modern sleek hotels, they have those glass held in with these things, so that's what we're going to actually attempt to make. Let's say press shift. Krista selected shift A. Let's bring in a cube. Let's make the cube smaller. To the right size that I'm hoping it's going to roughly be, something like this. Again, we are going to use it though to create this partition is going to be a little bit out and we're going to use it to see how far back the doors actually need to be, because we want our guy again to be stored and be able to actually do something out here, maybe put some tables and chairs and things like that. Let's pull this back to where we imagine this is going to go. I imagine that this It's probably going to be the actual length of it. Something like that. Let's grab the top, then press one, and then what I'm going to do is I'm going to pull it up to here, and then we're going to press extrude and pull it up to here. Then finally, what I'm going to do is I'm just going to push this back a little bit. We might have to change this a little bit once we actually get into the actual scene. All I'm happy with that bit. Now what we need to do is need to actually make these parts here or the glass. Let's make the glass first. It's more exciting. Let's press one. Let's press shift S cursor to selected. Let's press shift A, and let's bring in a cube again. Let's move the cube up into place. S make it a little bit smaller, like so when we can see his feet are going to be just under there and it's going to be quite a high tight barrier. Let's press S S and x, bring it out probably. You can see I have grew up to here, but I need to bring this out separately. I'm going to come in. Grab this space, press one. Pull it out to here. Then what I'm going to do now is I'm going to pull this back. I'm going to pull it back near enough just to probably the front of there, and then I'll pull this one back to make it nice and glass, something like that. Now what we want to do is we just want to grab these corners and we want to level them off. But before we level them off, of course, like normal, we should reset our transformations. Let's grab all of those. Let's press tab control A or transforms, plates origins geometry. Let's press one and press Control B and pull those out like so. Something like that looks fantastic. All right. Now, let's think about our little grippers that are going to be in there. Press Shift S, Cursor selected. And then what you want to do is you want to press shift A. Bring in a ue. Make it smaller, and then press tab this time and move it over, because the reason you're doing that is, then you're going to leave the actual orientation in the center, which means that now you can actually come over add modify it, bring in a mirror. That then is going to make it much quicker to actually do this. Let's press one now. Let's bring this up. Now what I'm going to do is in edit mode, I'm going to bring it up. I'm going to bring it into place then like so, something like that. Then we're going to press this and y. And bring it in, like so. Then what I can do is now I can press shift D and bring it down to the other one, which is this one here. Then I can press L, Shift S, cursor to selected, and now I can bring in another cube, so Shift A, cube, make it smaller. Press S and x just to bring it in, pull it back, and then S and Z, pull it up, and there you go. You can see just how easy it was to create that. Now let's press S and y, bring it in, and then let's bevel the top of these and the bottom of these. Let's press Control B. There you go. Really, really fast, as you can see. All right. Are they hanging out too much? I'm not sure. I think they are a little bit. I'm just going to squish them in a little bit more so S and X. So, I'm going to put them to the actual wall, and then I'm going to grab each one of these and pull them into place like so. All right. So now, the one thing that I really need to do is I need to level these off, I need to also level this off and on the next one, we need to actually create this door as well. All right, everyone. So you can see how quick the work flow is getting now, and I'll see on the next one. Thanks a lot. Bye bye. 48. Trouble Shooting Problematic Meshes: Welcome back everyone to Blender three, the ultimate stylized sen guard, and this is where we left off. Now, let's think about these. Do we want them so chunky? I don't think so, actually. So I'm going to do is, I'm going to have a look, first of all, I think I'll have a look at beveling these off. Let's have a look what they'll actually look like. If I just press Control B and bevel them off, are they going to look be like that? I think the answer is yes, what I'm going to do is I'm going to grab All of these now, and press control B and bevel them off, like so, and they look a ton better now. Now we need to do is we need to actually press A, C in face leg, right click and triangulate faces, right click and tries to quad, something like that. They're looking pretty cool, and now I can just actually apply that, so apply my mirror. Now let's come to this part and this part and this part, press Control J, join them all together. Now, again, we can see here that this obviously needs right clicking, triangulate faces and tries to quads, and that's that one sorted, and now everything is no en guns and things like that. Now we can basically move on to press Control A, transforms, right clicks the origin to geometry, and now we can actually come in and use our bevel modifier. Now, I knew this would happen, but the bevel modifier if I put an object is not really going to work that well on these. Now, it might be okay for you now to start that happening, and you can see here and we need to move it off as well, so shades move, to move on. You can see that we haven't really got a lot of bevel there. If I turn this st, you can see it really doesn't do anything. If you ever come across this problem, just go down to geometry and click off the Clamp overlap. Then what you do is you bring it down. Now you're going to have a lot of ability to actually bevel it off. Now, it does come with its own problems, of course, in that it does make a mess of the mesh, but it is a way around to get rid of that. While we're going to do is just going to close that off a modifier bevel, and I'm going to be happy with this anyway because it only needs a slight bevel on it. Let's press control A and apply that, and now let's think about our actual window. I'm going to do is I'm in the center of here. Shift S, cursor to selected, and then Shift A. Let's bring in a plane like we've done many times before. Or X 90, let's spin it around. You can see my windows, not in the center of here, but I'm going to put mine probably in the center of what I'm actually building. Then what I'll do is as if I need to move it, once it's actually in the scene, then we'll do. Again, I'm not going to put my window all the way down to the bottom or anything like that. I'm going to grab the top of it. In edge leg, pull it down let's see where the guy's head is, so something around there looks absolutely fine. Now let's bring in an edge loop, so control. Left click, right click. Let's come in now and make the door. Something like that should be absolutely fine. Grab the whole thing. A, and then let's pull it out. Well, let's pull it back first to where it's going to go. It's going to go right at the back of this one here. Somewhere around here, let's pull it out a little bit. Let's press E then to pull it out now. I'm going to make it quite the because I want to give myself a fair bit of room to pull it back if I need to. Then finally what I'm going to do. Again, say there's always gleat faces, grab both of these faces, E to pull them back. I'm going to pull back quite far, somewhere like that, and then grab this one and pull it forward. So there you go, it looks like an actual door. Now what we can do is again, we can grab just this one here. Grab the back one old shift click, not that one. O shift click and Bridge edge loops, and then we can make the face here. F, and then we can actually come to the back of this with face select, and then edge select, right click. Bridge edge loops, and then F add that face on. Now you're free to move those further back. That's that. Now, let's come in and devel this one off. Let's put it on not point. No point not three. There we go, that looks absolutely fine. Control A, join, Control J. Control A, all transforms right clip, origin to geometry. Now, with the build in this part, let's first of all, Bring in a few materials. Let's bring in, first of all, gray, if I bring in gray, I've got concrete gray and that's the first one I want to do. I'm going to put this onto cycles rent. What I'm also going to do is I'm just going to look to see if what building colors have actually got because, I've only got building building. I really need another one. I'm going to do is I'm going to actually minus that off. I'm going to create a new one. I'm going to call it building gray like so and then we have the plus one, down narrow building. Like so. Then what we going to do is going to copy this, so copy material, and then we can paste material. Copy, and then paste material like so. Now, let's minus this off. Let's come to my building gray. What I want to do now is just quickly come in. Press the db, put it on cycles, and I want to change the color of this. If I come to this, I'm going to make it like so. Then I look at this. If I want to make it more or less shiny. I think for now, it's a little bit too shiny, so I'm going to do is just increase that roughness, just a little bit like so. There we go. I'm happy with that. Now, let's bring in our other materials. The first one I'm going to bring in is frames, so frames. The next one I'm going to bring in is my glass, so glass. Blue this one here. And now let's start bringing them in. So, let's come to face select and grab this face. Shift select, shift select blue glass click a sign. Now let's come to this one, and we're going to click this as frame. So I'm going to click all of these like so I'm going to click frames, and then I'm going to grab both of these and click blue glass. Then we're going to press tap, double tap the A, and there's what you should be left with. All right, really, really cool. All right, so that's that one. We can put this one as a sleep balcony or something like that. No, in fact, we'll call it if I press dot. I can see it's what is it actually clasts, Cubo or one? Let's put it small hotel, modern balcony. There we go. So. Now, let's come to our assets, and I'm just going to press do again just to find it. All right click Markers asset, and then it will be in unassigned, so I'm going to put it in assets first. Then what I'm going to do is I'm also going to put it into where is it? This one here, into my balconies. You can see I've got a couple of stars on there as well, and all that means is it's the blend file has just not been saved out, so I've come to file, save, and give a B T and they'll disappear. All right. Let's come to modeling now. Let's press tab, put it back on material, and now we can actually move them over. What I'm wondering is with this, is it beveled off enough? I don't think it is, and I think what I need to do is bevel it off a little bit more. If you ever come across a problem like that, just grab the whole thing, press delete, limited dissolve. That then, it's not really worked, has it. Yeah. If that happens, then, what we're going to do? Is I'm thinking, where does the bevel start? I'm going to actually see if you see there would be a problem if I come in now and dissolve edges, you can see what happens there. I'm going to do with this is I'm going to just single this one out. I'm going to split it. P, selection, split it out. Grab it again with control ayol transforms, clicks the origin to geometry, and then what I'm going to do is add in another bevel modifier. I'm going to bring it up using my clamp overlap. Let's turn that down. Like so, and there we go. All right, I'm going to do it that way because I think that looks a lot better. We could actually rebuild this as well, because what's going to happen is we're going to end up with double levels on there. What I think I'm going to do, I'm going to just press Shift S. In fact, I'm going to, press Shift S, sa selected tab and then shift A, bring in a cube, and I'm just going to have done it that way just so I can actually inherit the actual material, so S, and then what I'm going to do is I'm going to bring it down because it's such an easy piece, might as well just make it look a little bit better than what it does. So I'm going to bring it all the way back to the past my window. Like so, and then we're going to is, I'm going to grab the top of it face select. This one, in fact, yeah, I still need to keep it, so I'm just going to press Z, wire frame, grab the top of it, pull it up, on the Z. Let's pull it up, like so. Let's press E, pull it up, and then let's get rid of the other one now. So if I come into the other one, in fact, no, won't I'll actually come in. You can see have still go that bevel on, take that off, pull it back to there, and then grab the other one. L G, just to make sure it is that one, which is you can see because we eng bevel on there elete, versus tab let's go now back into this mode control, I'll transforms clicks Origins geometry, and let's now add in a bevel, and you can see to tons bear. Sometimes it's just worth doing that. All right. Now I'll do is I'll just apply my bevel and now I'm going to apply this to this. I want to do it that way around because I've already named everything and I don't want it to not be part of my asset. In other words, if you go to your assets now, so if you come to assets, you'll see that if I save this out, hopefully, it should update. In other words, if I bring this out now, Yeah, you can see what I mean. It's not actually got this on there because we've not updated it. If I come and join this with this, press Control J, it's still updated, but if I bring it out now. Yeah, there we go. It's updated. I'm good enough, good enough. All right. Now let's see that it's on there. Yeah, there we go, small asset. Balcony. All right. There we go. Let's put it into place, and I'm happier with that. And if you ever come across like that, just fix it. You might be using this over and over again, and you might as well just fix it and not leave it. All right. Let's go to file. Let's come to save. Let's go to modeling, and I hope you enjoyed that. Sorry, a little bit of a mess up there, and I'll see on the next one. Thanks a lot. Bye bye. 49. Learning how to Create Palm Leaves: Welcome back if you want to Blender three, the ultimate slezed scene gain and this where we left it off. Let's do something a little bit different now. Let's do some of the foliage within the scene, and that would be the palm tree. We do have some of the leaves and flowers and things like that, but let's get the palm tree out of the way. All right. What I'm going to do is, I'm going to come in and I'm going to change my reference. I'm also going to duplicate this. I'm going to press because I have supplied you with two references. The first one, we'll find it, which is the actual palm tree. So I click this, open it up. And you can see here we've also got these palm leaves. So I'm just going to find my palm tree, first of all, on my palm trees here. I'm going to bring that in. And I'm going to come to my next reference. I'm going to bring in then those leaves. And this then is going to make it really, really easy for you to actually create this actual palm tree. So what we're going to do first is we're going to actually press shift S while we're on this one. Cursor is selected and then shift A, and we're going to bring in a plane. Let's spin it around so R X 90, press one, so we're looking straight onto it, and then what we're going to do is withdraws going to pull it to the beginning of the palm, and then I'm going to pull this edge to the end of the palm. And we're going to actually use this. The size it is at them, we're just going to squish it in to create our palm tree. Let's press Z going to wire frame, and then what we're going to do now is going to bring in some edge loop. First of all, bring in the side edge loop, so let's press control. Bring in a few like so, left click, right click. You could mirror this, so you've got it same on both sides, or you could just pull them all in together. So I'm just thinking, I want to pull them all in together. I'm going to grab these two here, for instance. I want to press S and y and bring them in with medium point. S and y bring them in, and they're not coming in. So let me just put it on here and see if I do it this way. So S and y. And the reason it's not coming in, of course, is because it's SNS. So let's bring it in with SN so Let's bring this one in, so SSD actually on this, the less actual polygons you use because it is a stylized palm, the better it's going to be. I'm just going to grab mine and actually put it on there. And it's a little bit even the actual language took it. So SSD, start bringing it in, and then S and Z don't worry if it's perfect. I just needs to kind resemble a palm tree as you can see. So SN is not going to be exactly the same. So something like that looks absolutely fine. All right. So now what you want to do is You want to actually grab this one, and you want to spin it around. So R x 90 doesn't matter which way around you spin it. And then what we're going to do is we're going to press one, and we're going to bend it now. So I'm going to bend this down, bend it in the middle, and then bend it down to this side. So I'll do this one first, I'll grab this. Sorry, before I forget also, we actually need a one in the middle. So I'm just going to press control, left click, right click. And then what I'm going to do is I'm just going to bend that in slightly like so. So you can see now that's what it's going to look like. And we can probably as well get away with just going in solid mode now as well. All right. So that's what it should look like at the beginning. Now, let's come to these edges. First of all, let's press one on the number pad, and let's bend it down like so. Let's come to the next one then, lt shift and click. Let's put proportional editing on, that's going to help us out a little bit, and let's pull this out then and just bend it up like so, and then let's come to this one. So lt shift and click, bend it up. Like so, and then let's come to the front. Shift and click. Just make sure you've got both of those, press one, and then let's bend this one down like so, and you should end up with something like that. All right. Then one I'm going to do now, I'm going to make three different versions of this. I'm going to press shift D. Bring it over. Shift D, bring it over. Then what I'm going to do is I'm going to come to this one first, so this middle one, and we're going to pick it up just a little bit. We're going to grab both of these. Maybe pull those up a bit, like so, to make them a little bit different, and then finally come to this one. And we'll bend this down. Like so and there you go. They're looking pretty different. The other thing is we could make them one a little bit smaller. I I grab this one first, right clicks the origin to geometry, S, and then let's grab this one, right click the origin to geometry, S, make it a little bit bigger. Then finally with this one. Let's squish it in a little bit, so S y, so. Now I am actually looking at how actual wide they are. Are they too wide? I'm not happy with them. I think I'm going to squish them in a little bit, so I'll squish this one in. And then I'll leave this one as it is. So far so good. Now we need to do, as you can see on our actual palms, they've got little cuts going down them, and you can see that the little cuts really come just past the halfway point. I'm going to do is I'm going to press seven to go over the top. We'll come to this one first. In fact, I might as well join them together now. It's just going to make it that little bit easier. I'm going to press control J, join them together, and then I'm going to do is I'm going to come in now with my actual n tool. What you need to do is just press K, and you're just going to Cut them down a little bit. Now, try and point them going backwards towards where the actual root is of these. So make sure that they're going this way. As they generally get down here, they will get probably figured, so you want one each side. Three, this side, and maybe two this side. I'm going to go K, generally, they don't come from the same point, generally they will come from a little bit of a different point, as you can see, like so, and then K. L so, there we go. Let's right click. Let's mark Seams. Just to get in the habit of that, you can see the mats seem there. Don't really want that or this one, so right click and clear seam. Now let's come. Yeah, we'll get rid of this one as well, so clear seam. Now let's come and do this one. Exactly the same thing. Just try and make them a little bit different though. I'm going to go probably something like that. I'll do this side first, so I'll make these ones a little bit different like so, and then K. Like so, and let's do this side. And maybe like this and so maybe we'll have three on this side as well. Like so. Now, let's right click and mark same. Again, let's clear this see. Don't know why it why I keep actually selecting it, but there we go. I think it's because I'm actually just selecting it. I'm just going to double tap the in and I'll clear that for me. All right. Now on this one, let's start with right up here on this one, right up on the tip so making it look a little bit different. Try not to go past the midway point, of course, because that would not be realistic, something like that. And then let's come to the other side. K. You can see just how easy it is to actually make these leaves and then K, like so. All right click, Mc sm. Now, let's come in with L, and what we're going to do is we're just going to grab each of these like so. And you guessed it. We're just going to delete them. So, like so and so. Let's press delete and faces. There you go. You can see already how good they actually look. The last thing we need to do now is we actually need to solidify these. You can press E and bring it down, but the thing is if you do that and extrude them down, you're going to end up with them coming in this way and we don't really want that. What we're going to do instead is, first of all, we'll actually add in some actual polygons just so they're not gons and things like that. I'm just going to make some come down, triangulate faces, and then of co, we tries to quads and there we go. Now, let's press control. All transforms, right click origins geometry. Let's then come in and bring in a solidify. Bring in your solidify. Let's probably bring it down, holding the shift button. Something like that thickness should be absolutely fine. You can see they're looking really, really nice, and then let's come over to the right hand side, press Control A, and finally, then we just want to smooth these off. We're going to smooth them off, click on Auto smooth, and you should be left with something like that. If they are a little bit too smoothed off like this, just make sure you turn it up, Jos a tad just to get rid of those so the smoothed off nice and clean because we don't actually want that. You could also be level them as well instead of doing that, by think I' going be happy with them like that. All right. We've got our three leaves. Now we actually need the actual trunk of our palm. Instead of what I'm going to do and we're just going to bring them over. I know that these are probably going to be a little bit too big, as you can see. Let's just shrink them down. In fact, no, not. I'm actually going to make this a little bit bigger because I can see that my guy here is way way too big. Let's shrink them down and then we'll have a good size and see. Actually if that's going to be the right size. I'm just going to get him into place, like so, and there you go. It's around about the right size, and now let's have a look at these palms and see how big they are. They're still probably way too big as you can see. I'm just going to shrink them down just a little bit, something like that. And I think they're going to look a bit better. I'm not going to work on the reference. Now I'm actually going to work it back. I once have actually got this actual trunk in. I'm going to do then on the next lesson is we're going to start on the trunk. We'll start on the bottom and then we'll ray the top going up. Then we'll use a curve modifier to actually bend it and finally, we'll put these actual palms on. All right, everyone. I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 50. Working with Curves to Create Palm Trees: Welcome back, everyone to Blender three, the ultimate stylized scene guide, and this is where we left off. All right. So what we're going to do is we're going to press one. I'm going to shift right click just to put my cursor there, and then I'm going to do is going to press Shift A, and I'm going to bring in a cylinder. Let I think we can get away with something on 16. I think that should be absolutely fine. And then what I'm going to do is I'm just going to shrink it down, like so, and then I want to bring it out. So I'm going to press Control. I'm going to bring in two left click, right click. And then what I'm going to do is I'm going to grab the bottom of this. So Alt Shift and click. Press the SP, bring it in. So I want to bring it in like so. And then what I'm going to do, I'm going to make that actual actual root on the bottom of it, press the S bond, bring it in now, like so, and then S again, and bring this one in like so. Now finally, just make it all bigger, so press S, bring it all out, and I think that should be fine for the start. All right. So now what I want to do is I want to bring the next part in, which will be these little things here. They are facing a weird angle, so you can't really see too much what they actually look like. But what I'm going to do is I'm going to bring in another cylinder now, I'm going to shrink it down, and then I'm going to bring it up like so into place, and then all I'm going to do to press dot to zoom in. I'm going to come in and press Control left click. And I think I'm just going to, I'm going to put it in the middle. I think that should be fine, and then I'll grab the top of this and then press the S button like so, and there you go. You can see that's looking pretty nice. All right. On Mine, I've actually leveled this off as well, so I probably will actually do that. Let's come in and level this off, so Control B. Not with that many, though. We don't want four on there. We just want probably one. Yeah, and that's going to look good. Let's come in and also bevel this off. Control B, like so. And finally, let's also vel this off, so we've got it done, so Control B, and there we go. All right. So now we just need to add get rid of these ngns before we do anything. So I'm just going to grab them both. Press tab, press A. Make sure I'm in face select, right click, triangulate faces and tries to quads, and that then should have fixed that. Now for the press tab, I can just basically grab the top of here. Press Control A or transforms, right click, set origin, two geometry. And now let's bring this up to where I actually need it. So what I'm going to do is I'm going to press one. I'm going to come over to my actual modifiers and then come to the array. Set this to zero. We don't need it on the x, we only need it on the Z. And I think if I pull this up then, I should be able to bring it up like so. Let's then click on the array and just bring it up and you can see already how that actually looks. Pretty nice. Now what we can do when we've actually created this is, we can make it a little bit smaller once we've done that near the top. So first of all, let's come in and actually apply our array. Then what we'll do is we'll join it all together now, so control J. Now finally, what we'll do is we'll just make this top a little bit smaller. So if I come in, grab the top of here and I press S. We can see if we bring this all the way out, and you can see it's coming in just on that one. We don't actually want that, so we need to take off connected only. And now I press S, we're sure be able to bring it in like so, and now you can see we're actually getting somewhere. I think I'm also going to bring this one in as well. So I want to bring it in. There we go. That's actually looking a little bit better because they do get a little bit bigger going towards the top. All right, so I'm happy with that. What I want to do now is right click Shade Smooth, and then what I want to do is bring in my Auto smooth and just make sure I'm happy with those, which, I actually like them better than the actual original. Now, let's think about actually bending our actual palm tree. So how do we do that? Well, we use the curve modifier. If I bring in a curve two here, so if I press shift A, going to bring in a curve, so bezier curve, let's spin it around to make sure it's facing the right way, so R y 90, and there we go, and let's bring it up like so. Make it a little bit bigger like so. Let's put it into place. Something from there. Then I think actually I can break it and bring it up. I think it's actually up to here. What I'll do is I'll press A, and I'll bring in another actual subdivision. Subdivide it. Now what we can do is we can come back to our palm. We can column two, our actual modifier, add modifier, bring in a curve, and then obviously going to make the curve object is going to be on this here. This one here, you can see it didn't click that, so I'm going to do it again, curve object. Bezier curve. There you go. Now you can see. Now, if I bring this down now, you can see how that actually curves, let's actually just move the reference out the way. There you go, there is your actual beautiful curve that we've got there. Of course, now If you come to your actual let me find my curve. There it is. If I press tab, now we can see the curve, and I can actually move it now in real time. So if I move this as you can see, I can actually turn that curve wherever I want. Now good thing is about this. Now I've grabbed the actual curve. I can press shift, click and click the palm, and then I can move it over. And then what we can do is we can now make another palm. So I can make it a little bit smaller, like so. And then what I can do is come to this curve if I can find it, so this curve in here, and then I can actually move this over this way. Let's turn this off a minute the proportion editing, and let's just move it over there. Like so, and let's make it a little bit different. I'm going to bend it on here, like so, and that one looks pretty different to this one, as you can see. A tab, let's bring it over. Let's have four of these, so I'm going to bring it over to here. Exactly the same thing. I'm going to try and grab my curve tab. There we go. Let's press G, just to move this over a little bit, like so. There we go. I'm just trying to make them look very different from each other. This one, I'm going to make it a little bit straighter, as you can see. Now what I'll do is I'll grab this again, shift g for the last one. And there we go. Now let's grab the curve in here, tab, G. Let's move this one over like so, and let's move this one over so. Does that look good, though, because it's like maybe this is two wavy, so I'll grab it again and I'll move this like so, and that looks a little bit more realistic, bit too wavy there. All right let's grab both of these. Let's move them over. Now what we can do is now we've got these, we can actually start putting our leaves in. What I'm going to do is I'm going to first of all, I think I'll put all the leaves together and then we'll move them around a set point. I think that's what we'll do. What I'll do is, first of all, I'll come in. I'll grab both of these. Like so. Both of these shift as selected, and then let's press shift A, and let's just bring in a cylinder. Let's make it smaller, seven on the number pattern, we're just going to move it out now, like so. Now, the other thing I'm going to do is I'm just going to shrink these ends in as well. So I'm going to come to these ends while I've got them, I'm going to grab each of these ends. I feel like they're a little bit too fast, going to make it a little bit harder for me to actually put them on the end of my palm trees. And then what I'm going to do now is, I'm just going to press S and shrink them in, but I want to shrink them in on individual origins like so. All right. That's look in much better. Now I can actually come and fit them on here. Let's grab the first one. So I'm going to press L. I'm going to press seven to go over the top, and then I'm going to fit it into place like so. Then I'm going to grab the next one. I'm going to press L, and I'm going to bring it. In fact, I need to bring them all together. That was a little bit silly on my pot, so I'm just going to grab them all together like so, and then I'm going to pull them back into place like so. And then I'm going to grab this one. I'm going to bring it up to just about where this one is, like so. And then what I'm going to do is I'm going to come back to my cylinder. Little sideways V again, put it on three D curs, now come back to the other one, and then grab it. So you've grabbed it like that, and now press zed and now you should be able to spin it round. Unfortunately, that's not where I want it, so I need to come back to this, shift S, cursor two selected, and now I should be able to come in and rotate it round where I need it. There we go. That's exactly what I want. All right. Let's come now to this one, so L, bring it up. Like so, and then let's rotate it round. Z like so. Then what you need to do is you need to put a few more of these in. If I press shift D, let's put one in the halfway point, Z like so, and then let's come to this one, L, shift D, T Z, like so, and then another one, which will be this one, we'll grab this one, shift D, and then R Z, pull it around here, and shift D Z, pull it around here. Then finally, this one, I think, we'll use over here. Shift D, and then R Z like so. There you go. It's as simple as that. Now you want to do is you want to pull some of these up, of course, because we don't want them all in the actual same place. I'm just going to grab these and pull them up and just split them up a little bit. So now you can see it's realistin, to come together. You could put some coconuts and things like that on here as Now, what I'm going to do finally is, I'm they're already joined up, so that's really great. I'm going to press that little V sign, come back to individual origins, and then what we'll do then on the next lesson is, we'll actually start separating these out a little bit more, making them a little bit smaller, and just making them a little bit different actually. All right, everyone, so I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 51. Creating Shaders with the Gradient Node: Welcome back everyone. Blender three, the ultimate stylized scene guard, and this is where we left it off. Now, let's come in and grab some of these. I'm going to grab this one first. I'm going to press S, Ma it a little bit smaller, press the G and just put it into place. I think I'm going to lift it up a little bit as well. Let's grab this one, press L, make it a little bit bigger. Let's grab this one. W L, make it a little bit smaller like so. Pull that one back into place. Now what we need to do is bend them a little bit. I'm going to do is I'm going to put my proportional editing on. I'm going to make sure that connected only is on because I don't want to move them all at the same time. In fact, maybe it's actually better putting connected only off. Then what I can do is I can come in, press the G b, bring it out, and then just give them a little bit of movement like so, just make them a little bit different. Then what I can do is I can actually put connected only on, and now I can come in and move them separately as you can see. Just bring it in though because you don't want to pull them from that part. I'm just going to go around now and just make them a little bit different. Just take your time with this because you might as well just make them look as nice as possible, so I'm just going to make them look. Different from each other like so. They're looking really, really good. Now the last thing is we need to obviously put them on there and we need to also scale them up to make sure that the right side. I'm just looking now at the size of them. These are quite small, these palms or this one is, what I can do is first of all put this on. I just need to make sure that this is scaled to my actual palm. I also want to make sure that none of these are actually going through each other, which they're not. I also need to make sure that they're all coming to the middle. I'm going to get rid of this cylinder and now we can see, there's where they're coming to. Let's grab them. Let's probably make them a little bit smaller. Let's before we do that, control A or transforms, right click, set origin to geometry, and now we can make them a little bit smaller. Now let's go over the top and put them into place where they need to go. You can see that realistically, I want them fit in into here, and you can just follow the where the actual palm is going. You can see on this one that the palm is rotated this way. If I press and x. You can see that now I can fit that in near enough perfectly, and just to move it a little bit, just press G like so. Now what you need to do is grab both of these. You can see we've still got our mirror modifier on, so we might as well apply that. We're not going to need that anymore. Let's press control A on this one, and we can also then grab our actual curve and press delete. We don't need that. Now what we can do is we can bring this one over here like so. I don't want to join them together yet because I'm still going to need this one. I'm going to do now is I'm going to press shift D. I'm going to spin it around. So A Z, spin it around, like so, and then what I'm going to do now is fit it onto this one. The reason I'm spin it around, of course, is because I want the leaves to look different. I'm also going to make this one a little bit smaller on the leaves like so. And there we go. That one's actually fitted in, I think, not perfect. It needs to be spun on the Y like so, and then G free movement, and then G L so, and there we go. All right. Let's try and grab our curve. I'll actually apply our curve modifier as well, so control A, and there's our curve there, press delete, and there we go. That's the next one down. Let's pull this one over, like so. And now let's bring this one over, so shift D. Over to here, let's make here a little bit bigger. Let's try and fit this one into place. G, and let's spin it around. So Z. Let's see if you can get this one going into place like so, and just slowly get it in and there we go. Now, let's rotate it, so x this time, rotate it a little bit. G, and maybe rotate it on the x again, bit more. And there we go. All right, I'm happy with that one. Let's get rid. Let's apply our curve again, so Control A. Let's get rid then of our curve now, delete, and let's move both of these over here like so. Double tap the e, and I'm just looking to make sure I'm happy with those and y they're looking pretty nice. All right. So now let's come in and the final one, so I'm just going to press D. I'm going to press S and just to make this one a little bit longer like so. Then what I'm going to do is I'm going to press G, bring it now into place. So, like so and then r y, let's rotate it. G, and maybe maybe rotate it on the x a little bit more so r X rotate it round, and then r and said, and then let's just put it back in place now because I forgot to actually just rotate it round that little bit. That looks fine. Now, let's get rid of the curve and app curve again, Control A, delete the curve, and now we should be able to join them together. In fact, do we join them together or do we do that once we've actually created our actual material. Probably better off actually creating our materials first. Let's delete this out of the way. We're not going to need that. Let's also hide this out the way, we're not going to need that. I'm also going to put my sun just over here so it's not going anyway. The thing is about the sun is as it's an infinite light sauce, it doesn't matter where it's placed on the scene. If it's closer to something, it doesn't make it brighter because it is a sun. It could be way over here, and it'd be exactly the same light, exactly the same shadows as if it was close ups? You could actually just grab it and put it way way over there, and then it might make it a little bit easier for you. All right, so I'm happy with that. I'm just going to hide this one out the way as well, and then what' going to do now I'm going to come over. Grab my palms, plus, new, and we'll call this palm leaves like so. All right. Now, we'll be honest that I actually went a little bit overboard with palm leaves because I just enjoyed actually creating the palm leaves actual texture. Let's actually replicate that now and see what you think of it. Let's come over to shading, and let's actually on the obviously my left hand screen, I have got exactly what I did. This one is a fairly complex one. I'm just going to pull this up a little bit. I'm going to press dot and just set myself up in my cycles mode ready to actually do this. Let's pull my material output over here and let's finally go over here. The first one we're going to bring in is going to be a gradient. Shift a search and search for gradient, gradient texture and bring that in. Right. The next thing you want to do is just bring in a mapping and texture. So if you grab it, press Control T, and there you go, you can bring those in. And what I did was, I generated it on basically the normal. Basically whichever way it's facing towards the light, that is where this is going to be based on. All right, so let's move the gradient just over here a little bit, and what we're going to do is we're going to put this gradient on spherical. Basically, this is the gradient. We can go down and get darker as it comes down, or it can get lighter and darker as it comes out. That is what the vehicle does. Now I'm going to do is we're going to alter a few of our mapping. I'm going to do is I'm going to put the Z on not 0.3. I'm going to put the scales now on not 0.1, not 0.4 and not 0.6 like so. Again, if once I've done this, go into your own and you can mess around with these and you can also frame them because you have to do that now, so just go and do that if you want to. Next of all, we're going to bring in a color ramp, so color Ramp, drop that in there, and I'm going to plug the color from the gradient into the fact of my color ramp. The position on the left one is going to be 0.155. So just grab this 1.155. And then the position on the right one is going to be 0.51. This one here, naught 0.541. Now, let's bring in the colors. We do want to keep it on linear as well, I might add, so let's bring in the colors. Again, I'm going to grab you the color. So Control C, grab this color where the xs, so on x, and then control V. So it's A 79900, should be a nice yellow color, and then we'll come to the next one now, which should be, I think, it's near enough the same. It's a little bit different, but it's just a little bit brighter of a yellow. So I'm going to grab this one. And again, x value, and there's the next one. So just put that number in. Or get it as close as you can to my actual color, so you can see it's a little bit brighter on the yellow. All right, so the next one we're going to bring in is a overlay. So if I come over, I'm going to bring in an overlay to kind of bring these all together. So I'm going to press shift date. Remember, overlay, we don't actually have one, so it's a mix RGV. Put it down there to overlay, which is this one here, and then bring the color from the color ramp into the color of the actual overlay. Now, the last one I did on here is I brought in an RGB curves because I wanted to control how bright or dark I actually wanted my palms and RGB curves is the perfect way to actually do that. So I'm going to do is I'm going to press shift A. Just pry in RGB, and you will see one that says RGB curves. It's just like photos In photoshop, you have this one, which is some curves where you can actually mess around. Just going to click on it and just pull it down a little bit. And once I've done, I'm going to show you what that actually does. Now, let's plug the color into the color of our GP curves, and finally then let's plug the color into our base color of our palm. You should see something happening. You can see a very, very sophisticated gradient on here. It's very, very subtle, and that's exactly what I'm going for. All right. So what we'll do then on the next lesson is, we'll actually get this finished off. Hopefully, we should be able to get both of the actual materials done, and then we can actually bring them and put them into our assets, and that's another asset done out of the way. This one again is a little bit harder than things we've been doing before, but you can see how we've ramped that up the difficulty and we'll carry on doing that. All right, everyone. I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 52. Finishing our Complex Foliage Shader: Welcome back, everyone, to Blend three, the ultimate stylized scene guide. Now, let's come in and bring in a Veroni texture. If I press shift A search and look for VOR, you'll see one that says a Veroni texture, and just bring that in. Zoom into it a little bit, and we're just going to change it to four D, and we're going to change where it says F one to n sphere, di like so. Now we want to change is just a scale. We're going to put on 3.1, and then we're going to put the randomness. We're going to leave that on actual one. Now, if I grab this and press Control T again, then you're going to get your actual mapping, and we want it again to be based on the normal, not generated, and then I'm just going to put that over there. Don't need to change anything else on there. All right, so the next thing we want to do then is we want to bring in a math node. So if you press shift A, do a search and bring in a math, drop that in, and you want to change the math to divide. Put this on divide. Then what you're going to do is you're going to plug this then into that W on our Veroni texture. All right moving across now, not too many left. Let's grab our math node, press shift D, and just duplicate it, and then what we'll do with the next one is, we'll put this on to subtract. Then what I'm going to do is now, I'm going to plug the value into the bottom value of my divide. All right. So now we want our noise texture in, just to give it a tiny bit of noise. So what I'll do is I'll press shift d again, search, and I'm looking for noise texture. This one here, noise texture. All right. Now, let's bring in. I don't think I need a mapping on this. I think all I'll do is I'll just bring in a texture coordinates instead. I'll think I'll just steal this texture coordinates here. I'm going to press shift D, bring it over like so. Then what I'll do is I'll just pull this down a little bit, and I'm going to put this time on generated, and I'll plug that into the vector of the axle noise. I'm also going to have to plug it into the divide. So I'm going to pull it over to the divide and drop that in there. Let's move this down a little bit. All right. Now, let's join the color up to the top value of our subtract, and then let's put this value on one. Let's put it on one, like so. Now finally, we need to turn up the scale of our noise textures, Let's turn you up to something like let's think a 10,000, ten, one, two, three, 10,000, something like that. Let's put the detail on zero. Let's put the roughness on one, and let's leave the distortion on zero. Now, finally, let's use that Veroni texture now with a color ramp. If I come over to where my Veroni is, let's bring in a color amp. I'm going to make a new color ramp rather than duplicate this one. I'm going to press shift A and bring in a color. Ramp like so. I'm also going to turn the linear to B spline. Of course, this alters how these colors actually get mixed together. Now let's plug the radius into the fact of my color ramp, and what I'm going to do then is I'm going to plug the color into the color of my overlay. My overlays over here. I'm just going to move these over just so you can see. Let's bring the overlay here, and then what we'll do is we'll plug the color into this overlay like so. Now what we'll do is we'll plug the Alpha. Into the fact of the actual overlay like so. Now, let's come in and actually start messing around with some of these. As you can see, now, this is what's happening. Now we obviously need some greens in here, so some really, really nice greens. Let's come to the first point and we'll put it on position, not 0.405, and we'll get the color, which is going to be a x value of this color here, not 0.55 206, like so, and you can see already exactly what that's doing there. All right. So now let's come over to the next one. This one here, and it's going to be on not 0.791. And then we're going to have a color value of this x number, which will be this number here. Just put that number in, press center, and there you go. Now, why have we got the curve, which is what we was talking about? Let that load up and you can see really, really how subtle this is. That's exactly what we're going for. Now, this curve, as you can see, if I bring this out now, it makes it darker or it makes it lighter, really, really easily. You can also bring it down here, put in another one, so Control click Then bring in another one and bring out some more of those actual leaves like so. You can see really how easy it is to actually do that. You can also as well change the colors to be much brighter if you want to. You can make it more yellow. You could have add another color in here probably. I'm thinking as well, We can also make these colors a little bit brighter. To do that, all you would do is you press shift date, and you bring in a gamma, gamma, bring that in, drop that in here. Then if I turn this up now, you can see we can really start to bring out that actual yellow in as well. So the higher turn this up look, the more yellow we actually get. So it might be worth as well, bringing that yellow up a little bit, just to actually bring it in a little bit more. I think I'm really really happy with that. I'm going to do now is I'm going to click on each of my palms, click the down arrow and look for palms, so palm leaves, and then come to the next one and same thing. Palm leaves. Like so, and then finally, this one, Palm leaves like so. All right. Double tap the eight. There we go. Now, we've done the palm leaves. Now we need the actual Well, this pretty similar to coconuts, but the actual trunk of the actual palm tree. Let's come over then to the trunk. The trunk again is a fairly complex trunk. I wanted to actually do it so that if you had a close up of it, if you look on the reference, you'll see that you've got tiny not hairs, so much, but the tiny little indentations in it, and that's what I was actually going for. I probably overdid it on the complexity. But let's actually give it a try. So I'm going to do is I'm going to come to my trunk. Plus new and we'll call it palm trunk. There's also the fact that I did want to make these materials more and more complicated as we actually work along this. All right, so that's the palm trunk. Let's come in then, find our principle, move our material output over here. Like so, and then what we're going to do is I'm going to zoom into mine on my left hand side. The first one I'm going to bring in is going to be another gradient. So let's bring in over here a gradient. So shift a search, gradient, and I really really like that actual note. It's one of my favorite nodes because it's really easy to actually gradient things up and down it. I also use it a lot in things like a photo shop and in substance painter as well. It's just such a nice actual note. All right, let's grab it. Let's press control t and bring in a mapping and texture coordinates. Now, I've based this on mine on UVs, and I'm not sure if I should base it on UVs, I think for now, I'm just thinking, I'll leave it generated for now because we haven't unwrapped any of these, so I don't know if I actually unwrapped them on my original, but I'm going to show you anyway if that's the case. Let's first of all come in though. In fact, we're going to have to leave the rotation and everything. We're going to have a. We're going to plug it in. We're going to plug this in to our base color. I'm just going to look now. I I spin this round, so you can see if I spin this round, what's actually happening, there you go. Let's put this on 90, also there you go. This is what's actually happening. Let's put this on 90, like so, and then let's move this -0.8 and actually have a look. Now, let's put this on UV and actually see. There you go. Yeah, that's actually worked. We didn't actually have to unwrap it and you can see now that gradient is what I'm looking for. I actually gets lighter as it goes up each one of these. That is what I'm looking for, and actually that worked out pretty fine for us. Now, let's come back. To our gradient and actually give it some color. You can see now that we've got the gradient in. Now what we want to do is work on giving it color. When you make materials, just break them down into how you actually want them to work. The first thing you should do is maybe look at the color and then look at the noise on top of that and then look at the ambient occlusion. And then finally maybe look at something like adding little bumps and things like that with displacement. Let's come in to our color ramp. So I'm going to do is going to press shift A, search, color, ramp, drop that in there. Then what I'm going to do is now, I'm going to zoom in. I'm going to come to my first node, this little pointer, which is on point naught 64. Then we're going to come to the next one. I'm going to add in another one with control click, and this one is going to be on 0.277, 0.277. Then finally, the last one, which is going to be on 0.836. This one here, not 0.836, like so. Now let's grab the color. So the first color on the hex. Is going to be this one here, so control v44c2, c0e, enter, and then what we'll do is the next one, so 1 second. Let me grab the next one. Which is going to be this color here, so Control V, like so. Then finally, the last one, which will be a yellowish color, so Control C, grab this one, Control V, and there we go. You can see already now what's actually happening. Now, the thing is on my actual palms, I think I didn't actually change the roughness. Let's come over actually and fix that while on it. Let's bring the roughness just down a little bit because they have got a bit shine to them, but not that actually much, so I can see it shining off here, so I just want to fix that. Now, let's come back to the palms, and what I'm going to do now is, I'm going to actually bring up the roughness a little bit. So let's come over to my roughness. And I'm going to put it on 0.7 for something like that. You can see it's looking better already. All right. Now let's go back and what we're going to do is again, we'll bring in an RGB curves to give us some control over this. Let's press shift A. Let's bring in RGB curves like so, and let's drop that in there. Let's put a pointer in there and there we go. So that's that bit done. Of course, now we need an overlay for this. Let's press shift A, mix RGB. You can see most of the time most of these actual materials are made up exactly the same way. Mix RGB and we need it onto overlay like so. Okay, now, We've done that. Let's now focus on our ambient occlusion. So let's come out, and let's come over here, and what we'll do is, we'll bring in, first of all a ambient oclusion. So I'm just going to press shift day search ambient occlusion like so. And now what I'm going to do is on the next lesson is start building up that ambient occlusion, just to give this some darkness down each of these. I thought it was important on this tree trunk to make parts of it darker and lighter and things like that. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 53. Working With Bump & Displacement: Welcome back everyone to Blender three, the ultimate stylized s guide, and this is where we left off. Now, let's come in and do something with this ambient occlusion. First of all, I'm going to bring in geometry node. Just tell Blender where to put my ambient occlusion. Let's press shift A, go on to geometry, Geometry node, and let's put it on random per island and drop this into your actual distance. All right. Let's move in on and we need to obviously give it a color or there won't be anything there. Shift A, color ram. Like so. Let's drop that in, and we'll basically plug the color then into the fact of my color ram. Now let's plug the AO, so that didn't work. Let's plug it in. There we go. Now let's plug the AO into the fact of the actual overlay. Finally, then let's plug the color from the color ram into our actual overlay. Then you'll see something actually happen. Now, if I zoom into here, and I turn this up, you can see that it gets darker. I bring it down very slowly. Let's zoom in very slowly. You can see the more I bring this up, the darker it gets in between there. It is very, very subtle, but still we're actually getting some darkness in there. That's basically what I actually wanted to achieve with this ambient inclusion, just to give it a little bit of darkness going down there. The next thing I want to do is I actually wanted to give this a little bit of displacement to show you how displacement works just in case you actually want to use it. Let's actually crack on with that now. The first one I'm going to bring in is I'm going to bring in a wave texture. Five press shift A come in to wave and wave texture. Drop that in there. Let's zoom in a little bit and just make sure some of these are correct. So I don't want it on x. I actually want it on the Z axis, so let's put it on the Z axis. Let so we'll keep it on sine for now. We'll put the scale. We'll leave that on five. We'll put the distortion on 14.7, something like that. We'll put the detail on 2.7, and we'll put the detail scale on 224. And then we'll leave the detail roughness at no 0.5 and leave this at zero. Let's press Control T and bring in a mapping and a texture coordinate. We're going to leave it actually generated, and then what we'll bring in is a color ramp. Shift a search, color ramp. Like so, drop that in there, and let's plug from the actual wave texture into the fac of the actual color ram. Now finally, to plug this into here, we can't directly plug this in to our displacement. We actually need a displacement node. So if you come to displacement, like so, drop that in there and then bring the color from the color ram to the normal of the displacement, and now plug this displacement in there. And nothing happens. And the reason nothing happens is because we have a sf to come over to the right hand side, so this is where the actual material is. Come down, and you'll see one under settings where it says displacement, turn that to displacement and bump. And now turn my high top to no 0.17 h, and then turn this up now, you'll see that we start to get something actually happening. So you can see now that what I want to do is just crease out these edges a little bit on this actual tree trunk, just to make it look a little bit more realistic based on an actual palm tree. So if you come to this side now, you can see we've got some little folds and things like that. And it's just a really, really easy technique to use. Now, as I say, you can bring this down if you don't actually want them like this, so you can turn them down with your actual height. So if you bring your height down to zero, you can see that's exactly what we've done. So you can bring them up very, very slightly just to bend them out. So something like that, for instance, I'm going to set mine on 0.17. I think that's enough. You can also see that if we bring this down, we can increase that, bring it right up if we want to, or just put it in the middle somewhere and just have a little bit of it. All right, I'm happy with that. And you can see now how that looks when we look back from here. Because again, remember that these are little tiny details within our actual scene, so it will stand out a little bit and just make it look a little bit more realistic. All right, that is basically the actual palm actually done. All we need to do now is come over to modeling, and need to put it onto material. Press the tab button. Let everything load up because we've got a few more things in the scene now to actually load up, and then what we want to do now is actually put this on palm. Palm Palm trunk. Let's do the same for this, and then we'll just check to see what they look like. Palm trunk, and then finally this one, palm trunk, like so. Now let's join all of these up, so Control J. Let's join this one with this one. And this one with this one, Control J. Then what we'll do is we'll grab them all, Control A, all transforms, right click, set origin to geometry. Now, fine, let's double tap the A and bring in our reference and our floor and things that double tap the eight, and let's put it on cycles. Let's just have a quick look, make sure that we're actually happy with them. You can see now that this is probably a little bit too much. So that's something that I thought actually would happen when we joined them up. All we need to do now is go back to shading, go back to your palms, make sure you're on your palm, palm chunk and then just turn down this ether this darkness here, so turn that down just so we've got nowhere near as much. I'm just going to I'm going to turn it up a little bit like so and then what I'm going to do now is put this down to point not one, something like that, or point not five. Yeah, something like that, I think actually is fine. Let me just have a look around this side. Yeah, something like that. N 0.5. Maybe that's even too high on there. What I'm going to do is to actually fix that. I'm going to bring in a multiplier. Let's press shift date search, mix RGB. Let's drop that in there, and then we'll turn this to where is it multiply M multiply something like that. Then let's turn this down and also turn this down to 0.5. Turn that down. And now we should have some control over how this actually goes something like that. Let's have let load up and there we go. We can see that's looking much much better like so. All right. So we can see now that if we actually come in and we unplug this, this is what it was before. This is what it was now, and that's what the actual displacement is doing. And you can also see that can bring down the actual scale all the way down and bring it up a tiny bit just to give you a little bit of variations on there, and now you can see how it's making it kind of wobbly, and that's exactly what we're looking for. All right, so that's that done now. So what we need to do now is we need to come back to modeling. Let's name our palm, so you can see now they're looking pretty nice. So what we'll do is we'll come to this palm first. And then what I'll do is, I'll come and I'll call it palm. Tree, one, like so, and then I'll come to the next one. Palm Tree two, and then this one, and then palm tree three. And then finally, the last one, which is this one. Palm Tree four. All right. So now let's go on final our palms. I I press dot they should all be together, which they are. So now I can simply right click and mark each as asset. So let's put it on materials, well, because it's making it very, very hard to actually see what I'm doing. So, and then we'll come to the palm leaves, mark as asset, palm trunk, markers asset, come to our assets, and now let's put for unassigned. So we'll grab all four of these, put them into our asset, grab these two, put them into our materials, and there we go. All right, so this is everything we've built so far. Let's go to file. Let's save it out, and now let's just move our palms over to the other side. Of course, these palms are great if you want to use them in any of your other scenes, and probably maybe work a little bit more. It going to have one last look on my actual lighting on here. Yeah, Okay. Now they look much better. A, I'm happy with those. Let's double tap the A. Yeah, there we go. I just think those little bumpiness really really adds to the actual feel of them. All right, let's put it onto material again. And then what we'll do on the next lesson is, we'll move on to something like our balconies now because this has been a bit of a long one just done palm tree. So we'll probably move on to our balconies and see if we can actually get those done. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 54. Creating the Complex Corner Balcony: Welcome back everyone to Blender three, the ultimate stylized scene guide and this is where we left it off. Let's go back to modeling, and then what we'll do is first of all, I'll just make sure that I've actually got just this. I'm just going to press state, see if I bring anything back. It looks like I've just got this reference in a moment, so I use that one. Let's open it up, what I'm going to do now is, I think I'm going to work my way down the actual balconies because we actually only got a few of these left to do. You can see we've got this balcony. We're looking at the small hotel balconies, so there's this one. Is this one, so that's three balconies so far. I'm just working my way down, and it looks like that's all we've got left. We're actually really getting down them now, and we're really coming to the difficult part, so we might as well get those balconies out the way. Then once we've done that, we can actually move on to the harder things. But you can see here we've got most of them done. Let's first of all, bring in this corner balcony, like so. Then what I'll do is I'll press one. Again, we'll scale this up just to make sure it's the right size or I'll manage the right size. We don't want to be in a giant look, so let's bring him over, bring him down. Like so and then bring it over to the left hand side. All right. I'm hoping, by the way, that you guys find these actual references really useful. Before we used to do it where we just used to work off, Hey, build this, make it this size, or roughly around this size. But now I'm pointing these references in. I'm hoping that you like this way that we're going with this rather than just winging it. So let me know in the comments if you do, or send me an e mail or something like that. Let me know what it can be improved and things like that. All right what we'll do is we'll press shift eight. We'll bring first of all, actually, I'll shift right click. I'll drop my actual curse it into there, I'll press shift day and then I'm going to bring in, I think we'll bring in a cube like so. Then what we'll do is we'll press S and just get this cube to be round about the right side. What I'm going to do is I'm going to pull it over here. I'm looking at my man, here's my man. This is the height of this at the moment. Is that a little bit too high? Remember it's going to be stood up probably on top of this, something like that. I think if I move that over, that is the perfect height. I think I'm happy with that. I'm going to make it probably a little bit thinner, something like that. Then what I'm going to do now is, I really need to bring it out all of it at the same scale. I'm going to move it into the middle, and the reason I need to do that is because of course, I need this corner bit doing. If I press S and bring it out like so, and then I can press S and's and bring it back to the size that I actually want it, which is rounda there, something like that. Now what I can do because I've actually done that is I've got a much better idea of how this corner actually works because this is basically where the corner is from, and then I can actually build around that corner. That's why I've actually done this. At the moment, I can get rid of this, this back piece, this back piece. One thing I'm going to check though before, I just want to make sure that if I press S and bring it in, that have not gone too far out, which I have. So you can see here. I'm a little bit too far out. I'm going to bring it back because I could see with this corner that it didn't quite look right. Sens bring it up. There we go. Now, if I put my guy in here, you can see that he's going to be stud on there. Let's get rid of some of these now just to make it a little bit easier for us. I'm going to basically get rid of all of these and this. I'm going to press delete and faces, and you should be left with something like that, and now you've got a good idea of where this actual corner is going to be. Now what we need to do is we should actually solidify this and then put a actual flow onto this. Now, when I actually created this initially, I probably created it all in one go. So you can see that it probably is a square actually going there, and I was thinking of doing that on this one, but I'm thinking I need a floor on this still. Do I put my floor in after? Sometimes these things are just some of the complexities of working with things like this. I think what I'll do is before, I'll press control, left click and bring in my floor, something like that so the guy can actually stand on it, and then what we'll do is now, we'll actually solidify it. If I press tab, And then what I'm going to do is control, all transforms, right click. Set origin to geometry, and let's come over, and what we'll do is we'll add in a modifier, solidify, modifier, and I'm going to bring it out then, so not that way, bring it maybe in, or do we want to bring it out? I'm thinking if I bring it in, it's probably going to be better actually, so I'm going to bring it in. I'm going to put even thickness on, and then I'll bring it back a little bit and make it the right thickness. So something like that looks about right to me. All right, so let's actually apply that. So if I press control late, let's apply that, and now we can actually put our floor in. So if I come in, Grab the bottom of here, bottom of here, press the F button, grab the bottom of here, bottom of here, press the F button, and now let's actually create our actual floor, so F, and there we go. This now should be able to be used to create our door as well, which is this door here. Now, let's actually think about that door. Let's come in. I'll grab this part here, press shift S, cursor to selected, and then what I'm going to do is I'll probably actually bring in a plane. Or I could use this part here to create Create my actual door. Yeah, I think actually I'm going to do it from there. What I'll do is I'll grab the bottom of here. I'm going to press one, and then I'm going to do is, I'm going to press E and Z just to make sure it's following that along and there we go. We can pull that up into place, and now we know it's exactly the right angle that I actually need. There you go. You can see that's where it looks like. Now I'm going to do is, I'm going to separate this. I'm going to grab this, I'm going to press y, and then it's going to be separated when I press G, you can see it moving along. Let me just take that off press G, and there we go it's separated out. Now what I want to do is I want to shrink this. On this actual angle here. What I want to do is I want to put it on normal like so, and then I want to press S and y, and now you can see I can actually shrink it in to the size that I actually want it, which is probably going to be something around this size. You need to be able to walk through it. Obviously, as well, I need to pull up the bottom of this because at the moment, as you can see, it's touching the floor and I don't really want that, just pull it up very, very slightly. We're really getting somewhere with this. Now, let's press control. Left click, right click, just to put it bang in the middle, and then what we want to do is you want to come in. Grab both of these, press the eye button, bring them in, press I again if they're not coming in properly and bring them in to make your actual windows. All right. There we go. Now, let's do exactly what we've done all the way through. Let's press E, pull it out, like so to get that frame. Then what we're going to do now is we're going to bring these back. I'm going to press E, pull them back, like so, come round the back, delete these. Grab one face, edge select, shift click, right click, bridge edge loops. Same thing again, grab this face. Shift click, right click bridge edge loops. Now let's bring in the face so I'm going to grab. You can grab the sides as well, you can do it that way. F, and then let's do the same one on here. F. Now let's come round to the front bring this one out a little bit like so and bring this one back a little bit, like so, and there we go. Hey, presto. That's really, really nice. Now, on the actual balcony, we can see this should be coming into the wall here, and this one should be coming into the wall here. That's what I'm hoping anyway. M building comes straight down here and then these should be going. I'm not sure actually on this if they actually turn around the corner and they going in here. I'm not actually sure about that. We could make them like that, so they've actually got two bends around and then they're going into the wall like that because it might be a little bit further out, as you can see, or they can go directly into the wall on each of these. Either way, we can actually create that by using this and bringing this then out. But I don't think I'm going to do that actually, I think, what we'll do is instead, we'll just pump going directly into wall and put it on a corner piece. Let's actually make a building just to see how it's actually going to go. We're going to do is going to press shift a cube. Let's make it bigger. If a press seven, let's pull it out like so, and let's then pull it back and just bend this. Let's level this off and then make it bigger. I'm going to come in, level this off, so control B. Control B, there we go, level it off. Now let's make it, much bigger. S S in object mode, like so. There we go that actually how it's actually going to work. Which actually I don't think I'm actually happy with. So what I'm going to do is I'm going to delete that out the way and then I'm going to actually fix these parts now. Let's come in. Let's put it in object motor we can really really see what we're doing. Now what we want to do is want to bring this out and then bring it in and the same for this one. So we're going to do that. Let's come over, and then what we'll do is we'll grab this one, and yeah, we'll have to do them separate, so I'll grab this one and bring it out. I'm going to press E, pull it out to the size that I want it. So probably something that scale, and then you can see this is where we bring it out to. Control C, enter, and then we'll do the same thing on this one. So I'm going to grab it, bring it out, E. And then what you'll do is you'll come where this is and just press control V, enter, and now you've gone exactly the same size. Now you want to do is you want to bring them in to where the actual wall is going to go. Now because we're not sure where the wall's going to go, let's always err on caution. So if I pull this out so far, and then I'll pull it out this far. Like so. Now I want to do is I actually want to create this floor in between two of those. And you can see how easy it actually is for us to actually do that. So that's no problem. So I I grab both of these, press the F button, and then come and grab it here as well. Press the F button, like so, and now let's actually join these two together as well. All right. That's looking pretty nice. If I press tab now, we can see that's what it looks like. We should have enough room now to make that, and if we do need to, we can pull these out further as well. We've got a door in where we want it roughly. When we come to put this in place then, it's very, very adaptable, for instance. You can see that this is a little bit out because this one's pulled further than this one. But as I say, they're really adaptable because we can pull that back in place really easily. Let's put this back on global, and then what we'll do then on the next lesson is, we'll actually create this actual blue bar here. I'm not actually sure. Let's actually have a L S if we've already got one. Yeah, we have. We've got this blue bar here. The one that we haven't got is the small hotel, so we haven't got the kind of sleep look, which will build out on the next balcony, I think that is. All right, everyone, so let's save it out, and I'll actually see here on the next one. Thanks a lot. Bye bye. 55. Working with Pivot Points: Welcome back, everyone to Blend the three, the ultimate stylized scene guide and this is where we left it off. Let's work now on these parts here. I'm just wondering if I could just steal part of this. I think I can, I think what I'll do is because I know that these are the right size. I'm also going to steal these as well, and I'm also going to steal these parts as well. Basically I going to steal the whole thing. Let's grab these. Then what I'll do is I press sift, move it over here, P, selection, split it off, con transform, T clicks Origin geometry, and let's bring it over. I think I can actually use that. For what I need. I'm going to put on object mode so I can see, press, going to wire frame, and yes, here it is over here. Let's get these into place. I'm going to put it right around the center, so the center is a little bit over as you can see, something like that. Then hopefully, I'm hoping that I can come in and actually grab all of these with old shift and click. Can I grab them all? No, I don't think I can so instead, I'm going to press C like so, and then I'm going to press C and grab all those. Now I should be able to move this over like so into place. All right. That's looking pretty good, except I need another bend on this one going over here. So Let's think how we're actually going to do that because it's not so easy as just spinning this around or something like that. I think what I'm Basic going to have to do is create another one of these. If I grab, let's think about this. Can I grab all of these? I'm going to press C on this one. I'm going to grab all of this on this one. Then what I'm going to do is I'm going to press shift D, like so, did I split that? Yes, I did. Now, basically want it to spin from this corner. Because if I spin this round, if I press our Z, is it going to spin from that corner perfectly well. That's the problem I've got. I really need to spin from there. You can see, the other thing is I've actually duplicated those as well. Let's actually do this again. What we're going to do is we're going to actually split these off first. I'm going to press Zed, go into a solid mode, and then what I'm going to do is I'm going to split these off, so I'm going to press L and L. Actually, I'll just come in with edge select because I can see there's actually a top on those, L, L, and then hide them out the way. Like so. Now I'll do is I'll come to this center point here. Basically, I think I can move it from here. You can see that it's not quite centered. What I'm going to do is grab all of these because we've leveled it off as well. Press the dot bone, I can come underneath it, and then shift and click. Then what I'm going to do is shift S, cursor to select. I'm hoping that's going to be in the center. Now what I'm going to do is I'm going to come in over the top, press the Zed button, going to wi frame, press tab, and hopefully now, if I'm going to face select, I should be able to grab all of this. C to grab it all, C, to grab it all and C to grab all those as well. And then what I'm going to do is I'm going to press sift. Press my little V on the next to the question, Mark, three D cursor, and then Z 90, and now I shall be able to turn that exactly correctly, which is actually what it's done. Now I shall be able to move this if I press a little v again. Not that one, that little V. Individual origins, move this then up into place, which is the halfway point here, and now I shall be able to join these together quite easily. Let's see if that's works. I'm going to go into solid. I'm going to press the tab button and I'm going to move this up now, move it up into place. Stick it on top of there. You see I've got to move this one out as well. That one's no problem. You can see that this one is near enough in the wall, so that's actually pretty good, and you can see where I've got to get rid of this one. I'm going to come to this one first, so L delete rts, and now let's actually join these together. So Alt Shift and click, l shift click, and then right click bridge edge loops. Now what we can do is we can actually get rid of these. Alt shift and click, l shift click, delete and dissolve edges like so. All right. Let's have a look though and make sure that's actually correct. Yeah, and that actually looks really, really good. Now, let's come and move this one over. If I grab this, again, we'll go over the top, we'll press to go into wireframe. We'll put it on face elect, and then we'll click on one, press C, and just grab those, grab all of those, and then let's pull it over like so into the halfway point. Now finally, let's grab all of this. I'm going to press C. Grabbing all of that, I'm going to pull it over then into the place into the wall, basically, and then I'm going to grab the edge of here, hopefully. Shift and click. Seven again, pull it over into the wall. Make sure this one's into the wall. I'll actually put it back a little bit, shift click. You can see moving there a bit wrong, and when to do that, I need to move it on that red and there we go. The last thing, now oltge, bring back these two, and now I need to place these in the correct place. Now, we can as well do this easy because again, we can move it from this part and basically bend it over that side. Let's first of all, see if they're in the right place. If we go to Z, solid, and now what we need to do is just look, are we happy with the way that these things are placed? I don't think so because I think I need to move one over here to the center, we move it to more of the center, making sure that I'm happy. With how it stuck out. Maybe it stuck out, actually, that looks fine actually. That one's there, that one's there. Let's press one and just have a look. I'm just looking where this is. I I I think I need to move just these two over just a little bit. You can see the distance here from this one to this one. If I move these over, more level like that, I think that's fine. Now let's grab these And then what we'll do is again, we'll put our cursor two here. The little sideways V, three D cursor, then what we'll do is we'll press shift D, and then R Z and we should be able to spin them round that way. R z -90, z -90, like so, and they should be in the correct place, except this one, of course. I can also see as well that I need to, I think fill that in. They're round about the right place. T's actually let's have a look. Are they in the right place, though. Just look in. It's just this corner one that I need to deal with. Let's bring the corner one back. L little sideways V, individual origins, pull it back. Now let's fill this part in, so I'm going to grab all of this and press tf like so and just fill that in so then what I'll also do is space select, right click and tries to quod That's filled in correctly now. Now I'm thinking, do I need one along here? In a long here. I actually don't think so I think this is enough on these corners. Yeah, I think that's absolutely fine now. All right. Finally, we got there. That was a bit of a long winded one. It's quite a hard actual thing to build this. Now what we need to do is we need to grab the materials from this one and put it on this one. Let's first of all, join this all together though. If I shift click all of this, press G, just to make sure I grow it, press Control J, Then finally, I'm actually not going to do that. I'm actually first of all going to come to these and I need to actually level them off. Control all transforms right, click the origins geometry, add modify it, bring in a bevel and bring that bevel all the way down to point note three, point not three, point n three, 0.3, se maybe that's too much. Let's try not point note five, and I'm just going to actually have a look. How much have leveled these off. If I've leveled them off. Yes, I have. Very little subtle. I think it's not point. Yeah, that I'll actually do. No point no five looks absolutely fine. All right. Let's apply that. Let's join it then to this. Control J. Let's press Control A, all transforms right clicks a origin geometry, and let's shades move and make sure Auto smooth is on, which it is. Finally, now let's grab this one and grab this one and press Control L, and what you're going to do is you're going to link materials. Let's now put it back onto materials, and now we should have all of our materials on here. If I come to materials, we can see we've got our materials on here. Let's first of all, grab all of this. I'm going to press L on this, put it on building, so click a sign. Then I'm going to grab all of this, put it on frames, click a sign, grab both my windows. Blue glass, click a sign. There we go as simple as that to actually do that. Now, we need to I don't know why that's over there. I think it's because I've gotten both grabs still. Let's just grab this one, and there we go. This is the corner balcony. Let's press the dot button and we'll call it large hotel, and we'll just move over to here and call it corner. Balcony, like so, and then I can right click and markers asset. And then I can bring that into my assets. So let's have a look unassigned. Let's put that into balcony, and I'm hoping that moves it into the asset. So Corner, there it is. Corner balcony, and it's also in my actual balcony. All right, really, really good. Now, let's move this over to where we need it, which is over here. And then what we'll do is we'll come in to our actual reference. We'll go to modeling. I'll press dot to Zoom in, and now let's look which one we've actually got left to do. So let's come in. Grab our next one. So we've done the large hotel. We've done all these, we've done this one here. We've done the corner one. So the next one we're on to is this one here, which is the small hotel balcony, and we can see it because it's got that kind of sleet look on there. But double click on it. There you go. You can see it's square, looks a bit more modern. All right, everyone. So that's the one we're doing next, and I'll see on the next one. Thanks a lot. Bye bye. 56. The Importance of a Fast Workflow: Welcome back everyone to blend of three, the ultimate Silzed scene g, and this is where we left off. Let's now make sure, first of all, as we always do, let's just make sure our actual reference is the right size, and I think it's a little bit small at the moment. Let's bring him down to be the right size. Something like that looks absolutely fine. Now let's press Shift S, cursor to selected, Shift A, and let's bring in. I'm thinking probably on this one, maybe bring in a cube and then solidify it, something like that. I think we'll do it pretty much the same way as what we've been doing. Let's bring in a cube. Let's bring it up. Let's make it smaller. So Let's zoom in a little bit. So let's pull it out now. S and x, pull it out, pull it over. We've done so many of these now that we should be pretty much really know what we're doing with these. Let's spit it round. Is 90, and we can see here now that it needs to be a lot thicker, so I'm just going to pull it down to there just to get my actual thickness out. I'm going to pull it probably to something round there, and then I'm going to pull it out. I'm going to check it anyway, so if I pull it out to something like here, and then let's bring it back up now, bring it back up, spin it round, then let's see how big our guy is. Oz 90, and let's bring our man. Or bring it out, even. It's probably going to be better. Let's bring it out. Let's press one again, line it up. So I've got an idea of the gap there. And now let's bring our guy on. We can see if we pull him up, it's going to be stood on there with the actual balcony on top of there. Is that going to be okay? A thing that's going to be again, probably probably somewhere around there would say he's probably looking a little bit bare. You can see our guy stood on there like so. Now let's come in, and what we'll do is we'll actually bring in an edge loop, so control, bring it down to just under his feet like so, and then we can actually come in now, and we can get rid of I think, pretty much delete faces. And actually, yeah, I need to come in and I don't know why it did that. I think it said only faces. So delete faces. There we go. That's bed. Now delete this, delete faces like so. All right. Now I can bring this in and then I can put my actual floor and that'll be a bit easier. So if I press control late transforms clicks origin to geometry, and let's bring in our modifier, solidify, and let's put even thickness on, bring it in, so Making sure it's thick enough, that looks absolutely fine. Control A, and now let's bring in our floor. So I can grab both of these actually right click, and you've got one that says bridge faces, and we can do it that way as well. All right, pretty much simple stuff. Now, let's think about our sleekness of our hotel, it's a little bit different this one. So we're just going to make basically a square cube. I'm going to grab the bottom of here I've already go grab, so I can press shift S. Sa selected tab shift A, bring in my cube, bring it up. Make it roughly the right side to where it's going to be. Something like that, bring it down, and then let's pull it out now to the side, so S and X. L et's pull it out to here. Let's press Shift S now. Curses selected, Shift A, and let's bring in another cube. Let's press the S but. Now, when I actually bring this over, I'm just going to bring it over with tab, so I'm going to press A, just to make sure I've grabbed it all, bring it over to the other side, then put it in the corner. And then what I'm going to do is now add modifier and bring in a mirror. You can see how that really makes it really, really fast. Let's drag both of these now over. Let's go over the top. Let's press, go to y frame. And put those in place. You can see now they're probably a little bit too big as we can see, in fact, the way too big, so let's make them smaller. Let's pull them out, so they more in the middle, and now you can see they look much much better. Let's now grab this one. Then what I'm going to do is going to press tab again, pull it out to this center now, like so. Then what I'll do is I'll grab this one and then just press SN x and pull it out into place like so. Simple as that. Now come back to these square ones, press the tab button, press shift D, and then pull it out. In like so. I'm thinking as it's in the wall. Maybe, yeah, we'll just put it in the wall like that. I think that should be absolutely fine. Now, let's grab this one. And then what we'll do is we'll press shifty like so. I'm going to bring it then to the center of here, rotate it, so z 90, and then just put it into place like so, S and y, make it a little bit thinner, inter place, S and y. In place like so. All right. Now, I'm not sure whether this is perfectly in the center of here. What I'll do is, I'll grab this and I'll join it to my square pt. I'll want to grab this, and I want to grab my square part, which is this, press Control J, and that's going to put one over the other side, which is what one. Then what I can do is I can grab this little cube here, press L, Shift S, to selected, grab my big bit now, Shift S, selections, curse to keep offset, and now that I know that's perfectly in the center, and now I'm going to do is I'm just going to pull it over like so. Z, let's go into solid, and there you go. That's absolutely perfect. Now what we need is we need some little bars that are going to come down from here. Again, we might as well make them square. We'll put it straight in the middle of here. So Shift S, curse to selected, let's press shift A, bring in a cube. Make the cube much much smaller like so, and let's bring it down and put it into place like so. Let's press S and Z, just make it a little bit thicker. And now I'm just looking underneath how much I've actually got that side. I'm going to pull it in a little bit with S and y like so. And then what I'm going to do is, I'm going to pull this to this side, so it goes under this piece, like so, and then join it to this piece, Control J. Then what's going happen, of course, is going to put one over there as well. Now, let's grab just this pot. Let's press shift D, bring it over like so, and there's that bit, and then let's come to this bit, and what we'll do is we'll put probably one just under here, just to give it some strength. So L, can I get away with that? I'll have look, so shift D, bring it over and you can see that it's not really going to work like that. Maybe we have to put it slightly into the wall, like so, it looks like it's being supported maybe like that. Or we can actually pull it over and just make it a little bit thinner. S and x, make it a little bit thinner. I think actually that's probably going to look better than the way we're going to do it in that wall. So that's that bit. Now, let's again bring in our actual door. What I'm going to do is I'm going to press shift A, and we'll start with a plane. We'll spin it around so our X 90. I'll bring it down to the floor. First of all, I'm going to look where it is in relation to the floor because the jaws want it above there, so you can see it's in there, slightly above and now let's press one. The height actually, I think I'm actually happy with the height. I know this is bang in the center and wondering if the doors a little bit too big. I think it is. Let's squish it in on the SN x, jaws a little bit. Now let's make our doors. Let's press control off. Left click, right click. Let's come in, grab both these faces, press, bring them in, like so. Let's grab them all then with L, E, pull them out. And now let's finally pull these back. Grab them both, E, just the same as what we've done many, many times before now. Delete these faces. Now let's come in, grab the face, grab the edge, right click, bridge edge loops. You can see really how quick this is. Right click bridge edge loops, F and F, and then face late, grab this face, pull it out, pull this one. Actually, think. I think that's probably about right anyway, have a look. Maybe pull this one out a little bit more like so. That looks absolutely perfect. Now, we just need to give it some materials and this part here will have look, even get away with the frames, probably going to be able to get away with the frames. I'm just looking actually, this is the one we've already created. We could. Let's have a look at what this material is. We'll just go in and it is on the frame, so we might as well use the actual frame. I'm just thinking, Well, I do need the building material and I do need the frame. What I'll do is I'll probably just grab I'll actually join it all together first and actually bevel it off. That'll be the quickest way. If I grab this, this press G, just to make sure I press Control J, press control ale transforms, and now join it to this. I should have grabbed this as well. So Control J control yl transforms, right click origin to geometry, and there we go. That should be good enough now. Now let's come over and bring in a modifier and bring in a bevel and put it on Not 0.5, so press Control A, and that's that done. You can see really really how fast we're moving along now. Now if I grab this one and grab this one, press Control L, all materials, and now back to this one. Let's put it on materials, so we can actually see what we're actually doing. And now let's start adding materials. We need a building, so that's good. Now then frames, let's bring in, we can see that we did have a little bit of a problem in that. I applied my mirror to this one, and that's not the best thing. What I need to do now is, I need to come in and just make sure that I've actually fix this mistake that I've actually done. Sometimes that happens, that's the way it is. What I'm going to do is, I'm going to press control, actually, move this across a little bit, and then what I'll do is now, I'll delete this one. A shift and click, delete faces, get the one out of the way and then grab this. You will do this a lot, actually. It does happen a lot. Now let's grab all of this, and then what we'll do is, we'll just fix this error that we've done. I've grabbed all of that, I'm going to press P selection, tab, control, all transforms, right clip, set origins, three D cursor, mirror, Modifier, and there we go, and now let's put clipping on, and basically what we're going to do now is join all this. If I grab this ult shifting click, bring it over, join them together, just make sure they're joined, they should be. Tab, Control A, join it all together and then basically get rid of this. I'm just going to make sure clicking on that. Ult shifting click, Delete, dissolve edges, and there we go. Now we actually back. All right. So now I can join it all together again. Like so. And then what I can do is on the next lesson now because we're running a little bit over. We'll actually get these materials on. But you can see, as well, if you make a mistake, you should be able to fix it really, really easily, especially if something like the mirror and things like that. All right, everyone. So I hope you enjoyed that, and I'll see you in the next one. Thanks a lot. Bye bye. 57. Intelligent Mesh creation Full Squares: Welcome back everyone to Blend the three, the ultimate stylize scene and this is where we left it off. All right. Let's come to our actual materials now. And then what we'll do is we'll grab this one, this one, this one. I'm basically going to grab all of the no that one. All of these coming round to here, no that one. Let's come in. What we're going to do is we're going to give these all frames, so a sign, and then I'll come to my windows, and a sign blue glass. There we go. Now I need to just make sure that this is in the center, which is not transforms right plex origin to geometry. There we go. That's that one done. This one what was it called? This one is called for pull it up, Smalltel balcony square double. Not sure why it's called double, but anyway, we'll call it that. I'm going to put this. I'll put it to the side actually. So, and there we go small hotel balcony. What did it say double something like that. All right. There we go. Let's press dot, right click, and marks asset. Again, let's go to our assets and look for unassigned, this one here in balconies, and there we go. All right. Now, let's have a look. I think we've got one more balcony left. Let's go back to model in press dot. Let's come to our reference, open it up, and let's have a look. We've gone this balcony, we've done, which one did we just do? We did this one here. Now we've just got this one here. Just this balcony here left to do. I think that's Just going along, yes, that looks like the last balcony. This one is a corner one. This one actually is probably the trickiest balcony to actually do. But I think by now we've left this one to last, so it should be relatively easy for what we're doing at this stage. You can also see that we do need to bevel it on this little part here, so it's already beveled and just slots onto the side of a building. Let's double click it and let's bring it in and let's now make a start in it. If we press one, we've got to think about actually how we're going to do this. It's a little bit harder than the other one. I think first of all, I'm going to get the scaling correct. We can see our guy, Well, let's actually make the scaling correct first because you can see that's probably a little bit too big or it was, let's bring it into place now, something like that. All right. So now we've got a scaling right now. Let's put this up to where I needed to go, something like that, and let's now think about bringing in our block. If you bring in a cube, you can see that this outcrop is roughly this big So Let's first of all, get the height right. I'm going to pull him up to where I want the actual height, and it needs to be a fair bit higher than our little man. I'm going to bring him here, and then I'm going to you can stand on the actual ground there. Grab the top and let's just pull it up. Like that. Something like that, I think is absolutely fine. Let's press one again now, and let's bring it over to this side. Now what I've got to think about now is there's going to be a door in here, and then there's going to be a bit where you should be able to walk and sit and things like that. I'm thinking that this actually is perfect sizing at the moment. That's actually fine. Now we need to think about is we need to think about this bit coming over here. I'm thinking that probably come in, and I'll put the floor on. Controller left click and let's put the floor on that thickness. Then I need to think about the thickness of this wall coming out here. I'm going to press control and go this way with it, like so. Of course, it doesn't go all the way up, so I need to think now, where is it going to go up to and it's probably going to go up to roundab waist as normal, so Control, maybe a little bit down. Something like that, I think is absolutely fine. Now we've got to pull this out, and then we need to make a corner on there. Let's see if we can do that now. First of all, I'm going to grab this. I'm going to pull it out with E Then what I'm going to do is, I'm just going to turn this around now. So I'll dead 90, spin it round, press one, and then we should be able to get an idea of the actual size. I can see it comes from here. Maybe maybe if you put him on there, you can see how far he's got to walk down. I think, actually, that's absolutely fine. Now what we need to do is we need to actually figure out a way to join this up to this wall here, which isn't so easy as you actually think, because the problem is, if you try and join these corners here, you'll see what actually happens is if I join these here, that I've got this problem where I've got just half and I don't really want that do. What I need to do is really put a mirror in here. If I grab this, press shift S, cursor to selected, and then what I can do is now I can actually separate this off. If I come in, separate this off, and then what I'm going to do is I'm going to press P. Selection, separate it off. Grab it again, control A all transforms right click, set origin to three D cursor, and let's come in now and create our mirror, like so, and let's hopefully, put it on the Z, get rid of that, and is it going to flip it? I really need to flip on the Z as well. Let's see. That's not actually going to work. I'm just seeing if not that way. It's the Z, but it also needs flipping. I'm probably going to have to spin this round. I'm going to actually put it like that. I thought I could flip it, but of course, it's not let me flip. I'm not going to do that. What I'm going to do is and then I'm going to apply that, so control A. Then I'm finally going to grab this with L. I'm going to press the little sideways z, come in three D cursor, Z, 180, spin it round, and there we go now. Now we've actually got what we actually need. Now I can actually join these together. You're going to find another little thing you can use here. Let's grab both of these, and let's just press the little question mark just to separate them out from everything, and now let's join these together. If I come in, and I press one, three on the number pad, I want to join both of these together. I'm going to do is I'm going to press Z wire frame. I'm going to grab one of them, you can see that we've grabbed this one here because this line's going down. But if I press B and box select, then I've grabbed both of them because you can see that it's going this way. Now I can do some right click, come down, merge and at center. I want to merge them at the center like so. You can also come in and probably get away with clean up and merge by distance. Merge by distance. Not vertices are moved, but however, if I turn this up, hopefully, a lot. I don't actually think that's going to work. No, it's not going to work. What I'm going to do is, I'm just going to take that off. There we go, they've joined, and then I'm going to grab this one. Again, can see I've grabbed them mole now, right clip, merge at center. Now hopefully, I should be able to come in and actually delete this out the way. Delete, dissolve, where is it dissolve edges, and I don't think that's actually going to get rid of that. Dissolve edges. Let's press that now, solid. And we've still got that. So old shifting clip F, and there's my face. All right. So there we go. Finally, a lot of work around. Let's press a little question Mark bring everything back. And now what I want to do is I actually want to merge these onto these parts now. So I'm going to do is, I'm going to grab this, grab this, press Control J, like so, and now I want to merge them. We could pull everything out now, and it'd be absolutely fine, but I actually want to make sure that the bill really, really well. So what I'm going to do is, I'm going to come. And probably thinking that I will just hide all of this. Lt, hide it out the way. And then I'm left with just this that I should be able to work on. Let's grab all of this as well. Hide it out the way. Let's press three now, and there we go. Let's see if we can come in and with Vertlect, and grab this, press Z, go into wire frame, and now I should be able to press B, right click and merge at center, and let's work our way down. B. Right click, merge at center, and then over here, B, right click and merge at center. Now them on to truth. Let's see if we're actually working. If I grab this, press G, you can see that basically stuck together now. Let's press tage, let's press Ed, go back into solid, and now I should be able to grab all of these and basically pull them out, E, perfectly. There you go. That's actually done perfectly well now except this backface, which I need to fill in. But because we've done it the way we did it, actually filling this backface in is actually really easy, so I just grab this one and this one, press F, and there we go. Absolutely perfect mesh, done. All right. What we'll do then on the next one is, the other good thing as well is, because we've done it like that, we're free now to pull these out in easy way. In other words, if I grab all this, So I can pull them out, really easily because all the mesh is actually put together. So that's the best way to actually build it. All right. So what I want to do then on the next lesson is, I want to get this door in with my Boolean, so I want it sat a little bit back. It's a single door this one and then steal the little banister from the other parts that we've done. Alright, everyone. I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 58. Finishing our Balcony Extention: Welcome back everyone. Blend the three, the ultimate Style S guy, and this where we left off. Now, let's get our little guy, and let's press a little sideways V. I was wondering why I couldn't move in then. There we go. Let's make sure his feet are planted on the earth. There we go, and then let's put him in there and now we can see how much room we've actually got. Let's press shift S, selected. Let's press shift, and we're just going to bring in a cube. We're going to basically use this cube. A door and also as boolean. Let's press S Y, X, even. Let's pull it out a little bit, so we've got a little bit of room there and let's then pull it back into place. Let's spin our guy around and just see how much room is going to need. I mean, no one walks like this, so we can probably get away with making it a little bit thinner, so S and y, bit thinner, like so. Let's put it then down to nearly to the floor just above as we normally do. Let's put it back a little bit more, and then let's grab the top now and make sure that it's above his head. If I bring up here, press three, something like that should be absolutely fine. Now what I can do is I can grab the front of this, press shift D, and then I'll use that to basically create my door. I'm going to press P, selection, grab it again, control A, all transforms, click the origins geometry, tab. Grab my dough, press the ibone, bring it in, something like that. Grab it all, press E. So grab the front window, press E, to pull it back, like so, and then come round the bag, delete the face, grab this face Edge select, shift click, right click, bridge edge loops, and then shift and click, press the F b. All right. Simple as that. Now, let's create this Boolean onto here. What I'm going to do is I'm going to grab my actual balcony, press Control A transforms, right clicks origin to geometry. Grab this now we'll come over actually and bring in our Ban. Boolean. There we go, press Control A, and then delete that out of the way, and now we can bring back our door. So you can see now it looks tons bare because it actually fits in there properly. Now we can join the whole thing together with Control J. And now let's come and steal that actual balcony. Where's my balcony. Now my balcony, my hand rail. And which one is it? There it is. This one here. Let's come. And what we'll do is we'll just grab it all probably in edge select. I'm going to grab it all. I'm even going to grab these little parts underneath just in case I need them, and then I'm going to work with this because it's already built out. It's actually even beveled off as well, so that's going to make it easier. So I'm going to do is, I'm just going to press shift D, put it over there. P selection. Tab, grab it again, control, all transforms, origin to do geometry, and now let's bring it over seven. Pull it over the top and now let's work with this. When you spin it round to our ZD 180, spin it around. Let's press Z, go to wire frame, and let's get this into place somewhere seven again, where I actually want it. So let's pull it over to the corners. And actually, that looks like it nearly actually fits. So that's really good. We've just got this part here that we need to move over to here. All right. So let's first of all, though make sure because I don't yet, I think it's too high, so let's pull it in. Now it stuck into there like so. I think we can actually wit with that. So Z, solid, let's have a look at it. And yeah, that's actually looking pretty good. Now we just need this part over here. If I come in and what I'll do is I'll grab this part here. I'm going to basically press gee and just put that out the way and then what I'll do is I'll press L. I'm going to actually go in with wire frame, wire frame, and I will get rid of all of these. Delete vertices Z solid. That looks clean back into wire frame because what I want to do now is I want to grab the top of here. So come grab the top up here. Shift S cs to selected. Come back to this part then with L Shift S and selections cursor, and now move it along just so it's out of there. Z, back in solid, and now I can put it bang on the wall where I need it. All right. I'm looking around. I don't think I need to do anything else for that. I don't even think I need to move these things. I think I'm happy with them. The one thing I do need to do is bring him down a little bit. You can see is a little bit of a bevel on there. So what I'll do is I'll just grab. I think actually going press tab, grab the whole thing, and bring it down a little bit. So that looks a little bit better. You're just looking at the rest of it. Okay, let's now go back to this. Let's press Control A, all transforms, right click origin to geometry, add modifier, Bevel, No point No five. Like so. Let's apply that control. And now let's have a look. I've got materials on here. Yes, we've already got all those materials on here, which is great as well. So now we can just join this with this with Control J, like so. Let's actually shade smooth and put it auto smooth just in case. All right. There we go. Now, let's put it on material. We don't need to see the material anyway. I think we've pretty much got all of it. Let's put the frames on, so if I come in, grab all of this with edge like so, frames, a sign. Grab this one, Blue glass, click a sign. There we go. Really, really easy. All right. So now, let's rename this. I think this is called extension, hotel balcony extension, so let's call it that. Hotel Small hotel balcony extension. Like so, and let's lick and Marks asset, like so, and let's come to assets on a signed balcony, and there we go. They're looking really cool. Let's put that then back in place, and I think that's pretty much all of our balconies actually done and they look really, really nice. Let's save it out, and let's actually come back now to modeling. Let's come to our actual reference. Let's go and look for our images. We've done pretty much all of these. Now, what you could do as well as you could move these out into different files so you actually know whereabouts you. It might make it a little bit easier to view them. I think you can you can't. You can't actually move them within it, so you'll have to actually move them on your own actual file. But pretty much I can see myself that I've pretty much done everything. Except the plants. But the plants, I think, we're going to actually do those once we actually in our actual scene, and the reason is, you can see here that this plant here, I think this is on big, have at large, that's the large that'll go actually. This one here, they use in a process with a particle system. I want to actually do that within there. The next one we've got, of course, is our bar. We've also got the MPE and I think we've got the hot dog stand. I think the next one which we will tackle will be, probably the hot dog stand. It's one of the easiest out of all of these I feel. Let's actually go with that, so I'm going to bring him a hot dog stand. No lot actually to look at unfortunately. Let's actually make a start with this. I think first of all, we'll probably set the guy up, so let's make sure it's the right size, you can see again, is absolutely huge. Let's make it smaller. I think that's gone way way over there. Let's make him a little bit smaller. Put him into place. There we go. Like so. All right. Something like that. All right, so let's make a start with our actual canopy. Now, it's important. I actually made a mistake here, as you can see that we're thinking about when we're making this that we've got splits in there. So not only have we got a split running down here, but we've also got them different colors in there, so we need to take those into account. So Let's tackle this actual umbrella. If I press Shift S, let's press Shift S, cursor selected Shift A. Let's bring in a UV sphere. Let's put these segments on 25 for now. And then I'll also, I think I'll leave the amount segments going down so we don't have it too hard edge or anything like that. It's an umbrella after all. Now what I'll do is I'll go in and actually see if I can split this in five ways first. This is the important thing. I'm going to do is I'm just going to come in. And I'm going to grab it here and I'm going to try and split it into five. And you can see already that it's probably not going to work. So if we split it now, so one, two, three, and then another one, one, two, three, and another one, and this is basically what you're trying to work out, how to actually split this off. So I'm splitting it every three, one, two, three, and another one, one, two, three, and another one, and you can see that I get back to here. So Maybe we could do it with four. So we're going to have another go, one, two, three, four split, one, two, three, four split, one, two, three, four split, one, two, three, four split, and then one, two, three, four, and then it's split. You can see now it's actually working like that. Now, we do have a problem, so for a right click and marker scene, you can see now that we've got all it, but then we need all read in there. You can see that we basically can't split it evenly. You can see I can split it down like this. So red white, red, white, red white, but I don't actually probably want to do that. What I want to do is probably have red in the center. If I put red in this one here, and then red in this one here, I think that's going to look a lot better. That is the way that I'm actually going to do it. But of course, I'm not going to split it yet. What I want to do, first of all, is, I want to actually cut this away so that it's not hanging all the way down here, of course, that's not how it would be. Let's probably come to this part of here, shifting clip, right clip, mark sm. And then all I'll do is I'll come now and grab each one of these and just delete them off. I don't actually need them. So, going to come in. Delete and faces, and you should end up with something like that. And we're also going to come in and just delete the top. We don't actually need the top, delete faces because we're going to actually put our own top on there as well. All right, so I'll think I'm happy with that. Now, all I need to do is on the next lesson is split these off and start actually creating more of these actual seams so I can get my colors in and things like that. All right, everyone. So I hope to see on the next one. I hope you're really enjoying it. Thanks a lot. Bye bye. 59. Great Techniques for Creating the Hotdog Stand: M Welcome back everyone to blend the three, the ultimate style scene guide. Now, let's come in and actually split these off. Do we split them off yet? I think actually before we split them off, I'll just grab them going all the way around here, and I'll just shape this a little bit more. If I press S and bring it in, like so, I can start shaping it just a little bit more, so I'll actually shape this bit as well. S, bring it out, like so, and can I bring it up a bit so I think also, I'll bring these bottom parts out ale bit, bring it in. Like so, and then it's looking a little bit more. On this one, it actually bends in the bottom. Maybe I'm going a little bit too far, but actually, maybe that's looking a little bit better. I think I've come a little bit too far out here, so I'm just going to bring this in. Then what I'll do is on the top. I think I'll make it a little bit more rounded. I'm going to do that is, I'll just grab the top and then I'm just going to drag my thing out and just pull it down, and make it a little bit more rounded like that. I think actually that's probably a little bit better. I think I'm still going a little bit too much with this. I'm just going to bring them in. Yeah, that's actually looking better now, a little bit of a flare out. I think what I'll do is, I'll press control our left click, right click, bring it in. So just flares out a little bit. All right, I'm happy with that. Now, let's come in and split them off. So what I'll do is I'll come in L L, and you can see that I need to just split these off this. Y G without actually proportional editing on. Then if I grab this one, y, G, now they should all be actually split off. Now what I'll do is I'll bring them all in on individual origins. So if I press seven, go over the top, press the S, bring them in, and there we go. You can see how nice that actually looks. Now, what I want to do is I want to actually split each one of these away from each other. So I think if I grab these, I can bring them in like that. I'm hoping if I grab each one of these like so and these ones, and hopefully, they should all come in. I'm just thinking something, something like that. Thing looks really, really nice. Let's shade it smooth as well just so we can see what we actually got here. I'm happy with that. Now I want to do is I want to give them obviously some thickness. I'll come over add modifier and bring in a solidify. Let's bring them a little bit more than that. Let's put even thickness on as well. Let's bring them probably like that. Let's also shape autos move on. There we go. We're going to look a little bit like that. I think also as well that on my original, I didn't actually bend them going around. I should have done that really. I'll do is, I'll just come in, make sure I've got proportional editing on. Then I'm just going to press G, G, and then just go around a little bit, make it look as though they're flapping in the wind a little bit, something like this and just making them a bit uneven. And then I think it's going to add to the effect. So something like that, I think it's going to look much, much better. All right. So that's that. Now, let's come in and think about point something on the top. So we've already got cursor in the center. Let's press shift S cursed to selected, and then we can bring in our top. So I think with the top, I'll bring in probably another UV sphere. I'm going to make it much, much smaller. Of course, I'm going to bring it up, and I want that jaws to be on the top, still needs to be smaller. Something like that is about right, as you can see, so if it comes to round about there, I think that's going to be perfect. And then what I'll do is I'll jaws come underneath, and I'll get rid of all of this. So k shift and click Clet Faces, grab the rest of it, L, delete faces, and then I'll just fill this bit in. Old shift and click F. Make sure that I'm actually happy with it, and I think I am right. I think I'm happy with that. Now I'll do is I'll just press Ss. Well, what I'll do, first of all, set origin to geometry, then I'll press Ss, and then I'll just bring it up a little bit, and then I'll grab the bottom of it, press P, and just pull it down. Like so and there you go. That actually looks really good. Now we're still grew in the middle. We might as well make this part that goes down. Let's just press one and see where we are with this. Let's pull it up. I can actually get an idea of the scale. It's a little bit too big as you can see. Let's put it on medium point and we can scale it all in the same. I'm not going to rotate it quite yet, but I'm really happy with how that's turned out so far. What I'll do now is shift S selected, shift, let's bring in now a cylinder. Put the cylinder on 16. We don't need it that big at all, press S. Like so and just put that in place. S. We want it basic to be thick enough, they can actually handle it without any problems. Let's come in, grab the bottom of it, and let's just turn that off and then pull it down like so. I think it's a little bit too thick, so bring my guy over. Z, 9,080 spinning around. Yeah, I think this is a little bit too thick. Let's make it a little bit smaller, and then we'll bring it down now from here. I think that's maybe maybe a little bit too thin now. S and then S, there we go. Something like that. Now, let's think about creating the main bulk of our actual hot dog stand. What I'll do is we'll just bring in a que. With shift day, bring in a cue, press the S button, bring it down to where I want it, so I want it to be S said, something around this size, I'm going to put it back to there. And then what we're going to do now is pull this out to where I want it to go, which is probably around there. Let's look at that size and that size looks a little bit tooth, let's pull it out this way. Like that, I think it's fine. Now, let's think about bring in this top it out. I'll do is I'll just press E, enter S, pull it out. What I'm looking for here, you can see that it's a little bit thinner on these sides. Again, so I'm just going to press Control Z. Control A, all transforms clicks Origins geometry. Now let's grab it E and then S and pull it out and I can see. It's still not even. Let's try test. Can I pull it out with that? No I can't, so I'm just going to pull it out and I'm just going to then press S and Y and even it off like that and then I'll just press E and just pull it up. Like so, and make it a little bit thinner. I'm happy with that. Now, I've got one, two, three bands in here, so let's press Control. Three, left click, right click. Control B, bring those out to make those little bans. That's that bit done. You can see we're really really motoring along on this. The next thing we want is we want a hole in this part here. Let's press shift S. Bring in another cube. Let's press S, and basically, this is going to be for the actual hot dog surf I bring it over here. So I don't want it probably so far down, so I probably want to roundabout here. I also want it a bit longer, so I want it using more of this. If I press S and X, I'll make it thinner, bring it maybe here, and then pull this face over to something like that. So that's going to be my boolean. So I'm wondering as well is, should I actually round off these edges, as well, should have them round it more than on these, you can see they're pretty square. So I think actually I will. So what I'll do is, I'll just come in, and I'll just grab my edges. Like so, come round, and then I'll do is I'll press control B and just round them off just a little bit, put it on two, something like that, I think absolutely fine. Now I'll do is I'll steal this, I'll press d, bring it over, and then what I'll do is I'll use this for one of the top. If I press S and Z, ring it down like so, and then just place it on the top, like so and that then we'll steal that. Now I want to do is I'm going to press Control A, all transforms, click, origins geometry. Now we need is another part here, which I think I'll make square. I'll press shift A. Click Shift A, Q. Make it smaller. One thing I haven't actually told you, is if I actually just get rid of that, press shift a, bring in a cube, but over here on the left hand side, you can actually bring the cube down until you restart blender. When you're bringing a cube now, it's going to be more manageable. Sometimes I do that I'm building a lot of small things out. When I keep bringing cubes in, they're coming through smaller, which is easier to actually manage. All right. So I'm going to do then, I'm just going to press S and Z. Make this a little bit thinner, drop it down then, and this will be where my actual hot dogs will be along, so I'll press S and Y, pull it along, and then they can sit on top of the hear once they're actually done. Now, let's think. I put this basically on the side on my own, but I could actually put it in the middle, but let's have a look. I think I'm going to lift it up a little bit. You can see here as well that I didn't move that. I'm going to join it together. Actually, it's going to make it easier. Let me just see if I've got, still got one it firearm, so control A. Let's grab this now and this. Control J, join it all together. Control A translm, right click ogen geometry, and let's actually alto smooth it. And then what we'll do is we'll just move it over now to this side, and I'm just looking how high it is now, so I'm just going to bring my guy over. Then it's going to be working like that. I think you can go a higher like so, and then I'll just ty, rotate it round and give it a b a like so. I'm happy with that. What I'll do then on the next lesson is, we'll actually create our Boolean, and then we'll start making these wheels and things like that. All right, everyone, so I hope you enjoyed that, and I'll see you in the next one. Thanks a lot. Bye bye. 60. Creating Wheels & Spokes: Welcome back if you want to Blender three, the ultimate stylized sing this where we left off. Now, let's create the actual wheels first, I think before we actually do the Boolean. So what I'll do is I'll bring in a cylinder, and I want it to have basically three spokes. So I need to make sure that I'm bringing in a the right sides. Let's bring in first of all. Let's try 16. I'm not even sure if that will enable us to have three sides. Then what I'm going to do is, I think, I'll just come in to the top, so I'm going to press seven, and I want to grab basically, let's even grab one, two, three, and then space, one, two. Let's grab two, one, two, three, space, one, two, and then one, two, three, one, two. We can see here that if I do it like that, I've got one, two, and three, and then a missing one. I need to make it 15, not 16. Let's press delete. Let's press it day. Let's bring in a cylinder, and let's put this to 15. Like so. All right. Now I should be able to grab the tops. One, two, three, one, two, three, one, two, and then M three, and there you go. Perfect. Now we know that's actually going to work. I'm going to do now is I'm going to actually bring these out. I'll press E S, bring them out, like so. Of course, they're coming out in completely a bonkers way and we don't really want that. That's because we actually brought them out medium point. Now let's press S and Z and bring them out. We could as well, also, instead of doing that, press lt S and bring them out that way. I think that will be the easier way actually to do it on this occasion. All right. So now let's make them thinner. What I'm going to do is, I'm going to press S and Z and make them thinner, like so, and then I'm going to spin them round so X, 90, spin them round so that the right way. And these wheels, actually, we could use them as well on our actual scooters. So I'm probably going to do that. Now, what I want to do is I want to basically round them off and then make my other wheels. I could come in and use my bevel modifier. Probably could use that, or we can just come in and bevel them off the good old fashioned way. I think I will do that. I'll come in, grab them going all the way around like. Make sure that you've got all. You can also come in and grab all edges. If we go to select, you'll see that you've got one select sharp edges, and then you can actually bring this up or down to actually grab all of the sharp edges like that. It's just a really, really quick and easy way of grabbing all the sharp edges. Now hopefully I should be able to press control B and bring it in. Like, so. Let's put it onto one. And let's actually have a look at what that looks like, and it looks rubbish, and the reason is because I didn't reset all of my ancems, right click, Seg into geometry. And then what we'll do is, we'll just press control B and bring them in. Like so, like that. Now I'll think I'm going to do, I think I'm going to just extrude this bit out, now I've actually leveled it, just to make it a little bit different. I'm going to do is I'm going to come in, and I will make a seam. I'm just going to make a seam running all the way around here, where I've actually leveled it. You can see it runs all the way around here and then all the way around here, like so, all the way up here. Like so and so. Then what I can do is now I can right click and mark a scene. Just make sure you've got it going all the way around, and then what we can do is we can bring this part in now. If I press L now because I've actually marked that, I can press I, and then finally I can bring this out a little bit so there you go. That's look. Now I don't need to do that on the inside because that's just a waste of polygons to be honest. The other thing is, I don't really need these parts in here because my tire is going to bring in there. But let's see first of all, if my tire is going to look right in there. I'm going to do is I'm going to press shift I'm going to go cursor to selected. I'm not going to do that because my curses all the way down here. I'm going to press control A all transforms right click the origin to geometry. Now I'm going to press shift S, cursor to selected and now we'll press shift A and bring in a cylinder. Let's put the cylinder on something like 20 because after all, it is a round wheel. Let's press r and x and 90. Then what we'll do is we'll make it thinner. S and y, and then S bring it out to something like that. Then what I need to do is get rid of this center. I'm going to come in. And get rid of both of these, delete and faces. And now I want to do is I want to bring these in now, and one looking from looking to make sure I'm happy with the size. I'm thinking that this is probably still a little bit thin, but we will see once we bring these in. So lt shift and click, lt shift click, E enter lt and S and bring them in, like so I'm going to press one just so I can see where they're coming to. Let's press Alt and S and bring them out a little bit. So I'm going to bring them to there. You can see this wheels probably not thick enough. So I'm going to bring it in a little bit more, Alt and S. Something like that. Yeah, a thing that looks much, much better. Now, let's join all of these, so right click and bridge edge loops like so, and let's have a look at that. I think I'm happy with how that actually looks. Let's put it onto Object mode and then we can really, really get a good look at what that looks like. And, I'm happy with how that looks. Now, Let's think about the front of this, so we'll come to the front, and you can see that we've lost our actual size in there because we've brought these out. What I'm going to do is I'm just going to bring a center cap into this. I'm going to press shift A, bring in a cylinder, spin it around, so R X 90, make it smaller, so I'm going to fit it in there, and then I'm going to pull this out. Pull it out to there, grab the front of it, bring it back like so, and then let's bring it in now. I, bring it in. Let's pull it out a little bit, like that, and then let's do I again, and then E and bring it out. All right, so that's looking really, really nice, as you can see now, I'm happy with that. Let's right click and Shades Move, and let's put on our Auto Smoove. There we go. That's going to look good as well for our actual MPD, and that's the reason we've gone to all this trouble. Am I going to get rid of these top bits? I think I'm going to leave them for now? And just see how this actually pans out. The one thing is, I think for this part at least, I'm going to make this a little bit thicker. So what I'm going to do is, I'm going to come in, Alt shift and click, and then I'm going to press ltterN S and just bring it out and make those just a tad thicker like so. Then I want to bevel these off now because they are after all tires. I'm also going to make them a little bit wider as well. S and Y, let's pull it out, make them a little bit thicker, and they're looking really nice, and now let's bevel them off, so lt shift and click. I'm hoping. I might be able to get away without resetting a transform, so Control B. No I can't. Tab, control lay all transforms, right click, set origin, to geometry, like so, and now let's level them. Tab, Control B, bevel them off. L so, and there we go. Let's right click, Shade smooth. Let's put on Auto smooth. Yeah, and there we go. They look really, really cool. Now, let's get those in the right scale on the right size. If I join all this together, press control, they all transform directly, set origin to geometry, and I actually didn't join them together. I just joined them together now, I'm going to press S. I'm going to bring them down to where they need to be. S, let's bring them over to the scale that they need to be. I'm thinking probably something like that. It's going to be obviously out on the outside on this one. I just need to make sure where his feet, so his feet here, so you can see it's still a bit too big, so let's press S, scale it in a bit more. So. Something like that you can see the underneath of it is going to be going through there. Now if I press sift deep, bring the next one in, and the next one can actually go underneath, so I'm going to press S, I'm going to put it underneath. I want it basically to line up with this. You can say I've got a little bit more to get away with, and I want it to line up, like so. There we go. Then finally what I want to do is I want to put this under the front. Like, so like that. All right. Perfect. Now what I want to do on the next one is, I want to basically mirror them over the other side. I've got my boolean to do lots of work to do, but we're really really getting there now. Alright, everyone, so let's go to file. Let's save it out, and I'll see you on the next one. Thanks a lot. Bye bye. 61. Booleans & Hotdog Creation: Welcome back everyone to Blend three, the ultimate stylized scene guy, and this is where we left off. Let's do this boolean first because this is an oument now. We're going to do is going to grab this, Control A transforms, right plex, gin geometry. Let's come over to the right hand side, add modifier Boolean, and let's grab this Boolean, let's press control A. Again, remember, if yours doesn't work, always put on fast solver if it's not working and that should fix it. Control. Let's come in now, delete this out of the way, and there we go. All right. Let's move our guy back because it's looking a bit weird, studying there like that, and let's have a look at what we've done. That looks absolutely fine. Now, let's come in. And grab this, so we've got the sentence. You can see, I've got a lot of things grab round and I don't really need all those. What I want to do is just grab one going round. A shift and click, shift S, cursor to selected, and that then is going to enable me to mirror these over to the other side. So I've come back to my wheels, join them both together with Control J, press Control A, all transforms, and then right click, set origin, two, three D cursor. Add modifier, and we're going to mirror them over. So if I mirror them now over the y, take the X off, and there we go. Mrod over. Now what we should be able to do is we should be able to come in. Grab this one here. And then pull it out, we could probably pull them both out if we put clipping on at the same time. If I grab this one and this one and then pull them out together and join them so you can see as simple as that to join them all. Now we actually need something to clip them to the actual underneath of here, we might as well do that while we've actually gone run. I'm going to do is I'm going to press control Left click, right click. I'm going to position it where I want, so I think something around there. I'm going to press Control B and pull it out. Now I could probably work from here. I let's think about this, if I I'm going to grab it from, let's say from this point, and if I go round, I should be able to grab it from not this one, this one here, so, look, they're in the same place now, and if I come round to this side and click controller should have grabbed it then round there. Now if I press E and just pull it straight up, you can see that we can actually make it as though it's actually fixed to this side. Now, the one problem we have got with that is that I need to extrude it out to actually make it look like it's actually a piece of metal. So I'm going to grab this side, grab this side, I'm going to press E, enter alternS, and then pull it out. Like so, and there you go as simple as that to actually do that. Now, you can see that we have got some tops in here that we could probably get rid of, but I think I'm going to leave them in there actually. I don't think we're going to really harm anything. All right. So now let's do the same thing on the smaller ones. So I'm going to do is I'm going to try and line them up. So if I press three, I'm going to press control, and can a line them up because they're actually on the inside. No, I don't think I'm going to bother. I am going to make them a bit smaller, so I'm going to put this here. Press Control B, little bit thinner. And then exactly same process. Press the dot to zoom in, and I'll come to this one here, and then to this one around the other side, and then go back control click, and now the same thing again. E Z, pull it up. Make sure it's following along the Z axis like so. Now you want to do is again, same thing. Grab this one. Come all the way around to this one, then you're going to press E, enter lns and pull them out. Like so, and it's as simple as that. I think with these smaller ones, I think I just need a block in here as well. I'll do is, I'll just head on over to the inside. If you can't go in on the inside, just press number five on the number pad, and that then will enable you to actually go into the measures. I'll do is, I'll grab these two, press Shift S s selected, shift A, and we'll just bring in a cube. Where's my cube? There it is. Let's make it smaller. L et's zoom in. Even smaller that and M cube didn't come in the right place and the reason is because clipping is on. Let's get rid of that. Let's turn clipping off. Let's press shift A, bring in a cube. Let's make the cube much smaller like so, and there we go, now we can do it without our clipping on, and now it's in the right place as well. Let's press S, bring it in. Let's make it a little bit thinner, so S and Y. There we go it looks like it's actually part of something now. Let's just bevel off these edges now just to make it look nice and tidy, so we'll grab this. This press control B, just bevel them off. There we go that looks much better. Now let's go on the inside and make sure that we grow a load of wasted mesh. Like so, and just pull it down to there, and I think that looks fantastic. All right, so that's that. Now, we're going to keep these split off because I'm going to have to do a lot of beveling, a lot of fixing of the mesh and things like that. The main thing at the moment that what I'm trying to do is just get everything fixed, so it actually looks good. Now what we need is a handle on here or something like that, and we need some hot dogs in here. So let's come to this part. Let's press shift S. Cursor selected. Let's press shift A, and what we'll do is we'll just make a simple handle. So I'll just bring in a plane. I'll make it smaller, and I'll get it to be the right side. I'm going to press seven just to go over the top. S and X, like so, and then S and y like so, and then just bring it all. Let's bring in a couple of edge loop. Control, left click, right click. S Y, pull them apart, like so, and now let's put another couple more sin. Instead of actually doing that, I'll just press Control B, level those off slightly, and then I should be able to now grab each of these ends and just pull them down. L so to where I want them. Now what we'll do is we'll press control, transform to right click sg and to geometry, and we'll bring in just a quick solidify. Slidify, even thickness on. There we go. Simple as that to bring that in. Let's have a look at the size, and that actually looks real, really nice. So one thing I do want to do is I just want to grab both of these now. I'm going to actually apply that solidify, and then I can join them both together. Control apply it. Let's join both of these together, so Control J, and then let's press shift and just to have one on here, that's just spun around a little bit. A Z looking like it's actually working. Let's put it down. On here, let's rotate it a little bit, so, y, rotate it, and then let's move it into place. Like so, and then let's pull it back a little bit as well. So that looks absolutely fine. Is floating in the air a little bit. Maybe you've gone a little bit too far, so let's pull it down like that. There we go. That looks bad. All right. Now let's come to the center of here. Grab the center of A, Shift S, curse selected. Let's press Shift A, and we'll bring in a cylinder. Let's bring in a cylinder. Let's put the cylinder on something like 12. It really needs to be pretty low level here because these things are absolutely tiny. Let's press S. Let's bring it up then. S, like so, and then SN, bring it up. These are going to be the hot dogs, S, like so. Then what we'll do is we'll just level off these ns now. If I come in, grab this phase, grab the underneath phase, press control B, level them off, like so, and that's all you need to do. Clk shapes move. Spin them around so R X 90, and then just put them into place. Like so and you can start actually stacking them up. Maybe these are a little bit too small. Let's have a. I think they're a little bit tiny. Let's press S, make them a little bit bigger because we all dealing with stylized things after all, like so. Then what I'll do is I'll just press shift D. Bring it over, and then shift D, bring it over, and then and, like so, and then shift D, like so, and then let's put them on top of each other. Shift D, put it on top, like so, and then maybe one more over here on top of this one. Stock on there and then rotate it R and x, just a little bit. Let's join all these together. While we've got them here. Control J control A or transforms, click Surrogen geometry. Double tap the A. There we go. That's looking pretty nice. Now let's move on. What we'll do now is we'll make the actual stand where the hot dogs are going to stand on. I'm going to come to this part. Shift S, a selected, Shift A. Let's bring in a plane that's going to make it easy for us. S, bring it down. Let's bring it up. Let's bring it over. S and y, make it a little bit wide. Let's now come in and press control and something like so one, two, maybe one more, so one, two, three, one, two, three, four, five, Left click, right click, grab each other one, bring it down, and there we go. That's where the hot dogs are going to actually stand on. Now we'll just give this some actual thickness. Control A transforms right, Origin geometry, modifier, solidify. Actually that's probably for p even thickness just about right. Black, then all I'm going to do is, I'm going to actually leave it like that. I think that's absolutely fine. Control apply that. All right. On the next lesson, what we need to do is we need to start work on these wheel arches. We need the back handle on here. We need some actual sources on here, but you can see now it's really, really coming together. We also need a handle on here to actually attach this to the actual hot dog stand. But because we've done these now, you can see how easy we can actually get around doing those. All right, everyone. I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 62. Mid Level Modeling the Wheel Arches: Welcome back, everyone to Blender three, the ultimate stylized Scene guard, and this is where we left off. All right. So let's start work on our actual wheel archers. So if I'm just moving my actual hot dog stand as well, so I can actually see that and get a good view of it. Let's come in. I think, what we'll do is we'll grab this one here. I'm going to grab this, and then I'm going to press shift S, cursed septid, and then we're going to press shift A because I want to use my mirror, so it goes on the other side, bring a cube, and I'm hoping that's gone on the other side. I don't think I really need to check that. I think it will have gone on the other side, which it has. S said, let's bring it something, something like that, I think, and we want it just over there, but then we want it to actually come over this side as well. So what I'll do is now, I'll press S and x, pull it out a little bit, and then we'll grab both of these sides. So both of these, press e, er S and x, pull them out, and then let's pull them down. Like so. All right. That's looking good. Now, let's give, let's pull it in first of all, as well, they're probably overhanging. Let's first of all, pull these side down though. What I'll do is I'll press Control. Left click, right click, like so, and then what I want to do is I want to make a face out of all these. What I'm going to do is I'm going to come in, grab each one of these like so, press F, and then the same on these, F. We know that they're not an end gone anyway, so that's good. Let's grab both of these. Tab and there you go. That's that done. Now we can actually move these into place. L, let's pull it in so it's actually interplace, and there we go. Simple as that looks really really called double tab the A, and there you go. You might want to make it a little bit more flamboyant. You might want to make an indentation in the side of it. All you've got to do for that is just basically grab all of the press I like so. Then you can actually bring it out so you can actually press E and pull it out a little bit and just make it look a little bit more with it. Now, there is a problem actually, I can see here that it didn't quite come the way that I want to this bit here. So to fix that, what do is, I'll just grab each one of these, and I'm going to actually delete edges. And then what I'll do is, I'll reform this. I can see if got a problem in these as well. I don't actually need those, so I can delete those, so delete edges. And now I can actually fill this in, so F. And then what I can do is now should be able to come in with face leg, grab this, I, and there you go, now, you can bring it in, and now you can either pop it in, like so. And that actually looks bad like that. I think I'm happy with that. Now, I'm not going to fill in that face or anything yet because I've got a lot of faces to fill in there, but I think I'm happy with that. One thing I think is I need to bring it in a little bit more. I'm going to do is I'm going to press control plus tes and bring it in. You can see it's not coming quite in so I'm just going to press S instead, and just bring it in like that. Yeah, that's looking better now, it's a little bit thicker. L a little bit thin. Wasn't really doing this justice. All right. So now, let's think about making our sandwiches first. What we're going to do is we're going to press shift da, and I think I will bring in a cylinder. Can I get away with using 12? I probably can actually. Oh, y, 90, make it smaller. L et's pull it out, so S and x, like so, and let's bring it in and put it into place. So it needs to be much, much smaller, as you can see. Let's put it on here, so was something like that. This is quite a long hot dog. Like so, then what we'll do is, still a bit too big. Let's bring it down, let's press S, and that's looking a little bit more like it, so we'll put it there, and then we'll press S and x, pull it out. Something like that, I think looks good. Let's make this sandwich, so control two left click, right click, and then S and X, pull it out. Then all we need to do is make these n bits a little bit smaller. I'm going to press S. Make them a little bit small. You can see they're coming in there. I don't really want that. What I want to do is, I want to put it on individual origins, S, and then bring them a little bit like so, now let's delete these faces, delete faces. Now let's delete the middle part of this. I'm thinking probably from here to here, and then across from here to here, I'm just hitting controllers you can see, delete faces. Yeah, and that looks abs fine. Now, let's grab this control A all transforms. Click this origins, geometry, add modifier, Slidify, even thickness on. There we go. Now, let's bring in a hot dog. I'll grab this one because I know this one was straight on. L shift D, bring it up, P, selection, grab it again. Control A all transform triclx, origin to geometry, z, 90, seven. Let's hide this out of the way, so I'm just going to hide that and then let's grab a hot dog. Let's put it into place. Like so, and then let's make it so I'm thinking that the sandwich probably going to have to be a little bit thinner. S and X, bring it in. And then the hot dog and we put it a little bit higher up. Like so. All right, that's looking good. Now let's join both of these together. We've got to solidify on, so I need to get rid of that first. Control A, and then I'll grow up this one and this one, Control J, shapes move, and there you go. Simple as that. Now, let's press shift D, move it over. And then I'll rotate this one round just to give it a little bit of character again, like so, and just move it this way. Double tap the A. There we go. Bit hard to see and know when we've got no coloring and things like that, but we're going to get color in soon, so don't worry. Now what we need to think about is the three sauce bowls that we need. I've got a mayo, I've got a mustard, and we've got a tomato here as well. Let's make those. Again, let's press shift a. Can I get away with 12 on these? I'm probably going to put up to 14 just to make sure that they look a little bit more rounded, S, let's bring them into place first of all. They're gone way too far. S, bring them up, they need to be fairly sized. Something like that. Let's put this one here, like so. Then what I'll do is I'll come to the bottom of it, grab the bottom, press control B, like so, and that's that, and then just pull it up actually. Now let's look at the size and scale. S, make them a little bit smaller. Put it on. Top of there, and then what I'll do is I'll press E, pull it up, S, bring it in, and then I, bring it in, like so I need to be a little bit more, S, and then E, and then I, and then E, and then E and then S. Just like that. Simple as that. All right. That looks pretty nice. And now we just need three of these. But first of all, we might as well right click Shade Smooth. Autos move on, so we ain't got that work to do. Then also, we might as well grab these and right click and triangulate faces. Try to quads, and there we go. We know those are actually done now. Now, compressive D, bring in another one. Like so and then shift D and bring in one more somewhere over here. Join all these together, Control J, and they are those done. Now, let's press ol tag, bring back the umbrella. Let's also do the same thing with the umbrella, I'm going to grab it. I'm going to write plex shade smooth, bring in to smooth, which is already in, and now let's attach this to here. We're to press Control, bring it down, pretty much the same thing as what we did with these. We're going to press Control B, bring it out, like so, and then I'm going to grab going to actually do this a little bit different. I'm going to grab it all going the way around. E alternS, bring it out, like so, and then I'll just stick it going into there now. I'm going to grab it from this one I think and from this one here, and then I'm just going to go background, hit control, and then press key and pull it out into place, and there you go simple as that, really, really effective way of doing things. Now the last thing that we actually need is the front and we need to actually create a bar on here. Now, we're going to use pretty much the same technique as what we've used for all of these parts. What I'll do is, first of all, I want to get in the center though, so I'm going to grab this. I'm not sure if that is the center. So instead of that, I'm just going to grab this part, shift S, cos selected, and then next press tab, and shift A and bring in cylinder. 14 should be fine. Bring it down and then spin it around. So, Rx, 90, a little bit thinner again, and then S and Y, like so and then just get it into place where I actually want to make a start of it. So round about there. I, I think the thickness of that is fine as well. All right. So on the next lesson, then, what we'll do is we'll make the little handles that are actually going to go into this. I think I need to pull it out a little bit more actually. Little handles that are going to go into this, where he's going to be pushing it along. And then basically the modeling of this is finished, so we can actually start actually gain some materials on. All right, everyone. I'm going to go up to file. I'm going to save out my file blend file, and I'll see on the next one. I hope you're enjoying it, and I hope you'll learn a lot. All right, everyone. Bye bye. Oh 63. Finishing the Hotdog Stand Modeling: Welcome back, everyone to Blender three, the ultimate stylized scene guide. This lt dog stand seems to go on forever, but it's going to be the same for the other two now, including the bar and the moped and things like that because they're just quite hard to build. The rest of it, though putting the scene together is actually really fun once you've actually got your part. Don't give up, just keep going with it, and eventually we'll have this done. Let's come to this part, and then what we're going to do is I'm going to come now and put in a couple of edge loop, so control two left plate right plate. Let's pull them out, S and Y. They're not pulling out because I need it to be on medium point, S and y bring them out. Like so, and you're looking here for the thickness of the actual handles because they're actually going to come from this point. Now we've got that. Again, we've got no mirror on. We could use a mirror on these instead. But I think I'm thinking, Yeah, I'll probably actually use a mirror. It's going to just be easier. W to press control of left click, right click and then grab these shifting click Control plus lite faces like so. Now it's in the center anyway, so it can just come in bring in a mirror like so, and then put it on the well, which one is it Z? There we go on the Z axis. Now I should be able to do them both at the same time. When I come from the halfway point, I think on this one. I I come to here and the halfway point is here, and then I can press control. And now I can do is I can actually pull In fact, I've done that completely wrong. I actually want to grab it going all the way around first. E enter ts, bring it out. Yeah, that's the best way to do it. Now let's come from this part here, all the way down to this part here, can see it jump through there, so I'm just going to press control to there, control to there. Now what I can do is I'm going to press E and pull them over like so. Now, is that underneath it, let's have a look. Has it gone far enough, no, it's not. Now it has, like so. Now what I want to do is just to finish this off, I'll just pull it out. E, pull it out, and there you go. That looks. Really nice. I'm just making sure that it's not too thick. I'm going to double tap the A. I don't think it is. I think it's absolutely fine. Maybe, maybe it is. Maybe this bar is a little bit too thick. So what I'll do is, I'll just grab it, and then I'll press S, and then we'll do is, I'll just pull it back. Cheating a little bit, like so, Is that bear? I think it is. Let's put clipping on. Come in. Grab the edge of it. All shifting click, pull it out. Let go of it, and there we go. All right. Let's press tab, let's put them all together, and now let's work our way through actually fixing these. So we'll come to this one first, of course, and then we'll do is I will first of all, press control A, A transforms, right click, so origin, two geometry like. So let's move it off first. Let's come in and put Auto smooth on, and then let's bevel it off. So we'll come over, add modifier, bring in a bevel. Put it on. That's probably a little bit too high to be honest. Let's set it down to zero, then put it up one, still too high, so let's try north point no no three. And there you go. That actually looks Toms Bar, as you can see. I like the bevel on the inside. As well. Let's apply that then so control A, and finally, now, let's come in and fix any of those engons. A, right click. Make sure you're on Face select. Right click, triangulate faces, and then tries to quads. Let's also come in and just get rid of this because it's adding a lot of extra polygons, basically doubling the polygon count because we've got that there. Delete, dissolve edges, and there we go. Hide that all the way. Now, let's come to this part here. Again, we have problems with these two, so we might as well join these two together. Control J, join them together, and then what we'll do is control A, all transom, right click, set origin to geometry. Now we'll do this again, same thing, so add modifier, Bevel, too high again. Let's put it up one, too high still. Not point, not not three. Something like that. That looks absolutely fine. Control A, tab A, right click, and I'm not on Faces, so I need to be on Face select. Triangulate and tries to quad. All right. That's those ones done. Let's hide them out the way. Now, let's do these sausages. Might as well do all of these together. So Control J, control A, all transforms, right clicks origins geometry. This time, we don't need to actually add in the bevel. We certainly don't need a bevel for these. All we need to do though is make sure that these edges are actually done, as you can see, they're not. So we want to press A, right click triangulate faces, and tries to quads, and that just fixes all those for us. Let's hide those out the way then. All right, so we slowly gain through them. L et's come to these source bowls. Do we need to bevel these off? Let's have a look. Control A or transforms. Let's see if we're actually gaining anything by beveling them off. You can see there that Not really. Probably not worth beveling those off. I'm just going to get rid of those. All I'm going to do is add extra polygons on them. Sometimes it's just not worth doing it. Hide them out the way. Now, let's come to this part and this part. I'm thinking I'll do my umbrella, separate, so I'm going to join. I'm going to do this part separate as well. So I'm going to join these two together. So control J, Control A all transforms, right click Orogen geometry, add modifier Bevel. Let's bring it down all the way, and it's probably going to be on not point. No three, like so. Does that look good? Yes, it does. Let's press Control eight and let's hide those out the way. Now, let's come to the main part. What we're going to do is, again, we're going to press control A, all transforms right click. So Ogin into geometry, add modifier, bring in a bevel. Let's put it on naught point or naught three, like so. There you go, it looks really nice that now. Let's apply that and then let's come in a right click triangulate faces and tries to quads and make sure that that's good. Now, the thing is, as I've told you, if you've got this many points coming in, so you can see you've got a lot of points coming into there. If you are animating it, just make sure you've not got those so many points going in because it will mess around with your shading and things like that. Just be sure that you've got less than three points going into one. When it's something static like this and we're not animating it, that's absolutely fine. But normally what would have done is probably adding a few extra edge loops to this or maybe subdivision or something like that. All right. Let's right click and Shades Move. You can see there now if Shades Move, what actually happens where we're having problems, and let's come in and auto smooth it out. Let's hide the other way. Now, let's come to our umbrella. I think it's all one piece, which it is. I think we've also smoothed it out. Let's press control A or transforms, right click, Sogo geometry, modifier, bevel. Now, let's look if we get in anything from that bevel. Let's turn it all the way down, and let's put it on not point, not not three, like so. I think it's definitely going to look there if it's slightly beveled off. Maybe that's too much. So let's try not point not note one, and maybe it looks bad just just smooth in those edges. I'm just going to put it back to n point note three. Yeah, I'm going to leave it actually on that. I'm going to press control A, hide out of the way. All right. So now wheels. First of all, we need to apply our mirror. Let's press control A, and then what we'll do is we'll come in now, right click, shade smooth. Auto smooth is on, and then what we'll do is control A transforms, right click, origin to geometry. Let's come in and make sure that we get rid of these center points. We don't need them, so I shift and click. Delete, dissolve edges, and I can't actually dissolve the edges on there. Sometimes that happens actually. I'm going to press control B and bring them out, and you can see that. The reason why I can't actually get rid of those is because they've actually created a face on the inside. All you need to do is you need to press ult shifting click on these, hide them out the way, and then you'll come in and you can see there's a face on the inside of each of these. Press delete and faces. Now if we press oltge, you should be able to get rid of the if I press t shifting click on each one of these, delete, dissolve edges. There you go. Fixed. All right. So now, let's fix all of those engons. So the first thing we're going to do is grab everything, right click in face select, so right click, triangulate faces, tries to quads, and there you go fix those engons, and now we just want to bevel this off. So if I press control again or transforms, and then come in and bring in a bevel, You can see we're not really get a lot out of this bevel because of the wheels basically. We've already be leveled off the wheels so we don't really want to do those again. I'm going to do just on this occasion, I think I'm going to come in and get rid, take all these away. You can see though that these here probably do want to bevel them off. I'm just thinking I grab all of that and all of that. Should I just bevel off? These parts here because these are underneath anyway. I'm going to split just these off, so to press P, selection, tab, control ale transforms, srogen geometry, bevel, and let's have a look at that and they do look better, beveled off. Maybe that's a little bit too high, so let's try not point not n three. Yeah, they do just look bad, beveled like that. I think I'm actually going to go with a bevel. These have already been leveled off anyway, so that's fine. Control A, join it all together. Control J. Let's press all the now. Bring everything back, and did I triangulate these? Let's have a look. They're done. No, I haven't. So I need to do that. A, face select, right click, triangulate faces and tries to quads tab, and there we go. Now, let's as well, did I do these? I forgot whether I did those or not. Yes, I did. They're done and I've done everything else. Now let's join everything together. So, Press G just to make sure. Now, we've got a lot of hot dogs missing. G. Right click to drop it back. Control J, and now bring in Automve. So, click Shapes Move. There we go. Wonderful. All right. Let's move our guide to the side. Now on the next lesson, finally, we're going to actually start bringing in these materials, get the materials on, and finally finish the hot dog stand. All right, everyone. I hope you enjoyed that. I hope you learned a lot, and you can see as well that the workflow is really getting really fast now. All right, I'll see in the next one. Thanks a lot. Bye bye. 64. Texturing the Hotdog Stand: Welcome back everyone to Blender three, the ultimate stylized scene guard. Now, let's put this onto cycles. Let's actually click on it, and then what we'll do is we'll bring in a white first of all, just so we can actually see what we're doing. So Pi, come to plus. Whoops, not on my groups. I need to take those off. I might show you actually what those vertex groups do in a little bit. But for now, let's go to our materials, new, click the down arrow. Let's look what we're burn white. We should have. We've got metal white, sharp, white, white, shiny, dark, white metal. We don't want the dark white male, but we want the shiny white, so let's put that on. Yeah, that's actually what want. Then let's click the plus down arrow. Let's bring red and see, I've got a shiny red. So now, L et's actually come in and think where I'm actually going to put that. We want it white, we want it red going up here, like so. I'm not sure actually, is it going to follow it around? We're going to soon find out, so I'm just going to come in. If it's slowing down too much, by the way, let's just isolate it out because it's going to make it a bit easier. I just press the question just to isolate it all out, and then it's going to speed up your actual viewport a little bit more, Let's come into red Shiny, click a sign, and then you should end up with something. You can see that looks really, really nice. It's going in all the way in there, and yet, I'm happy with that. All right. The white, let's think now, we're probably going to need a metal. Let's look what we've actually got rather than creating a new one. Metal. Metal white. I think I want to metal white, so I'm going to use this one and then what I'll do is I'll come into this and come into this. I'm going to change this out though a little bit. I don't think I want to metal white. I think I want that more metal. I'll come in a sign. There we go. That's looking a bit more metal now. Is it too shiny? Not really. I think actually, let's see if I got painted, so I'm going to put we I'm looking. I've got a painted white. Not so sure. I think actually for now, I'm going to leave that there and I'm going to come back to it. Now, let's look what else we've got. I've got another metal metal, and we've got dark white metal and painted metal dark and metal white. I don't think there are any of those. I'm just going to make a metal, so light metal. Like so. Then what I'm going to do is I'm going to make all of this part, so all of this my metal and see what that actually looks like. So that's press tab. Well, let's first of all assign it, then that's press tab. Let's bring up my metal, bring it to a metal. Let's just make sure that's working by bringing the roughness up so you can see there's a metal like so, and then let's make the base color just a little bit darker. And now it looks like metal. Now I can do is I can click the plus new, and I can call it green metal, like so, and then I can copy this one, so Copy material, paste material. Then what I can do is now I can come to my first block, which will be this one around here. L shift and click, like sol shift click Ol Shift click. Green metal, click a sign. Then what we want to do now is change this to a green. Maybe a dark green like so. There we go. All right. That's looking pretty cool. Now I want the edge of here also to be probably green. I also want the handle to be green, and I also want these to be green. Let's go crazy with the green. Let's come in and ult shift clip. Let's grab this going around here, and we'll leave it underneath there, and we'll also grab all of these like so. Green, a sign. There we go. And then what I want to do is I want to just hide these out the way, so then I can grab this. L L, like so, and then I'll put those on light metal. Let's press all tags, bring it back tab that will tap the A. Always have a look round, making sure they're happy with it. Yeah, I think I'm happy with how that looks so far. Now, let's think about a rubber, so plus new, let's put in rubber. Like so. Then what I'll do is I'll come to my wheel. L L, and let's go around this side and this side here, like so. Then one way to do is now come down to my rubber, click a sign. Then one way to do is I'm going to make this very a bit of a gray color, so a bit darker, I think. Then I'm also going to bring the roughness up so you can see now that's looking a little bit right rubber. Do I want it a little bit darker? You will notice as well that I'm not really going overboard on these things. I'm just trying to get away with making simple Actual materials. I'm happy with those. Now, let's come in and give these the metal color. L, L, and this and this like so, and we'll do it metal, like so. We could put the handles with the green metal or something like that. Let's do the hot dogs now, plus new hot dog, like so, and then we'll come in and grab all of these L. L so, and then I'll assign those to the hot dog. So click a sign, and let's make them a hot dog color. Let's press tab. I got so lucky there. You can see near enough perfect. I'm just thinking the roughness. I don't want to mess around with that because that's pretty good. Let's turn the roughness up a little bit. That looks really, really good. Maybe just maybe a little bit darker. So, that looks good. I'm not going to mess around with that. We've also got bread, bread again. I'm not going to put in any gradients or anything like that. You could put a gradient in here. Should we put gradient in there to make the bread, or should we just make it very, very simple bread? I think actually, we'll just make a very simple one. I'm just going to put plus new bread. Like so. Then what we'll do is we'll just make this the color that I needed. So let's click a sign tab. Let's put it in yellowy, browny, they look a bit moldy, so we really don't want it looking like that. I'm going to put it a white ish, bring it back out a bit and then let's make it perhaps. A little bit more brown like so. Yeah, something like that, I think it's absolutely fine. I'm thinking that these here need probably pulling out a little bit. I'm just going to grab them both, press S and y and pull them out on individual origins. Like so, and I think that's going to make them, they just look a lot better like that. I'm happy with that. Now, let's come to tomato. I'll put a new one in tomato sauce, and then we'll do another one. Mustard sauce. Then finally, the last one, which will be mayo. I think after that, I got all of the colors that I actually need. Let's come to the first one. So we'll click on this one, and we'll assign it to the tomato. Then we'll come to the back one L, and we'll assign that to the mustard. No, the mayo, we'll do the mayo of the back, and then this one here, we'll assign that to mustard assigned. Let's do the tomato first. We'll put that on a red, and there we go, got the color straight away. You can see it's a little bit saturated, exactly what want. Let's come to the mustard now. I'm going to put it on a yellow. There we go, and then the mayo. Probably a bit darker like so. I think I'm happy with those double tap the A, and there we go. Now let's think about our wheels. I think I'm going to make all of this metal down here. I think that's going to suit it fine. Do I want it dar ML or light mal? I'm going to grab it with edgele grabbing it all the way, same for this all the way and then on this side, like so. Let's think. We've got a dart met, so we'll first of all try that. I'm going to click plus down arrow, dark painted metal. Let's try assigning that and look what that looks like. Yeah, actually, that's probably going to do it. They're probably going to be a little bit of a different color down there anyway. I think I'm actually happy with that. I'm just looking around it now, making sure I'm happy. The one thing I'm happy with is this here. Let's just put it onto material so I can actually see what I'm doing on this. Then while doing to make this a little bit easier is shift click shift click, right click Men, Fa select, and then I make it the light metals sign. Okay Let's press tab, have a look round, make sure everything's done. Make sure you're happy with everything. Are you happy with this being so shiny? I actually think I am. I think I'm really, really happy with this. All right. That's that. Now, let's finally come up to the right hand side, and then what we'll do is we'll press a little dot on and we'll call it Hot Dog. Stand like so, and then we're going to right click and I'm going to mark as I sat. Now finally, when we press question mark, bring back everything, double tap the A. I'm just going to have one more. There we go. Looks really, really nice. All right. Let's now click on it and let's move it to the side with all our other assets into place like so. Now I want to do is I want to just come to my assets, go to assigned and put in my hot dog stand into my assets. Lastly, now, I need to make sure that I come to materials, and I need to look which ones I've I got that are assigned. I'm just going to go down, right click, markers asset, green, right click, markers asset. Okay. Tomato, and painted metals already done. Okay, now grab all of these and drop them into my materials. Whoa, we've got a lot of materials now and we've got a lot of assets. Finally now let's go to Modeling, file, save it out. Tab, double tab the A, and there we go. I hope you're really happy with what you just created. It was quite a complex building comparison to of the stuff. But now we're onto the last two, I think, I think it's the moped and the bar, so it's probably going to be the bar w we're actually next. All right, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. O 65. Starting the Beach Bar Model: Welcome back everyone to Blender three, the ultimate stylized scene guide, and this is where we left off. Now, we've got basically three more models to actually build. So let's come in and change this out and we'll go with let's have a logo. We've got here. So we've got the moped, we've got the bin, and we've basically the bar. So I think the first thing we'll build is the bar. I think that's something that's going to test us a little bit, but it's still relatively easy to build. The bin is a little bit more complex and finally, the moped. We've got to really break that down into pots to get that right. Let's double click the bar. Let's open it up. Let's press one and we're going to have to make this a lot bigger, I think, because I think this bar is a fair chunky size. Let's press S, make bigger, think it's too big there. Let's pull them up, pull them across. There is perfectly the right size. Now you will notice with the bar that these parts here, they're just there to show you what it's actually going to look like. They're not actually there for actually scaling as you can see. All right. So the first thing with the bar is, let's build this part over here. What we'll do is we'll press shift S, s to selected, shift A, and let's bring it in a cylinder. Now the cylinder on here, I think it's going to have to be something like 20. Let's put on 20. Let's press S then and bring it out and just get it to be round about the right side. So I'm going to do is I'm jaws going to bring it up just so I can see that it's jaws fit in there, and then we're going to base everything around this cylinder. All right, so let's come to the top and let's bring it down. I'm going to grab this top. I'm going to press one. I'm going to bring it down to where it needs to be. So can see it's jaws there so and then we're going to kind of make this actual nice slope, and then it goes up a bit like a hat of a cowboy kind of. And then what we'll do is we'll press E, bring it up. I'm going to actually go into y frame, I'm going to find that little bit easier, and then we're going to press S, bring it in, and then E, bring it up, S, and just keep working your way around until you get that kind of shape that we're looking for. So S, bring it in, and then E S. Although we can't see the top we can pretty much see where it actually looks like, so E, bring it in. I think one more and that should do it and bring it in like so. All right. I think that's going to be a real, really good start. I'm going to actually pull it out so I can actually see all sides of it. Then what we need to do now is we need to press sad going to solid And then what I'm going to do is I'm actually going to delete the bottom of here. I'm going to come in, grab the bottom with Faceck, press delete and faces. Now, let's give this actually some thickness. If I grab it, press control A, all transforms right clicks origin to geometry. I think pretty much everything on here is going to be using all of the skills that we've actually learned up til now. So add modifier come in and bring in a solidify. Let's make it even thickness, and let's just come down to the bottom and actually have a lot this looks like. So we're going to I think on this occasion, we'll actually bring it out a little bit. Think that's going to make it a little bit easier for us or something like that. Then what I'm going to do is I'm going to right click, Shade Smooth. I'm going to bring in my auto smooth. What I want to do is now, I want to be level these bits off. I don't want them to rounded and you can see that we've got our little wood parts that come there as well. Let's be level those off. I'm going to do is I'm going to come to the inside. Hopefully, I can grab all those. Press Control B and just level them off just a little bit, making it a little bit more rounded. Like so. You can see although I'm making it rounded, it's not. I've got it right here. It's just not doing it for me, and the reason for that is, of course, is because I need to apply this and then reset all of my transformation. Let's press Control lay on this. Let's press tab. Let's press control all transoms, right click, the origin to geometry. Now finally, let's come in and grab this part, so press Control B, and now it should be rounded off nice. Think I want to a little bit of a hard edge on here. I'm just going to go to the inside and I think we're going to round that one off as well. So ult shifting clip, control B and round that off as well like so. I think on the inside, it would be quite normal to have a harder edge on this part here, so I'm actually going to leave that. The one thing I need to get rid of is probably these two on the outside. I'm going to come to the outside of this. I'm going to press control B round that off like so, and then probably going to come to this one, control B, and let's round that off as well. And there we go. I think that looks much much nicer like so. All right. There we go. That's that part. Now, let's think about bringing in some wooden actual slats, and we could, I guess, if I press control seven, once I've hit my ground floor. So just hide that away, press control seven to go over the top. Let's grab it and press tab. I wonder if we can actually use part of this to make our wooden structures. For instance, if I grab this one here and then grab it going all the way, let's have look over to here because we need it to kind come down and pop out. We need them to pop out a little bit. So I'm actually going to grab it all the way down to there and then just keep grabbing it all the way to here. I'm thinking, can I actually make something with this? So what I'm going to do is I'm going to press D. And pop it down, like so. And then what I'm going to do is I'm going to press E and just pull it out a little bit. Let's just see if I'm straight on, which I should be. Because I grab it straight on now, when I press E, I'm actually going to pull it out in this direction. So if I press E enter, and then pull it out, you can see it is in that direction that I needed. Now, how thick do I want it? Probably something like this thickness. Now what I want to do is I want to separate it out, so L P, selection, separate it out. And then what I want to do now is I want to actually solidify this. So I'm going to press I'm going to grab it actually with tab Control A, all transforms, right click, so origins geometry. Add modify it, and let's bring in a solidify like so, and let's turn the solidify up. We see we've got problems straightaway, and we know the reason for that is because the normals are facing the wrong way. Let's press A, shift n, spring them around, and there we go. Now it's much much better. Can still see though that we have got some problems down here, but don't worry about that because I'm actually probably going to get rid of those. What I'm actually going to do is, I'm going to turn this round, so it's going the other way, so it's coming up this way, and it's going to be much easier for me then to actually get rid of some of these parts. What I'm looking for here is the thickness and to get it in the right place. So if you see for press three again, press Z going to wire frame, you can see that I need it to be rounda in here. So if I put on even thickness, and then I can move this offset, and that's going to move it down, so that's not going to work. What I need to do is I need to move it across manually and get it right into the center of there. Now I'm thinking do I want this? You can see here that I've messed it up a bit. Let's have a look what I've actually done there. I think it's my offset. I'm just going to prick back on one. Not on one on zero, maybe zero. Let's try that. I don't actually know what I did. So let's have a look where it should be on minus one. There we go. Minus one, just in case you having any problems. I'm just going to prick back. And then what I'm going to do is I'm going to press shift in again, and then put it back like that. All right, I'll want this bang in the center. So what I'm going to do is actually, I'm going to come to this. I'm going to grab this piece here. I'm going to press Shift S, cursor to selected, and then I'm going to come back to the piece that I've just built, and I'm going to basically press control A all transforms, right, clicks the origin to geometry, and then shift S selection to curse keep offset, and now I know that's perfectly in the middle. And now I'm going to reign that up. So I'm just going to pull it back, pull it up and get it into the place where I want it. And then I can work on the actual size and so you can see it and pull it back like so, and then pull it up. Like so, and there we go. Now, let's fix this bit now because we can see that it's a bit of a mess, if I come to it. You can see that it's the top side here. What I want to do is I want to really get rid of some of these on here. I'm thinking, if I put this on, I'll be able to see through it. Where are the problems? Probably this one here is a problem, so if come in, shift and click. Let's see if I can delete edges from there, so dissolve edges. You can see that's not really done a lot because I think the top of here actually, let's hide it other way. Let's come in. And what we'll do is we'll actually dissolve edges on there. Now it's much better. That's looking a lot better. Now let's just check the other part. Go up, that looks fine. Old g, bring everything back, double tap the A. And now what we need to do is just pull it back further as you can see, it's still not back far enough, so something like that, and now it's actually looking like this as holding it into place like so. All right. So now all I want to do is I just want to pull this out a little bit. So if I grab this, I'm going to pull it out a little bit like so. And then what I'm going to do is I'm just looking out at the thickness. Just make sure it's not too thick or anything like that. All right. So finally, I think I'm happy with that. So what I want to do now is I want to base this from the center of this, so I'll come to the center. I brought everything back. I'm just going to hide it again. And then going to come to the center, which is this part here. I'm going to press shift S. Cursor to selected, tab, grab it, let's press Control A to apply it, so control. Let's press Control seven, to go over the top. Let's press the little sideways V and come down to three D cursor. And now we should be able to press shift D and then bend it around. So I I press R Z and come to this point, you can see it's on 50 degrees. Now, again, it's up to you how many you want. All you need to do open your calculator again, and you can do 360 divided by, let's say eight, and it's coming out at 45 degrees. Instead of 50, let's put it at 45, so at 45 degrees, and then you can press Shift R Z 45, and then just work your way round. I'm not sure. Yeah, we'll have to do it like that. So shift 45. Now you can use an array and actually go around a circle. But the thing is, by the time you've say it up, you will have done this anyway, so z 45. So it's much, much better just to do it this way. It's just easier z 45. We will learn about the array technique later on in the course anyway. So shift 45. And there we go done as quick as that. All right, so I think I'm happy with that. I think on the next one, then, what we'll do is we'll start building out these posts. We'll actually fix the inside as well because that's not quite right. We'll just put a circle in here or something like that. I'm just making sure that they're not popping through the top or anything like that by pressing double tap the A. And yeah, I think I'm happy with that. Alright, everyone. So I hope you enjoyed that, and on the next one, we'll carry on with this. And I don't actually think this will take as long as the hot dog staang to actually build, but I think it's going to look good as well. All right, everyone, so I'll see in the next one. Thanks a lot. Bye bye. 66. Splitting Meshes Down to Bite Size Chunks: Welcome back, everyone to blend the three, the ultimate stylized scene guide and this is where we left off. All right. So now let's actually think about building out this part here. If we build this part out here, then we can actually start putting the actual structs that are going to support all this. We also need a bit in the inside. So while we've got a cursor here, let's first of all, do the inside bit. I'm going to press shift A. I'm going to bring in a cylinder. I'm not going to worry actually about the sizing of vertices on this. I'm going to leave it actually at 20, and then what I'm going to do is jaws going to make it smaller like so. And we're still pulling from that bit. So let's press a little sideways V, put it back on individual origins then, and then what I'll do is I'll press essence A. Like so, and I'm going to delete the top and bottom. I'm just going to pull it up for now, come in, top, bottom, delete faces, like so, and then grab it, bring it down into place wherever it's going to go. So I think somewhere Somewhere around there looks absolutely fine. And then all I'll do is I'll press enter tonnes and bring it either in or bring it out, whichever be the case. I think that is looking pretty nice. And then what I'll do is I'll just press control or transforms, right, Plax origins geometry, and finally then just drop it into place where it's going to go. And I think actually will make them stick into it because then it looks just a little bit better. And yes, I think that looks fine. All right. So now let's bring in another actual All right. Let's bring in aother cylinder. Now, this is the cylinder that we're going to make for this part going around here. I don't think the bar needs to be as dense as that. Can't really see how many sides on the bar, but you can see it's got kind of a square is shape, and I think I'm going to keep that. So what I'm going to do is I'm going to press Shift A. Let's bring in another cylinder, and this time, let's put it on to 14. I just messed up there. Let's delete that. Shift A mesh cylinder 14. I think that should be enough. Let's press one. Let's bring it down. Let's press S and Z. Bring it into place. I'm going to press S again, and then S and Z, like so, and you can see actually, it's perfect. So I don't know I remember that, but that is the case. Let's bring it in then. So we've got it here. Let's bring it in as we can see here. So if I just grab this, press the eye button, bring it in, press E, bring it out, press one, and let's see where it's coming out to, so it looks like it's coming out to round about there. All right, so that's that. Now, we obviously, we need it to be an inside, basically. And I've kind of messed up a little bit on this. So I'm thinking. I need to kind of bring both of these in to the actual same level. So let's see how I'm actually going to do that. Do I want to bring them in? I'm going to delete both of these first, delete faces. And then what I'm going to do is I'm going to grab both of these. Both for these. I'm going to press e AlternS, bring them in, where they need to go, so I'm going to bring them So I've probably that far in, and I'm also thinking that I've got these wooden struts to put in there. So maybe a little bit further, so Al tes, that whole shift, if you need to, and also bring in your man and standing in the middle, and then you're going to get a real good idea if I stand him on the ground, like so. You can see it's probably looking. Is he a little bit small there? Do? Do I think I need to pull this down or make it all small? I think we'll deal with that in the end, but I can see at the moment if he stands in here, he's going to have plenty of room to actually get drinks and things like that. So I'm actually looking. Yeah, it will be stood on there. So yeah, I'm thinking there's enough room there. Now, let's think about joining these up, so you can see if I join these up right now, I'm probably going to have a problem in that. I can't. It's not going to be even. So shift and click Alt Shift click, right click and bridge edge loops. And there you go, you can see it's not even. I'm just going to grab one. I'm going to press test and bring it out and just straighten it up as best I can. I'm not actually going to worry too much about it. Let's press seven and press ed and go into wire frame, and then I'll be able to see through it. You can see I'm really, really close. So press test, now I can hold the shift and near enough, get it perfectly light. So ed back into solid. And there we go. That's pretty much perfect. All right. So now let's bring in these wooden struts. There's basically four of them. There's one around here, one round here. Let's bring them in and place them in, so shift a bring in a cube, bring it down. This dam I need to make it actually a little bit bigger. Let's see if this goes into place, and if not, I can move these things a little bit more so. Bring them in a little bit, put it into place and then press tab, and then pull it up into the ceiling without it poking through. All right. That looks good, and also It's going to be a little bit supported by this, which is great. Now, we need to put another one around here. What I tend to do with this is that I'll actually do it probably by 90 degrees and then fit it to the nearrest one of these. Let's try that. I'm going to I've got my cursor stone in the center, little sideways V again, three D cursor, and then shift D, and then R z 90, D, R nine, shift D, and then R nine. There you go. They're all in now and the Base need to make sure that they're stud at each of these, which they pretty much should be, so they're all actually nice and in place now, and it's as simple as that. Now what I'm going to do, I'm just going to go to the side, and I'm actually going to look at where my speaker so have one speaker here, one speaker here, and I think that's actually going to look great. Let's pull in our speakers now. So what I'll do is I'll press a little v again, move it from to individual origins, and then what I'm going to do is I'm going to press shift date, bring in another cube. Let's bring it into place then. So we're going to put it against this one and maybe have the other speaker point in this way maybe, so let's bring it over first into place. Like so, and let's press S and Z, bring it down, it's probably going in there a little bit too far, so S and y, like so, something like that, and let's bring it down a little bit more just so people can see it when they're looking from here. I'm going to make it a little tiny bit bigger. Like so. I think I'm happy with that. Now I'll do is I'll actually make the actual speaker. I'm going to grab it, press the eye button. L so you can see, right again, I'm going to press Controls head. Let's have a look see if I've done that. No I've not. Let's press controls head. So I've got that. There we go. All right, Let's press tab Control A, I'll transforms clicks origins geometry. Tab make s, grab this space, press the i bone, and now it's going in nice and even what it wanted. Now let's grab all of these. No one, we'll grab this and just pull it back with the, and now bring in another cylinder. I'm thinking, I'm probably going to move that and then move it back the actual cursor. So I'll come to here shifts cursor selected, tab shift A, bring in a cylinder. I'm thinking that's probably a little bit too high, so one, two, three, four, I think it probably something like eight for the actual speaker. It will make it actually look nice, something like that. R, x, 90, spin it around. Press one, S, and something like that, and then S, and y. And there we go and pull it up. And I think if you want to get another one in here we're going to have to make it a little bit smaller, so pull it out, and then what I'm going to do. I'm just going to pull it up a little bit more, and then shift, bring it down. There you go. You might want to round those speakers off, but I think for me, Yeah, actually, I will, I will round them off just a little bit. I'll join them both, Control J, tab, Face leg, both the faces, E, pull them out. Make sure on individual origins, S, Bring them in, like so. All right. Really happy with those. Let's grab this one. So Control J. Join them both together. Control A transms, collect origin to geometry, and now let's press shift and spin it round. So bring it out here and then AZ and 90 should spin it in the correct place. Press three, and then you can actually get lined up like so. And then all you need to do is pull it back. Alright. Simple as that. We're really really cracking on with this now, as you can see. Now, you might want to twist these posts around a little bit. Completely up to you if you want to do that. I'm thinking that I'm quite happy with the way mine are. So yeah, I'm going to leave them as they are. All right. So now what you need to do is you need to think about building out this bottom. Let's first of all, come to the top, grab the top, shift S, s to selected. And then what we want to do is you want to bring in a cylinder, but when you bring in the next cylinder, you want to think about how many sides it's going to have because it's really important that it has enough sides to make enough planks. So let's bring in a cylinder, so shift A, mesh, cylinder, and let's put it on something like 30. Let's have a look at that. I'm looking if I bring this down now and make it bigger, we'll make it bigger first. You can see that probably that's roundabout right. You can see that these are lining up with this. Let's bring them in a little bit. 30 seems to be the way to go. What I'll do is now, I'll pull it down to just under here because I want it sat actually under there. I'm going to also get rid of the top and bottom. I'm going to come in, grab the top, grab the bottom, press delete faces. And then going to come in with edge select and grab this bottom edge like so, I'm going to press one. I'm going to pull it up to where it needs to go, which is somewhere around about here, and then we're going to press S and bring it in. Now, remember, this is a bit of an awkward view because it's not straight on, as I've said before. So just make sure that actually happy with where that is. You can also see that his feet, where his feet, his feet are just on there, so that's where it actually comes to. And I think D Jen just look how you want yours to bend in. I think actually that's looking pretty nice. All right, so now then, what we'll do on the next lesson is, we'll get on with the planks. I think these are actually the first planks of wood we've done, and you'll see just a really easy technique to actually create them. Alright, everyone. So I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 67. Fast Workflow for Creating Wooden Planks: Welcome back if you want to blender three, the ultimate stylized scene guide, and this is where we left off. All right, so let's me show you how the easy way to do these plans. So the first thing I'll do is I'll grab everything, and then what I'll do is I'll right click, and I will mark seams. And that then just makes it easy in case I need to move any of these or anything like that. So now what I can do is I can come in and grab every other one of these and split them off. So what I'm going to do is I'm thinking whether to Actually solidify them first. Now, I'll think I'll grab everyone because there's a lot of them. So come on over, O shift click, select the mole and then come to where it says, select, and you're going to check a D, select everything. Then you're going to press y and G, and that's going to split them off. Then you're going to press A. Then what you're going to do is you're going to press control A, all transforms, clicks the origin geometry, and now let's add in A, solidify. I'm going to go backwards this time, so inwards, basically bring them in. Like so, because I want actually some control over bring them in. I could bring them out and you can see that it's already split them off, but I don't actually want to do that, so I'm going to bring them in like so. Then what I'm going to do is now I'm going to bring in another modifier, and this time it's going to be a bevel modifier. I'm going to turn it all the way down and then turn it up one like so. You can see how easy that actually is, and maybe maybe going to turn it up one more turn it up one more like so, Is that look in any? I think it actually is. Now, what you can do is if you're not happy without close these altogether, is you can come in and grab, let's let's see you've grabbed them all. I can't actually grab them all going around at the moment. I'm just going to grab these four just to show you. And then what you can do is you can come in, put it on individual origins and put this on normal. And then if I press S and x, you can see that I can actually bend them on that actual axis like so. And that's really, really great for us because it means you can bring them in if you needed to. You can also press S, sorry, S and Y and bring them in on the actual axis that they're actually facing in. There is that. Let's put it back on global because I'm actually happy with mine, and then what I'm going to do is I'm going to come up. Apply mysla device, so Control A, apply the level at Control A, and there we go. I think I'm really really happy with those. Now one thing I'm not happy with is of course that I need these on the inside as well. I'm going to press Control seven, I'm going to press S and I'm going to press shift and B, and then what I'm going to do is, I'm going to bring them in. I'm going to press lt and S. Can I bring them in like that? No I can't. I'm going to have to just press S, bring them in, and now I'm looking at where it's going to fall. Something like here. I think that's looking pretty nice, I'm going to go round now to the side. You can see that the need bring it up a little bit as well. S and, bring them up, so making those fit in place. And then what I'm going to do now is just going to make sure that they're pretty much level, which they are as you can see there. I'm happy with that. I'm happy with the outside, and now I'll need to do is basically this part going around here. We can see If we come to this, that we've got one, two, three, four, five, six, seven, eight, nine, ten, ten vertices. So let's see if that actually works out. So we're going to bring in a cylinder, so shift A, bring in a cylinder, and then what we're going to do is put this on ten. Then we're going to spin it around, so R x, 90, and now I'm looking to see. So now you can see, that's not right. So let's let's count the vertices not the side. So one, two, three, four, five, six, seven, eight, nine, ten. It did actually come at ten, but I think I've actually spun this round. So I need to spin it round by 36 because that's dividing 360/10, R, x, sorry, y, 36, spin it round, half of 36, what's that going to be? That's going to be 18. So r y, 18. So Let's do that again. O Y, 18. There we go. All right. Now it seems to have worked. All right. There we go. That's exactly what we wanted. All it needed was a bit of map there and there we go. All right. Now let's come in and what I'll do is, I'll press R and x 90 and spin it around. And then I want to get it to be the right size. I'm going to press one. I'm going to bring it down then I'm going to make it much, much bigger just to get that size in, something like that, then we press Sen's d and bring it down. I want it to be now the right size so people can actually walk on it and I think that with the pictures probably still a little bit small, we can see here that these Actual stools they need to fit in here, so I'm going to make it a little bit bigger, I'm going to make it perhaps this big, and then I'm going to press one again and then essens d and just make it a little bit thinner still, and then bring it up into place. All right. That I think looks much, much better. Now what we need to do is we obviously need to bring this in and create these actual planks. Now, it's up to you how far you bring them in, but I think I'm going to bring them in into here and leave this kind of open. So the guy will be basically stud on the sand, but I think that's probably going to be better than stud bringing these all the way in. So let's give that a try. So first of all, what I'm going to do is I'm going to Grab it, press the ye button and bring it into the place I want it, which is roughly about there. And then what I'm going to do is I'm going to press Control. And now I can bring in as many edge loops as I want. So let's see four or five. I think four, keep in that kind of chunkiness, so left click, right click, and there we go. Let's now right click and mark those seams that's going to make it a little bit easier for us. And now let's actually get rid of everything except these going around here. So what I'll do is, I'll come get rid of the middle, delete faces, get rid of this side, shift click, delete faces. Now let's come and I should be able to just grab this bottom part, delete faces, and you should be left with something like that. I think that looks really, really good. All right. So now what we need to do is we basically need to split all of these off. I might as well come in again and mark a same on each of these, like so, and that's going to make it a little bit easier for me. Let's come in like so, right click and mark scam. Then what I'm going to do is I'm going to split these off now individually, so shift and click just down each. Other one. Like so, press y, press G, and that's those split off. Now if I grab every other one, I'm going to see if we're going to use my Checker D select. So I've grabbed everyone and select checker D select, and no, it's not going to work. So we need to probably split them on each one. So I'm just going to come up. I'm going to grab this one, and I'm going to go to select and checker D select. Y, G, split those off, and then I'll come to the next one. In fact, I'll hide all of these out the way, so I know that I've done that one. So now I can come to the next one and then select and checker D select, Y, G, and there we go. Okay. Press the G, just make sure they're split, and then I can come to the next one. So grab all these and press Shift R. And sometimes if you press Shift R, it will actually let you repeat the actual process. But unfortunately, on this occasion, it doesn't look like it's going to do that, so I'm just going to come to Checker D select again. Y G split them up. I'm going to just try that again. So shift and click. Shift R. Yeah, you can see it's not actually Checker D selecting, so select. Checker D select, y, G, and unfortunately, we're just going to have to work all way round. So select, checker D select, y and G, and just work your way round all the way back to the start. Just like this. Sometimes in modeling. We have occasions where it's very, very tedious. You probably could set up a Python console command to actually do this. But by the time you've done it, you already would have done this. Maybe handy if you're doing this a lot. Now we've grab the molt, let's press. Let's press A, and then what we're going to do is pretty much the same thing we did with these. The first thing I'll do is press control A, all transforms, and then what I'm going to do is I'll solidify. I'm going to press right click at origin geometry. I'm going to come in and add in a modifier, so we're looking at solidify. Let's bring it down on this occasion, down so Make them relatively thick. Something like that. P are going to stand on these all the time. They're on the actual sand. And then let's press add modifier and bring in a bevel. Drop the bevel all the way down to zero, and then just bring it up one, maybe two. Let's have a look. Maybe we can get away with two. Like, so double tap the A, and just have a look. I think I'm actually happy with those. I don't think I need another plank. I mean, if we look on here, we've got no more planks on it, we could put a plank on each one of those and just kind of join them together that way. But actually, I think I'm happy with those. All right. So there we go. Now, let's apply that so control A, control A. And now let's think about these actual stools and the actual bots. Which one do I want to work on first? Actually, I think we're going to work on this part, so we'll make that part first. What I'll do is I'll press shift A. I'm going to bring in a plane. I'm going to spin my plane around so R X 90. I'm going to make it the right size first. I'm going to press one. Z going to wireframe, and then I'm going to make it the right scale. It's going to be rounda here. Bit hard to see because it's at a weird angle. Let's press SN next. We can change it if we need to anyway, and let's pull it over here, something like that. Let's give it three edge loops, if a press control or now two, left click, right click. Now what I'll do is I'll actually cut this out with my actual knife. I can't really see anything at the moment. So I'm going to do is I'm just going to go back to solid mode. I'm actually then going to pull it out like so. Press one, and now I'm free to actually cut that away. We'll do that obviously on the next lesson because we're running overtime. I like to keep the lessons, by the way, to bite size chunks of 10-12 minutes. I find people's concentration starts to wane after that. And some people can do hours and hours and hours in one go, but a lot of people have said they can only do three or four lessons, and then they come back to it. So that's why we actually do that. Okay, everyone, so I hope you enjoyed that. I hope you find the course really useful, and I'll see you on the next one. Thanks a lot. Bye bye. Oh. 68. Creating the Wooden Sign: Welcome back if you want to Blender three, the ultimate stylized scene guide and. This is where we left it off. So now let's come in and we will grab it, press the tab button, and then what I'm going to do now is just cut this out. Now, you can pull this to the side actually, and you can look and see how I've actually done this. You can see it's kind of rounded all round here, and I basically trying to make it give it that kind of shipwreck kind of look with basically pieces of wood bolted together. So what I'm going to do is I'm going to press tab again, and I'm going to press K and we'll work on this part, we're going to round this off. Like so, and then I'm going to come down to here, and then I'm going to come down to here, just going through there like so, like so, like so, bring it up to here. Maybe, maybe if I hold the control, I can actually bring it up, like so. Then Simple as that. Press the er button, and there we go. All right. So now just grab all three of these, bring them out, so shift D, like so, get rid of the back, so L lete vertices, and now let's split these up. So again, I'm always going to come in and right click Moxene. The other reason I do that as well is when you're working on planks if you're working on realism and you're bringing in some and texture maps and things like that. It's going to be much easier if you've actually marched seems off to actually put those UV maps on. All right. So now, what I'm going to do is I'm actually going to split these off. I'm going to grab both of these, press Y, G, split them off, and now what I'm going to do is I'm going to bring them out. I'm, I'm going to do it that way. I'm going to bring them out like so. And then what that enables me to do now is bring back this one and bring back this one, a little bit like so, making them a little bit more uneven, and then grab them all, make sure that we're on individual origins, press one, and then press Sens Ed and just bring them in like so. And there you go. Simple as that. Now, let's bring in a bevel, and then we might have to bring them out a little bit further because I might have split them up too much, so let's come to add modifier, bring in a bevel, like so. I'm going to reset all the transform. So Control A clicks the origin to geometry. There we go. Let's put it on zero first. Let's bring it up then slowly. Like so, and I think actually, I'm happy with it being on too. Even though it looks a lot, it does look give it that roundness that I'm actually looking for. All right. So now I want to do is I want to press Control A and actually apply that. Now what we need to do is we need to think about bringing in something like this, so basically some text. The way we're going to do that is, if you actually come to your download pack, which is this one here, you'll see within there, we've got one that says cartoon font. All you need to do, you just need to come to your Cartoon font, right click and click Install, and that's then going to install that font for you. Let's close that down now. And now what we're going to do is we're going to press Shift S. Cursor to selected shift A, and let's bring in a text. Text again, let's turn it over, so r X 90, let's pull it out a little bit like so, and now we're going to press tab. Then what we're going to do is we're going to press shift B A R. We're going to have it looking in caps like so. Now the next thing I want to do is I just want to come now over to the right hand side and change the font out. You can see we've got a regular font here. All you need to do is you need to come to this little box here, and then what you want to do is look for that actual font. It's called cartoon font. Let's see if I can find it with this cartoon font. If I can't find it, all I want to do because it should be in the font. What sometimes I don't go in there is go and to your actual Beach course, where you've actually downloaded it, and you'll see within there. We've got cartoon font, double click it, and there you go, you'll have it in like so. All right. And it's up to you, of course, which font you actually want to use. All right, I'm just going to put mine in place. I think I'm going to make it a little bit smaller like so, but I do want it, so it's actually clearing all of these like so. Now, if we go around here, we can see this is how it should, you can see it's exactly the same form. Now I want to do is actually apply that. So what I'm going to do is I'm going to come up to, by the way, you can as well, same as curves and things like that, you can turn this down as you can see. I'm going to leave mine on 12 because normally normally I find that it's absolutely perfect. Now, there is another thing before we actually apply that. If we come to this resolution, you can also turn that down. I'm going to leave it on four, but I'm just letting you know that when you actually come and bring it out with like so, and then bring this down. You can see where you can't see, but you will see that when you've actually applied this and turned it into mesh, that it will be a lower resolution. Now, what I do tend to do is on here is you will find that if you're trying to bevel it or anything like that, it's going to be really hard to do that. What you can do instead is bevel it now. You can see how I've beveled that. You can see it's a little bit broken though but if you put this on not point, one, something like that, you can see that we've got a slight bevel there. Let's put it on a little bit high son point, not five So I think we need to lower it a little bit more so I come and lower it down to note point not note three. I'm just seeing if I can actually do that. Sometimes you can get away with it, and sometimes not, it looks much better. Now what I'm going to do is come to object, convert, to mesh, and there we go. And you can see the reason why it's done that is because It's just added a lot of polygons and things like that to it, especially the bevel and things like that, you can see how many polygons it's added. Actually, you can see that this is 28,000 polygons. Way way higher than what we actually won. Now I'm going to do is, I'm going to come to my little spanner. I'm going to add in a modifier, and this time, we're going to add in a remesh. Let's bring in a remesh. And the more we bring this down, the closer, it's going to actually get to it. So just keep bringing it down until we gain relatively close. Like so, and that then I think is close enough, and we can actually work with that. Now I want to do is just put on smooth shading and we've got something like that. Let's press control, and now let's go in and you can see, looks to tons bare. You will now to see though it's 125 polygons. That's no good to us. So what we need to do now is we need to actually decimate this. So if we come to add modifier, come in and go to decimate now, let's bring this down to something usable. So 62,000 polygons on just this is way way too high. So I'm going to do is I'm going to put the ratio on not 0.1 to start with, and let's see what that looks like. We can see it's at 12,000. Let's bring it down even more, not point, not five, something like that, and there we go. Now we can see that it's starting to come down. I'm going to shade smooth as well. And what I'm also going to do is put on my auto smooth. And there we go. Now, let's brought that down. Let's actually apply that. So. And then finally, now we want to actually cut these away from each other just to make them even more smooth. So we can see here, we've got a lot of problems in them actually being smooth, so that's not good and we don't really want that. So what I'm going to do now is I'm going to cut them away from each other and really smooth these off now. If I press seven to go over the top, press tab A, and then we're going to do I'm going to come in with my bicect and then just cut these away like so, bring them up, hold the space bar if you need to to actually move that, and then put them in place like come down to clear the inner. And put this onto zero, of course, like so. And then if I run round, now you can see that's what they're going to look like. Let's press all TEF and fill all those in, and now you can see they're much, much flatter, and that's a good way to actually do that. All right, I'm happy with those. I'm going to leave the backs No, no, I'm actually going to do. Yeah, I think I'll do the backs as well. Let's have a look now at 5,000 polygons. Let's come in and do the back. This is just showing you the ways that you can actually fix these. I'm actually going to see as well if the bevel when they've done these, they might do, so let's have a look at that. I'm going to do is I'm going to come in again with my mesh, come down to bisect, and let's clean these up from this side this time. So. Then what I'm going to do is I'm going to come in and clear the outer. I'm going to actually see fill works as well. Then I'm going to do is I'm going to put that on zero, and now I'm going to come around and have a look, and there we go. They look tons, tons bare. Now, find list press control all transforms. A transforms right click, set origins geometry. Let's see if we can actually bring in a bevel. And I fought that the bevel won't work, of course. What we'll do is we'll come down to geometry, clamp overlap, take that off, bring them down and then bring it up very, very slowly. Let's try not point, not not one, and you can see we're still having problems getting away with that. It's making a mess of it. You can see that the blender fonts work. They do come with a lot of problems that you just need to be aware of, and this is basically one of the problems. You could actually probably come in and double them off manually. But you can see because they're so close that you're going to have a lot of problems with this. Again, we can go in and probably remesh them and things like that, but in the end, probably not worth bothering with. We have got it down now to nearly 6,000 polygons, so that's absolutely fine. Now I want to do is just pull them back into place and not worry about them anymore. I'm going to just pull them into place over here. I'm going to make them a little bit bigger now, and I think I'm happy with that. Alright, so there we go. Now on the next lesson, then what we'll do is we'll actually start putting this in place. We'll put these two pieces of wood back, and then we'll start actually creating these stools. And then basically the bar is actually done. Alright, everyone, so I hope you enjoyed that, and I'll see in the next one. Thanks a lot. Bye bye. 69. Creating Stools the Right Way: Welcome back everyone to Blender three, the ultimate stylized C guide and this is where we left off. All right. Let's now I'm thinking, join these both together. So Control J, join them both together, and let's put it onto Auto smooth like so. Now what we'll do is we'll bring this back into place. Five press one, let's pull it over into some sort of place, so we need it there, and I think I'm going to also rotate it round so Z like so. Now, actually, I'm not going to rotate it round yet because that's going to make it harder for me. If a press Control Z, what I'm going to do first, I'm going to press Shift S. Bring in cursor to selected shift A, and let's bring in a piece of wood. Q. Let's make it a little bit bigger, so it looks like it's going to support something. N's, let's bring it up like so, and then let's pull it across like so and I want it stuck into there. All the way down into place, like so. The other thing is, I want to actually make this a little bit bigger on the tops as well. I'm just going to press tab, I'm going to grab the top and pull it up. Then what I'm going to do is I'm going to grab another one. But first of all, I'll add in some Mede loop, so I'll control of three, left click, right click. Grab it again, so L, shift D, ring it over, like so. Then what I'll do is I'll grab the top of here, P proportion it it on, make sure I'm connected only, press the S button, just bring it out like so, and then bring this one out, not quite as much. And then bring this one up and just move it over to the side. Then just bring this one over like so. There you go. It's just give me a little bit more character. Before I join these two, these, I've also probably got a bevel these off. I'm going to press control A, all transforms right click origin to geometry, and then that's bevel these off all the way down up one, so press control A, and they look absolutely fine. Now let's join this all together, so Control J, join it all together, and then you can see, I've got a little bit missing here. Not to worry. We'll first of all, bend it round so it's in the right place, something like that, let's bring it back a little bit. Yeah, I think actually, I'm happy with that. I just need to bring this down now. I'm just going to press tab, grab the bottom of here. This press Control plus on the number pad and then pull it down so I'm just going to turn off proportional editing, and I'm going to have a look at that. There we go. That looks really, really nice. Really happy with that. Now, let's get on with our actual store. What we'll do is we'll come in and I'll make my actual store first. What I'll do is I'll think. What I'll do is I'll bring in a cylinder, and I'm going to bring the cylinder in. Let's try something like 14, something like that. Let's press S and Z and bring it down. Let's pull it out the way. A I want to do now is just get the right shape for my actual cylinder. I'm going to do is, I'm going to come in. Bring it up. Then I want to press e, bring it down. Then what I want to do is I just want to bring every other one of these in. I'm just going to grab every other one and I'm hopefully going to get that shape that I'm actually looking for. If I grab all of these, every other one, I'm hoping that I should be able to now just press the S button. I want to bring them in, so I need it onto medium point and bring them in probably a little bit more, S, bring them in. Then what I'll do now is I'll grab the top. Face leg, D, bring it up? Now, let's see if we've got the right shape. I've come over to add modifier, subdivision surface, and then I'm looking now for if I've got the right shape, and I don't think I quite have yet because I don't think these are going in enough. I'm going to come again. I'm going to grab each one of these and see if I bring them in. Is it going to enable us to get that actual look that we're looking for? It's starting to come. It's starting to come. It's just that this part here is what I'm actually looking for. So what I'm going to do is, I'm just going to pull those back a little bit. And then what I'm going to do is I want to pull this up now. So I'm going to, I think, try and grab this, and if I pull this up, yeah, that's the kind of look I'm actually going for. This one here, so I'm going to instead, what I'm going to do is, I'm going to come to the top. I'm going to probably separate this out. So control P, separate it out, and then what I'll do is I'll press Y, G, and then I've got that separated now. So that's the top for me. And then all I want to do is bring this up now. So if I delete this. So shifting delete faces. We should be left with just that. Now if I bring up this top, so I grab this, pull it up, grab it again. Pull it up. There we go. That's the actual look I'm actually going for. If I shade this move now, you'll see exactly what I mean, so we've got that kind of look that we're actually going for, and then we've got the top on here. All right. So now, Let's grab this and pull it down a little bit, like so. Then what we'll do is we'll grab the whole thing, make it a little bit bigger, so pull it out, and now let's join this phase. L shift and click lt F, put a face on it, like so, and that's not working correctly. Let's not do that yet. I'll do is I'll press F, can put face on like that. That's also not working correctly. What I'll do is instead, press Control Z, I'll press E and Z, pull it down a little bit, then press F, and now you can see that's actually looking much much better. Then, what we'll do is we'll grab the whole thing with L and going to put it down and sit it on there like so, and that's actually looking pretty nice for a store. All right. So now what we want to do is we want to actually make these little legs that come out and actually legs on chairs and things. They're not actually what you think they are. They bend out in all of the angles. So you've just got to take that into account. So I'm going to do is I'm going to press Shift S, first of all, get in the center, Cs to selected, Shift A, and let's bring in a cylinder. Let's well, we'll leave it on 14. I think that should actually be fine. And then what I'm going to do is I'm going to press the S button. Like so. I'm going to do this in actual edit mode in a minute. So I'm going to pull it down like so. Then before I move it to the side, I'm going to press tab. I'm going to press seven to go over the top. And then what I'm going to do is I'm going to put this into place while keeping actual orientation there. That's exactly what I want. Then what I'm going to do is I'm going to grab the bottom of it now. I'm going to look to see how far it needs to be. I'm thinking probably something like this. If I need to make them longer, I will be able to do that. And then what I'm going to do is I'm going to pull it out like so. I'm going to press Control seven again, I'm going to pull it back this way like so. You can see now that's exactly what it's going to look like. I think actually that's going to be in the right place. Is it a little bit too thick the stall? Is it long enough? Well, let's give it a y now. What I'll do is, I'll grab both of these. I'm going to press one. I'm going to press the S button. I'm going to bring them down. Because I'm doing this all in object mode, I'm keeping my mirror actually on. So that's good. Let's bring them down. Let's press the S button. We can see that it's way way to small at the moment. Let's put it into place. Let's bring our little guy out now, and measure him up against this. If he parks his bomb on there, is it going to look right? I think actually that's about the right size. Let's press one then, and then what I want to do now is bring this down a little bit. I'm going to tab, grab it and press one and then pull it down. Into the floor, something like that. All right, I think that's looking really good. Let's sche that off smooth. Let's bring in auto smooth like so. Now we'll do is we'll actually mirror this over. Add modifier. Bring our mirror in, and then let's also put it on the other side like so and you can see just how easy that is to do. All right. Now let's bring in another piece. Shift A, let's bring in a curse to selected. Shift A, and let's bring in a cube, to reduce the polygon count a little bit, let's press S, bring it down. Let's make sure it's wide enough, so we're going to press S and x, pull it out, and let's press three and put it into place. I'm just going to move over here. Put it into place and see that this is way way too big. But first of all, I'm going to rotate it, so r x let's rotate it, so it's in the right angle. Then what we'll do is we'll just level off these and see how that looks. I'm going to come in. Grab each of these. Press tab, Control A, all transforms, right click, set origin to geometry. Tab again, control B, vel them off, like so, and now let's make it a little bit smaller, so S. S and x, pull it out, and there we go. Let's click, Shade Smooth. Let's put an auto smooth. It should leave it with a little bit of hard edges, which is what I want. Now I want to do is I want to put this round to the other side. So I've still got my cursor in the center, little sideways to not individual origins, whoops. To three Dcursor, shift, and then Oz 180, put it over the other side, and then we shift, Oz 90, and then what we'll do is we'll just bring this one up a little bit. So Let V again, individual origins, bring it up a little bit, and then bring it in. S and y, bring it in. Double tap, the A, just make sure you're happy with it. I think that looks absolutely fine. Grab it again, sideways V, three D cursor, shifty, Oz, 180, spin it round. There you go. Simple as that. Little sideways V once more, individual origins and now let's join all of these up. Together, including these ones, if I apply my mirror, so Control A, et'spply a mirror. Control J, join a molt up. Now let's have a look. This has got a subdivision on it, so let's apply that as well. Control A, let's grab all of them. Control J, and let's also put on shades move. I'm just making sure I want those a little bit harder So jaws, going to pull this up like so. There we go. You can also do this, of course, if you pull this up and anything you want actually more rounded, you can just mark in seams and things that. We've got that nice look now what we're looking for. That's exactly what we're looking for. Now, let's put these into place. If I bring this here, I'm going to put two together like so. Actually, I'm not going to actually do that yet. I'm going to actually put the color on first or I'll be actually coloring them all at the same time. You could actually move the materials over, but I think I'll wait actually, so I won't do that yet. All right. We've got this stool. Let's hide that the way, we've got the bar, let's ide that out the way. We've got the top off here. I'm thinking that I probably want one maybe a bevel on here. Let's have a luck if we've already got one on. No, we've not. We're going to actually do this by hand, shifting plate control B, very, very gradually. Something like that. There we go. Let's press H now. What we're going to do now is I think just work our way down, just giving on bevels and then start pouring the materials in. All right, everyone, so I hope you enjoyed that and I'll see on the next one. Thanks a lot, bye bye. 70. Creating materials for the Beach Bar: Welcome back, everyone to Blender three, the ultimate stylized Seng and this is where we left off. All right. So now let's come in and join let's say all of these together. We might as well do these all at the same time. Like so, I'm just making sure I've got them all. Let's press G. Miss one, let's join these as well. Let's also join the speakers. Might as well do those at the same time. Press G, make sure you've got the Control J, and let's press Control A. O transforms right click, set origin to geometry, and now let's bring in a bevel modifier. Let's have a look what that looks like. Actually, that's looking pretty, goodif, put this to zero, bring it all one, it's probably going to look the same. Yeah, I think that actually looks good, especially on the speakers. Let's try it a little bit down, so not point not not three. Probably like that is better. A Let's press control, and let's hide those out of the way. Now let's come to our bar control lay, all transforms, pick origins geometry. Add modify it, let's bring in a bevel way way too much. Let's bring it down, put it up to one, and thats absolutely fine. Control. Now let's press ulta and bring everything back. Let's hide the floor because it's going to make easier to grab everything. Press seven to 12 of the top and then you're going to press B, grab it all like so, and then just grab the stool, press Control J, and there we go. Join it all up, right click, Shade Smooth, Altos move on, and it's set at 50, so we're going to have to turn that down a little bit, so you can see here. Then I have to turn that down, which means that we've got our store, which is going to be. I think I'm going to have to separate the stools out because I'm not very happy with that. I could come in, I guess and bevel them off. I will try that first. I'll come in and level all of this off. I'm going to grab each of these things that I want to level off. I'm going to press control B and just bring them out. Let's have a look at that, and I'm also going to have to level this off, so Control B. Let's have a look. Actually, that's come out quite nice now, so I think I'm actually going to leave it. I can keep it all joined together as long as I've leveled these off. You can see here though, is this beveled off too much? No, actually, I think I'm up with it. I think I just need to get more actual, I'm going to bring that down a little tad just to get that flatness there. There we go. That's looking a lot better and it's got that little sharp edge. Yeah, that's looking much better. Let's even put it on 30, actually. Yeah. There we go. Perfect. All right. So the store then is still rounded off, so that's great. That's what I actually wanted. All right. So now let's start work on our actual materials. So let's come over to our materials panel. Let's click new. Well, let's click the Down R first and actually look, see what wood we've got. So we've got wooden planks, random. I'm actually sure. Oh, yes, it was on the bench. So let's give those an actual try. We've just put that on. Let's put it onto cycles. There we go. That's what it's going to look like. I think what I'm going to do is for the actual floor, I'm going to have them a little bit lighter than this. I'm going to put wooden planks and then I'm going to press another one new, and I'll call it wooden wooden planks, random floor. Because the floor is going to be walked over all of the time, so we've just got to take that into account. The other thing is, at the moment, this is all brown now. I'm going to come in and press plus, I'm going to go down, and what I'm looking for is the sunshade. What's this? Canopy top. I'm going to actually use that for this. I'm going to click down, Canopy got it wrong. Canopy top. There we go. And then let's come in and grab these. So grab this H and then Canopy top, click a sign, and there we go. That's looking nice. Now we want some different actual kind of wood. In other words, we want some wood where it's like weathered basically and rain swept and things like that. We've got wooden planks random floor. I'm going to give another one. I'm going to click new, and I'm going to call it wooden. Planks, random, weathered, like so. And then what I'm going to do is I'm going to come now to my wooden planks. I'm going to copy material, and then I'm going to come to each of these, paste material, and this one here, paste material like so. All right. Now I'm going to do is I'm going to bring in a yellow for this. Yellow sign. So I'm going to put yellow L et's get spelling right bar sign, like so. Then what I'm going to do now, I'm going to grab each of these, so L L and L and click a sign. Then what I'm going to do, I'm going to put this on a nice actual yellow. Maybe a little bit more. Something like that, I think Let's make it a little bit darker or a bit lighter. Yeah, something like that's really going to stand now. I'm happy with that. Let's now come to these weathered parts. Wooden planks, random weathered. What I'm going to do is, I'm going to come in. I'm going to grab each one of these now. Like so. I'm also going to grab each one of these. I'm just going to come in, work my way across, grabbing each one of these, like so. I'm also thinking that probably these ones here are also going to be actually no, I'm going to leave those for the boss. I'm not going to grab. I'm going to come and assign those to this. Now, let's head over to our shading panel. Let's press the dot button. Let's put it onto cycles, and let's zoom out and find these over here. These are the ones that I want to change the color here. I want to start with a much, much lighter color. So if I come to this one, I'm going to put it onto a lighter color, and you can see that's changing that. Something like that, I think, that's the color that I'm looking for. Now, let's grab this one, put it on this one, grab this one, put it on this one, and then grab this one. Let up a pet, put it on this one, and now you can actually start changing them over once you've got the color, actually the way you want. I think I'm happy with that color. I'll do is I'll come to this one, sorry this second one, and then I'll make it a little bit lighter. Not too much just a tiny, tiny bit lighter. Like so. And then I'll do the same on this one, so I'm going to make this one tiny, tiny bit darker. And then I'll do the same on this one. Tiny bit lighter not that light, something like that. All I think I think it needs to be a little bit more green actually. Let's come in. Let's see. Yeah, that is the better. I'm going to just edit this again. Sorry, I didn't get quite right in the beginning. It's a bit too red still. Yeah, like that. All right. That looks a lot there. Now I can come in, make this one a tiny bit lighter. Make this one a tiny bit darker, like so, and then make this one just maybe a little bit more orange like so. Double t A, and there we go. All right, I'm happy with that let's have a look at these parts as well. Yeah, I'm happy with those parts. Now, let's do the bar. I'm going to click plus, new bar. So I'm going to come in then, grab this bar. L, click a sign, tab. Let's put it on a red color, like so. Let's make it a little bit darker. Like so, and let's make sure that it's not quite as shiny, so roughness, turn it up. Something like that, I think it's absolutely fine. Now, we've got these pieces of wood in here. Now we need these pieces of wood to go. What I'm going to do is I'm going to just see if I've got the rest of it in. I've also got the speakers to go as well. I can I can put these on black. I think I've got a black plastic. We'll do those first, so I'm going to grab these scroll up plus down arrow plastic. Black plastic, like so. I want to click a sign, and then I'll come to the center of them. I think I've grow a white for these, so I'll grab both of these. Let's click plus down arrow white. We've got. I've got a white metal white, have a look at that. Click a sign tab, and actually they look pretty good. Now I think I've actually got one called speaker from what we did with the parking meter. Let's have a look down arrow speaker. Speak of black. There we go, click a sign, tab. Wow, they look really, really nice. All right. This is really coming together. Now, let's come in and do this part here. If I grab, I have to go in and grab all of those. Just make sure you're on edge select, so you're grabbing a mole and just go and grab them mole. Then what we're going to do is we're going to put this on the floor one and change that floor out. Maybe maybe we should put the floor instead of making a new one, maybe with this wood here. We'll actually have a look at that because that might be the best way to do it. I'm just going to come in, grab each one of these. Like so. Not that one. Get rid of that. Zoom in. And again, one of those things that's pretty tedious. All right. There we go. Now, let's put on wooden planks, random floor, wooden planks, random weather. Let's post a sign on that. Yeah, that looks just perfect. I don't need to have this wooden planks random floss. I'm just going to minus it off. The reason it minus it off, by the way, is it will get rid of it once we come to I think it's under file cleanup and unused dates blocks. You can clean up unused dates blocks, and now hopefully it should have got rid of that. All right. It will get rid of it anyway when we reload the blend of file out, so don't worry too much about it. Now what we've got is our actual stool. I think, what we'll do is we'll actually create that on the next lesson. Basically then the bar is actually done, and we can move on to our actual bin. Everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 71. Completing the Beach Bar Final Touches: Welcome back everyone to Blender three, the ultimate stylized scene guide. We're nearly finally actually done with this. Let's bring in a new texture, new, and we'll call this one seat and yellow, and we'll make this one a little bit different, so I will show you one of the other actual shades you can use. If I come to my principled and I go to sometimes it is a very nice shader to actually use. First of all, if I come in though and grab the top of this and the bottom of this and then click a sign. Then what I'll do is I'll just put this on a nice yellow color. Let's press tab. Let's put it on a nice yellow color, and you can see just down nice that actually is. Now, what you can do is you can see if I bring this down, it actually gives it that nice color. We also want to smooth that off a little bit. It's not quite shiny like so. You can see what that actually does. There's also one that's called velvet as well that you might want to use. I'm just going to bring that down a little bit closer, I think, just to get some more darkness on there. I think I'm going to just bring this down a little bit like so. I'm happy with that. We can also as well go to glossy. Instead, you can actually change that to glossier. I don't think we're going to do that, think we're going to leave it on this one here. I think I'm happy with that. I'm just looking to make sure that I've got this edge on here there you can see the edge now comes about. I'm happy with that. Now, let's come to the bottom of it and what we'll do is we'll click plus down narrow, and we're going to look for frames like so, so frames. Then what we'll do is we'll grab all of these, and we're going to obviously give them the frames. We did miss one part, so I'm going to click a sign and there's that. Is looking around. That's absolutely perfect. The one thing we have missed is our little ring that comes on here. Let's quickly actually create that. I'm going to do is I'm going to go just quickly back to modeling, press tab. I'm going to come into material. And I'm going to press Shift S, Ks to selected, Shift A, and let's bring in a cylinder. I'm just going to look over the top. You can see here would be far too many rings like this, and I think the amount of rings I want is three. Three, six, nine, 12, 15 18. Let's try 18. We'll put it on there and see if that actually works. Bring it out, and let's come in and grab this and delete faces and also grab the bottom and delete fases, and then let's squish it in a little bit, so Sens squish it in. Now let's bring this out. I'll bring it in. It's up to you. I think what I'll do is, I will bring it in with a solidify. I'm going to grab it, Control A, or transforms, right click, set origin to geometry. Not that one. Set origin to geometry. And then I'm going to do is. I'm going to see if I can go every three now. One, two, three, so you've got one, two, three, one, two, three, and then just work your way round every third one, and hopefully, it should get back to the center with one, two, three, which it does. Let's right click and mark a scam and there we go. Now, let's bring this in, so I'm going to bring it in with a solidifying modifier. Let's put it on even thickness and bring it in. So something round about like that. All right, that's looking good. Let's press control A, and now let's actually bevel off all these sides. Or we could actually use another modifier, which will be the subdivision surface, and that actually might work out much better because we've already marked our seams on there, so we know whereabouts are going to be. Is that round enough? Let's shade smooth? Is it big enough? That's the other thing. So I might need to bring it in a little bit. I'm going to do is I'm going to just grab the inside. I want to press t and S and bring it in. Like so to make it the right thickness. Yeah. I think that's looking much better like that. Let's come over. Control, apply that and now you can see I've still got my seams on there, and that's exactly what I wanted, something like this. Click Mark seam. There we go. Now, let's see if I can grab every other one of these. I'm going to come to my materials. I'm going to click the down arrow look for white. White, and we're looking for white shiny. Let's try that. That's been applied to that, and you can see it's got that little bit of shine on. Let's click the plus now, new, and we're going to call it orange. Shiny. So. Then what we'll do is, we'll just copy this, so copy material, paste material, like so, and then just put this to a nice orange now let's see if I come in and grab each one of these, so L and L, click a sign on the orange. There we go, we might need a little bit. Look more weathered. All right. I'm happy with that. Now, let's make this smaller. It's way way too big. We've got a man here now though, so we can actually put it around him and actually have a look, see how big it needs to be. Something like that's about the right size, and now we can actually put this on the side, so R x 97 to go over the top, and let's just make it the same as this, R and Z. Like so, and then let's just put it back against that bar. I might need to actually rotate it round a little bit more. Something like that. I could actually as well, make a little holder for it but I don't think with the ball there. I think I'm just going to rotate it, rotate it round. So Press the G board now just to get back into place and then rotate it on the x maybe. You can see it's not rotating on the right place. Let's see, first of all, if you can actually rotate it with my normal. Let's see if I can rotate it there. Yeah, there we go, much, much easier to rotate it. G, just to pull it out a little bit. Double tap the A. And there we go. That looks pretty nice. Now, let's bring in the soll. What I'm going to do is, I'm just going to separate my stalls off just for now. So I can actually use them. I'm going to grab them all. Make sure you grab the bottom. Let's press P, selection. Grab it, control A, all transforms right click, set origin, to geometry. Now I should be able to press Shift D and just bring them out, rotate them round, so our Z, and then just place some more stores. I put two together here. Let's put some on their own over here. Basically, I want to actually keep them the same. I'm not going to press G. I'm going to rotate it, so Z, like so, and then we're going to press shift D. And then let's put these over here. Maybe one. Around here and we can see that I've got a problem in that. I I got a problem with that? Yes. I've got one missing there. I'm not sure why. I've got one missing there. So I'm going to actually delete those. And I think what I've done is. Yeah, I've actually missed the grub. So going to have to go back and actually grab this one, I'm going to grab this leg, so LP selection, and then I'm going to join it up and do this properly, so Control J, and then control Ale transforms clicks origins geometry. And now hopefully, I should be able to press D, bring it over. There we go. It's working better now. Let's join these a little bit closer like two people sat together. Let's press shift D then and bring some more around, so like this, put it into place, and then R and Z, so and then shift D. You might want to color up your stalls a little bit. I'm going to put these a little bit closer together. R and Z, like so, and then shift D. Let's put one here and maybe one a little bit further across. Some people sat on their own, so our Z so. There we go. All right. So now let's join everything up. Of course, you could split these up as well and have them as separate models if you wanted to. So I'm going to join those up with this. And finally, we're going to press Control J. Control A all transforms right clicks a origin to geometry, and there we go. There is our bar. Let's just put it onto cycles just so we can have a quick look at actually what it looks like. I think I'm very, very happy with how that's turned out. Now back onto materials, let's rename it, so we'll call it Beach bar, like so. Then what we going to do is right click, and I'm going to come down and mark as asset. Now I'm going to come down all of these, just making sure that they're marked as asset. You can see the ones that aren't so this one here, markers asset. Let's just work our way down, right click, markers asset, right click, markers asset. That one's been done, that's been done, that one's been done, right click, markers asset. Frames has been done and shiny white and the orange markers asset. Finally, assets, unassigned put it into assets and then put these into our materials, and then you've got materials here, assets here, and of course, our balcony and I made one for windows. Do I have any windows that I didn't actually assign? I'm not actually sure if all of these windows were put in place, but let's not worry about that. Let's actually now just put this over to our assets again, like so. And then what we need to do now is we need to make a start on our let's go to modeling first, on our actual bin. If we come over, Let's open this up, so I'm just going to scroll down. I'm looking for my bin, and here is our bin. You can see we've got two bins. We've got some rubbish bags. It's hard to see actually on this, but you can see the side of it. You can see how this comes down, and you can see how all this comes together, so it's a little bit fiddly is what it is. It's not something that's too difficult. All right, so I'll make a start on that on the next lesson and hopefully we can get that done within a few short lessons. All right, everyone. I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. Oh 72. Where to Begin with Many Parts: Welcome back, everyone, to Blender three, the ultimate stylized scene guide, and this is where we left it off. All right. We've got our cursor right there, so let's actually bring in, I think, first of all, we'll bring in a cube just to get the right size in. If I press one, I want to press S, bring my cube, and that's way too big, so let's just try that again. So I'm going to press one and S, bring my. I'm going to bring it out very gradually then. Then what going to do is we're just going to try and bring it in to the right size. I'm going to press S. You can see that this is on a different turn. Basically what I want to do is instead is I want to get to the right side roughly and then measure it up against my guy. I'm going to press e's, bring it down. I'm not going to do the top yet, so E's, bring it down. Then what I'm going to do now is I'm going to bring my guy up. To where he is on the floor, so I can imagine the wheels are touching around there. You can see that's probably around about the right height. If you think about a bin when you actually walk up to it, you can probably just look over and actually see it like this and maybe reach into it, but no more than that. Now what we're looking for is actual size of the bin. I'm thinking something round about this size actually looks about right. There's no way you can put your arms from left to right or something like that. I'm thinking maybe maybe just maybe a little bit wider, tiny bit wide, something like that. Now what I'm going to do is I'm going to put a top on this bin, but before I do that, I need to bring it in a little bit because at the moment it's way way too big. That looks more of a right size, maybe still a little bit too big, so I'm going to bring it back. Like so. And I think now maybe gone a little bit too far. Something like that sort of size looks about right. All right. For the top of the bin, what I'll do is I'll bring in a actual cylinder. That's going to make it a little bit easier. Shift S, selected, shift A, and let's bring in a mesh cylinder, and let's put it on. I'm thinking, can I get away? If I look at this over here, we can see one, two, three, four, five, six, seven, eight, that's 16, so we could probably get away with 18. So let's spin it round, so R X 90 R z 90, and we can see we're on the wrong one. Because we're on normal, let's put it on global Z 90, and there we go. Now let's bring it up, and let's put it into the right place where I want it to go. It wants to hang over the front so you can see here it's hanging over the front and the side. Maybe maybe a little bit more. Now let's put it up to the halfway point, so something like here looks absolutely fine. Then what we'll do now is we'll bring it out, S and x, pull it out, just so it's on the sides like this, and now we can actually get rid of some of these parts. Get rid of the front and back, so delete faces, and now we're going to cut it at the halfway point. Halfway looks like there. Maybe, maybe it needs to be halfway actually, so not quite, so we've got a little kind of piece here. So let's press Control of. Left click, right click. Let's press Control on this side, left click, right click, and then let's come from this one all the way to this one, press delete and faces, and there we go. That is what we're actually looking for. That's looking pretty good. The one thing I would say is that it's probably needs flattening off. It's probably a little bit too rounded. If I grab it all processins ad and then I can fly it off, and now it's starting to get that shape that we're actually looking for. I tend to actually when I built this, I tended to build the top of it all in one, so it's basically closed up and then open it as I'm actually building this thing out. Okay, so I think I'm py with that. What I need to do now is, I need to. I'm not going to solidify it yet. What I want to do is first of all, put the sides on, make these indentations and things like this. Let's do that first. I'm not going to worry about gns or anything like that at the moment. I'm going to grab all of this, press F and just fill it in, like so. Same on here, F, like so. Now let's bring in some a couple of edge loops for this part here. Control R two, left click, right click, S and X, pull them out with medium point. S and X, pull them out. So something like that. Now we can probably solidify this top part, and then we can pull these parts out separately as we need to. I'm just looking at this part here how it's actually built. I think, we'll go for that. What I'll do is, I'll now hide the bottom part of it. I'll come to the top part, press control le transforms, right, place origin geometry, add modify it, and let's bring in a solidify. Et's pull it out or in. I'm thinking probably get away better with pulling it in. Let's put it onto even thickness, and maybe that's a little bit too thick. I'm going to, I think, pull it back a little bit. So I think I'm happy with that. What I'm going to do is I'm going to apply my solidify. Then what I'm going to do now is let's work on the actual tops of here. If I come in, I can probably do all this at the same time. If I come to this one here, Control click, Control click, Control click, control click. Now let's think about bringing these out. I can probably get away with pressing. I'm thinking whether I should actually solidify this. Maybe that will make it easier. Take this bit and then stick it on top of it. I'm thinking that's probably going to make it a little bit easier for me. I'm going to do is I'm going to press shift. I'm going to pull it up. I'm going to press P selection, tab control lay all transforms clicks a origin to geometry, and now let's come in and just solidify this pot. Again, it's one of those where you're just going to break it into little parts, and if I pull this out now, you can see that doing it like that and putting it in place like this is probably going to be easier than trying to actually do it separate. I'm going to bring that down and put that into place. L so. Let's now come to the actual sides and we'll do the sides as well, so I can see if they're going to look right, so I'm going to grab both of these sides. I'm going to bring them in, so I'm going to press, bring them in, and then I'm going to extrude them in. If I press E, enter S x and bring them in together, like so. There we go. Now, we're actually starting to get somewhere. All right, I think on this, this is the back of it, this is the front of it. So we just need a quick handle on there. So I I press shift S, it is selected. Let's bring in a handle, so I'm going to press plane. I think I'll use a plane, I'll press S, make it a little bit smaller, and I want it to be round about the same size as his actual hand, so he can actually use it in other words. So it wants to be relatively small. So S and Y, bring it in. And we've made a handle before with our art Dog stand, so we know actually how to do that. So let's press S and X. Let's make this one know a little bit more rounded. So control R two, left click, right click, and then S and X, pull them out. And then what I'll do now is I need to actually pull this up. Can I pull it up just with that? Probably so. But you can see if I did it like that. It would basically not be round enough. So control R, two, left click, right click, S and X, bring it in. Like so, and now let's pull it up, so pull it up, and there you go. That's actually better. That's why I'm actually looking for something like that. Now, this handles still a little bit too thick, so L and then S and y like so. And then I just want to round this off a little bit. So I'm going to grab this one and this one, press Control B, round it off, and maybe put it onto two, like so, and then I think that's really getting there. Remember this is plastic as well, so we don't need to worry about any metal bits or attaching it to it or anything like that. All right, so that's that. Now, let's come in to add modifier. Let's press control A though first, right click the origin geometry. Let's add in a solidify, and we don't need it that thick, so let's pull it out instead. I'm thinking something like that looks absolutely fine. And now find I can actually stick this into place. So if I bring this back, and then what I'm going to do is just pull it down and actually rotate it round. So let's rotate it round with r and x rotate it round jot into place and then just put it where we want it. So something like that, I'm going to pull it out. And you can see where the line is, that I need to rotate it a little bit more so R and x rotated a little bit more. Let's put this on normal as well. I'm putting it out in the right direction. So like that, I'm thinking, is it too low, maybe a little bit higher. Double tap the A. Let's put it onto object motor we can really see what we're doing. I think that's absolutely fine. All right. So now we can bring back probably this bottom part and create the bottom parts with these two actual square blocks here. Then we can make this actual ridge and things like that. Let's press tage, bring back the bottom. Let's hide this floor out the way. L et's come and actually create that top bit first. We can see at the moment, if I press one, that this top probably isn't out enough. The reason is because it needs to have that style where it comes out on top safe. In other words, if I grab the top of it, like so, press one, press the S but and just pull this out. You can see if not gr there for some reason. Let's put it on global. Let's hide this out the way, and let's now come in and grab my top, like so, and now I should be able to pull it out like so. I'm going to pull it out a little bit more on this side, so S Y, and then pull it back a little bit on this side, so S and X so now you can see it's starting to take that shape. Let's press control then. Left click left click, drop it in place. Let's press t shift and click, and then what we'll do is we'll press E, enter lt and S and bring this out a little bit. I'm thinking, Is it going to come out evenly? I don't think so. Instead, what I'll do is I'll just go back, making sure I've got rid of that actual extrude. I want to press tab then. I think before I do this, that I'm better getting rid of the inside, so getting rid of this and then resetting the transformation. I'll come in. I'll grab the top, delete faces, and then I'm left with just this. Press Control A transforms, clicks a origin to geometry. Before I actually extrude that out, I'm going to come in and actually solidify this out. I'm going to point even thickness. Bring it in, not outwards, so it needs to be relatively thick, so this thickness looks absolutely fine. Apply that with Control A, and now find that we can come in and actually bring out this top. Alt Shift and click, e enter lns, and let's bring it out to the place where want it. I just wants to be out. Like so, and I think that's pretty even going all the way around. All right. So now let's make our top fit. So Altag let's grab our top, let's join it together. Let's actually apply that solidify as well. So let's press Control J. Join it all together. You can see there that that happened, not sure why. Control A, join it together, Control J, like so. Right click, Let's shade smooth. Let's put on our Auto smooth, like so, and now we should be left with something like this. And all I want to do now is just bring this out a little bit because you can see it's a little bit too small now, so let's press S, bring it out this way, and then let's press S and Y and bring it out. You can see here, it's not actually coming because our orientation is in here. Joe going to go back again, Contra transforms right click, set origin to geometry, and now I should be able to press S and pull it out nice and evenly like so. That's exactly what we're looking forward. Jos goes over the top like so. All right, so I'm happy with that. Now, what I want to do is on the next lesson is, I want to create these square blocks, and then obviously these little grooves in here. Then we can actually work on the side and bring in this part down, which should be quite easy, actually. All right, everyone. I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 73. Completing the Major Outline of our Bin: Welcome back everyone to Blender three, the ultimate stylized scene guide. Now, let's think about our little blocks that are going to come down here, so I'm going to grab this. I want my block actually to come probably from here and here. I'm probably actually going to bring in an edge loop and do it that way. If I press Control, left click right click, in fact, I'm going to press Control again, two, left click, right click, now let's bring these out, so S and X, bring them out. Something round about there, and then I want to do it this side as well. So control. Now I don't need to because I only want these square blocks to be on the front. I'm going to bring this in now to something like here. You can see that I only want them from here. This is where they're coming out from. It's these ones here. Let's now come in. You can see they not quite the bottom as well, so I might as well make another edge loop, so Control, bring it down to something like here. Yeah. That looks absolutely perfect. You can see as well though that because I've done that, I've actually got square now in place to bring out the wheels, so I'm probably going to bring in another edge loop. I'm also going to get rid of this to this ground plane hide out the way it's going to make it much easier for me. Then what I'm going to do is I'm going to press control seven, go over the top, Control now and just bring in another one and make that little square. Piece here as well. Let's come back to the front then. I'm going to grab this one and this one, this one and this one, like so. I'm going to press Shift D, enter P selection. Tab, grab it again, contro lay all transforms. Now what I want to do is bring these out, right click, origins geometry, add modifier, and bring in another solidify, even thickness on, and let's pull it out this way, hold in the shift button, just nearly to the edge like so. You can see because we did it that way, it's really really easy to actually do that now. And you can see the nearly actually line up. All right, so let's double tap the A, and there you go, you can see what we've got so far. Now, let's think about the actual wheels on the bottom. If I come to this now, because we did the work already, we can actually come in now and grab each of these like so. We can press the button like so, and then we can press E. And then bring them together now. Make sure we're on individual origins, like so. Let's bring them in slightly, bring them in slightly and then press S and X and bring them in together so and then we're going to put the wheels actually on here. All right, let's make some actual wheels. So what I'll do is I'll come to this one first. I'll press shift A, and we don't want the wheels to be anything too complicated. We just want a piece of metal in the middle. Let's bring in a cylinder. Let's spin it round, so 18 should be absolutely fine. R, y, nine, make a much smaller, and bring it into place S and X. So you can see that we do have just some metal actually coming under here, so we'll actually put that in place. I'm going to grab this shift S, s to selected, grab this part with L, and then shift S, selections keep upset, bring it down, like so, and how big is that wheel let's have a Is that wheel too big? I think it is. Let's press S, make it a little bit smaller, drop it down a bit, like so, and I'm thinking that looking nearly right, something like that. All right. So that's looking fine. Now, what I'm going to do is, I'm just going to probably grab this here, and I'll use this then to create this part of the wheel. What I'm going to do is I'm going to press sift d. Bring it down. P, separate it. Tab grab it again, to control A, all transforms. Now, let's create this wheel. I'm going to first of all, press E, bring it down, and then I think I'll press E again, bring it down, and now I'm going to pull it out. I'm going to grab both of these like so. I'm going to press E S and x, pull them out. Making sure I'm on medium points, S and x, pull them out. L. So we can see that they're probably a little bit too flimsy right now, but once I've pulled these down now, so if I press E, pull them down to the middle, and then press S and y, bring them together, and now you can see they're actually looking better. It's just the wheel now that we actually need to put in place. I'm going to come back to my wheel, press the S one. And there we go. We don't want them to be anything too complex as I said. So now I'm going to grab my wheel, and I'm going to actually separate it so Pak, selection separate it out. Grab both of these now, put them together. I'm just wondering if this needs pulling up to make it look a little bit stronger at the moment it's looking a little bit weak, and I think they actually do. So what I'll do is I'll grab this one and this one. I'll just pull them up just slightly like so, and that makes them look a little bit stronger. Let's join together then with Control J and then let's press Control A, all transforms. This time, I want to right click, set origin to three D cursor. No, I don't because I want my three D cursor to be in here. Let's go back. Let's grab the center of this point. So the center of the bottom should be here. Shift des curs selected, back to the wheel, right click, set origin to three D cursor. Now let's right click Shades move, bring in our Autos Move, and now let's actually put them over the sides with, of course, our mirror modifier. Mirror on the x and y, And there we go, and let's also then pull them up into place. So, Let's double tap the A, just make sure you're happy with them and let's zoom out, and there we go. That's looking pretty nice. One thing I think I need to do is I think these are a little bit, if I grab these again, these ones here, I feel like they just need pulling up a little bit. They're a little bit too stuck out, I think, so I'm just going to pull them up, like so, and then I'm going to grab my wheels and pull those up into place, double tap the A. And that looks much better now. I'm happy with those. Now, let's think about the front of here. We've got these front bits on here. Let's quickly make those. They should go under here. If I can use actual curs then that'll put it right bang in the center. Shift A Q, let's pull it out, like so, and let's pull it up, and I'm going to pull it up properly. Then I'm going to pull it out. So S and y, make it a little bit thinner. And then S and X, like so. Then what I want to do is now want a little piece and I want that to go back. So if I press tab, control, Left click, right click, think y from there, and then control, left click, right click, pull it up, from there, and now so be able to pull this bit back. Like so, and then finally pull this one back like so, and that is what it actually looks like. So yeah, think I'm happy with that. Now what I'll do is I'll just pull it over to this side. And then what I'll do is now I'll bring in an array. So Control A transforms. I click set origin to geometry. I'm just looking before. Just looking at my other bin, probably need to bring it down, J to ta like so. All right. Now let's come in with an array, and then let's just set it splitting up a bit, something like that. Let's see if we can get it near enough to the edge. Let's press one. And, you can see if I double tap the A now. That's what it's going to look like. They need to be actually split up a little bit more, so I'm just going to reduce them and split them up a little bit more. I think also they need to be a little bit thinner. I'm just going to grab them S and X, like so and then put in. Yeah, that's probably too many now. We need to probably move it over a little bit. Let's have a lot. I'm happy with that. We can mess around with that all day long and it's important to move on as soon as you've actually think that you've finished it. I think I'm actually happy with that. Now let's think about our actual side. I'm going to apply the actional array, and then what I'll do now is I'll come to the sides of here. Now, I'm thinking that I'm probably going to mirror over the other side once I've built it out. I'm just going to focus on putting this arm in first without having to worry about the other side. I've come to this. I'm thinking that we've got to actually work with on here. I haven't really got a lot to work on. I can press control and bring in a edge loop. It is going to create an ngn just be aware of that. I'm just going to put it there, and I think I can actually create this arm. This arm, if we doom out, coming back from here. You can see that I probably did mine all in one go. I'm going to do now, is I'm going to come in, and I'm going to grab this, and you can see that I'm going to have a few problems probably grabbing it. I'm going to actually hide the ball out of the way in so I can see what I'm actually doing. Yeah, you can see here that I'm going to have a few problems bringing this down. So it might not be worth doing it that way. It might actually just be worth grabbing this, pressing Shift S, cursor to selected, and then bringing in another piece of mesh instead. So what I'll do is now, I'll press shift A, bring in a cube, and then I'll try and get this into the right side. So if I press S and x, bring it in like. So and then bring it down and then make it the right side. S and y, bring it out like so, and I think it's going to be much easier working like that. I'm going to press P selection and then just press tag, bring everything back. And then what we'll do, then on the next lesson is, we'll pull this down and get this going round there like this part because this is basically the actual part where the actual being gets lifted up and it actually gets empted using that part. So that's what we'll do. All right, everyone. I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 74. Creating the Bin Opening Mechanism: Welcome back everyone to Blender three, the ultimate stylized scene guide. Now, let's crack straight on with actually creating this. If I turn this round, so I'll say 90, let's spin it around a it's just going to make it a little bit easier for me rather than keep trying to go backwards and forwards. And then if I press three, I can move this grab it into place. Bring it down, and there we go. That's what we're actually working towards. All right. So let's come in, grab this part. Let's grab the bottom of this, so let's press one. Sorry, three because we need to be inside view, and it looks as though to me like it actually comes together. So this part looks like it's actually much further out. So what I'm going to do before doing that is I'm going to grab this part and I'm going to press S and y. Pull it out a little bit like so, and now you can see that it's actually stuck on the outside, which is much better. Now we can grab this part and we can press control le transforms rightly, Sg in geometry, and just pull it back into place and just get ourselves actually set up. Now I'm going to do is I'm going to grab the bottom of it. Press three. I'm going to zoom out a little bit. I'm going to bring it down like so. Then we're going to do is I'm going to press S and y and just bring it in like so. Now I want to actually bring it down and then rotate it or bring it out from here. So I think I'm going to press E and Z, bring it down like so, and then we're going to pull it back, and then what I'm going to do is, I'm going to work from this part here. Hopefully. Let's see if that actually works. If I grab this part here, press three, and then E, and then pull it down like so. And you can see that we do have some problems in that, it needs rotating round. R and x rotate it round to the B the right way, something like that. Now let's work on refining this bit a little bit. As you can see, it's not quite right. What I'm going to do is I'm going to come in. Press three on the number pad, bring it down, relatively straight, and now you can see that's actually looking quite nice. Let's now level off both of these parts. I'm going to grab both of those. Press Control A, all transforms, click, set origin to geometry, and now let's come back into it and level them off. Control B, bevel them off like so. Let's have a look at that. There we go. We're starting to actually get somewhere. The thing is that it's still got a little bit of a lump on here, and I don't really want that. So I'm going to do is, I'm going to come in and bring that back just a bit. I'm going to bring it back. Like so, and just straighten it up a little bit. Because this is so far away again, we don't need to do it absolutely perfectly. All right. So now let's work on this actual bit here. I'm just looking if it's far enough out. I think it is this should be able to slot into there. I might have to bring this out a little bit further or even bend it a little bit. We'll have a look anyway. We'll get it in first. Let's bring it in. Shift S cursor is selected, Shift A, let's bring in a cube. Let's bring the cube down. To where we want it, Let's press S and y, pull it out. I want it to be probably up to S and y, probably a bit more. Then SN, like so, and then let's make it smaller. S well thinner, S and X, like so and let's bring it into place. You can see there that needs to come out a little bit over this part. What I'll do is instead of that, I'll just press control r, bring it over, like so. Then what I'll do is I'll bring this piece out. I'm going to grab this piece, press the e born and bring it out, like so. Then what I'll do now is I need the two bands on here, so we'll do that now, so I'm going to come in Control, two, left click, right click, move them over. Control B, like so, and then we'll bring them out I think we'll just I've actually got on two there, just put it back onto one. And then what I'll do is, I'll press e enter Altern bring them out. You can see they're not coming out properly, but I'm not going to worry about that actually. I'm just going to bring them out to there. Then what I'm going to do is, I'm just going to grab each of these sides and just bring them out. They're just a very, very small details, so I think that actually looks absolutely fine. You can see that it's fitting, really nicely like that. Now we just want this little wheel on there that's going to talk into here. Again, I'll press your day, bring in a cylinder. I think I'll leave it on 18 actually, so Ry 90, spin it round, S, and let's get it into place. Let's then bring it round, S and X. And let's make it a little bit smaller. It's a little bit too big at the moment and put it into place somewhere somewhere like this. Is it going to fit into there. Let's pull it down a little bit, and then let's grab it and pull it into place, so it's in there like so. Then what we can do is we can pull it out now, and then bring it out so you can see you've got that little bit of a lump there. So I, and then E, like so. There we go. That looks absolutely perfect except maybe it's a little bit too far out this piece. I'm just going to pull it back. Double tap the A, and there we go. Now, let's see what it looks like. Once we're going to mirror it over the other side. We're going to I think you can see that this part here is it out far enough? Maybe this part here wants to come out a little bit further, so I'm just going to grab this, pull it out a little bit further. I think that actually looks better now like that. All right. So now I'm going to do. I'm just going to join all these over. So Control J. Let's put our cursor in the sensor for grab this, shift S, cursor selected. Grab this now, Control A, this one, Control A, all transforms, right click, set origin to three D cursor. Add modifier, bring in a mirror. There we go, it's over the other side. Just make sure that it's in the right place, which it looks like it is. Let's apply that straight away, and now let's right click, Shades move. Bring on auto smooth. And now let's do this in stages. We're pretty much finished with this. We've got to have one open and one close. What I'll do is, I'll bring this up a little bit on the next one, so you can see this one here. Us needs opening a little bit. I'll first of all, create this one, then we'll open it up. Let's come to these parts first because we'll be beveling them off again. We don't really need to do that. Add modifier, bring in a bevel. That's fine, so we can actually apply that, so Control A, let's apply that. Now, let's hide those out the way and come to this part. Control A, all transforms, right click. It's a origin to geometry, right click, Shades move. I'm just making sure I've gone through all the processes that I normally do, bringing a bevel, way way too much, let's bring it down, still too much, let's put not point, not not three, and that's much better then. Control A, let's apply that. Hide that other way, and let's come to these parts. I might as well apply my solidify on this. I might as well, make sure my array is applied, and I might as well make sure everything's applied on these, including these bottom parts. You can see mirror on there, so control A, and let's just now join all of this up. So G, just to make sure you grow it. Control J, control Al transforms right clicks the origin to geometry, add modifier, Bevel. Let's have a look what that looks like, and we can see right click Shade Smooth. Autos move on, and now I'm just looking to see where that bevel. And actually, that bevels come in absolutely fine. Again, that's fine. If you do want to get this a little bit more, again, you'll just have to come down to where is it on the bevel, down to geometry, and turn your clamp overlap off and then really turn it down, and then be very, very careful when you bring it up if you want a little bit more bevel on there you can see. You can also see that these parts here. They don't really look as though they've been They're a little bit too hard. T parts. I'm not actually sure. I think it's because of the bevel. Actually, I'm not going to turn my overlap off, I'm going to turn it back on, and I'm going to think I'm going to be happy with how these are. One thing you could do, I think is to make these sharp. I think I'll do that. I'll do is, I'll just come in, grab each one of these. Because I'm not happy with the shading on those and then right click, and I'm just going to actually, control come down and mark Sharp, and there you go. They look much, much better now like that. All right, so let's apply that with Control A. Let's press all tate then bring everything back. And finally, now we can just join it all together with Control J. Like so. Now, we need another one. If I press shift, bring it over, I'm just going to make sure I've grabbed it all. Yes, I have, bring it over. Now what we want to do is we want to have one, which is a little bit open. I'm just going to come grab all of this top, like so, Making sure I've grabbed my handle as well, and I want to move it from here actually. Rather than actually move it like I was going to do, I'm just going to grab the back of it. Press Shift S, cursor selected, and now I'm going to go in and grab it all. I'm also going to make sure I've grabbed it all with G. Just make sure you've got nothing else attached to it, and it is just this part. Then what you want to do is you want to press the little sideways again, three D cursor and then r and x and just rotate it all. Like so. Now, you will have a little bit of a problem in that, it needs to probably come back, so it needs to come back and then drop down, something like that. See if you can drop it right down onto there, and then it's going to look better. Then all you need to do is just obviously put this back in place. Let's actually have a look, see if that's looking correct. What I'm going to do now is I think I'm going to grab this edge. I'm going to grab H for hide, little sideways V, individual origins, and now let's come and grab both of these. If I grab both of these like so, like so then one going to do is. I'm just going to show you a little trick that you can do just in case you need to grab them again. You can come over to the right hand side where you've got your little triangle. Come over to where vertex groups are and just click a sign on this vertex groups. What they'll do is if I click on here now, and then I click Select, you'll see actually selects those for us again. Really, really handy. For instance, if you're going to press tag, double tap the A, and now you want to grab those two, you can't actually see them, click, select, and now they're both selected, and now you can actually move them down really easily. Now you will notice that I have messed up a little bit, so I need to go back, hide it out the way and grab them in these parts here. Instead of doing it like that, I'm just going to grab these three. I'm going to press dot to zoom in, like so, and let's do it on the other side as well, so I'm just going to grab this one, this one, and this one here. I'm going to click a sign, and now I'm going to press tag. Hopefully it'll work. Double tap the A. Let's click Select, and now hopefully I should be able to pull those down like so. There you go. You can see exactly what I'm trying to do there. Now we have got another problem in this one here, now you can see this is stuck out, and I don't really want that stuck out either. I'm going to again hide this out the way. A little bit of refining just to get these right and you can see that I need to bring this bit down. I'm thinking actually to probably bring it up a little bit. Let's just press salt and have another look at this. I'm thinking I'm probably just going to bring this up, just to tad just to do it a little bit easier rather than going through all of that messing around like Now I just want to bring up these. Actually, for this one, I can. If I press the dot, go around there, and then come to the next one, which is over here, and just do it this way instead because that's going to make it a little bit easier, so shift click in and then grab this little point in there. Come out, and just pull that up. All right. All right, so we eventually got there. All right, double tap D A. And now we'll do then on the next one is, we'll put some rubbish actually in here, we'll put some bin bags in here and things like that, and then it's going to look like a proper actual bin. Alright, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot, bye bye. 75. Boxes & Binbag Creation: Welcome back everyone. Blender three, the ultimate stylized scene guide. Now, before we actually bring in some materials, I'm thinking that probably, I know it's a pain, but I think I'm not open mind enough. So what I'm going to do is, I'm going to actually come back to it, press a little sideways V, and let's open it up on individual gins. Let's open it up a little bit more. So I'm going to press r and x. And in fact, I want to come from there, don't I? Sottle sideways V, three D cursor. There we are r and X. Let's open it up a little bit more. And then what I'm going to do is, I'm going to pull this up again into place. Although this time, it should be a little bit easier just to grab all of these because I think the law come up together. So I know it's a little bit of a pain, but I think that it needs to be open a little bit more just to show a little bit more of the rubbish. So I'm going to grab this one, this one. And this one. And we all make mistakes as well, M included. So sometimes we just have to go back and fix it. Alright, little sideways V once more, back to individual origins, and let's just pull it up now. And I think that actually looks much better. All right. So now we can actually get our rubbish in then, things like that. We might need to come in again and just pull it down, but now it should be easy enough to do that. All right, now we've done that. Let's bring in some materials. The first one I want to bring in is, well, we've got some black plastic already. We've got the metal, so we just need the green actual bin. So I'm going to put new green bin. L so then we'll put one for brown bin, so new brown bin, and we'll do them both on the same one actually, so brown Bin like so. All right. So let's put it on cycles, and we'll come to our green bin first, and then what I'll do is I'll come to my base color, and I'll click my pipette, bring it over, and we'll just drop it on this green like so, and then we'll go to brown. I'm going to click tab A to grab everything, I'm going to click a sign. Tab again and on this color, I'm going to go over with my pipette and put it on my brown. And there you go. You can see that we've got the right colors in. Now, the only thing is, these two shiny, I think maybe a little bit too much. So just turn that down a little bit. And we look here, it's 0.736, let's do the same on that one, where is it roughness? 0.7, this one, 0.736. Like so, and there we go. This one's the right one actually, this brown bin. What I want to do though is, I want to click the plus. I want to click down, and I'm looking for plastic or rubber actually, we'll put rubber. So if I put R U, B E R. Rubber, need one more and we'll use new and not new, but we'll get rid of that as well. As I say, if you're not using any materials, blender will actually get rid of them when you actually reload it, so don't worry too much about it. Let's look for metal. What we're looking for is a light metal, so maybe this one here. This light metal, let's have a look. What we'll do is, we'll go in now, and first of all, I'm hoping that we've got a black plastic as well. I'm going to grab these bottom parts. These are going to be the metal parts, so grab those. Light metal, click a sign. Then come to the wheels. Like so, and you're going to put rubber, click a sign. Let's have a look at those and they look really, really nice, as you can see. This brown, not quite brown enough because obviously we're clicking on here. Let's make it a little bit darker. Now it's the right brown. Then now what we want is, we've got rubber. Do I want plastic? Let's have a look see if we've got a plastic. If I click the plus, let's scroll up plus down arrow, and we're looking for plastic. Let's see. We've got a black plastic here, so that's great and let's see now what that's actually going to look like. I'm going to grab all of these, click a sign, press tab. And there we go. I'm thinking that I actually want some darker. I want to click plus, new, black plastic. D like so, and then I'll just copy this. Copy material, paste material, and then just minus this off and hopefully, it will go to the black plastic, which it hasn't, it's gone to the Light Mail, of course, let's click on black plastic and let's make it a little bit darker. There we go. That looks. Let's come now to this side, we're going to grab this one and we're going to put black plastic, D, click a sign. And there we go. You can see that's looking really, really nice now like an actual bin. All right. So now let's come to this one here, and we're going to do exactly the same thing. So first of all, I'm going to click, I'm actually going to grab this one and grab this one. I'm going to press Control L and then link materials, and it will be the green. So that's really good. Now let's come in and give it this black plastic like we did before. So I I grab both of these and this one here, and then black plastic, click a sign, and then we're going to go with the metal now, so grab the bottoms. Like so, like so, and we're going to go with light metal, click a sign, and then the rubber. L L L and L, and then we're looking for rubber, click a sign, and there we go. All right, double tap the A and there you go, you should end up with something like that, looks really nice and they're really actually a nice asset to bring into other scenes and things like that. I'm pretty happy with that. I'm not happy with how shiny? I'm looking to this one. It's pretty shiny. I think when we bring him in and we have a look then, I think it's going to tell us whether we need to or not. Now one thing we do need to do again, As you'll notice if we're going to you've got a lot of en guns, so I might as well just go in and right click on face select so right click, triangulate faces, and then tries to quads. And also, I'm going to do it on this one as well. So eight to grab it in triangulate faces, right click, tries to quads, and there they go perfect. Now, let's think about actually building out our carbo box and our actual bin bag. So building out the bin bag is pretty easy. Let's do that one first. We probably get away with using a cylinder. It's going to be easier probably than using something like a UV sphere because it's probably a little bit too random. So let's bring it over. L et's make it smaller like so. Now I'm looking for now, I'll actually bring my guy over, so my guys hiding over here. Let's bring him over to where the bin bag needs to be. They're going to be fairly sized bin bag. I thinking, put it on the floor. Something maybe a little bit bigger, something like that. I can work with that. Then what I'll do is I'll come to the bottom first, grab the bottom, and I'm going to press control B like so, and then I'm going to turn this up like so, and then we're going to do now I'm going to grab the top. I'm going to press S, bring it in and then E S, like so, and then control, I'm going to bring in a few more edge loops. I'm going to grab this edge loop, then put it onto proportional editing, and then just bring it out and start. Trying to get that correct shape, so S, bring it out. And there we go. Now, let's make the top of this, so I'm going to press E, E, and then S, bring it in, like so, and then E S. I can see that's probably a little bit too big now, so I'm just going to bring it in like that. Then what I'm going to do is press and then E and then S, and there we go. Now you can see that this top is a little bit big, I need to make it smaller, so I'm going to two the middle. A shift and click, press the S b, pull it out. And there we go, make it a little bit smaller, so it looks more reasonable than way it did. Let's pull it down as well, and you can see how we're starting to get that bin bag actual shape. Now, let's just come in and grab one of these. Let's press G, bring it down. So just help it look a little bit more Bin like, and let's also pull it in. So let's just make it pull in a little bit and just help it on its way so that actually looks like a bin bag. Don't worry though the material is going to do a lot of the work for it. All right, I'm happy with that. Now all I want to do is shade smooth. I think I can actually keep it. I could put it on auto smooth. I don't think it'll actually change anything, so that's good. And now find all we need is a box. Basically, shift S, to selected, Shift A, and let's bring in a there to start with for a box. Let's press S. We'll keep it actually pretty square, something, maybe a little bit smaller. In fact, no we won't. We'll actually make it a little bit of a rectangle, make it a little bit different. Then what we'll do is, we'll just press tab, come in, and I'll press delete and faces just get rid of that. Then I'm thinking, do I solidify this and then do it the other way? Probably so. Also, I've got the center of here that might be easier. If I just delete it out, that might also be better to do it that way. Lots to think about actually on the box. I think what I'll do is first, I'll press Control A, I'll transform, click, Sargen geometry, add in a modify and we'll bring in a solidify. Doesn't really need to be any thicker than that. I don't think. Let's put even thickness on and just have a lucky if I can make it a little bit thinner. So something like that, I think is going to be absolutely fine. Then what we'll do is, we'll just apply that, so control A, and then what we're going to do is, I'm going to grab this edge, press the E button, and then just press G and just without portion editing on G, and just move it out and then do the same thing on this one. E, and then G, like so, and then do the same on this one, E, and then G, and then E, and then G, like so and these box. Now, the one thing when you need to do is we just need to move them a little bit this way as well, just to make them a little bit uneven, like so. Like so and so. All right. There we go. There's your box. Easy is that to make a box. Now let's actually color our box. What I'll do, first of all, is I'll come in and I'll just name one, and I'll call it cardboard, and then you can use it if you need to make any of the boxes and things like that. All right. But we've run out of time for now. So on the next one, we should actually be able to get both the bin bag done and the cardboard box done and actually get the bin bags in there with a cardboard box and then actually get those assets saved out. All right, on. I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 76. Creating Shaders for our Trash: Welcome back, everyone to Blender three, the ultimate stylized scene guide, and this is where we left off. Let's come to our cardboard box. Let's go to our shading panel, and we're going to make it a little bit different on this. Let's first of all, bring in a noise texture, so shift A, search, noise, texture. This one here. Let's press Control T just to bring in our mapping and texture coordinates. Then all I want to do is just make sure that it's generated. Now what I'm going to do is, I'm just going to make the scale 31, I'm going to make the detail to the roughness no 0.5 and distortion at zero, so 31. Bring in a color ramp, so color. Ram, let's drop the color into the fact, and then let's come over now to the position. Again, I'm always going to go on the left hand side and look at the position of mine. This first one is not 0.495, and then this last one is going to be set at actual one, and then the color on the other one is going to be set to this text rating. Control C, and there's the color Control v845c 21 precenter. I'm hoping that when I plug this in, I just forgot to actually plug it in, so let's plug it into the base color. There we go, plug it in. You're actually going to come. Base color. There we go. Now, that's not quite what I'm looking for, so I'm thinking that this should be on a darker brown. Let's grab this and grab this and change the pipette color to this one here. Now change this to a little bit darker, so I'm going to bring it down. Like so, and there you go. There is your actual box. All right. That's pretty nice, that looks like cardboard, well, dty cardboard, and now let's come over to the Bin bag. So we're going to play plus new Bin bag. Like so now that's zoom out, and I'm going to do again, I'm going to just copy this one's a little bit more complex to just copy what I do. The actual bin bag itself is quite easy. It's just trying to make it crumpled look and things like that as one I'm going for. The first thing I'm going to do is I'm going to come in to my principle. I'm going to move that over there, and then I'm going to do is just give it a base color. The base color is obviously going to be quite dark, so, and I'm also going to put the roughness up to 0.6, something like that. I'm actually just going to see what my color is on here. It is this color. Let's see if I can give it the same one. I'm going to press control V, and you can see it's a little bit darker now. We don't need to mess around with a metallic or anything like that. I'm going to do now is, I'm just going to grab both of these textures and see what we've actually done with that. Let's come over and we'll bring in two actual noise textures, Veroni. Search the O R Veroni texture, and we'll also bring in a noise texture, so shift A search. Noise texture. Now, on the Veroni, let's put this on four D. Let's put the smooth on F one, and let's put this now on -3.1. Minus 31, no, sorry, -3.5. Let's let's put the scale on one, and let's a I'm going to move this out the way, so I can actually see what I'm doing. Now let's come to the noise texture. Let's put this again on four D. What happens is, by the way, on four D and three D, obviously, it's having more of an effect on how much it rises off, basically the flat geometry. So that's why you're changing that over. You can imagine two D, three D and four D. So four D is basically all depth and things like that, and that's why we're putting it on there. All right, so let's put the W on 8.6. Let's put the scale on 3.3. Let's put the detail on 2.9. Let's put the roughness on not 0.458, and let's leave the distortion, where it is. All right. Next of all, let's come to our Veroni texture. Press control T, just bring your texture and mapping coordinates in, and let's put it onto object into the vector. Let's also as well bring in a object info. So shift A search object info, drop that in there. Then what I want to do is I want to pull both of these over. I'm just going to grab them both G, and then I'm going to plug this into the randomness from this object invo. You can see with this object info that we do have a random part to it and that's what we're actually going to use for the randomness on here. Let's now bring in a couple of color ramps. If I come out, I'm going to bring in three color ramps, so Shift A, search color. Ram, let's drop one in here. Let's shift D then, bring the other one in, and let's shift D once more. Now, if you want, by the way, just put it on materials, if you compute a slow or anything like that. Just put it on material, why you actually work on that? Then when you finish, we can actually put it onto cycles. If you compute it slowing down a bit, that is. What we want to do now is we want the distance. From here into the fact of this color ramp, and then we want the color from this one. In fact, we're going to go the other way around. We're going to plug it into this one, and then the distance into this one, like so. So just cross those over. Now, let's think about bringing in Well, we need it to join to this color ramp as well, and we also then want to join this color ramp to our displacement. What I'm going to do is I'm going to plug my principled up there, I'm going to bring this color and plug it into this placement like so. Now what I'm going to do is I'm going to join all these up. I'm going to basically bring in two inverts and then a mix R GB. Let's just move it over there a little bit. So shift a invert. One there, and then one down here. Then we'll also bring in a mix RGB. Search mix RGB, and this one I'm going to put onto subtract. Where's my subtract? Look. There it is. Subtract. Then what I'm going to do now is I'm going to plug this one into the top, this one into the bottom, and then let's plug the color from this into the color of this one, and then the color from the color ram here into the color of this one. All right, so this time, I'm going to set this on naught point naught 33. And then what I'm going to do is I'm going to turn the fact down on this one. You can see for some reason that's unplug, so let's plug it back into this one. And then finally, now, let's plug this into the fact of this one. And there you go. You can see you've got that actual crumpled look, and that's exactly what we're going for. Now, again with this, you can mess around with any of these just to get a better look for yourself if you want to do that. But I think when I was messing around with this, I was like, Okay, that looks pretty good. I'm happy with that. So I'll basically left out that. Now, I'll show you actually, if you turn this up, for instance, if you turn this one up, you'll see you get more and less crumples. So it's up to you where you want to bring this to. Also, put this on B spline. It's going to make it look a little bit better as you can see, you can also as well bring this one down, smooth it out more if you want that look, and again, completely up to you, put this one on B spline as well. And finally, then let's move to this one over here. Let's bring this white one down. And you can see that's really actually getting rid of a lot of it. Again, put it on B spline, so it's a lot more gradual, and there you go, now if I move this down. More or less crumples up tube. I'm going to leave it like that, and I think that looks pretty good. All right. That's the bin, and that is the actual cardboard box done. Now I can do is I can actually fill these in my bin. All I'm going to do now, I'm going to come back to modeling. Press the tab button, and now I'm going to bring these out and start packing these in. I think, actually, to make it a little bit easier on myself, I'm just going to hide this out the way, so press H, come back, grab this. That's not going to work is it. I'll come back to this then. Olg bring it back, P selection, and just going to hide it out of the way just for now while I fill this in so I can see if it's going incorrectly. What I'm going to do is I'm going to probably bring it up to here, like so. I'm going to rotate it on y. I'm going to press shift D, and then I'm going to spin it around, so y, spin it all the way around, so we've got the bottom of it, like so, G. Like so, and then shift D, spin it round, so R, spin it around, like so, and then R and x, and then G, like so, and then let's work on this one over here. Let's bring our sorry, our cardboard box in first. I'm just going to press G G, and let's put it in place. Let's Rotate. L so, G, and let's rotate it on the z as well. Then G. I'm thinking maybe move this a bit more down just to get out of the way of there, like so. Then one more bin bagger think. Let's press shift D and bring in one more bin bag. Let's make it a little bit sm, a little bit too big, like so, and then let's just bring this a little bit more around just so it's not stuck in there, like so. I'm thinking, that looks absolutely fine. All right. That's good. Now let's press tag, bring back the top of it, making sure everything fits. I think it does. I'm just looking if this now is a little bit too far open, and that's why I talked about before, and I think it does. I'm going to do is I'm going to come to the back here. Shift S, curs selected, and now I'm going to press just grab this part. Little V, put it to, three D cursor, press three, and then just bring it down. R and x, bring it down to where it needs to go, something like that. There you go, maybe a little bit too much, so R and X there double tap the A, and now I'm just looking to see where that's actually coming out. I knew it would be coming out. All I'm going to do, and we're just going to come in and bring it down. Because I knew that's what would be happening. I'm just going to hide this out of the way. I'm just going to come in then and grab all of these parts just to make it how I actually want it, and then once I've done it, basically, I'm done with it, so then I can move on to the next thing. Something like that, tab again, O tag, and then come back to it to this one here. And then grab it and now we can pull these down into place. So double tap the A. And now let's join these back together. So Control J and then control A or transforms right clips at Origins Jump true. All right. What we'll do then on the next one is? We'll join all these bin bags with this, and then we'll name them and then get them out as an actual asset. All right, so I hope you really enjoyed that. R on the final stretch now. We've just got one more actual asset to actually create the hardest one, which is the MPD. Well, I think it's the hardest. You might think it's easy, and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 77. Starting the Most Complex Model in the Course: Welcome back everyone. Blender three, the ultimate stylized seen guide. Now, I think one thing I should do before I actually finish is, I want to turn this round so this actual looks like it's a bin bag pointing out. So if I press R and y, spin this round, just like that, press and x and spin it round. You can see them coming from there. I don't really want that. Individual origins are an X, spin it round, like so, and now I can put it into place. And into here, and then let's fit it in now like so, bring it down, and then bring it over. There we go. Now let's just double ty the A and just have a quick look at that. Make sure we're happy with it. Make sure it looks. And there you go it looks like a rubbish bin looks really, really cool. Let's put it on material. Let's hide the floor out the way, let's hide our guy out the way. Let's grab all of this. Like so, let's press Control J, and let's hopefully join it all together. All right. This one's all joined together anyway, hopefully. So I'll grab this one and this one, and there we go. Just making sure nothing's sticking out the back or anything. Just make sure yours is. You don't want any bin bag sticking out the back or anything like that. All right. This one, then we're going to call Wheeler Bin and we'll call this one brown, bin, brown. Also, I'm actually going to press dot, and I'm going to actually press open, so open. Then what I'm going to do is, I'm going to come to this one now, press a little dot. Then we'll call it we bin. Green close, like so. Now, remember that you might want to save out your assets for the bin bags and this actual cardboard box separately. So we could do that. So what I'll do is, I'll come in, I'll grab this one, and I'm going to press shift D because I will be using them separate as well. And then what I'm going to do is, I'm just going to press three, and I'm just going to rotate it as best I can, get it back to being actual straight. I I press one now, and then I'll press r and y. And actually, y. There we go and then put it on the ground plane like so. That's the bin bag. Now let's grab the box as well. Shift D. Let's now straighten this up. Unfortunately, you could press tar if we hadn't joined it all up together, so that's my fault there. Altar basically wa it does is, if you press or Alt or G, we'll basically put it back to the size that you actually had it before, as long as you've not reset the transformations or anything like that. All right. So now what we want to do is, it basically takes it back to the transformation. So if you reset the transformation, I'm going to actually show you what I mean just so you know. So if I bring in a cube, so I bring in a cube. Let's bring this cube over. Let's make it bigger. Like so. Then let's say we reset the transformations now. Control A, all transforms, click the origins geometry, and we reset them while the cube is in the perfect place. Now if we come in, I'm going to rescale the cube. I'm going to rotate the cube, so r x, and then I'm also going to move the cube. Now if I press lt S, you're going to rescale it back to what it was with the transformations. Alt R is going to reset the rotation, and lt g is going to reset back to the center of the world because we actually reset it to the center of the. Don't know why we did that, but that's what it did. Anyway, you've got the point of that. Lead that the way. Come back to our box. Now now I've explained that, what I'm going to do is I'm going to separate this out. I'm going to grab it P selection. Then I'm going to grab my bin bag, L P selection, and now I'm going to reset transformations, and then do the same with this, one se spun rounds. I'm going to press one, I'm going to rotate it. Well, I'm going to set origin first, and then we're going to press R y, and then R and x, like so seven, and then R Z like so, and there we go. That's Nearly y actually wanted. I'm going to press one, and then r, and y, and then three, and then r and x, there we go, that's about as good as I'm going to get it. Now I'm going to do is I'm going to reset now this transformation. Press the dot, and let's call it cardboard box. Let's also come to the bin bag now, and we're going to press bin bag. That's what we're going to call it bin bag. Like so. Now, let's come to our cardboard box. Let's press the little dot bon, right click, markers asset, back to our bin bag, right click, markers asset, to our first pin, right click, Markers asset, and then finally to this pin, markers asset. All right. Now, let's come to the actual things inside. Let's come to our materials. Let's see. We mark these assets as well. So we've got Rubber, marked, black plastic, markers asset, bin bag, markers asset, cardboard, markers asset. All right Let's move all of these over now, so I'm going to pull these both over here. And then I'm going to pull this cardboard and the bin over here, like so, and now find that I'm going to go to my assets, Unassigned. Grab each one of these, put them into assets, grab them materials, put them into materials. All right, so we're on the final stretch, the actual moped, and we're looking and we've got a lot of assets already built. All right. Let's now bring our reference round so Oz 90, L et's pull it over like so. Then what we'll do is we'll go back to modeling now, press the little dot, press over here on the right hand side and let's open up our actual moped. Where's our moped? Here it is our actual moped, let's bring it in. Let's press salt and bring back our guy, and let's make sure that this is the right side. We can see that at the moment, that's the ground plane. Let's grab our reference. This is way way too big, so I'm going to make it, much smaller. Bring him all and just make sure he's the right size, which he is now. Now the thing is about the moped is, you want to actually create it in part. For instance, we want to actually when we look at anything like this, break it down. Now don't worry if yours doesn't turn out like this, we are going to do a quicker version of this really because if we're trying to do this, it is going to take a fairly long time and we have really got time on this course to actually create this exactly like this one. What we'll do is we'll make a start on the actual front. I'm going to do is I'm going to press shift. W to bring in a plane, I'm going to spin it around, so R Y 90, and I think that's the wrong way round, so I'm going to spin it around again, so 90. We're going to press one, I'm going to make it little bit smaller, and I'm going to create this into this thirst part I've got here. So if I press S, and you can see now, I can bring them in, and I can start then bringing out and shaping it into the way that I want. Let's do that bit first. You can see that this part here comes all the way over down to basically this part where it ends here. Let's do that. I'm going to do is I'm going to actually bring this out, I'm going to press Z going in to waive frame, and then I'm going to bring it out to the point of here, and then I'm going to do is I'm going to grab this, and I'm going to pull it out with E. Sorry, E, pull it out on the x, I think it is. Yes, it is to something like that. That looks the way it's going to be to me. Now let's pull this down. To where it's going to go here. I'm going to pull this one down to here, and then we going to press control. Maybe three, left click, right click, grab the first one. Let's pull it into place. Let's pull it down, where it's going to go, probably something around there. You can see it's following it all the way along here, and then to this part here, something like that. Then what we're going to do is going to come in, just grab each point now. I'm going to need another edge loop, so control, left click, right click, grab this point, pull it up. Pull it up, pull it up, and pull it up and maybe one more edge loop in. Control left click, right click and pull it up like so. This is the first bit. Now if we actually come in, press, solid, and now if I turn this around, you can see that I can actually get the scale there I want it to be. I think that's the front of it. Yes, it is. But we can also say how big it's going to be anyway. If I grab this, press E, you can see if I bring my guy there, pull him over, so you can see that we can get a rough idea of the scale of where it's going to be and then fit the plate pieces into place. I think it's going to be like that. I'm going to press control now, bring in two, left click, right click. And then what going to do is, I'm going to bring these up. I'm going to basically grab them from the back here. If I grab them from let's say this one here, edge. Grab this one all the way around to here. It's going the wrong way, so I'm going to go the other way down to here, Shift select, and then go down to here and down to here, and then finally I can pull them all. Like so. You can see that's as easy as that to actually try and get that shape. Now what I need to do is I need to pull this one down and just pull it out a little bit, and there we go. Now, let's get rid of the front, the bottom of it. Let's control click, control click, all the way, delete. Faces, and we should end up with something like that. Now, let's bring this bomb bit down because I'm happy with that and just get it into the right shape that we actually want it. That's the important part. Once we got into the right shape, we can then solidify and then make sure that we're actually happy with it. Do we actually need this being here? I think we do because I think that's going to go in there? Let's now, and I'll show you what I mean, if I press control or transforms, right click sag into geometry, Shapes move. And there you go, you can see, you've got your first bit in there. And what you can do now is we need to solidify this. We also need to b to smooth like so, and you can come in now and bring in your solidify, and let's make it into a piece of mel, so even thickness on, bring it in. There we go. Simple as that. All right. So that's that piece done. Now we need to work on the next piece, which is probably going to be this round piece, and we'll have it come in down to here. Like I said, we'll just break this into stages. So I need to just make sure that, it's in the right place, now you can see it's perfectly done, and I'm looking at the sizing of this. And I'm thinking It might be a little b small this, even though my guys study might be a bit small, but we'll have a lot as we move along. So'll start on the next part on this one. We'll probably build this bit round, and then we'll take this bit, and we'll just build it into stages. All right, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 78. Higher Level Modeling Techniqes: Welcome back, everyone to Blender three, the ultimate stylized scene guide. And I think what I need to do on this, which is what I forgot is I just need to pull both of these out. I'm just going to pull this out just a little bit, like so and make it Just a little bit more rounded. As I say, it's probably sticking out a bit more than the other one. I'm not going to worry about that because as I say, what I'm going to do is I'm trying to build this in a quicker way than what I actually did with. This one. This one took a fair bit of work actually. All right. So now let's come in and actually think about building this part out and come in round to here. I'm going to do is, I'm probably going to use again, I might use I think I'll use a plane do exactly the same. I'll do is I'll come to the backup here though. I'm going to grab the back up here, press Shift S, cursor selected tab shift A, and then bring in a plane. And then what we going to do is we're going to spin this plane around. So Y 90, like so. I'm going to make it the right size, so I can see roughly this is the size it's going to be. So if I press S and y, bring it in. I'm going to see it's probably going to be that sort of scale. And we're then going to press one. I'm going to press Z to go into wire frame, and now I can see exactly where it is. Now, let's press S and Z and bring it down. So something like here, and I think I can work on that. I need it really to come from here going all the way around here, all the way to the bottom of here is what I'm trying to do. Let's do that now. We'll get the actual the shape of it first, so Control. Let's print four, left click, right click, press one. And let's come and grab them invert select with my box sex. If I grab one of them, I can press B, and then I can start pulling and shaping these into place. I'm going to press B. I'm going to pull it to the forest place out because I know then it's going to bend around here. I'm going to grab this one, pull it to the forest place out. Then again, same thing. You can see I'm going to need number edge loop in there as well. I'm going to worry about those right now. Round to here, round to here. And then pull it up and round to that. Now, let's bring in an edge loop, so control. Can I bring them in sideways or don't think so, so we have to come round. Control, left click, right click, one again. I've got them both grabbed anyway, and let's pull them out, and now let's come round again, control, left click, right click, one again. Pull them out. And then finally on this bit, I'll do one more so control left click, right click. One. Pull them out. All right. Now we've got the right side. Now what we need to do is we need to bend them, obviously, we need to press control. Two, left click, right click, and now I'm going to do is come down each of the sides, like so. Then what I'm going to do now is I'm going to press one. I'm going to pull them out. Two near enough where that is C. Again, I need to change them a little bit. This, you can see needs pull it out a little bit different. Again, we're going to come to edge select, grab this edge, pull it out to where it needs to go. B, just make sure your is using box select, B, B, and this one is going to go back to their legs. That's what it should look like at the moment. Now you can see that we do have a problem in that, it should be rounded as well. So we need to bring down a few of these edges. Let's press. Go to solid, and this is what we've got at the moment, and now we need to come in and bring these down. If I come in and grab all four of these and start dropping them down and then grab these ones, start dropping them down, like so. Now you can see we're getting that actual shape that we're actually looking for. Albeit it's a little bit out of the moment because we need to start pulling these around just a little bit more. Let's pull them around. Let's just smooth them off. Like so. I'm thinking I'm probably going to need probably a press tab Shade Smooth, probably going to need another edge loop in here. I'm going to come in. Control, left click, right click, control. Left click, right click, like so, and then what I'll do is I'll round this off, so I'm going to pull it up just a little bit and then pull this down, a little bit, just to round it off. I'm also as well going to pull these in with S and y, pull them in, and then pull them up. Now I'm looking for that nice round shape. That's looking pretty good. Now what I'm looking for is the height. I've got this in, I need then to definitely bring, as you can see, if we look at the front, you can see it comes in as well. It comes in slightly at the front, so we need to make sure that we're doing that. The easiest way to do that is just to grab the bonds. Put it on proportional editing, press S and y, pull it out a little bit and bring it in like so, and there we go. Now we can see we're getting a nice shape. One thing I would say is that I don't think it's high enough. So I'll shift and click. I know the thing showing that, but I think this needs to be a little bit higher. I'm going to pull it up with my proportional editing, and just pull it and bend it back into place. Now I'm hoping f press one, bring my guy down to where he's going to be stood. You can see that is probably, if you look at this, I think I need to make this a little bit bigger. I'm going to press S and just scale it up a little bit and put that back into place like. Now I can see that's probably going to be a lot better than where it was. I think I'm happy with that. I might have gone a little bit too far. Just on these, these edges, and I have pulled them down a little bit too far. But I think what I'm going to do now is I'm going to actually solidify that. I'm going to come in, add modifier, solidify, even thickness, bring it back this way, and then just put auto smooth on, right click, Shades move, autos move on, like so. I'll think I've gone a little bit too far, a bit too thick. Yeah, something like that. That's looking good so far. Now we need to put this actual front on. Again, we'll probably if we look at the fronts here. It's a nice bit that comes up onto here and then goes into here. I'm probably going to use again a plane. Shift A mesh plane, y9s, bring it down, and then let's put it into place where we want it, something like that it's going to come all the way up to the top, so five press. Control three, so I can go. In fact, as well, I'm going to actually isolate out all of these. I'm going to isolate them all out with question mark, and now I can actually see what I'm doing properly. If I press control three now, I can see that's at the front, that's where I want to. So I'm going to put it here. Then what I'm going to do is I'm going to pull this down to here without proportion ing on, like so. Then I'm going to I'm going to put it down even further. Then I'm going to bring it in. S and X or S and y, bring it in, like so, and then control. Three, left click, right click, bring this part in, so S and y. Then I'm thinking, actually, that's looking pretty good. Control t two, left click, right click. Now let's bring these parts back. Bring these parts back. Like so. Now, we've got to bend it over to there. I'm just going to grab the center one, put proportion editing on, and hopefully, I bring that in, I'm going to bend it in a little bit. I don't want to bend them too much, so I'm just going to try and get that nice shape, and I also need to solidify it. Yeah, so something like that, and then I'm just going to work on. Just pulling them out, like so, and I'm going to think as well, pull these back on the ron without proportionally hitting on. These two here, pull them back into place and then pull these two into place as well. Like so and then just work my way along and then these two. Finally pull them into place. Tap right click, Shades moth. Yeah, I'm not actually happy with that because they're actually not coming out the way I want them. So now I'm going to pull them out, Double tap the A. Yeah, that's the way that I want it. Now I can actually got something to work with. Now let's sit and grab both of these and pull them into place. Like so and then grab both of these and pull them into place a little bit. Yeah, I think that's actually going to look fine. You can see on this one, it actually ends here. Do I want it to end there? Maybe that's actually better if it does end there? I'll try pulling them down, like so. Then what we'll try and do is just get rid of that bone one. Grab this one, grab this one, delete faces, and there we go. Now let's solidify this as well. Solidify even thickness, and which way do I want to bring it out? Maybe bring it out that way, might actually help it look a little bit bare, obviously way too much. Let's bring it back a bit. Actually, I think it's probably going to be bare the other way, to bring it out that way, like so. Let's shade smooth and let's put tomo on. You can see that I need to probably be level these off and I need to, I think going to have it end in there, but I can see that this bit here. It's coming out and the actual edge is on here. If I pull this out, like so. And then let's think about pulling this one out. Like so, and then finally bring this one out just to round it off. So look at that. And that's probably actually going to look lock better. You can see as well what I did with that was. I actually didn't pull them out at the same time, so left click, right click, shift S, cursor to selected. If you do do that, just come in, shift and click, control plus, delete faces, and then just bring in a mirror. Grab it, Control A transforms right click origin, 23d curser add modifier, bring in a mirror. There we go. Now it's fixed. Now you can press control, control. There we go. Hold on. Now, you might want to actually smooth these off. If you do, just grab them all and then just press control B, and you can smooth them off like that, and that actually might bet. Now let's think on the next one about bringing in maybe all light or should we carry on working around? Actually, I'm thinking that we've got this part here and I need to get rid of this part because I've actually brought it back. I need to bring it back basically because I don't know how that happened, but it's come way way too much. We'll fix that on the next one. All right, everyone loves to do that. I don't know how I did that, but anyway. I'll see on the next one. Thanks a lot, bye bye. M. 79. Learning About to Little or to Much Details: Welcome back everyone to Blender three, the ultimate stylized scene guide. Now, let's come in and actually fix this mess that I did. I don't know how I did it, but anyway, let's grab it going all the way around back to this one here, press delete and faces, and then let's come grab this, delete Faces. Now what I'm going to do is a, I don't want to do that either. Let's come in and grab it in the middle, delete, faces, and then, delete. Vertices. Now, let's grab both of these. I don't actually want these on either. So we might as well delete those as well. Delete and faces, not vertices. Faces like so, and now I should be able to grab the whole thing and I should be able to just pull it back into the place that I want it, something like that. Yes. Okay, that looks good. All right. I'm just looking at my reference, and you can see that's probably why I've put that on there just to hide this little bit. All right. I'm happy with that. Let's now think about putting our middle console in. If I come to this part here, let's apply that solidify control A, and let's actually grab all of this going all the way. Maybe because I need an actual floor on here, as you can see, so I'm probably going to grab it all the way to this here. Then when I'm going to do, I'm just going to press E and pull it out. Then I'm going to press S and X and just squish it in. Like so maybe not so much, and then pull it back. Maybe something like that. Then what I'll do is I'll grab this center part and I'll put on proportion editing, and I'm just going to pull it back then and make it a little bit rounded. Maybe I've gone a little bit too far, pull it back, and then pull this one back maybe maybe I need another edge leucina. Control our left click, right click. Let's pull it not that way. Let's pull it back. So have a look at that. That's looking pretty good. Now, let's come in and actually make this bit a little bit smaller, so S and y. I don't actually want to bring all of that back, S and y, can I just bring this part in? That's what I'm wondering. And then bring the next part in. It looks a little bit more realistic, so S and Y. Yes, something like that. All right, I'm happy with that. Now what I need to do is create this actual handle. I think what I'll do is, I'll also pull this up. Just a little bit like so, I going to get away with that, Sove it is what you're going to get away with really, and think, I'm going to have to pull these out. S and Y, and then pull them back and then up. And there you go, that's looking better. All right. Now, let's come in and make the actual part on here. So if I grab both of these, and I'll pull them in. You can see that I'm going to have a problem pulling this one in, the front part, so I'm going to have to just use this one, so I'll just press like so. I'm also then going to press S and y, pull it in. And then I'm going to press E. Like so that then will be the console for press one. That then is going to be the console from here, probably going to pull it up a little bit more. So I will maybe round this off a little tiny bit as well. Control B. Yeah, that looks actually good. Then you will be able to see speedometer and things like that. All right. Now let's come and work on this actual bottom, for press one. I want to work on this bit now, and it's quite a chunky part, as you can see, we need it going probably all the way around to here. We've got our cursor in the center. I think actually we could do this. Yeah, we'll use a plane. We'll definitely use a plane because it's just so much easier working with planes actually when you're doing something like this. Let's first of all, bring it in. S and y, bring it in. Let's bring it to where it needs to start. So something there. Let's put this one back. Let's press one and see where we are, so you can see that, but go it perfectly. Put it up. And I want to bring this bit down. One. This bit down to well, I'm going to follow that around, so probably somewhere around there, bring it in and then make this bit. What I'll do now is, I'll come in, control. Four, left click, right click one, and now we'll come in again with SD wire frame, and then we'll grab these now. If I press B, B, and it should be able to move both for them and just work the way around. B, B B and B, like so, and you should end up with something like that. Now you want to do is you want to bring this part in. If I press Z, go into solid, we want to bring this part in, so I'm going to come in. Like so, I'm going to bring it in now, so S and y to there, and then just make sure that you're pulling out far enough, so it's actually hiding that part there. You can see that it's gone a little bit too far. The reason for that is because I need to bring in another edge loop along the center, which we'll do in a minute, but what we need to do as well is, we need to think about the roundness of it. In other words, it needs to come out on here, S and y, bring it out, S and y, bring it out and a nice smooth way till we go back in, like that. We've got that nice shape now, that's what we're looking for. Now let's press control lot and bring in another couple of edge loops. Left click, right click. Then we'll do is we'll come to this fit now and this bit around here. We can see. Let's come around there. Yeah, there we go. Let's pull that out now to there without it poking through. All right. That's looking pretty good. I'm happy with that. And now I want to do is I want to pull this down and then bring it in because we're going to want that bottom part in there. If you press one, you can see at the moment, this is what we've got. So we need to first of all extrude it down. We're not going to use solidify because all we need to do is just extrude it down a little bit and now just fix these parts here. So let's pull this back into place like so. There we go. All right. Now we've got somewhere for his feet and things like that. Now, let's bring this whole thing in and then down again, I'm thinking. Let's have a lo. So yeah, or do we leave a little line going round it? Probably. Let's bring the whole thing down, actually. Yeah, let's do that. We're going to grab this one, grab this, grab this, grab this, grab this, and grab this. Then I'm going to do is I'm going to press. Bring it in, very gently, and then press key, so now want to squish it in. S and y, bring it in. Like so there we go. Let's press one. And there we can see that we're getting somewhere apart from the fact that we need to now bring this. So give it a bit more roundness is what I'm saying and then bring another part in, which is probably going to have some ends sticking out a little bit. So I'm happy with the shape of this. I just need now to actually start shaping these parts. So I'm going to press one. And what I'm going to do is I'm going to bring it down to that. Then we're going to come to this part. Grab in all of those, press one, not that one. Actually, the sup, can I get away with that one? Bring it down. Yes. Something like that, and then we'll come to this one, one, bring it down, and then this one, control one. We bring it down, and there we go. That's looking cool. Now we need the final part, which is these parts here, which are going to actually come out a little bit. What I'm going to do is, I'm going to come in. I'm going to grab all of this again. Control click, Control click, Control click. I'm going to press shift D. Bring it down, press one, and now you can see where I actually need this to go. I need it to go all the way up here and then over here, and I basically want it sticking out a little bit. If I press E now and pull this down, you can see it's only going up to there. Basically, I could actually at this point, get rid of this back piece, so I will do that actually. Delete faces, and then get rid of this one, delete faces, and now look at the front. What're going to do, I think is I'll also bring this up now. Let's bring it across. O again. And bring it up into this place here. I'm also going to rotate it round, is it x? No, it's y. It's definitely y, rotate it round like that. It doesn't look like much of the moment, but we actually are getting somewhere. Now, we need to bring these out before we do anything. What I'm going to do is, I'm going to grab both of these. I'm going to bring them out a little bit, S and y, bring them out. Then what you want to do is now you want to bring in just the top, these parts here. That just this bottom part is hanging out, S and y, bring it in, like so. Now we can grab the whole thing, L, and I think we can bring it up into that place. So. Yes, that's exactly what we're looking for. And now all we need to do is we just need to make sure that we have a bottom on it. So if I press one, we can see that we need to grab all of these and pull them into place. That's what we're going to do now, sad, wire frame, and I'm going to come in and grab all of these. B, grab them all, pull them up into place, and then just work the way along. Like, so B, and I think what we'll do is, we'll pull these back to there, and then bring in another one, so control our left click right click. I'm hoping that that enables me to pull this into place. I'm hoping. I don't know yet, but we'll have to see. This one here, I can't really see what I'm doing with this, so I need to come in and grab all of these, press one, and pull them back and into place. All right. Let's go back in solid now and have a look at what we've done there. I think, actually, apart from this bit, I'm going to bring these two in. S and y. I think that looks actually pretty good except maybe this part here. This part here needs coming in. You can see that we're building it like a jigsaw, and we're just trying to get to all fit together and that's what you're basically trying to do. S and y, bring it in. We also, so S and y b closer, and then with this one. Again, we'll bring this part back now. These are a little bit different from each other, and that worries me a little bit because it means I've not got them in the same place, which means that while we're doing instead is control our left click, right click, and then come in, shift and click, delete faces, and then just delete this side, let faces. Then come back to this side and all I want to do is just make sure that I'm happy with how this looks. If I bring that in very slowly and then back, just making it sure it fits You can see here on the front of it as well. There we go, and I'm also looking at this part on here. I'm not happy with that. So what I want to do is bring it up, bring it back, and bring it up and back and up, and there we go. Now that's fail in place and that looks really really nice. Now, before we finish, let's just split off this, so you can see this part here. P selection, tab, Bring in another bringing a cursor. Shift S cursor selector right to the center, control lay transforms right clicks, origin three dcursor, add modifier, bring in a mirror on the y, turn off the eggs, and there we go. That's what we're looking for. Now, we can see that maybe a little part of this is actually coming through there. And that's something that we might want to fix, O we might want to leave that. I think actually looks okay. All right. Let's press the tab. Let's right click Shades smooth. Let's bring in our Auto smooth, and let's do the same thing on here, so right click Shades smooth, Auto smooth, double tap the A, and that's what you should be left with, and actually, that's looking pretty nice. I think one thing we should do is put an hard edge along here on the next one. In other words, Oh, that's why it's not there, because we can't shade it off smooth yet, because It's a mirror, and we need to apply that. So let's apply that, so Control. There we go. Yeah, I think I'll need a hard edge on here, so I'm just going to come in. I'm going to come on each side of these, right click. Mark Sharp. There we go. That looks much, much better, and we'll also put a sharp in this one, this one, and this one, right click, Mark sharp. Tab, double tap the ag. And there we go. All right. Let's have look at our guy now if he's standing next to it, so one. Put it next to it. Yeah. That's looking really, really good. I like the actual feet things we've put in there. We could probably pull those out as well and make them into little feet things. Again, the problem is as I keep saying, you can push this as far as you want. But we really need to get this done so I'm the one doing this. I know, but I need to just pull myself back and stop actually adding details and things like that. All right, everyone. Now we'll try and start now actually speeding up the process of getting this actually done. Okay, so I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 80. Refining the Style of the Scooter: Welcome back everyone. Blender three, the ultimate stylized scene guy, and this is where we left off. All right. So we've got this main bit. I think probably probably better off working on the seat now before we put the details in. I've been thinking about and I think that's probably the best way to go. So let's pull our guy over the other side and let's think about our actual seat. So you can see that when I build this, I pull this extra bit in, probably just to hide something. I'll do is I'll start with the center bit and we'll make this round bit, and then we'll start with this bit, and then we'll work our way basically over them. What we'll do is basically, I think we can get away with probably bringing in a Qe. The cube's going to come in the center anyway. Let's pull it back to there, and then what I'll do is I'll actually put in a couple of edge loop, so left click right clip and just pull that part out like so. And then let's press one. And then I can just pull that into there. I'm going to put another edge loop then, so control, left click right clip, and now it enables me to actually grab the top of it, press one and actually pull it over like so into this part. All right. So that's looking good. Now, let's pull the bomb bit down. All the way into here without obviously going through there, something like that, I think it's looking fine. What we need to do now is we really need to probably bring our guy over and just have a look at how big that actually looks. I think that looks. I think it's looking a little bit too small because we've got these bits coming from here. What I think I'll do is I think I'll bring actually those bits in next. I'm going to press one. I'm going to press shift A, bring in another plane, spin it around, so x 90, make it smaller, and then I'll do the outside the outside first. This go in from here to here. Let's press dead, go back into wire frame. M Maga the way because it's very, very dense on the mesh, and then what I can do is now come back to my plane, press t and x and pull it out into where I want it. I'm going to start from in here I think and then just work my way going round. I'm going to press tab. Grab this edge. Pull it into here, like so, and then give it some e loops on controla. Left click, right click, and now let's start working our way with these, so let's bring it up. L so. You can see how easy it is actually if you break it down. This one here, I'm going to bring it to this point, but I'm actually going to grab both of these, bring it to this point, and then bring it there, like so, and then bring this one down. I don't actually want them touching, so I just want them down there. But you can see what I mean, if you break them down, how easy it is, I'm going to press control, left click, right click to actually make these parts. You can do this for anything really as long as you just break them down, same for cars as well, exactly the same process. I bring that down to there, bring another edge loop, left click, right click, bring them up. And then work on this one, bring it down. Control, left click, right click, and I'm going to just bring this one up, and then let's bring this one. So I think I'm going to actually bring it to here. In fact, I'm not going to lift it up. I'm just going to grab this one and lift it up, and then I'm going to grab these. Like so, and I'm going to press p x because I want to move it along the x, and I think I can get it to there and get away with that actually. Let's see. Yeah, I think I can get away with that. I don't think I need anymore. All right. Now, let's bring it out just to the side of here. If I grab this with, bring it out just to the side, and then what I can do is now I can bring it out and make it a little bit smaller. I'm just going to press that, going to solid. I'm going to bring it out like so, and then I'm looking now on the bike. It wants to be the actually come in to here. Basically, I want to make it smaller. I press d. So I'm going to press. Again, shifts, now press S, and bring it out and then probably pull it out a little bit further. So it just goes to the edge of there. Maybe just passing it slightly like so. Yeah, and I think that's going to look fine. Now, let's press one. And I think I'm still going to have to make it smaller because you can see that we're not quite down on the floor even yet. So I think I'm going to have to come in. And grab this face and just pull it down into the floor. Without it, sticking through. So I'm going to pull it down to there, then grab this edge, pull that down, and there we go. Now it's not stuck in. Now, one thing I do want to make sure is that if I press sad, going to waive framer can see that we're a long way out on this part it needs to come in a long long way. So I think what I'm going to do, I'm going to first of all, pull all of this out to give it a nice flat edge on the top. Control, click, the e, pull it out. And then what I'll do with this, Control, click. I think actually and probably, we know that this edge is really nice and clean. This one here, we know that's in the right place. We don't really want to alter that what we want to alter is just this part. I think what I'm going to do is I'm going to press sad going to wire frame, and I'm just going to alter these on their own. I can see that they need to come all the way back to here, for instance, I'm going to see if I can bring these into this place and I think actually on that one. Yeah, I think I'm going to bring it in like so. I bring this one in, and I'm going to bring them in just to the top of there. Make it follow this round here. I'm hoping that when I come to smooth this off, it's going to actually become nice and smooth and this one I think I'm going to bring it into here and this one into here and down and down. L so. Let's have a look at that then, so solid, and there we go. That's what it's going to look like, and I'm thinking that the light will look nice, actually coming out of there. Now I'm going to do is shades move. Also move on. You can see we do have a problem in here, and it's probably down to this, circle press G. You can see this is a little bit of an issue and it's because of this one here. We didn't move this one. We can see if I move this one now. It's actually going to fix it, and then I can pull it out into place. There we go. That's actually fix that. Now, we need to pull these back a little bit into place or up into there, so they're actually hidden. Let's look at that. And that's actually looking pretty nice. Now, before we actually come and put it on the back end, I need to actually create this part. Again, we're going to use, I think, shall I use a cube or shall I use a plane? I'm probably going to use a cube actually or a plane, which one shall I use? I think I use a cube. Let's bring in a cube. Let's bring it up, and let's bring it into place. I'm thinking if I bring that in there, that should be fine actually. As long as it's just coming out, just so, if I pull this up, you can see that slightly in there. That's exactly what we want in. Something like that. I can waive with that. Then what I can do is I can pull this back now, so grab this, pull it back. And then I can pull this bit down into place, here, let's pull it down properly into here. You can see it's flashing, and the reason it's flashing is because this is too close to the sides of this, so I need to change that. S and y, pull it out a little bit. Control. Let's bring two. Left click, right click. Now let's level this up. We can see got some problems in that. I need to pull these out, O, pull it out, and then one, pull it out, and then one. Pull it out, like so, and now we need to press control, and we'll bring three in, something like that, and now let's drop these down. If I press one, Z, wire frame, we can see I've got to drop that all the way down there, which means I'm probably going to be better off, grab in all of these. If I press B, grab all of these, bring them down, and then on this one, B, bring them down, and then on this one, B, bring them down, and then finally on this one, I'm going to bring them up, like so, and you can see as well that I need to bring this out. If I press E and x, bring them out like so. Is that going to work because I'm going to have this back fender on, Let's press Z, solid tab. Yes, I think actually that will work once I've got this back part on. Now, the seat, let's think about the Cat. Also, let's think about, I'm thinking that's actually fine except maybe this bit here. I'm thinking that I need to press control, two, left click, right click, and then one I'm going to do is, I'm just going to round these off a little bit. This part here, I'm going to round all of these off. Pull them back. Like so, and press one. We're going to pull them down, L so and I'm probably going a little bit too far. I'm going to smooth it off though, so shades move. Autos move on. I'm probably going a little bit too far as we can see. Let's bring them out. Let's press control B, and just bevel that off, and there we go. I think I'm actually going to pull this front bit, just out a little bit. Pull it out. That's looking much better. All right. I'm just happy with this roundness on here. I'm going to come in and grab this one and this one, the same ones, and then just pull them out. There we go. Now that's looking better. That's looking pretty cool. Now let's put the actual seat on here. So Where does the seat come from? Well, it comes from here, so probably better off making a plane, bringing it down and doing it that way, I think. Let's do that though on the next lesson because obviously we're nearly 11 minutes now. As I say, though, this one, it's going to take a fair few lessons to get this. But once we've actually got the main bulk of it and it's just basically adding wheels and things like that. Should be probably a course on its own, this one, actually. All right, everyone. I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 81. Finishing the Large Parts of the Scooter: Welcome back everyone. Blender three, the ultimate stylized scene guide. Now, let's come to these parts. What I'm going to do before I finish on this bit anyway, is grab all of these, and I'm going to pull them out, S and y. But I want to pull them out actually with proportional editing on, S and y, let's bring them out a bit and just make that actually look a little bit bet. Now that looks better because it looks like it's got a front bit. When anyone ever sits on the bike, you'll notice that the f here is a little bit wider and then the legs go over each side. That's exactly how it should be. Not going to worry about this part at the moment. What I'm going to do though, I think I'm going to try and use this part here, so I'm going to grab it all like so, and then we're going to press shift D, bring it up. Then what I'm going to do is I'm going to actually bring it up with that proportional edit on. I'm going to then press P selection and just split that off. Tap now A, grab it all, and then just press S and Z and just straighten that back out and make it a little bit bent like so. Then I'm going to do is going to press E. I'm going to pull that out then, S to press D again. I don't want to do that. I just want to press S, pull it out, and then E. And then S, pull it out, and now let's try drop in that interplace. Control A all transforms, right click, origin to geometry. Now let's put that in place. We can see we've got to rotate a little bit, so R and y, just rotate a little bit and still not in the right place. I think that sat looks fine apot from we need to bevel off these edges here and bring it down so it actually fits properly because this bit here comes down, and then it goes up. Let's come in. What we'll do is we'll grab both of these, put proportional, press one. We can see that we a little bit out as well on the scale, but don't worry about that yet, because now we're going to actually start shaping it. Let's pull it up like so. Let's grab all of this, pull it up. Let's grab this one here, maybe, pull it up, like so. Now, I'm thinking, let's drop that sat down. Let's grab all of this, going all the way around to here, here, here, here, control clicking, and then let's bring that down. E, bring it down into place. Like so and now, let's press Z, going to wire frame and let's have a look at how that's going to be. You can see M them on we've got a lot of work to do on bringing these parts up into place. Let's do that now. I'm going to come. B, grab all of those without proportioning on and start bringing them up, like so and B. Bring them up, and then B, bring them up. I'm going to actually grab just one of those and bring them up, and then B and bring them up and perhaps leave that there for now. I might actually cut that off. I'm not sure yet. Z, solid, and yet, that's looking nice. I'm happy with that. What I'm not happy with is the smoothness on these, so I'm going to smooth this off. I'm going to grab all of this going all the way around. Like so, and this bit here and this bit here, and then press control B, bevel it off, and there we go, that looks much much better. All right. There's the seat then. I think actually that sat looks pretty good. I'm just looking at it coming on the back here. Not really happy with this part here. Let's fix this part now. I think what we'll do is, we'll either try pulling it back, so control clicking, pull it back like so, and then bevel in this part off. If we bevel this now, control B, vi off. Yeah, I think that looks absolutely fine now. That's that bit. Now, let's put this on the other side. You can see it's in the center, I'm open. Let's come over and modify mirror, y, turn off the x, or it could be Z. Let's turn off those Z. Yeah, that looks absolutely fine. Now, the one thing is, we don't actually want to see in these things, so we've just got to make sure that maybe we get rid of these and solidify it instead. I'm not actually sure if I want to do that. I think though that I probably want to get rid of this. Yeah, I'm going to do that. Before we mirror it, I'm just going to come in and I'm going to get rid of all of the inside of here. Control click all the way down to there. Then I'm also going to get rid of all of the inside of here. So Control click like so. I'm probably not far enough up, so what I'll do is I'll delete faces like so. Yeah, that's looking bare. I'm also thinking, can I press shift and just hide those out the way, and then delete faces, and then press alta and bring those back. So I press alta? No shift. No. And it's not actually coming back. So now let's press ltge. There we go. What happened is there that. Basically, I wanted to actually hide them out of the way, but I didn't want to hide bring everything back into the scene, all the other stuff. So what I did there is a press shift age, then went into object mode and pressed ltage, and that's how that actually works. All right. So now I'm looking at this, and I'm thinking, yeah, that's looking pretty good. Now let's put this back fender on. So this one. Here you can see it's got a little line going around with these two lights on. So let's put that back fender on, so I'm just going to probably come in. We want it going down to here, and then there's a little round bit on here, and then another bit on here. Let's do that. We'll press shift A. We'll bring in another cube. Let's bring in a cube. Let's bring it up. Let's press S, bring it into place, like so, something like that. Can I now press S and y, pull that out a little bit like so. Then let's just grab this face, press one, bring it over. Let's rotate it. R let's press control, and then, y, rotate it, and then E, and then bring it down, and then rotate a little bit more so y, bring it down, and then E, and I want it to come all the way down to there basically. That's where I want it, but I also want to shrink it down. I'm just going to put this on normal and then S and y and shrink it down. Then I want to bevel off these edges. Let's see if I can actually do that as well. While I'm here, Control B, and let's bring that up. Like so. That's looking pretty good except it's probably a little bit too fat. I'm going to pull this back like so. There we go. A thing that's looking, probably still a little bit too fat, so can I bring these parts down. I'm just going to grab all of those. Bring them down, like so. I'm also going to just come in and then right click and triangulate faces and tries to quads. That's what I'm scared of this part here. You can see why that happened was because when I brought that down, I didn't actually grab it all, so you can see here, I've not grabbed this one and that's why that happens. Now if I bring it down, it should come down nice and even like so. Right. Now you can see if I grab it and face select and tries to quod. There you go. You can see it looks to tons b. All right. That's that. Now, let's think about we've got another part on here as well, which covers the wheel, and we've got this back bit on here, which is actually the actual light. Let's probably do the lights now. I'm going to press shift S. S selected, shift A. Let's bring in a cube. Let's bring the cube out. Let's also save it out, just in case, make sure you're saving your work. I haven't saved mine now actually in a while. I'm going to press S now, so let's move it down. S, bring it into place. I'm going to press one and look where that is. The lights are coming from here. I'm going to have it come in, probably out here. This is where the number plate would would be on. I'm going to press S and y, pull it out, and this is where the lights will go. I'm going to have this bending probably back into there. I'm going to press control. To left click, right click. I'm going to bring them out then. So S and y, bring them out to that. And then what I'll do is I'll grab both of these now. So this side, face, this one here, and this face here, pull them into place, like so. And then I think actually, I'll leave that lad I actually like that, so that's absolutely fine. And then what we'll do is we'll do this number plate. So I and then E, pull it out, so or the stoplight, whichever you want to call it. Let's put it down a little bit, like so, so that's that bit. Now finally, we've got a little bit up here. What we'll do is we'll actually use this I think, like so, and I'll do is I'll press, and then E pull it up into place. Like so. And then what I'll do is I'll bring these parts back now. If I can come all the way down to here, and then go all the way across to here, and then control click in and actually control, click the middle and control click that side. Now hopefully if I put this on global, I should be able to just pull those in like so. I'm hoping, that should be fine. I don't mind probably that here, I can pull these back at least, it's going to be hidden out of the way. If I come in now and just grab these, I can pull those back and hide them out the way. There we go. Yeah, that's look in there pretty nice. That's exactly what I wanted, and we can put the lights on there, so double tap the A. Like so. One thing is that these aren't rounded off enough. I I press if I come to these shades move, put an auto smooth, and then you can see that's where the round off. Actually, they rounded off pretty nice. Yeah, they're actually nice. I like that. We've done a good job there. Now, what we'll do then on the next one is, we'll start to, I think we'll bring the wheels in because bring the wheels in then is going to make it much easier to see where we need to put the other stuff in here. We'll do that on the next one and we'll steal part of the wheels at least from the actual hot dog stand. All right, everyone. I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. A 82. Refining the Scooter Wheels: Welcome back everyone to Blender three, the ultimate stylized scene guy. Now, I hope you're not getting too bored with the actual scooter. I feel like it's coming on really, really nicely, actually, I think we gain some really good work actually done here. I think once you've learnt how to do this, it's like the pinnacle of creating all of these parts that we've actually been doing. All right. Now we're going to have to actually press the question mark. Bring everything back because we are going to have to go to our hot dog stand and steal this actual wheel. What I'm going to do is, I'm going to come in. I'm going to grab all of this, all of this, all of the rubber, and then just press shift, bring it over. And steal it and put it on our actual byte. Now, the other thing is that I actually need to change it a little bit because the byte is two sided. Let's come in, press old shifting click, delete faces. Let's then grab the whole thing. L on all of this, delete vertices. Finally, now, let's just split it off. L L, make sure you're grabbing everything, and then P, selection, split it off. Control A, all transforms, and then you want the center of it. To be right in the center of here. Shift this cursor selected because we're going to use that actually to create a mirror for the other side because you can see that this is different to this part. We need all of this going into the other side. Basically, I'm going to hide my rubber out the way, and then going to come in control, left click, right click, and then come in with old shifting click, delete faces, and then grab this back bit, L and delete and vertices, like so. Now we can actually come in and we can split this off. I I come in, LLP selection, split it off. Grab it, control Al transforms, right click and set the origin 23d cursor. And now I'm hoping that I can just mirror that over the other side. So if I I'd modify it, bring in a mirror, put it on the Z or the y, actually, that's not coming over where I wanted it. Have a look. That is not how I want it, so I'm having a few problems. Why is it not doing that? I don't actually know. As I look at Z. There we go. I knew I'd get one of them. So there flipped it over on the actual Z from the y, and now I've got it actually going on the other side. You can see that we do have a problem. In that, I'm going to grab it all first, and I'm going to move it out just so they're not actually touching. You can see there that we need to actually make the clipping, so they actually come in, we put the clipping on, and now we can bring them closer together and now release them, and now you should have something like that. The reason I want to do this as well is because I actually want to create, as you can see, on our bike. We've got those little gaps in there as well, and I actually want to create those. What I'm going to do is I'm going to come into this. Like so, I'm going to press the i and bring it in, like so. And then what we're going to do, I'm going to pull it back. So E pull it back, and you'll see that they've actually clicked into place. Now while we've got these, we might as well press delete faces, and there we go, we've got nice holes in there. Now, the next thing is it's a little bit too bigger the moment this. We need to bring them in so we've got in those round things going into a rim at the moment we don't have a rim on here either, so that's something we need to do. For now, though what we're going to do is I'm actually going to apply the mirror, so that's done. And then when I press Control A, all transforms right clip, Origins geometry. And now I'm going to do this. I'm just going to line them up. So I'm going to see how big they are in comparison. You can see here, I don't know why that's over there, so let's grab them again. And let's grab this and this and then press Control A, all transforms right click, to geometry. There we go. That's better. All right. Let's bring them into place. An log, how big they are. And you can see, I need to make these a little bit bigger. It's a bit deceiving, but this should realistically be in there somewhere. So if I press dot now, you can see that should be fair bit bigger. So something probably like that, actually. Then what I need to do, I need to obviously fit these into the middle. I'm going to grab this part. Shift S, cursor selected. Now grab both of these. Shift S, selections cursor, and now I can pull them down. I know the bang in the center. Something like that, I don't want it scratching on that, I want it fitting nicely. Let's press one and let's have a look how big these are. I'm thinking, can I get away with bringing it back there? I think I can. Let's have a look at the wheels now and make sure if I click on my guy, are they right. Now I'm thinking that the rubber and this are probably a little bit too big, what I'm going to do is I'm going to press S. Bring that in. Then I want to take a piece of this and actually create this inside rim on here because bytes need a rim. I'm going to press ol tag, bring that back, and then come in, grab this and then press sift D. Then what I'm going to do is I'm going to press S and y, pull that out, and then E enter altern S, bring it in. Like so. Then finally, we'll have a center point on this. I. I think that'll be the best way to go. If I press Control, two, left click, right click, and then do the same on this side, so Control L, two, left click, right click, and now, let's come in and grab this and this. So and then e enter S and y and just pull them out, and then we should end up with a nice rim. Now, the other thing is that the rim obviously needs to go in because the wheel it should start where the rubber connects basically. If I press S and y, bring it in, and you can see now that that's where it should start. So that's looking a lot better. Then on the inside of this rim, it shod realistically be leveled off, so Control sorry, shift click shift click, control B, and then just bring that down. Maybe we can get away with one. Yeah, that looks much better. All right, that's looking good. Now just make sure they're happy with where this is in. So if I press S, I can bring it in a little bit more, making it look a little bit more solid there. We've got everything on the now. Now we need to think about putting the one on the back as well. I'm going to join all this together. Control J, join it all together. Control A, set origin to geometry. One, and now let's pull this to the back as well. So shifty, pull it to the back, and now you can see we're really starting to get somewhere. That's going in there. All right, so that's looking good. It's looking a lot more like a scooter now. So now let's think about first of all, the pistons on here. I'm also thinking if I go to my own reference that I'm going to, probably let's have a look, and let's just hide something out the way. Yeah, I'm thinking I'm thinking how to actually do this and which part to do next. I think actually what we'll do is we'll create the little vent on here, this bit here. We'll create the vent each time because that's going to obviously this wheel, so we'll do that next. What we'll do is we'll grab this. We'll press shift S, shift S. Cursor selected. Then what we'll do is we'll bring in now a cylinder. So shift A. Let's bring in a cylinder where a cylinder. There we go. And then 90, let's make it smaller. Let's press S and y like so. Let's make it even smaller than that. S. Let's look at our reference, you can see, this is how it covers it. It's got this round thing on. If I bring it smaller, like so. Then what I want to do now is I want to make another part basically. I want to bring it out. How am I going to do that? Well, I'm going to come. I'm probably going to make this a little bit, like so, and then I'm probably going to come from the top. From the top, which will be probably here two here, so control plate, then I'm going to press shift deep. Like so. Then what I'm going to do is P selection, tab, grab it again, control A, all transforms, right click, Sargent geometry. Now what I'll do is I'll just grab. I'm thinking I'll probably just bring in a solidify, add modifier, solidify. Let's bring it the other way. Like so, so outwards this way. Then what'll do is even thickness. There we go. Now I should be able to bring this back to here. I'm just wondering if I've done that. Correctly. I might have made a hash of this actually, I should have maybe done. Yeah thing I'll do is I'll create this vent now, and then I'll join this to it and see if that actually works. One thing I do know is though I need to bring it in, so S Y like so. Let's create this vent. We'll create the vent up here. Shift A, bring in another sphere, not sphere, sorry. Another cylinder. Shift A. It's been a long one. Cylinder, and then RX, nine, spin it around, and then S, bring it in, and we'll put that around here. Like so. It's going to go S and y. Bring it around here, something like this. Yeah, I think that'll look absolutely fine, like that. Now let's actually delete this one and this one, delete faces, and let's bring these in. E enter lns, bring them in, so now let's create those vents. I'm going to press shift A, bring in a cube. I want Cube bases come in here. I'm going to do is I'm going to press shift, selected shift A, bring in a cube. Like so, I'm going to bring it out, so S and x, bring it up, and then S and y bring it over to here. I think this is still a little bit too big, S bring it up, starting probably from there and then rotate it. R and x rotate it, and is that still a little bit too thick? I think it is. Now I've rotated, I'm going to have to use my normal and I'm going to pull it back in like so. All right. Now let's grab it, press shift D. Hopefully, I should be able to pull that straight down now, like so. Let's see if I can do it again, so shift D, pull it down. Like so, let's pull it out. I'm going to put it into place, pull it out, so S and X, and then shift D. Shift D, and then S and x, and then shift D all the way down to here, like so, and then S and x and bring it in. Let's do the same on the top one, L S and x, bring it in. Bit more. There we go. All right. Double tap the. There we go. Okay, so on the next one, then what we'll try and do is join this with this. I'm thinking that this is pro a bit too wide on here, so I need to thin it out and then be able to join this and this. I'm hoping I can actually do that. So we'll see. What I might have to do is just bring this back instead and that might make it easier rather than using this part of here. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 83. Creating the Smaller Engine Parts: Welcome back everyone to Blender three, the ultimate stylized singer and this is where we left off. Now, think, I'm going to delete that. I'm not going to use that. What I'm going to do in steadies, I'm going to bring this out. I'm going to come probably bring in two edge loops to left click, right click. I'm also going to squish this all up a little bit, so I'm going to join. I'm going to just spre I'm not going to do that because I need it on global, S and Y and then bring it out. There we go, they all fit in, and now I need to pull that back a little bit, I think just so it can go onto here. Now I'm going to do is I need to join these two up really. It will be easier probably if I delete that out of the way, and then grab another one, shift de, and then put that there, one, roughly in the right place where it needs to go and now make it probably a little bit smaller. Something like that. Put it as near as you can in the middle, and now it's going to be easier to actually join these up. One thing is though, I don't really need this anymore. I'm going to delete, dissolve edges, and then to come to this one and same thing. Dissolve edges. Now let's join this and this up, so control J. Now finally, let's bridge the edge loops and try and make something out of it. If I grab this part here and this part here, let's press F, and there we go, you can see that's looking good, but should it be on this one? Maybe. Let's grab this one and this one F. Yeah, that looks better. Then let's grab this one and this one, let's press F. There we go. Now, we need to actually give this some edge loop, so Control law and control law, so the reason we've done that is because now if I grab all of this going all the way around on the inside, what I can do now is I can right click and in fact, what I'll do is, I'll just press F, and then I'll come up and see what this looks like. Come down, triangulate faces, tris to quads, and there you go. You can see how nice that meshes, and that is because we added these edge loops along here. Now let's do the same thing. With this one here. **** and click, going all the way around, like so, and then we'll press F, and finally, right click and triangulate faces, tries to quads, and there we go. That's looking pretty nice, except we've lost this bit here, so you can see this bit here, and we've also not brought out this bit here. But luckily for us, we can now bring these out because we've created in such a nice way that it's easy to actually bring this out. What do I mean by that? If I come into here, press F, and then come into here, press F, and then let's bring this bit out, so I'm going to come. Bring this bit out. I'm going to press E, pull it out, and then pull this one in. I, and then E, and then I E, like so. There you go you can see that looks pretty nice. Then now this bit here will come in. Old shift and click, E, bring it out, and then bring this fan out. Into place, double tap the A, and there we go. That's looking pretty nice. Now one thing we need to do is we need to actually pull this probably back into place, so something into there like that. Then you can see on here we've got another bit that goes over the top, and then on one of them, we've actually got an exhaust. That's what I'm probably going to do. I'm actually wondering if I should pull this out a little bit more actually. This one here maybe pull this out a little bit more before I actually finish, think that's going to look bare like so. Now let's get this little part that goes over here, so it needs to come in here. I'm thinking as well, should I solidify that? Probably so. Let's apply that, so control. In fact, rather than apply that, if I joined this to this, this and this, press Control J. There you go, supplied it over the other side, and now join this to this as well, so Control J, and that supplied that over the other side. Now we can press control A on the mirror, and now we can come to this part here and split it off. L on this one and this one, and then press P selection, come back to it, Control Ale transforms, add modifier, bring in A solidify, and there we go. Perfect. Control A. What happened? When did to do it. I don't think I don't know what happened there, so let's have another go, solidify. Then let's put on even thickness, Control A, and there we go. Now it's done. Don't know what happened there. Anyway, it's fixed now, so there we go. Now, let's think about as I said, little fender that comes over here. What I'll do is, I think, I will come in with a plane, and then what I'll do is I'll just spin it around, so X 90, make it smaller. Let's have a look where it actually comes to if I press Z, going to wive frame. I can see if I press one. That it's coming from around here and up here. Let's see if from s, get it. It's going to be harder as well to see, so just bear that in mind, but I can see it starts around about here, and then I'm going to come down and bring this over to here like so, and then I'm going to press control law, and I'm going to have something like that many in, and then I'm going to bring this one down to where it needs to start. You'll probably find as you go further on with this that you're just going to speed up the process probably because you're fed up with making it. Or you might be really enjoy making it. I'm not sure which one you're falling to, but I actually enjoy making things like this every now and again. Let's bring it down to there. So let's press ZE, go back into solid, and here it is. Now, it needs to be probably a little bit higher on mine, so it just fits above there. I'm going to or does it. Let's have a look. So first of all, what I'm going to do is, I'm going to bring it over, and then I'm going to bring it out into here. Like so. Then what I want to do now is I want to get rid of the inside and this bottom. I'm going to get rid of the bott first, like so, like so, and I'm probably going to get rid of that as well. So delete faces, and it's going to leave me with that. Then I'm going to come in and get rid of these, delete faces, and then finally what I'm going to do is, I'm going to grab this, and I'm going to actually shade it smooth. And then I'm going to uto smove on, and I'm going to devel this off now. So shift and click all the way down, Control B bevel it off, and maybe You know, actually, that looks good. Now, let's bring in a solidify, solidify, even thickness. Like so, press Control A, and now we just want to mirror over. If I grab this one, shift desks to select, grab this. Control A all transforms, clicks the origin to geometry, add modifier and bring in a mirror. Flip it over the other side. You can see it's not flipping there, so I need to flip it, and we're going to put it over. Nope, and the reason is. S origins three DCs. There we go. Let's do no flipping. Let's just pull it over the other side like so. There we go. That looks better. All right, double tap the A. Then there we go. You can see happiness in my voice that I finally nearly finished this part because it's a long part. All right. So that looking good. Now we need just to apply that, and now we just need the actual exhaust. So let's put the exhaust, probably coming under here a little bit. I'm also wondering should I drop these down? Maybe. I think I'll just drop those down while I'm here as well. Come in. Put proportion editing on, and just bring them down a little bit like so. Now let's bring that exhaust in, so I'm going to press shift A, I'm going to come in with my cylinder. I'm going to spin it round, so Y. 90. Make it smaller. Let's make that exhaust. Let's pull it out where it needs to go. It's going to go something like that. I'm going to actually make the actual scale of it first, I'm going to pull it out, it's going to go just below here, so I'm going to put it out without for setting on, something like that. Then I'm going to make the end of it now. E, and then S, like so, and then I'll press, and then E, just bring it back, so a very, very simple exhaust, and then E S, like so. Then I want to basically a pipe going probably up into here somewhere. We'll actually do that. We'll also grab it. We'll press R and y, spin it around. Put that in there. Maybe also as well, just spin it around a little bit, like so, right plick Shade Smooth. Alto move on. I'm going to actually as well, mark a sharp here. Right click and mark shop, and there we go. We can also as well. You can actually make them look a little bit more realistic and the way that you can do that is, you press shift S, cursor selected, Shift A, bring in a cube. Spin your cube, so RY 45, so. Make it a little bit smaller. Pull it out a little bit, like so. So it's just sat on there, and then shift D, bring it over, pull it out or in, like so, and then one more. I'm just going to press shift D, bring it over. Pull it out. I just want it stuck in there, so so join them together, contro j. Grab your exhaust, contro or transforms, plate srogen, to geometry, a modifier, and bring in able. Mablean is going to be these four. Then all you want to do is just apply that. Delete those out of the way, and there you go. Looking a little bit. I think, actually, I've made them probably a little bit too big, so I'm just going to press controls head and go back before I do that. I'm going to grab each one of these with A. Make sure I'm on individual origins. Press the S born, just make them a little bit smaller. They're a little bit too big. Make sure they're all still in there, so pull them all in, and now let's try that one small. I'm going to grab these lean. Press Control, like so, delete them out of the way. L so and there we go. Now, let's smooth this off because we can see we've got a lot of mess here. I'm going to y, the problem is here that you're probably not going to get this smoothed off, and the reason is because I didn't put any ge loops in. I'm going to go back again just before I actually added that boolean and show you why that is. There we go. There's the Boolean. Let's take it off a minute, and then we're going to do is control. Let's bring in something like that. Now when you apply that Boolean, it's not going to be as bad. So you can see the nowhere near as bad. Control A, apply it, and then delete those out of the way. Now finally all you can do is you can come in a, right click and on facelt and put it onto triangulate faces, and then tries to quads and there you go. You can see it's much smoother. You can, of course, come in now, turn the smoothness up, let's see if can we actually get rid of that? Maybe not. But I think, I'm not going to mess around with that anymore, actually. So I'm just going to leave that as it is. Okay, now let's have One. Well, let's pull this down first. I'm just going to grab this, I'm going to come and pull it down just below there, like so, and then we're going to pull this up because that's not right. Pull it up, like so, and then I'm going to put a pipe going in now into the engine somewhere. Let's do that. I'll come to this again, Shift S, selected. Then what we'll do is we'll press tab then we'll press shift eight, and we'll bring in, where is it a curve, and we'll bring in a bezier curve, and we'll use that to actually create that pipe. All right, so once we've done that then, we've basically got the front pistons to do and we've got the handle bars and things like that to do, and then all the little parts to do. So not actually a lot more. We might even put another part in here, but as I say again, we want to actually get this actually done now, so we can actually move on with actually creating our scene. So I'll try and actually speed this up a little bit. I'm just looking at that exhaust, making sure it's okay, I think, actually, I'm going to make it tiny, tiny bit bigger, and then just pull it in, and then just move it a little bit back. L so a thing that actually looks. Yeah, a thing that looks a little bit better L so. All right, everyone. So I hope you enjoyed that, and I'll see you in the next one. Thanks a lot. Bye bye. 84. Creating the Pipe and Lights for our Scooter: Welcome back, everyone to Blender three, the ultimate stylized scene guide and. This is where we left off. Now, what I want to do is, first of all, I want to bring that pipe and put that into here. But before I do that, let's actually put a piece into the center of here. So what I'm going to do is I'm going to grab something like this. I'm going to grab this center. Shift S, to select Shift A, and let's bring in a Q. And then what we're going to do is just going to shape that e in the center of here just to get rid of these bits that you can see here. So if I bring this here, so, pull it out with S and Y. Like so, and maybe that's gone a little bit too far, but we will see if I pull this back, so pull it back like so. And then what I going to do is I'm going to bring in an edge loop, so control. To left click, right click. Now, let's grab the top and this one here. So, let's take proportional its of. We don't need that on, so just bend it here and then pull out that middle bit just a little bit like so. And then that's going to cover that up. Now I want to do is we want to actually bring it up, so control. Left click, right click, and now let's just bring that up. Like so and just fit it into some place like that. Now finally, what we want to do is we want to actually round this off, of course, and bring it in. So I'm going to do is I'm going to press old shift and click on each of these sides. And then we're going to press S and y and bring it in with median points on, so S and y, bring it in, like so, and there you go. You can see now it's looking much better than where it was. Let's double tap the A and actually over look at that. Okay, I think I'm happy with that. What I want to do though, I probably want to round this off a bit. I think I'll come to this bottom, press control B and just round it off ale bit. So let's have a look at that and let's also smooth it out, so shades move and autos move on. Yeah, and there we go. That's looking much better. Let's double tap the A and have a look at that. I'm just wondering whether I should actually put it behind here or not. Let's have a look. Let's press S and y and bring it in. It's just poking out on this bit or should I actually put it back in? Let's have a look a little bit more. So I think actually it's going to look better like that. I just need to make sure that this then is coming into it. So what I'm going to do is I'm going to grab this end. I should be able to grab it from there S and y and I can see I can bring it in and let's pull it out a little bit, and there we go. Yeah, I've actually got it there, so let's press S and y and just pull it out. Till it comes just under that edge there. All right. There we go. That's looking much much better now. I'm happy with that. Now, let's come to our actual pipe. What I'll do is we'll click on this shift S because the selected tab Shift A, and let's bring in a curve. Bring in the vesier curve. Actually, I think I already brought that zia curve in, so I'm just going to Yeah, I'll use this one. I'll delete that one. Sorry, I actually forgot I brought it in. There we go. Let's bring it in and move it into place. I'm going to move it into place. Press the S button. And then move it into place. I want it basically going into here somewhere. I'm going to rotate it round a minute. I'm going to make it a little bit smaller like so. I'm going to rotate it round now. So Rx and 90, and then R X 180, just spin it round like so, and then let's put it in place like so. Then what we'll do is we'll actually give it some actual depth, so I've come down, let's give it some depth. Like, so, let's pull it out. And now let's grab this end and put up like so. Let's give it to actual subdivisions, so subdivide, and then we can pull this bit in and then pull this both out like so, and now start bringing this down. So if I get hold of this handle and bring it down then. And then what I want to do is I actually want to probably bring this handle down and around L so. There we go. All right. That's looking a lot better. Let's double tap the A, have a quick look at that, make sure that I'm happy with it. And yes, I think I'm happy with that. Finally, now, let's put the lights on the back. I might as well, as well. While I've got this here, just turn it into an actual mesh, so convert to mesh. And now let's come to the back of here and then we'll put the lights on, so Shift S. Cursor selected. Where is it cursor to selected like so. Then let's press Shift A, bring in a cube, cube, Make it a little bit smaller. Let's pull it onto the side. Like, something like that. And then what I can do is I can squish it in, so S Y, swish it in, pull it up into place. And now let's pull it in. So I'm going to grab the top of it, press the i button to bring it in, press E to bring it out. And then what we'll do is we'll put a light on each of these. So I'll grab it, press Shift S s to selected tab shift A, and let's bring in. I think we could probably use a UV sphere here. So bring in UV sphere. I'll have it on 12 and eight, actually, I think that'll be high enough. Spin it round, so R X 90, and then R z 90, and then S and X, pull it out. And then finally, what I'm going to do is I think I'll actually expand this out. I'm going to grab this. T shifting click, press the S button. And bring it out. But I think what I'll do is, I'll put proportional editing on and bring it out like so and you can see now that's looking pretty nice. All right. So now let's grab this t shift and click delete faces, L delete fases, and now let's bring this part in. If I bring this in, what I'm going to do is I'm going to press E, enter S, bring it in without proportional editing on, S, bring it in like so, and then E, bring it back. Make sure you follow in that x axis or whichever axis it is, and then e enter S, bring it in. Then finally, let's make the round bit of the actual light now, so I'm going to pull it out. E following that x axis again to something like that. And then what I'll do is I'll press S and bring it in. Now, we do need to obviously round this off, so I'm going to pull it back a little bit and then press control. Let's 0.3, something like that, grab the middle one, and let's bring that out, so S. Bring it out and round those off like so, and then grab this. Pull it back on the x. I'm locking it to the x, like so. Then I'm just looking now if I'm actually happy with that. I think I need to squish it down just a little bit. What I'll do is I'll So what I'll do, I'll grab it shift plate control plus like so, and then S and X, and then I'm squishing it in like so. And I think I'm happy with that. All right, that looks a really nice light. Let's fill that in now. Come into Edge slick, shift and click, and then I'm going to press TF and fill that in like so. I'm also going to mark a same on these as well, just to make it easy for me when I actually come to actually texture these. So right click and mark a same. All right. Now, let's Shade Smooth. Let's put Auto sooth on, and let's have a look what that looks like. And you can see here we do have a problem in that this needs smoothing off a little bit, to grab it. Control B, bring it out like so, and just smooth it off and now there you go. All right. So now let's make it a little bit smaller and let's actually put it into place where it's going to go. So press seven to go up the top. You can see it's way way too big at the moment, and then let's pull it out. And I think, actually, that's looking pretty nice. All right. So now let's grab them both with Control J. And then what we'll do is we'll grab the middle of here again, with shift S, cursor selected, and now grab this again. And you can see here as well that it's not rounded on here enough. I'm thinking y, my Auto smooth not on. That's why. Let's I'm thinking, is that off smooth enough? Probably need to smooth that off as well, a little bit more. I'm wondering if I put one more in, left click, right click, and then press Control B, is that going to work? No, it's not, so let's come back, take that off. Tab, let's turn up our smoothness just a little bit more. So you can see it's going all the way to 60, so I'm not sure whether I'm actually going to get away with that. What I might need to do instead of actually doing that is actually just put that back on 30. What we'll do is actually we come in with Face select and grab this whole thing, press P, selection, and just split it off. I'm going to do is control Ale transoms, right click set origin to geometry. Now, if I add this back to this, will it actually keep that? Control J. No, it's not, so I'm going to have to go back and I'm going to bring in a subdivision surface, subdivision surface. And it is my fault because what I did was, I basically didn't give it enough subdivisions now. Let's press S, bring it out, make sure that that's set in there, double tap the eight. And there we go. It looks just much better. So I'm going to actually keep that now, and now I can join this and this Control J, and there we go. All right. Now we've got this in the middle, so let's put set origin 23d cursor, add in a modifier, and we're going to bring in a mirror on the y, and there we go. All right, so that's the back of the actual big D. Now, if I zoom out, what we've got left to work on is the actual front. I'm just looking around it, making sure that I'm happy with it. I'm doing that all the time. I think I'm going to have to fill in this gap before I finish. So what I'm going to do is I'm wondering shift and click Alt F and fill that in, like so, and that's that bit done. And then I need my pistons on here. I think what we'll do on the next lesson is we'll start with the actual pistons and work our way up. So hopefully, not a lot more to go. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 85. Finishing the Bottom Section of the Scooter: Welcome back everyone to Blender three, the ultimate stylized scene guide. Now, let's make these actual pistons. I'm going to do. I'm going to come to the front. I'm going to grab probably all of this round here because then it'll be an even in the middle. Shift S s to selected, and then I compress tab shift A, and let's bring in a cylinder, and I think with a cylinder, 18 should be fine actually, so let's bring it down, and let's put it in some place, and let's also look at the size of it. Something like that looks about the right size to me. Then what I'm going to do is I'm just going to put it up to here, and then I'm going to pull it down. Like so, bringing it down without proportional editing on, so bring it down. And then I'm just checking now. I think they are a little bit probably two fat these. I'm going to press L S, bring it down, and I think that looks much much better. Ess d, let's bring it up. Let's pull it into place now, and now I can do is actually start to shape this to where it needs to go. I'm looking needs to go probably something like that. It needs to probably come in a little bit as well. But let's first of all shape it. What I'm going to do is, I'm just going to pull it out a little bit. Like so. And then I'm actually going to put it there and then pull it out again, like so, and then bring it in. So S, bring it in, like so, and then E, bring it out. And then what we'll do is we'll just make a little indentation in this. So lt shift and click, control B, bring it in, E, enter, and then alters. And bring it in like that, and that looks pretty nice. Now one thing we've lost here is the center of here, so I just need to make sure that that's going to be okay. I'm going to do is going to bring in another cylinder, cylinder, turn it round, make it much smaller, S. We know this is coming in the center, and now we can just spin it around on r x, 90, make it smaller like so, and there we go. Now we need it smaller than that even, S, and now we can start bringing this out. If I bring this to something like here. If I press S, And then what I want to do is I want to get this right in the center of here. I'm going to do is I'm going to grab the bottom of it. So Shift S cursor to selected. Grab it again now, Control A, all transforms right clicks Origin 23d cursor, and now I want to actually move it to here. I'm going to come to this part. Shift S, curs to selected, grab this part, and then shift S selection to cursor. Did I actually do that? I don't think I did, so Shift S selection to cursor. And I moved the curs that's why, let's go back. Shift S. Curse is selected. Grab this once more, shift S and selections cursor. There we go. All right. So that's looking good and now can just pick it up a little bit, and now finally I can come to this part and pull it out and see how that actually looks. There we go. That's actually looking quite nice. What I need to do now is make this look like there's an actual bolt on here. I'll do is I'll pull it out, like so and then maybe pull it in. Let's have a look at that. All right. So that's looking pretty nice. The one thing that I do need to do is I need to bend it and pull it probably further in. So I'm going to actually hide this part other the way. I'm going to come to my top now, grab my top and just pull it over this way. You can see here that that's probably not the best way to do it. It looks like it's bent now, so I don't really want to do that. I'm going to do is. I'm just going to press Control, Ed. I'm going to actually now grab it from this actual cursor here, press the little sideways V, three D cursor and now let's bend it. R and x, and let's bend it and there you go. You can see that looks much better. Let's pull it a little bit over now and pull it a bit out like so. There you go. Now it's looking much better, and now we can actually see if that's looking. Maybe it needs to come in a little bit. I think this probably needs to come in a little bit. So what I'm going to do is I'm going to grab it, control plus, and then let's just pull it in a little bit like so And I'm thinking that looks much much better. Let's join these both together now, so Control J, Control A all transforms, right click and origin to geometry eventhough I'm going to have to move it. So right click, Shades moth. Let's bring in auto smooth. Let's press ltates to bring back the actual wheel. And then I just want to make sure now that it's going to be on the other side. So I'm just going to grab any one of these shift desk, cursor to selected, and now what I'm going to do is I'm going to right click. Set origin to three D cursor and bring in a mirror to mirror over the other side. So let's see, should go over there, and let's double tap the A, and I look at that. I can see that I just need to pull them back now. They're not actually pulled back. While I've got this here, I'm going to have to, can I actually rotate them? If I press the little sideways V again, go to individual origins, you can see that McCurs is here. I'm not going to rotate them from there. What I need to do is I need to put this bang in the center, so I can actually rotate them from there. I'll do is I'll come back to this part. Shift click, Shift S, curs selected. In fact, I need to grab both of those, right bang in the center, so I'm going to grab both of these as well. Shift S, Cursor selected. Now that should have put it right in the middle. And now I should be able to grab this. And again, right clicks origin three D cursor. It shouldn't move them, but what it enables me to do now is R and y and actually move those back into place like so. And there you go. That looks a tomb bar. So let's double tap the A. Yeah, and that's what we're actually looking for. All right. We finally got on with that bit. Now, let's think about the actual top of our actual bag. We're going to want two little circles in here and then a big one on here. Let's get on with that. So what I'll do is I'll come to this part. I'm going to grab this part here. And then what I'm going to do is. I'll do this actually with probably a cylinder. Let's bring in a cylinder. It's on 18, so that should be fine. Let's spin it around, so x 90, Let's press S, and let's put it into place. We can see we're still going from this point. Let's have a look see the little sideways V is on individual origins, which is, let's bring it up. And we're should be able to move it now from where everyone. Just shift the right click just to make sure that's actually working. Now let's make this a little bit smaller. Let's pull it in then, so S and y, and let's put it on the side of the bike light so now we just need to shape this into an actual light. I'm going to come in. I'm going to press, and then I'm going to press E just to bring it back. I can see. I don't know why that happened. Oh, it's got a solidifier for some reason. Oh, I think I've actually joined it with this. I didn't want to do that, so I'm going to press P selection. Tab, re grab it, take muscle edify off, and there we go. All right. So now we can press E, enter S, bring it in, and then E, and then just shape it now the way I want it. I'm going to press E, E and E, and then grab the top of it, and then S, and then bring that bit as well, this bit here. Maybe in as well's see if I bring that in. S and this one and S, and bring it in. And there we go. That's looking pretty good. It's looking a little bit too farther moment. So I'm going to do is I'm going to press S and y and bring it in. I'm going to set the origin to geometry, then S and y. And there we go. Let's put it on the side. Now I can actually first of all, duplicate that, soif D. And then what I can do is I can join this up with this Control Jake, and hopefully that's going to put one on the other side, right click Shapes move. There we go as simple as that. Now, let's spin this one around. So Z 90 and then 180, so it's the right way, and then we're going to use that as the main line on here. Let's pull it over here. Let's make it big enough first, S, and then S and Z, just pull it out a little bit like so, and now let's put it in place so and Y. Let's put it into place and just make sure it's big enough. You can see it's a little bit further in on there, R and Y like so. And then what I want to do is, is that in the center because I didn't actually measure that up, I don't think, so I'm going to come to this. Grab this one, Shift S, cursor selected, grab this, shift S, selections cursor, and now let's put it right in the center where I want it to go. So you can see it's right in the center now, so R and y, spin it around. Double tap the A, and there we go. Now, the thing is, I'm still not happy with this. I think actually it needs to come out a little bit. I think at the moment, it's pointing up in the S, so I'm not happy with that. Let's point it back round, something like that. Then what I'm thinking is, I'll just pull this back into place. Let's have a look what that looks like. If we grab this and pull it into place, is that going to look right? I think it needs to be pulled back a little bit. I'm going to grab this, control plus all the way to here pull it back. Like so, double tap the A. And let's also shade it smooth just so I can see what it actually looks like with Autos move on, double tap the A. Yeah, I think I'm actually happy with that now. Now, I need one more bit to come up to here, so it covers this part here, and it probably will come from here as well. So let's go on with that. So what we'll do is we'll press shift A, bring up a cube, like so. I'm going to bring it probably just to the bottom of here, and I'm going to bring it over. So what I'm going to do is, I think, I'll press tab control two left click, right click. Now let's bring this part just out a little bit like so then what we'll do is, I'm thinking, we'll pull this part out. If I pull this part out a little bit, S and y with median point on and maybe proportional editing. S and y, bring it in. Like so, something like that. Now let's bring the front of it down because that doesn't look right, so we're going to bring this part down. There we go, that looking a lot better. Finally, now let's press control, two, left click right clip, and let's bring back this part here. Bring it back like so, and then I'll be level these parts off. If I grab each one of these and then press control B, bevel them off. Yeah, that's looking much better. I just think that I need actually something coming down here, or it plugging straight into here. That's what I'm thinking. Let's see what it actually looks like. If I grab each of these and pull them down with extrude, like Does that actually look better? I think it does. Let's move it off, put an auto smooth and now round these parts off. If I come in and grab each one of these, each one of these coming all the way down here, press Control B, round them off. Let's have a look at that. So double tap the A. Yeah, a thing that actually looks really cool like that because then it's got a bit of something on there. Now we can actually on the next lesson, then, we can actually work on the actual top of this part and actually then it's nearly finished. All right, everyone. So we're nearly there. Just the top to do. We might get that actually done in one lesson, we'll have to actually see, and I hope you enjoyed that and I'll see you on the next one. Thanks a, bye bye. 86. Creating the Steering Column: Welcome back everyone to blend the three, the ultimate stylized scene guide. This is where we left off. All right. Let's first of all, grab these because we can steal these from here. Shift. Let's bring them up, and what we'll do is we'll stick them on the front. Obviously, they need to be much bigger. So I'm going to do is I think, I can bring them out like so, and then spin them around, so Z hundred and 80 spin them around, so they're facing the correct w, and then I need to obviously bring those in, and also they're not in the right. Place for some reasons. Let's put them into the right place and bring them in then. We're going to grab them. Oh, it's because the actual mirason. We've still got the mirron. What I'll do is, I'll actually just take that mirror off now because it will make it easier for me, and then I'll press Control A, I transform to right click, set origin to geometry, and now let's bring it in and put those in place. Where do we actually want them? I'm Tking with these that I'm going to put them maybe actually in front of here. They're actually going maybe into this part here like, so let's have a look at that. Yeah, that's looking pretty good. What we'll do now is we'll come to the center. I'll grab anything on the center, so this one here, shift des sor selected, grab this one, control lay l transforms, and set the origin 23d cursor. Add a modifier, bring in a mirror, put it on the y, turn off the x, now let's put flipping on, and now we should be able to bring this and touch these together. So I press E, pull it out, bring it in. Probably with that proportion editing on, so bring it in and then E, bring it in, and then finally E and touch them together, and there we go, that's the actual lights actually done. I'm just wondering if I need this part here, if I should pull it back, probably going to pull that back a bit. I'm just going to grab this part here and pull it back like so, and that's look in absolutely fine. All right. Now let's actually do the handle balls. I think what we'll do for this is probably bring in another curve. Let's bring in a curve. Yes, we'll do it like that. We'll press Shift A. Let's bring in let's press tab first, then shift A, and we'll bring in A curve. Thinking, let's start with the bezier, let's make it much smaller, and then we'll get the right actual shape first. If we look at the shape of a actual bike, we're going to spin it around first, so I'll sad R said 90 and then R, y 90, and I think we can actually work with that. Let's bring it out into place. Then what we want to do is want to make it smaller, like so I want to put it into something like this. Then what I want to do is I want to bring in another edge loop. Another subdivision I mean. Grab both of these, and now let's pull them up. Like, so, Let's bend that out then, like so, and then let's straighten this bit up with this handle like so. Okay, so something like that, and now I'm thinking if I give it some depth, then I'll really be able to see what this is actually looking like. So you can see my handles going to come on here. It's bent back like that. I'm thinking that I probably need to rotate it a little bit more. So and Z, rotate it, pull it back, and then do I rotate it? Actually, that's actually looking pretty nice already. All right. I think I'm actually happy with that. The one thing I do need to do is just rotate it on our Z just a little bit more thing. Okay, I'm happy with that and we'll use that actually to create this handle as well, and we'll also put some mirrors on here, and then we're actually finished with this. Let's come over and go to object, convert to mesh, and now let's use this part here to actually create our handles and our little fum groups and things like that. If I come in and grab each one of these, I'm going to press E, enter alternS, and bring them out, like so. Then what I want to do is I want to put also this on. I'm going to then turn up a little bit like so. Then I want to pull this out a little bit to put my actual brakes on. I grab, I think I'll grab all of these like so, and then I'm just going to press E and pull it out. Then we'll just put another little point on here, so E, pull it out, like so, and there we go. Then let's make our actual handles now. If I come in, I'll pull these out a little bit. So E just pull them. I'm just winging it there. I'm just making sure now it's actually pretty flat like so. Then what I'll do is now, I'll make that actual handle grip. Probably make this a little bit smaller because it's a little bit too thick. What I'll do is I'll shift click control plus control plus control plus control plus. Now let's see I can press lns, and I should be able to bring that in like so, and that's actually looking pretty good. And now I just want an end. I want to just flare the end out. Control our left click. Let's bring this out then. All I'll do I think is just grab this here, make it a little bit bigger, like so, and then control I bring that one in, make it a little bit smaller, and then Grab this and old F, and then I think I'll bring this in a little bit. I'm just going to press G and os bring it in just a tiny bit like so when there we go. There's the actual handle. Now we want our actual brake on here. I'm going to come to both of these press shift S cursor selected, and let's bring in those breaks now. I'm going to press. I'll probably do this actually with a plane, so plane S, make it, much smaller. That's where I want it to come from, and then I'm just going to rotate it, so our Z and then S, make it a little bit smaller, and then I'm going to make those actual breaks now. I'm going to pull it out, pull it in, pull it out as though it's actually a break. Let's come in and grab this. I'm going to put this on normal. Let's even pull it that way. Yes, that's perfect. That's what I want to do. E let's look on the X. Nope, that's not right. Let's put it on the Z. No, it's not going to come out like that. I'm thinking, I'm going to have to put this on global after all, and then just of wing it in a way, so let's press e, and then what we'll do is we'll straighten it all up as we come to it. So I'm going to then pull it once more out, like so bend it this way, something like that. And then what I'll do is I'll grab this one and pull it out like so. Now, can I actually straighten that up? Will it let me straighten it up using my vertex and smooth vertices, and yes, it will. There we go. That's why I'm actually looking for. Now, let's just press E and bring this up. There we go. That's exactly what I'm looking for now. Let's come in and grab this face here, and then let's just pull it back with G into place, and there we go. Now, finally, what we need, I need to just make sure that that is big enough, which is clearly not, so let's grab it. Let's press the S button, and bring it out, make it much more J press G, and just move it into place, and then Z and then move it into place. And then pull it down. G, pull it down like so, and there we go. Now what we need is just the actual mirrors on these. What I'm going to do is I'm basically going to pull the mirror out, probably coming out of here, and then go into the side I'm thinking. Yeah, probably from ATL pull it out. I'm going to come into here, I'm going to grab this. I'm going to press shift S and cursor to selected, and then I'll actually use another curve. We'll bring in another curve, a bezier curve, and it's come over there, always the same. Let's press S. And bring it out, and then let's try and maneuver it round so it's going in the right place. So and y, and then let's pull it up like so. And then what I'll do is I'll actually bend this I think from here. Let's bend it from here. Yeah, that's it. That's exactly what I want, and then bring it round, like so, and then I can actually bring it up now. So if I press E, I should be able to bring up another one and then move this one. Round perhaps this way. Let's just try and straighten this up now. Let's try and this up a little bit, like so, and I'm going to pull it back. Don't worry again, you can actually straighten it up. Once we've actually turned it into actual mesh. What I'm going to do is, I need to straighten this bit up as you can see here. Sometimes what you can actually do is, you can grab them both, right click, subdivide, and then you can put this into place like so and then just delete it. Delete vertices and you'll see that actually straightens it up, and that's an easy way of actually doing that. Now, let's give this some depth. Like so. That's way way too thick. Let's put it down. Okay, something like that. I'm also thinking that I need to also straighten this up a little bit. Can I straighten this up. There we go. All right. That's looking much much better. Now, we just want a actual part on here now. What we'll do is we'll come in, grab this, press shift, co selected, shift, and let's just bring in now a cylinder. Let's make it smaller. And let's spin it round, so R, y, 90, much, much smaller still, just to get into the place where I need it, right on the ath, and then S and X, S and x are going a little bit too small, L so, and let's see if I can pull it out a little bit. I pull it back, like so, and now let's make that actual mirror. If I grab this, press E, enter S, bring it out, and then E, pull it out like so. And now all I need to do is just make it much, much bigger, of course, something like that is about the right size and then make this actual thicker now, so bring it out. Like so, and let's pull it into place like so, and then let's now just bring this in. I'm just checking the size. I think that's actually fine there. And then I just want to bring this in, so I and then E and just pop that back at bit, and there we go. All right, on the next lesson, what we'll do is we'll tidy this up, make sure that we're happy with the size because the handle bar still might be a little bit too small, so I might just make all of this bigger, and then we can tide this up and move it to the other side. All right, everyone. I hope you enjoyed that. We're nearly there, and I'll see you on the next one. Thanks a lot. Bye bye. O 87. Creating & Adding Shaders to our Scooter: Welcome back everyone to Blender three, the ultimate stylized send, and this is where we left off. Now, let's grab it all. Grab it all like so, and all we're going to do then is press the S, and then bring it out and bring it up. Then what you want to do is you want to bring your man over and just make sure that if the sat on here, so ds -90, that he is going to be able to hold those handle bars okay. And you can see that probably still want to be actually a little bit bigger. I'm going to grab them, press the S button, pull them out. And there we go. That's probably going to be, much be this side like so. Maybe even a little bigger than that as well. I'm going to do is, I'm just going to press S and pull them out a little bit more, and I think that is going to be about the right size. I obviously need to rotate it some d, rotate it round, pull it up a little bit. And there we go. That looks absolutely perfect. All right. What I need to do now is, I need to I'm actually going to pull it back a little bit. You can see it's stuck out there. I'm also going to get rid of this actual tube on there because we can see that it's not actually fitting in properly. So shift and click going around this way. Control plus, control plus delete and faces, and now I can come back and pull it into place where I needed to be, and that looks about in the right place. All right. Now what I need to do is I just need to go over and see if I've actually got any modifiers or anything like that. I've just got a mirror on there, but that doesn't matter. Just on these parts here, I think it's absolutely fine, so I can actually join these all Actually, I'll actually check this because we can see it's sticking out there. So I might as well fix that face. What I'm going to do is, I'll come in and actually create this into an actual mesh. And then what I'll do is I'll come now to this end, shift click, Control pus, probably to there, delete faces, and then just grab one of these faces, put proportion editing on and just bring it in just a little bit, so it's fitting nicely into place. All right. So now we can join all of this together. I'm just making sure that that's in there as well, it looks like it is. Let's join it all together. Control J, right click, Shade Smooth. Put on Autos Move, which is on. Now let's actually mirror it over the other side. Come back to this one, grab the top, shift S, curs selected, grab this arm, and then what we'll do is we'll control Ale transforms, right click, set origin to three D cursor. Now find that we can actually mir it over to the other side. Mr it on the y, turn off the x. Let's have one. Let's look at that. So double tap the A. And there we go. You can see that that's looking, really nice. I'm happy with that. Finally finished it. Now what we need to do is go down and attach all of the ifiers, smooth them all off and just make one final check on it and make sure we're happy with everything. What we'll do is we'll come to this bit, I'm going to press Control A, hide it out the way, bring back this bit, hide it out the way, and I'm just working my way down, so hide it out of the way. Control A, hide, and just work your way down, as I say, you can see that that one there is a little bit too fast. Control A, hide it out of the way. Control A, I don't think that will have anything on it, so I can just work my way down, work my way down. I think I've nearly got everything. I'm just making sure that's not actually a curve. There we go one last mirror, I think this is it, so control A, hide it out of the way. This one, hide out of the way. Tate, bring everything back, and now we should be able to join all of this up, so Control J and right click Shapes Move. Then what we'll do is we'll put to smooth, bring everything back, double tap the eight, and then just have a look around, making sure that they're actually happy with it, making sure that you're happy with all of the smoothness on there. Put any hard edges that you want, so I can see one here. This one around here, you can see right click and mark a sharp, and there you go, you can see now that looks a ton better. Any other parts that you're looking for. You can see here that's maybe not smooth enough of. In turn it up if you need to. And just make sure that you're happy with it. I'm looking around. I'm thinking. Maybe I want to smooth off this seat a little bit, so I'm just going to grab these coming round. I'm going to press Control B. Smooth that off a little bit, and then I'm also probably going to smooth off justice center part as well. So going all the way down, press Control B, move it off. There we go, and maybe justice on here. I'm just going to grab both of these. And this one here. That's the wrong side. So C, middle mouse, shift select, and then control B, smooth those off. That's looking better. I'm just working my way around now, just looking at everything, making sure that I'm mapping with it. I think I actually like these lines on here, so I'm going to leave them. Yeah, I think I'm happy with everything on there. All right. Now what we need to do control A or transoms, right click, set origin, to geometry, and now we need to just think about bringing in our actual materials. I think for the actual blue, what I'll do is I'll put this first of all onto my cycles. And then what I'll do is I'll come in to my actual material, click on material, and I can see I've got all of these colors on there. I don't want all of these on there, so I'm going to mind is them all, like so. I'm going to click on to this and then put it on cycles, and I'm hoping that it actually appears. I think it's not appearing because I need to press a little question mark. And then press old tage, bring everything back. There we go. And what actually happened was, I'd actually press this, this play button here. You can see Paul's preview. I when I brought everything back, it actually paused it, so it wouldn't actually show. I fix that. Now just press that if you haven't that problem. I don't know what happened. Now, let's come to the first part. What we'll do, we'll come to our materials now and we'll put it bike, blue, metal. So? Then what I'll do is I'll put this actually onto T. Then what we're going to do now is, I'm just going to get a nice color for the bike, something like this. Then what we're going to do is going to mess around with the sizes. I'm going to put the size on 0.43, and then the actual smoothness on 0.205, something like that. There we go. We can see that's looking pretty shiny. Do we want to the same color as he? If we do, we can just click on this one and then bring it to maybe start with that and then make it lighter. So let's bring it up. There you go. You can see now we've got the same color. Now, don't we worry, put some other materials on it first before you actually start messing with it. I'm going to do is I'm going to put another one new, I'm going to call it bike, white, metal. So, what I'm going to do is I'm going to come and copy this, so copy material paste material like so, and then I'm going to come in and just put it onto the white. Then what I'm going to do is I'm going to grab like the sides off here, for instance. These ones here and this one here and this part on the front here, this part on here, and then I'm just working way around and look where else I need those. I think actually that might be fine. Let's just click a sign, press the tab button, and there you can see, we're really starting to get somewhere. Now let's bring in a metal, so we'll click the down narrow metal. We might as well use, I think we can get away with using let's have a look. We've got dark, white metal, painted metal, dark, light metal. Let's try the light metal. What I'll do is now, I'll come in. To all of these. Oh, yes, we forgot. We've got this bit here as well. I might make that hit actually. I'm just going to come in to all of these parts with Edge select. So just Edge select. I'm going to actually, as well, I think I'll make this part it out here like I've done on this part. So I'm just going to come though and do these parts first. So the white metal. I think I'll also grab these and the rims, and then I'll come round and work my way round slowly. So L rims, work my way around, like so. I've also need to put part of these to be that metal as well. So like there, and I'm also I'm going to pretty much, not that part, give all of these at the moment for the time being, and then we can come in and fix these this actual metal as well. And we should, once we've done that, and got the rubber in, have a really good idea of what it's going to look like. You can see here I need this part as well. I'm going to also grab this part, this part and this part, and then let's click a sign like so. Let's press tab, and there we go. Now you can really see it die to come together. Now, we've actually put this to metal and we need this back to blue, so I'm just going to come in, click on the blue, click a sign, and there we go. All right. That's looking pretty nice. What we'll do is we'll make two materials. Actually, we'll make one first, we'll do orange. Let's call it orange light. And then we'll make one white light as well. So let's go to our shading panel, and then what we'll do on the next lesson is, we'll actually get these in place. I'll also quickly also bring in a rubber. Let's bring in our rubber. Like so, this one here. And then what we'll do is we'll to our wheel. I'm going to grab our wheel in edge select, grab this wheel. And I think we'll also do we'll also do the seats as well, and I'll also do my hand grips, which are easier. Think if I grab all of this. I think I need to just grab these bits. So I'll do not I'll click a sign, like so. And then what I'll do is I'll come now to these parts on here with lt shift and click, going the other way round, like so, and round to this one. So lt shift and click Control plus going all the way up to there. And then let's click on Rubber click a sign, and let's hide those out of the way. And then what I want to do is I want these parts here to actually be plastic. So click plus, down arrow, plastic, like so, and I've got black plastic here. So I'm hoping if I grab this one with lt shift and click Control plus, yes, I should be able to get going all the way up side. I'll do the same thing now with this one as well. So lt shift and click, Alt Shift click, like so and lt shift click, like so. If I can actually grab them. There we go. For some reason, it's been really slow, so I'm actually going to come around now, speed it up a little bit. It's not actually letting me actually grab that, so I'm thinking. Shifting click. There we go, and then lt shift click and now control plus all the way over, and I think. I need to press it one more. I'm thinking then that probably need to just take this off and take this off, and then click black plastic, click a sign. Let's press tab and I look at that, and that's looking really nice. Now, let's come to this Control plus, and then grab this one and this one will also make this black plastic as well. Black plastic, click a sign, like so, and that's looking really good. Now I'm thinking that we just need this is all metal. I'm just looking round, I'm thinking that this probably here, if I press L on it, should be Maybe the as well, so be white metal, click a sign. Yeah, like that. All right. There we go. So what we'll do then on the next lesson is, we'll actually finish the lights off hopefully, and we'll come in and make that actual material on, where is it orange line. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 88. Finishing the Scooter Asset: Welcome back everyone to Blender three, the ultimate stylized scene guide and this is where we left it off. Now, let's come in and we'll come to. Let's have a of these side lights first. We'll do the side lights. I'm going to come in first of all, I'm going to grab this, press tab, and then what I want to do is I want to grab each side of those. I'm just going to press shift and click on each of those. Control plus all the way up, so not the light. So I'm just making sure. That have not got that light. Then what I'm going to do is, I'm just going to put this on where is my black white metal? I need light metal, so let's click a sign on the already. So that's just made sure of those, and now what I'll do is I'll come to each of these control plus going all the way down to there, and then click Orange light, click a sign. All right. Now let's do this actual orange light. So What I'm going to do is, I'm going to first of all, bring in a noise texture, so if I press shift A noise texture, bring that in. Then I'm just going to zoom in a little bit just to see what I've actually got on on mine. First of all, let's put this on four D. Let's put this on zero. We'll keep it on zero. We'll put this on 209. We'll put the details down to zero, the roughness up to one and the distortion on seven. Now, let's bring in a color ramp, so shift A search color. Ramp, bring that in. Let's drop the fact into the fact of the color m, and let's now position the. The position of the black is going to be not 0.209. Like so, and then the position of the white is going to be if I check mine, 0.823. Let's grab that white, and then 0.823, like so. Now we'll keep it on linear as well. And then what we'll do is we'll bring another color ramp in, so I'm going to press shift D. Duplicate it, bring the color to the fact this time, and now let's grab some different colors. I'm going to come to first of all, put the positions in. This one here, is going to be 0.445, and then the second one is going to be 0.814, not 0.814. Then what we're going to do come back to the first one and let's pick our color. The first color is going to be this hex, which I'm going to give you. This one, control V, and then I'm going to go to the next one, which will be a different hex slightly lighter control C, and it will be grab this one. Control V, and there we go. That's it for the actual colors. Now. Let's start mixing these together a little bit. I'm just going to pull this principle, the grab it over here. It's going a little bit slow. I don't know why, but let's plug the color into the base color of my principle. Now let's bring in a transparent node. Search transparent, node like so. Then what I'll do is I'll plug my color to the transparent like so. Then what we'll do is now we'll bring in a emission. Emission node, plug that in there, and then the color from here, we'll go into the color of the emission. And now we'll just add in a couple of add shaders. Search a shift a, sorry, add shade one here, and then one down here. Now let's plug this one first of all into the bottom of here. Let's plug this principle then into the bottom of here. Let's plug the transparent, we've still got transparent over here into the top. Like so, and then let's put that emission over the top and now we should be able to plug the emission into the bottom and then just plug this one into there. I'm hoping that when that actually loads up, there we go. Now it's loaded up. Now let's put this emission down to 0.2. There we go. Let's press tab, and now you can see something's happening. Let's put it on cycles, and there you go. There is your actual light and you can see it looks really, really nice. Now let's come and do these lights here. These are going to be white lights instead. Basically, I'm going to copy this now, so I'm going to make a white light, so I'm going to put plus author in one but apparently not. Let's put plus new white, white. Then what I'll do is copy this. Copy material, and then paste material like so Put it onto material then and then what I'm going to do is I'm going to come now, press the tablet and grab I'll do this one first, so because it's the easiest one. Click a sign, and now let's do each of these. I'm thinking can I grab it in the middle? In fact, I won't do it like that. What I'll do is I'll press Shift click on that outer ring there, and then the same on this one, and then control plus, and it should work our way in all the way in there, and now I can click a sign. And now let's go around the back and I'm thinking that the white or are these orange lights on the back? I think actually these are orange, so I can just come in t shift and click on that inner ring again. Control plus all the way in, like so, click it on orange light, click a sign, like so. We've just got our white lights now to finish. Basically all I can do now I can come to my white lights, and I can just change these colors basically. I'll come to this color and I'll put it onto a white, and then I'll just change this color and I'll put it onto maybe a white but a little bit darker, something like that. There you go, you can see now if I put it onto cycles just to make sure and there we go. Do I want it on a little bit of a yellow? Let's think this one here. Let's grab it and maybe maybe a little bit of a yellow. Can I actually bring it down. Yeah I think I'm going to leave it like that. All right, so that looks really, really nice. Now, let's come back and what else have we got on? We've just got, I think, just our mirrors now. If I come in and grab this one here, so I'm actually going to call it. Well, actually bring in a glass actually. Actually, do we have a glass? Let's click plus down arrow glass. Let's see what glass we've actually got. We've got dark glass that actually might do it. Let's just click a sign. Let's press tab, and let's have a look at that. Yeah, I think I'm actually going to leave it like that. I don't think I'm actually going to put a mirror on. You can put a mirror on by just turning the roughness all the way up as we've seen before. Now, I'm just having one final, so I'm going to come back to my modeling now and just have one final round. And make sure that I'm actually happy with it. We've got this little pipe here that I forgot about. I knew I forgot something, so there we go. Little pipe, also these vents. I'll actually come in first of all and put this onto rubber, a sign, and then I'm going to come into these little vents. I'm going to put them on metal. So light metal click a sign and then come around to the other side. Like so and put these on metal, click a sign and there we go. That looks really nice. I'm just looking around again, just making sure I've got every little piece of it that I wanted two. And there we go. Now, let's take a look at this. Now finally, what I want to do is I just want to turn this wheel now now I've got it, so I might as well come in, and I'm going to grab all of these. I might as well do this on material mode as well. I'm going to grab all of these. This wheel coming around, press shift des, cursor to selected, that's going to put bang the center, and now I can grab all of these all the way and just make it look a little bit more realistic by turning that wheel. If I now press and Z, I should be able to turn that wheel a little bit and just make it look a little bit more realistic as you can see. Like it's leaning up against something. I'm not going to turn the handle balls or anything like that. I think I'm happy with it. Finally, now, let's come over then and rename this. It's been a long one to actually get this done, so let's mark it as asset, and let's rename it scooter. But it is a really nice asset to actually have. Let's now come over as well and make sure that all of these are marked as asset that need to be. That one is. That one is That one now is, and that one is as well. And now, let's bring it over. So we'll bring it over press O Z 90, and let's put it into place somewhere like there. That looks fine. Let's make sure that we're actually. Well, let's kind of on the ground plane. Let's pick it up. I don't know why this one's down there as well. So let's pull that one up and pull it back like so. All right, let's now go finally to our assets. And then what we'll do is we'll come to unassigned, and we'll drop our scooter in our assets, and then all of our materials into our materials. There we go. Finally, all of the assets done. All of the assets done now. So what we're going to do on the next lesson is, we're going to actually make a start on opening up a new blend file and actually starting to actually build up our hotels and bring everything in. We'll probably start with the actual floor, creating the cobblestones, creating the C and things like that, and then we can start bringing in the hotel. We'll building the hotel. But now we've got all these assets. It's going to be much easier to actually put this scene together now. Finally, what I'm going to do is, I'm going to go to file. I'm going to save. I'm going to come back to modeling. I'm going to press tab just to make sure I've not got anything selected. Double tap the A, and I'm going to save it out once again so that. When I come back into this scene, it's going to be actually set out like this. All right, everyone, so I hope you enjoyed that. We're finally there. All the assets are built, and now it's just a question of actually bringing in all of these things into our scene. Okay, bye bye. 89. Setting up the Compositer Panel: Welcome back, everyone to Blender three, the ultimate stylized scene guide. This is where we actually left it off. Now, what I recommend doing is because you're going to use this for all of your assets, and you probably want to bring a load more assets into as well, I recommend getting rid of the actual reference. I recommend getting rid of this ground plane, and then moving your guy over here somewhere, so Z 90, spending around the right way, and then finally saving it out. Now what I also recommend now is that you put this file in somewhere on your desktop, which is called Blender assets or something like that, and then you're going to have access to all of your assets, all of your materials and everything like that. All right. Now, with that said, let's open up a new blend fall, and here is our new blend fall. Now, you can see on mine, I've not got how many polygons and things like that. So I'm first of all going to do that, so I'm going to come to preferences, open that up. And then what I'm going to do is, I'm going to come now to my interface, and then what I'm going to do is, I'm just going to set my status bar on all of these and then close that down. Next of all, what I want to do is set up my asset. So if you've not got your assets set up, make sure that it's actually set up, we should have it because we actually saved it out, so we're not going to go through that again, how to actually do that. Then what you should be able to do, you should be able to find a user library down here. So these are my other user libraries that I've actually used, and I'm not obviously going to use though. I'm going to set up a new one now, and I'm going to show you how to actually do that. If we come up now to our edit, go to preferences, And then what you're going to do, now you're going to go to file paths, and now you want to set it up in the file that where you actually put it. If I just close these two out like, so click the plus button. And then what I'm going to do is go to my desktop. Find my Bach course, which is this one here, and it's this course in here. This is where my actual file is going to be. So I'm going to add Asset library, and there we go. And let's call it Bach. Like so. Now let's go to all and you'll see that on the current file, we need to be beach and here we are here are all of our assets. Let's close that down so we can see now we've got all, we've got an assets. We've got our balconies, our windows, we've got our materials, and we've even got our HDI lighting. But without the HDRI, that's where it's actually pink. I'm not sure, but actually anytime I bring in HDRI lighting, I think I actually have to go back to the file and save that out. I'm actually going to see if I can actually do that. I'm going to go back to my other file, which is this one here. To come across the right hand side, and we can see I've got one beach lighting it's called, and it is actually saved out as an asset, and I'm not sure actually why why that actually comes in as that. I'm just going to have a look actually on my assets again and go and find, it's beach lighting, it's here. Let's see if I can clear asset, and let's see then if I can come back to my Wild and then right click it, mark as asset. Now let's see on unassigned, and there we go. Now it's in the right place and I put it under light in so now hopefully I update on the other one. I'm just going to go to file, I'm going to save it out, let it save out, and then put that down, and I'm hoping that this should update. I'm just going to go to file. I'm going to come down to save as, and I'm going to go now to my beach scene, so this one. Here, and I'm going to save this out as a build, and you can see, we've got beach scene assets and beach scene. I'm going to save it out as probably a new one, course three, the ultimate stylized scene. Let's save on here. I've got bil. Sorry, C, my words out. Beach scene blend build. This is the assets, and now I'm just going to put Beach scene. Like so, and I'm going to save us. That's that saved out, and now you can actually see that it's updated. All right. The next thing then we want to do is we want to come over to our composite in because we're going to use that. Basically what I'm trying to do is get everything set up, and then what I'm going to do is I'm going to save this out as a start up file. If I come back to modeling, this is where we'll come in at the moment. There won't be any cube there either because we've actually deleted that out of the way, but don't worry about that. It's probably easier actually if you save it out. Your start up file as something with nothing in the scene rather than keep coming in and deleting everything at the start. So that's what I prefer to do anyway. Now, let's come to our compositing, and you'll see this is our compositing, and we can use notes, but we're not actually going to actually have anything in here at the moment because obviously we've not rendered anything out. We're just going to set this up ready. So I'm going to do is I'm going to come down to the bottom left hand side, you'll see there's a little curse that comes, pull it down and drag it down, and there you go, you'll lend up with something like that. Now I want to do is I want to come again down to this bottom left hand side, I want to pull it to the right hand side like so, and then I just want to turn this nodes off a minute with pressing the end button, and that then we'll get rid of that. Now, the next thing I want to do is I want to actually change this from these three squares here. What I want to do is I want to put it on image editor. Image editor, and then I want to click on this and you'll see we've got render result, which, of course, isn't anything at the moment. Basically now when we come to our composite, Have our render result over here, and then we'll have our actual node set up for actually compositing and messing around with the lighting, the sharpness, things like that over here, so now that's actually set up. All right. So now let's go back to Model in, and now you can actually come up to file, and what you want to do is you want to where it says defaults, save startup file. Now every single time you open up blender, you're going to have your assets in place from that file, wherever it's going to be. All of the assets will be in there, you'll have your all of these options set up, and you'll have your composite set up as well. All right, so let's go back to modeling, and then what we're going to do now is, first of all, we'll bring in a new actual reference. So if I press Shift A, come down, make sure I actually I'm pressing one. I'm in front view, Shift A, come down, and we're going to image and reference. And let's bring in first of all, let's bring in our human sorry not our human. Let's bring in our references, and let's put this onto this and let's also put them on where is it regular? Let's put them on large so we can see what we're doing, and let's actually open that up. All right. So we can see we've got hotels here. We can see we've got our build here, this one, this one and this one. I'm thinking that probably the easiest thing to do is to bring in both of these. Get them the guys the right size, because you can see these are exactly the same size, and you can see that this is where the actual sand comes to, and then this is the actual cobblestones come to. So it's really, really handy to actually have this. So the first one I think we'll bring in is this one here. So let's bring that one in. Next of all, let's come up to file, and let's import our actual human OBJ. I'm going to press import. Now, let's go back to our desktop, let's go to our beach course and this one here, and then I'm looking for my human reference, which is this guy here, bring him in. Let's move this over here. I'm going to press Shift space bar again to bring in the Move tool because as well, the Move tool won't be in here because we've actually opened up a new scene. I'm just going to put that over there. And then what I'm going to do now is I'm going to make this big enough to actually make our little guy that height. Now let's make it huge. Grab it. Let's make it huge. Keep going, going, keep going. You can see how big this is going to be. Let's bring it up and have a look at the size of the moment. We can see that it's probably going to have to be a little bit more. I'm going to shift right click, and I'm going to press the little V button, and I'm going to put it on three D cursor and now I can actually move it up from here. I can see it is nearly there, not quite, but this is very important that we actually get the actual right side. You can see that is perhaps a little bit big. And a little bit small like so. That is the right high form actual sand. Now, if I pull this over to the left hand side, and then I grab it press de, bring it over to this side. Now, I just want to change this one now. For my other actual reference. If I come here, go back to my references, and the one I'm looking for is going to be the one that is the front view. This one here, let's bring that one in. You'll notice that our guy should be exactly the same size, where he think he is over there. There he is he stood that way, so let's have a look. Let's bring our little guy over. I'm going to press a little sideways V again. Individual origins, right click origin to geometry just so I can get it where I need it and then let's bring him over. And let's hopefully make sure it's the right side, and there you go near enough the right side. That's perfect. Now what we want to do is we want to first of all, bring it in this sand. We'll bring in the side view, first of all, bring it down to here, and then we'll start work on actually bringing it out. What I'm going to do is, I'm going to put my cursor in the middle first, so Shift S cursor to world origin. I want to press shift A then. I think I'll start off with an actual plane. I think that's going to make it much easier for us. And then we're going to press and x 90, spin it round, and let's bring it over now and put it into place. Now, we do need to go back. I'm very sorry to our actual assets that we built because I did forget one thing and I need to actually fix that. I'm just going to pull that down to here. I forgot to actually check the normals, and that's something very important that you should do every single time you actually built something. All right. But for now, let's actually bring this out. I'm going to do is I'm going to bring it all the way out now, all the way over to here. I'm going to grab the side of it like so, shift space bar, bringing the move tool, and then just pull it out all the way over here like so. Now, let's press ZD going to wide frame, and let's actually give this some actual edge loop, so control, let's put in something. Like this many left click right click, and now let's start bringing these down. I'm just going to come in. I'm going to bring this one down to here. I'm going to actually put another one in there because I do want it to be pretty accurate to what I've got, something like that, and then let's start bringing this one down. Let's put another one in, so control. So, bring it down, bring it down, and then control. I messed up there I didn't put it in the right place, so control again. So. Then I want this flat now. Because I want it flat, I'm just going to grab all three of them. And bring them down to where I need them. That's looking pretty nice. Now, let's grab the whole thing and spin it round. O Z 90, and that's the wrong way. O Z -90, I'm just going to spin it that way round, and then I'm going to bring it over to the side. I'm going to press one and I can see now where I need it to start which is going to be roundabout here. You can see probably this is straight on, and it's probably bending out a little bit for me. I've probably bent it out a little bit. I don't think I'm actually going to do that on this one. I think I'm just going to extrude it out. If I press tab, A, grab everything, press the E button, and you should then just be able to extrude it out over to this side that. I think I'm going to pull these out a little bit further as well, so I'm going to grab one of them, press B, D box select, and pull them out like so press the tab button, press Z, going into solid, and there you go. That you beach actually started. All right. I'm pretty happy with Now what we'll do then on the next lesson, we'll go back into our sets. Make sure everything is set to the right normals, and then we'll come back into this actual scene. I don't actually think this has actually saved out, so I'm not sure about that, so I'm going to save us. So I'm going to double click it, and there we go. Now it's saved out. Alright, everyone, so hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 90. Creating the Beach & Ocean Greybox: Welcome back everyone to blend of three, the ultimate stylized scene gad, and this is where we left off now. Let's go back into our file, which is this one here. Let's now put it back into modeling. And now I want to do is I just want to come in and put this onto where is it face orientation. There we go. All of these red basically our problems, and we need to actually fix these. So it's a good job we checked because as I say, all of these will mess around with our lighting. So what I'm going to do is I'm going to come in and just grab both of these. Press tab. I'm going to press. A to grab everything, shift n, and let's spin them all around, and there we go. That's those fix. It's really important that you actually fix all of these. I'm going to grab all of these. I'm going to press tab, all tag, bring back everything first of all, and then come in to each of these ones and spin them around. Again, with these, sometimes they're not all going to spin around the right waist. What you need to do is you need to come down to the bottom left side and click inside. Now because these are just a single sided, same as the windows, it's important that we spin them around because if not, the lighting is going to be messed up. Now, let's come to these. A shift n, spin everything around, and there we go. Now let's come to the next ones, which are these ones. So here, here, here, I'm going to grab them all, these at least at the same time, and then I'm just going to come in with shift select and just grab them all like so and spin them all around, like so, and can see that one is messed up, so shift n, spin it around. And now let's come to the outside. Oh, this one here as well, we might as well do that we here. So shift n inside. There we go. Now, let's come to you can see this floor as well, is messed up, so L, shift n, spin it around. And then let's come to the frame here. So L, shift n, spin them round, and there we go. And then let's just work our way around. We can see here for some reason. This wall is a wrong way round, so that sometimes happens, so shift, and now let's this problem here. Let's see if I just grab this. Shift. It's not going to spin it around, so I have to be careful here because I need to grab it and then calm up to here. The reason is because if I spin all of this round it's going to obviously turn it all round. Shift, spin it round to the inside. Then I'm going to grab this one. I'm going to press. Well, I'm actually going to try and grab it from here, grab it to here, shift n, and spin it around. I think the problem is with that one is, as you can see, we do have a little bit of an issue. With this face. So I'm also going to go in just looking at this one, y. It's a bit of a mess. So let's come in and grab this. I'm going to grab this one, this one, and this one, shift in. Spin them around, like so, and now that's looking better, and I'm just going to come around here. Now what I'm going to do with this one is, I'm going to grab it all, and I'm going to make sure on face, right click and triangulate faces, right click and tries to quad. I think what I did there was, I just didn't actually I made them a name gone. I didn't fix it. So now let's come back to this one. Let's spin these around as well. So shift n. This one doesn't want to do that. So inside so. All right. Let's just have one last look around, and you can see on the inside of here. Scrub this with L, shift n, spin it around. These parts here, it just seems so that's fine. All right. So in the end, it actually didn't take that long at all. So that's now all done. I'm happy with that. Now, finally, let's press a tab. Let's press file and save and just save that out. And now we can put that back down and we can come back to our actual build. Let's save this out, and now when I bring anything in, they'll all be actually correct. All right. So now I want to do is I want to make a start on my actual water. So this bit here. What I'm going to do again, is, and first of all, I can see straight through here how high it needs to be. So I need to spin this round again. So I'm going to come back to here, and I'm going to press OS 90 spin it round. Let's actually put our cursor our actual orientation in the center as well. So I'm going to press Control A, all transforms right click. Set origin, two geometry like so press one on the number pad, and let's put it back into place. And now we can make a start on our water so we can see our water is going to come up here. Don't worry about sloping down or anything like that because the actual waves are actually creating that, and you'll see what I mean when we actually create it. So let's just get it into into place first. You can see the water as well, slightly before the actual sand, so just take that into account. All right, so let's come in. I'm going to again press one. And then going to bring in another plane, so shift A. Let's bring in a plane. Let's spin it around, so R 90, and let's get it to the right scale. It doesn't matter if it's actually in the actual plane here as long as it's actually starting in the right place. Okay, so now let's press tab, let's press one, and going into side view. Again, let's also press S, go into wire frame. And now I want to do is I want to just grab this side and I want to pull it over to something like that. I want it overlapping probably around this part here. And now I'm going to do is I'm going to bring it out. So if I bring all of this out, so if I press tab And then I'm going to grab this and my water, and I'm going to a pull them out like, so I'm going to go over the top of it now, and I'm going to come to my water. I'm going to grab my water and pull it out to where I want it to be. So jast on the edge of here, and I actually want it to come a little bit further out now as well on here. So I'm going to do is I'm going to press tab, grab this edge, seven to the top, and then I'm going to jaws pull it back just to something like that. All right. So now I can grab it all, press M L, and now I can pull it out with E. It's going to pull along I think that's the Y axis like so, and then just get it in place, hold the ship button down, something like that. Now let's press the edge, go back in solid, and you should end up with something like this. Now, the one thing is, we need to actually make this a little bit wavier. So what I'm going to do now is I'm going to give it some actual ledge loop, so I'm going to press control. I'm going to give it an even amount, so something like this, left click, right clip, and then control, going this way. Left click, right click. And then all I want to do now is make this actual wavy. Now I'm wondering if it's probably better once I've got these edge loops in. In actually deleting this and then pulling it back down again. Because then what I can do is I can actually use my actual knife instead of actually trying to do this way and pulling back the notes. I think that's probably a better way. So what do I mean by that? I mean basic, I'm going to come in, shift and click, delete faces, and then grab the bottom. So I'm going to hide this out of the way. Come back in, grab this, L delete faces, and now it should be left with something like that. And now let's come in. And make some actual waves. What I'm going to do is I'm going to come with M K. I'm going to actually go over the top, like so, which this side here, and then what I'm going to do is, I'm going to quickly come in now and just make some waves. I'm going to hold the control just so I'm not actually attracted to that, and then I'm just going to make our waves like so. So don't worry because it will be rounded off this like so, and then just keep working your way down. So like so. I'm going to go back to here press the enter button so now let's come in and actually get rid of most of these. So I can probably press control actually. Yes, I can all the way up to here lite and faces. And there we go. All right. So now let's press one. Then what we'll do is we'll press A to grab everything E and actually pull it down into the actual sand, and you should be left with something like this.Na press tab, I, there we go. You should end up with just a kind of line going across there like so. All right. Now what we need to do is we need to actually bring in some actual subdivisions for this. If I come over to the right hand side, and we're going to first of all, reset all of the actual transformations. Control A all transforms, click surgen to geometry. Now I want to do is add modifier, bring in a subdivision modifier. Put it on simple, first of all, and maybe turn it up to one and then actually apply. The reason we put it on simple, you can see, if I don't do that, it's going to round it off and I don't want to rounding off when it's got very few polygons in. So put it on simple, press Control A and apply it, press tab, and you will end up with something like that, and now you can actually come in and modify it and bring in a subdivision surface, and now it can actually round that off and actually make it look really nice. Let's shade it smooth as well just so we can see what it's going to look like, and we can see that's probably going to be about right. Let's just turn it up one more. Like so. I just want to see as well how many subdivisions. It's 210,000 with that on that's turned down, and 89,000. I think we'll keep it 89,000. I think I'll press control A, press the ta, and that's what you should be left with. And now what we're going to do on the next lesson is we're going to continue actually building this out. So we've got basically the main block here in actual place. And the reason we want to do that is because we're going to get an idea then of scale of things. So we can actually also plan out where our actual hotels are going to be just by a simple plane on the bottom of each of these, and then you can really start to get a feel for scale and things like that. And that also enables you then, if you want to change actually how yours looks, then you can simply easily do that. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot, bye bye. 91. Creating our Wall with Simple Curve Modifier: M Welcome back everyone to Blender three, the ultimate stylize scene guide, and this is where we left off. Now, let's think about putting this actual cobblestone in, and then finally we can get this part of the stone work in, and that basically forms, as you can see here, this stone going around here. We've got some steps coming down here, but we'll put those in a little bit later, and then we'll get this top on top of here. All right so let's get started with that. First of all, I'll come to the side view again. I'm going to bring in probably a cube on this one. Shift A, bring in a cube. Let's bring it down then to where I need it to go. Something like here. And then what I'll do is I'll come round now and I'll pull it out to the right scale. I'm going to grab this side of it, press one, and I can see that it comes into this wall somewhere. If I bring it out somewhere like there you can see if I press Z, going to wire frame, that's where it's going to end and needs come a little bit further like so. Then what we'll do is we'll press on vertice select, grab this verte press B, and then what I'm going to do is I'm going to pull it up to the top of here like so. Now, we just need the other side now. If I bring it out, I press one. Sorry, three. Pull it out as past where the actual sand is because then the rocks are actually going to come out past there. So I'm thinking that the rocks should come out roundab somewhere around here. Now, we can always change this as well, so what I'm going to do now is going to press B. I'm going to drag it out to the other side. And again, hold in shift just pass there like so. And you should end up with something like that. And now if I press sd, go back into solid mode, you can see that's what we end up with. Now, it's up to you whether you want your sand to come here or whether you want this to come down a little bit. And we're just going to press one again, press Z, going to wire frame, just make sure everything's right. You can see my sand comes down here, but I understand if you don't want your sand to come down here. I think actually doesn't really matter. I wouldn't worry too much about it. All right. Now, let's put in this actual rock piece here. So again, what I'm going to do is going to press one. I'm going to press. A, bring in a cube, and then I'm going to put this into place round here. Now, the thing about this piece is that we ain't going to worry too much about it because when we bring our rocks in it, is going to alter the shape of it, so just get it roughly to the right shape, so SN X, just bring it roughly to the right scale, something like that. Then what you can do is press tab. Make sure you're on vert select, grab a vert, press B, and then let's just pull it up. Like so, just under to where this part is going to go. All right next, we want to pull it over. I'm going to press tab, I'm going to pull it over, and I want it slightly out of there, like so. Again, we can alter this and pull it out if needed. Then what I'm going to do now is I'm going to pull it out to the other side. If I press three, tab again. V, grab all of these, and then let's just pull it out past the other side, something like that. You will have noticed as well on this that it's actually slightly curved and we need to actually do that. The way we're going to do that is now we'll press sad, going to solid, and what we're going to do is give this some H loop. You can also see that this is not up high enough at the moment. You can see that this is because of the fact that we've got our actual what they call it, the little cobbles on top of here. The little stones on top. That's why that's like that. Don't worry too much about that. Let's press control. Let's bring in a few edge loops so something like that. Left click, right click. Now I'm going to do is I'm going to press Control A, all transforms and right click, set origin two geometry. Now I can actually bring in a curve modifier. If I come in, not a curve, sorry, a simple default. Then what I'm going to do is I'm going to put it on bend. And I'm going to put on either y or the Z, and you can see it's not actually working there, so I'm just going to say to the y. And what I'm going to do then, I'm going to do a little trick where I press tab, press A. Make sure you're in edit mode. Press r y 90, and then tab, and then r y -90, and there you go, you'll see that if I press the x or the y, that I should end up with a different way, and it's not actually worked out the way I wanted it to. Now what I'm going to do is I'm going to press tab again. I'm going to then spin it around. So Z 90 and you can see what I mean now. Now we can see that it's actually going the right way. Now I want to spin it around r x 90, like so, and now I can press tab and then r x -90, and then r z -90, and there we go. That's what we're actually looking for. I want a nice curve coming out. Now you can see that this is curved way way too much. I need to pull it back a little bit. I'm going to do now is jaws, pull it back like so and just get a little bit of a curve that's actually going to fit in there really nicely. Something like that I thinks really nice. You might want a little bit more if you do, just obviously turn it up a little bit more. Then just make sure that you pull it back a little bit just so it's covering all those. Now with that done, what we can do is because we don't know whether we're actually going to be happy with this yet. I'd probably do is probably bring in what I'll do is I'll grab the top of it, so I'm going to grab this and this all the way up there. I'm going to press shift D because I know if I bring that up, we've still got that curve on there, which is what I'm looking for, and then what I'm going to do is I'm just going to press control our left click, right click, I'm going to bring in a few edge loops. But rather than do it that way, I might as well actually just press right click and come in and subdivide. Then what I can do is I can just get rid of this one going down here. Shifting click and then delete and dissolve edges, and you should be left with something like that. Now we've got that each one of these can be our actual pieces of stone that go of the top. Now, of course, we have got one problem in that. This is not wide enough. So if I press A S and X and jaws, pull them out a little bit more. I've got the bottom pit bit here, as you can see, and I don't really want that, so I'm going to split this off now, so L P selection, split it off, and now I should be able to come in A and then S and x, pull it out like so, pull it down. And then also what I'll do is I'll also pull it out. So if I press S and y, pull it out past there, and then let's actually extrude it. Let's press E, extrude it out just some little stone, something like that sort of size, press the table, and now you've got a good start to actually see what that's going to look like. I'm going to also right click and set origin to geometry, and then I'm just going to pull it down into place. Now, remember, these are they're basically just gray boxes at the moment. We're not actually doing anything with them, we're just seeing if we can get everything in based around these. For instance, this might need coming up a little bit, as you can see that this Cobblestone needs to end realistically in the actual stonework, and then this goes on top, so you'd have a little bit of a gap on here. That's why we're doing things like this because the reference it might all fit in perfectly. Just take that into account. So I'm going to do is, I'm going to grab this side, come to this side and grab this top, so Control click, and then I'm going to come back round the, just pull it now in just into place like so, and now I'm going to look where that is. Now you can see the actual cobblestones fit into there. With the cobblestones, let's actually give this some subdivisions. I'm going to do is, I'm going to come in. Subdivide. I'm going to put it on simple. I'm going to turn it up. Let's have a look how many subdivisions have we've got there. Let's press tab. And I can't actually see it the month, so I'm going to can actually see it for a press tab now. No still can't see it, so I'm not going to do that. I'm just going to turn it up to four, and then we're going to press control A press tab, and there we go. Now we can see 3,000 polygons, and that should actually be fine. Now, let's just bevel this off as well. If for press Control A, all transforms right px origin to geometry, add modifier, and let's bring in a bevel and just bevel those sides off like that. That actually, if I shade smooth now, and then put on my auto smooth, normal auto smooth, and then just maybe maybe turn it up a little bit. I think that should be fine for our actual cobblestones. Now what we need to do is we need to basically bring in another reference, and this one is going to show us where we actually going to put our hotels. Also going to get where's my guys he there. Yeah, there is. Let's bring him over. We get an idea of actual scale. Let's put him on there. Let's press dot to Zoom in, and let's actually put him on the floor. Now you can have an idea of actual scale and you can see it's really really big. You can also see that these may be a little bit too big and we'll see once we've got the rest in. Sometimes it can look a little bit weird when you're looking at it like this. But I'm thinking probably a little bit too big. I'm looking how far this stuck out, but again, we can shrink them in as we walk along. Now let's bring in another reference. If I grab this reference press shift, Pull it over. And now let's go to our references so open it up, and we're looking for the one that's actually over the top. Over the top is this one here. So if we double click it and there we go, we can see that's how it looks. Now I want to do is sit this into place, so ry, sorry rx -90, and then spin it round so O Z, 187 to go over the top, and now I will just want to fit this into place. I'm going to press the Z button, going to wire frame. And then what I'm going to do is, I'm going to pull it down now just below all of that. Press seven again, and then bring it over and fit it into like so and you can see that all fits together near enough perfectly, like so. Then now we can actually make this here, first of all, and then we can actually start working out how big our hotel is going to be. You can see here going to here, going to here, but we're not going to worry about that. The main thing we're going to do is just get this into place first, get this one into place, and then we'll start blocking out this actual hotel. All right, everyone, let's actually save it out, and I'll see on the next one. Thanks a lot. Bye bye. 92. Setting up our Hotel References: Welcome back everyone, Blender three, the ultimate stylized scene guide. Now, let's think about, first of all, bringing in another plane. We'll use a plane, I think for this, so let's press shift A. Bring in a plane. Let's move it over then. We are in wide frame, so let's bring it over. I think a brother over a little bit weird. Let's press seven to go over the top. Then what I'm going to do now, I can see that it's beveled twice on each of the corners. Just take that into account. The first thing you want to do is just get it to be the right size. I'm going to press S, bring it out, and I want to come in right to the edges of each one. I'm going to get it to this edge, get it to this edge over here, like that. Now I can actually work on bringing these out. I come into this one, bring it out to this edge, and then bring this one. This edge here, bring it out. To this edge. All right. Now what I'm going to do is instead of doing just this one, I might as well bring it over to the other side, so I'm going to press D, bring it over and line it up. And you can see that the first, this one and this one line up perfectly, but this hotel looks to be a little bit bigger, so let's bring it out. To hear something like that. All right. So now what we can do is we can pick them both up, so if I press A, I can basically place them on top of here, which they should be anyway. So I'm going to pull them into the ground like so. And then what I'm going to do is I'm going to press E and pull them out up to where I actually want them, like so. And now I can actually come and actually grab all of the four corners. I'm going to grab this corner. And if you can't see the four corners, just press going back into solid, and it's going to make it much easier for you to grab these corners. I'm just grabbing all of my corners. So and so. Then what I'm going to do is I'm going to press Control A, all transforms, click the origin to geometry because we're actually going to level them off. Seven, to go over the top, Z, going to wire frame tab, and now let's press Control B and level them off two here. Let's put it on two. Open bevel, put it on two. Then what you want to do is you want to press Control Z, go back and then do it again because now it'll level it off with two. There you go. You can see beveled off absolutely perfectly. All right. Now we need to do is we need to bring these in. And they're basically going to form our actual what's it called? The actual curb of our actual part here. Now, the other thing is, as well, is, I need to bring this in, and then I need to probably bring them in both at the same time, and then bring that one in if you get me. So I'm going to actually show you what I mean because I think I've made a little bit of hash of this in that. I should have actually just used the top of here. So I think what I'll do is, I'll press said, go to solid. And what I'm going to do is, I'm going to grab each one of these. I'm going to bring them up, so shift. Like so, seven to go over the top, Z to go back into wireframe, and then I'm going to do is I'm going to press and bring it in. So I bring it in, like so. Now I actually want to create my actual edge loops that go on here. Now, you will have a problem in that you can't create edge loops if you've got these here. So what do I mean by that? If I come now and press Control, you can see that I can't actually create edge loops apart from on each of these corners. Now, it's probably actually good that we can do that. But if you actually want to create edge loops going all the way across, we've actually got to join each one of these. I'm going to show you how to do that. If I come in, grab this one and this one, press J, and then grab this one and this one, press J. Now I should be able to make an edge loop going over there, which you can see I can actually do that now. Now I'm not actually going to do that. What I'm going to do is instead because I'm not going to use this center edge loops because I don't really need them. What I'm going to do is I'm just going to come in and bring in edge loops on here. Up here like this. What I'm going to do is also, I'm going to press Z to go into wide frame, and now I'm going to bring in Control R two, three, four, five, and you can see that's probably about right. So five edge loops, left click, right click and do the same now on here. Control, one, two, three, four, five, left click, right click, and now the same on here, so Control, one, two, three Maybe on this one, I'll bring you one, two, three, four, five, left plate right plate, and then the same one here, one, two, three, four, five, left clk right plate. Now, let's come to the other one. I think it's probably going to be the same. So Control, five, and then this one. Five, and then this one over here. And then this one here. Control, five, left cl right plate. We are going to have a little bit of a difference here where this actually drops down and we're going to have to actually straighten those up, but we're certainly not going to worry about that right now. What we are going to worry about though is actually now bringing this down and creating this center part. What we're going to do is I'm going to press sd, go back in solid, and then what we're going to do is I'm going to grab each one of these, press the y button, to split them off, pull them up, and then what we're going to do is I'm going to press delete and limited dissolve like so. Then I want to do is fill them in. The reason I limited dissolve those is because we still would have add all of these edges on here because we made an edge loop. If I go back, I'll just show you what I mean. If I come in to edge slate, you can see now I've got those there Delete and limited disolve the acancy. I've got rid of them all. Now what I want to do is go back to face late, right click, and we're going to triangulate faces, and we're then going to tries to quad, and we should end up with something like this, which is much, much nicer mesh. Now, we need to actually get rid of these bottom ones now, so I'm going to press L and L and delete vertices, and of course, the reason I'm doing that then is because I can grab each one of these now and actually pull them down. So now let's press three on the number pad. Let's press Z to go into wire frame, and I'm wondering, where is my thing there is it's one. So let's bring them down now to where they're going to go. So that's where they're going to go. Then press E, pull them down into the actual floor, like so, and there we go. Z, solid. And there we go. Really, really good start. Now, let's grab each of these, and then what we're going to do is just pull those down to the floor, like so, and now you can see we've got that kind of curb there. All right, so that's perfect. Now again, we're going to have to cut some of this away with boolean when it comes to that time, but like I said, we're not going to actually do that yet. The next thing we're going to do then is just get the square blocks of these actual hotels in. So I'm just looking, first of all, I can see that this one here. I'm looking at the sizing scale. I'm thinking that I've probably got better actual references for this. So rather than use these, let's just pull this to the side. Let's just grab this one, so shifty, pull it over here, and then what we'll do now is bring in my other reference. I I come over to my references, I'm going for let's have a look. I think it's the large hotel. I'm going to open this up. So you can see here we've got the large hotel. This is the front of it. Now, When we're looking at this, the main points we want are coming around to here. We can see from the top, this is what it's going to look like. So you can see all of these parts are basically parts that have been added on. So if you want the main kind of size of it, probably going to use this and then start adding things onto this. The same is true with the other hotels that have come to the small hotel, although it's a much, much more complex piece that I'll need a lot more refining. So I think what we'll do is we'll block out this large hotel first. So bring that in. And then what I'll do is I'll spin it around, so our y, sorry, X and 90, like so, and I'm just trying to get the front, which is here. So zd 90 and then z hundred 80, spin it around, like so. Now, I I got my little guy on there. I don't think I've got my little guy on there. So I need to now basically look how big this is going to be and then make it into place. So if I put this you can see, at the moment, it's way way too big. So how do I actually get this into the actual right scale? I need to bring another actual reference in. So if I press D, duplicate it, and then Y 90, and I'm just going to put that up. I'm going to press control shift Z, bring it back and now we're going to just pull that in here, and then pull it into here like so. Now I'm going to do is, I'm going to change this out, so I'm going to come in, change it out. Let's grab the other large reference, which will be the front, this one here, bring that in. Now what you want to do is you want to scale this to this actual guy. If I look for my little man, here he is in here, bring him up, press one or three to see him. Spin him round, so Z 90, and let's get him into scale, and you can see sometimes you work in with actual references like this. Now, let's grab both of our references, like so. Let's press S three, and now let's scale them down. S, scale them down. I'm going to shift right click put my cursor here, and then going to press a little sideways V, three D cursor and now can bring him down, and I can also scale him from here. Let's get him roughly into the right place, so scale him down into the right place, and I'm just looking, I think, I've gone a little bit too small there. I think I have, so I'm going to bring him up. It's important to have a game roughly into the right size here. I think he needs to just be a bit bigger on here, so I'm going to scale him up a little bit more. Like so, and I think that's probably round about the right side. Now, what I'm going to do is I can go over the top. You can see that I don't know if I actually scaled both of those up. Yes, I did. I scaled both for more. Now if I grab this and grab this, go over to the top, and now what I'll do is I'll press the little sideways V again, go to individual origins and now should be able to put this over that side. Now you can see that this is the wrong way round, so I'm going to spin it around, so R x 180, now it's the right way round, and now find they can press Z, go into wire frame. Now if I put this underneath here, You can see pull this down, whereabouts it's going to go. Press seven, and let's pull it into place now where it's going to be. You can see it's probably going to be somewhere like this. Now what I'm going to do is I'm going to, I think, make my actual part from here and then line it up with this one underneath here, and I think that's the best way to go. All right, so do that on the next one. We'll create the first gray box. We'll get the actual gray box into the right scale first, just so we've actually got something to work with. We're not going to use these gray boxes, or we're only going to use part of these gray boxes, but it will give us a real good idea of what we've got to work with. All right, everyone. I hope you enjoyed that. Fairly complex bit, these bits, but after we've actually created the gray box, then we can actually start creating our materials and actually getting things into here. All right, everyone. I'll see on the next one. Thanks a lot. Bye bye. 93. Creating the Beach Shader: Uh, Welcome back everyone. Blend the three, the ultimate stylized scene gun and this where we left off. Now, on this one, let's just turn the opacity down. If I turn the opacity down, we can see that that near enough is actually the right side. So you can see here that it's near enough. I I pull it over here, you can see that we are a little bit out, I'll never ever be perfect. So you can see that I'm probably going to have to make both of these a little bit bigger. I'm going to grab them both like so, and then what I'm going to do is just pull them out a litle bit and make them the right side. I'm going to pull it over a little bit, and all I'm trying to do, make it a little bit bigger is just line them up. To be around about the right size. Then whenever I binger referencing for the hotel, I know that they're going to be perfect. It's a tiny, tiny bit out, and there we go. Absolutely perfect. That size. All right, that's really great. Now, let's bring in our plane. I'm going to press shift. A, bring in a plane. Let's bring it over. Bring it over to the right size. Then what I'm going to do is I'm going to pull it down. And I'm going to bring it to something like there. Then we're going to do press tab, edge select, and then pull it out to here. Now, remember this front bit is a big chunky bit, so we don't need to worry about that right now. All we need to do is worry about this bit here. What I'm going to do now is I'm going to grab this and pull it out to where it's going to go, which is round about there. I've got a bit that actually comes in here. Let's actually make that fit, so Control, left click, line it up, Control, left click. Line it up. You notice I'm going to the inner sides of these and then control left click, line it up like so. All right. That's perfect. Now, let's come in and just delete that face out the way, so delete faces, and we should be left with something that resembles this. Now we just need the height of it. One going two is going to press three, and I'm going to put this actual reference now onto down here. Now what I'm looking for actually on the other side is this is actually the wrong way round. I'm going to spin it around, so I d 180, and there we go. That's the right size. Now, we can see that this now should line up near enough perfect with this, which it does, and now it can actually pull this into the ground. So you can see that is on the atra ground plane. If you want to see it there, press, go in solid mode, press three, see where it is, and now you should be able to see that it's actually into the ground like so. Now, back to our actual plane, so let's press Z again, wire frame, grab the actual plane. And then what you're going to do is you're going to pull your plane down to here. Like so, you're going to press tab A to grab everything, and then you're going to press E and just pull it up like so. Now we're just going to pull it all the way up to the top of here like so, so pull it all the way up. To here like so. Seven to go over the top in a minute because what we want to do now is we want to actually bevel this part off. Now, I'm not sure if we need to get rid of this part here first. Probably we do. We probably have to get rid of this part because I don't think it will bevel all the way. In other words, if I press Control B, you'll see only wants to bevel to that point then. I don't think that's far enough. What we can do instead is, we can move this down because or we can actually delete it for now and then fill it in after. I'm thinking that I'm probably going to have to delete this one and this one, Delete and dissolve edges. Let's see if we can actually do that. Now if I grab this, can I actually bevel it out? You can see can bevel it a pot from the bottom where we've also got the same problem. I'm going to press tab. I'm going to press a little question mark, and then what I'm going to do is exactly the same thing I'm going to come in, dissolve edges on this, and I should be left with this now and I can actually make that a nice mesh once I've actually be leveled this out. Now let's press tab, press control, all transoms, click the origin to geometry. Now let's come to this part, press the seven. L et's press a little question mark now, press seven again, and now we can go over the top and now I can actually level this off. So let's press Control B. I've got two there, and I don't really want that. So I'm going to do is click left click, put it on one, press Control Z, to go back and now Control B and bring it out to that edge that I actually want it. And there you go. That is how we have actually done that. So now if I press d, go back into solid, this is actually our first hotel. We've got the correct height. We've got the actual correct form now in it, and now what we need to do is work on the second hotel, which is obviously a much much more difficult actual process. So what I'm going to do now is I'm going to look at this one. So if I go over the top again, press seven wire frame, we can see it's perfectly lined up. So now all we need to do is swap this out for the other top view of all hotels. If I come to here, I'm going to go to my small hotel now, which is where is it? This one here, and I'm going to go to the top view, this one here, like so. And then what I'm going to do is, I'm just going to move this out. And what I'm looking for is to make sure that I've got the right actual dimension C and see, it's much closer on here. What I need to do now is this part here, I think this part here. Yeah, this is the back of it because we can see those three. If you look on the main reference, I come and bring in the other reference, other reference, and we'll get the front view of the small hotel, which is this one here. This one here, put that in place, and then let's now line them up near enough. If I press three, and bring this over to something like that, and then let's stick this in the floor. So now you can see how that's actually lining up. Now you can see that this is the actual size of it, and you can also see that because this hotel is a lot more complex, so we need to do this in stages, but it's better just to actually have something in place to actually get a sense of the scale, and then we can actually work from that. What we're going to do is we're going to actually just make for this one, a basic gray box, and then we'll come back and actually fix that gray box out. What we'll do is, we come we'll bring in another plane, si bring in a plane and the plane comes over here, and this hotel will probably be the last one we actually do. Then what I'm going to do is, I'm just going to pull it into place. I'm thinking that probably from here. I'm looking at this dimension and this dimension here. This one, this corner, this corner, press the tab button, edge select, grab my edge, pull it over into place, grab this one, pull it over into place, like so. This is obviously a overhang this part here that overhangs. This is the main actual floor as we can see down here. We've got the main floor. Now, let's pull it into place. I press three, grab all of this with, pull it down into place, and you can see that this B one is a little bit out, but I think it should still be fine. I'm going to put it round about here, and then what I'm going to do is I'm going to pull it all the way up now to the top. All the way up to this part here because this top on here is the roof where this bit comes up. But the actual main roof is on here. Something like that, let's press it ad, go back into solid. And there we go. That's our hotels. Now, as well, because we've put this in here, we can actually get an sense of how far back the actual parking goes because that's something else we're going to actually have to sort out. Now, what we'll do is we'll actually start actually bringing in some parts and actually get in, so I'm going to hide all these, hide this, actually get in our water in and things like that. I'm just going to hide all my references out, and this is what you should actually be looking at right now. Let's bring our guide down as well, just onto the floor because I always like him in place so I get a true sense of actual scale for me. Like so. All right. So now what we'll do is we'll actually make us start on our actual sand. So let's come over to our materials, new, and we're going to make two types of sand. So we're going to have sand sides and main sand. And the reason I'm doing that is because when I actually created this, when I put it all over, so the sand all over my sand, it didn't quite look right. So let's see how it turns out anyway. So SAND, sand, and then click plus, new, and then sand ss. Like so. Let's come over to our shaded now. Let's put it onto material. And for now, what I'm going to do. I'm just going to put on material. And then once I've done that, we'll set up our actual lighting as well, because I think that's important to get your lighting set up so you can actually see exactly what you're doing. If you don't do that, you don't be able to see really anything. All right. So what I'm going to do now is, again, I'll come in, I'll bring all of the parts in and things like that, nodes and things, and then you're free to go ahead and change those as you wish. So first of all, I'm going to bring in a node that was not used before, and that is going to be a magic node. And this is a really, really good map And this is a really, really good noise texture for creating swirls and portals and things like that. So I'm going to do is I'm going to grab it. I'm going to press control T. You can see again that my preferences. So my node wrangler isn't on. So let's come up to add ons, bring in my node wrangler. Click that on, close it down. Come back, control T and bring in my mapping and my texture coordinates. All right, so what I'm going to do on my mapping is, I'm going to put this on the rotation on 51, something like that. No, 52. Let's put it on 52. Then what I'm going to do now, I'm going to change the scales of these. I'm going to put it on 0.6. 0.1 and 0.1. Of course, once we've done this, we can come in and change it again if needed. Now, let's change the scale to 2.4 and the distortion to 3.1. Something like that. Now, let's zoom out on my other screen, and what I'm going to do now is bring in a color ram. So I'm going to press shift A, s color ramp and bring that in. I'm actually going to put it over here like so, and then we're going to bring the fact from my actual magic and put it into the fact of the actual color ram. Then what I'll do is I'll bring in a diffuse. Shift A, search, diffuse, drop that in there. And because we've brought in a shade, we don't actually need the principal shade, so we might as well get rid of that. And then what we're going to do is we're going to plug this now into the actual surface, plug this color then into the actual color of the color ramp. And finally, let's actually as well plug the fat from here into the displacement, like so. Now, you want to see a lot happen again because we've not set our displacement on. So I'm going to do is, I'm going to come over to the right hand side. We my actual I've actually started on sand side. I need to just quickly name this. I'm going to name this one sand sides. And then I'll rename this one sand and then just change that one. So like this, change it now to sand sides like so. Let's come back to my sand then, and then what I want to do is I want to come to where is it? Of course, the reason why my settings aren't there is because I've actually not got this on cycles. It happens to you, bring it and put it on cycles, then go to your material, and now you should have under settings where it says displacement, I say bump only. That's there now in case we need to change that. Maybe I don't think I actually need to change it on this one. All right, everyone. I hope you enjoyed that. Next one, as I say, we'll get our actual colors in, and then what we'll do is we'll come in and we'll get all of our lighting actually sorted out. All right, everyone, so I hope you enjoyed that, and I'll see you the next one. Thanks a lot. Bye bye. 94. Blenders Cycles X Renderer: Welcome back everyone to Blender three, the ultimate stylized scene guide. Now, let's come in and change the color. I'm going to come to my color ramp on the left hand side. And the first thing I'm going to do is find you the position. The first one on here will be not 0.3 like so, and then the second one will be not 0.773. 0.773, like so. And now let's come back to the column again. I'm going to grab you the hex. So the hex on mine, C is going to be This one on your, so Control V. This one here, A 09 e7f, and just pause it from going a bit too fast. It should this murky brown color. Let's come then to the next ex, which is going to be a much brighter one, so control C. Come back to this one, and ex control V, enter and there we go. Now at the moment, we can't see anything, and that's because we've got no lighting or anything like that. Let's now go and sort out the lighting. So let's come to our assets, and then what we're going to do is you're going to come down to your lighting, you're going to drop this HDRI, just drop it straight in, like so. And now you should see that it's actually on Bach lighting. You will end up with wild. You just want to make sure that it's on Bach lighting. Now, if you come over to our actual shading panel now, you will if you put this on Wild, so put this on wild, end up with something like that. Hopefully, with that day EX actually in. If I put this now onto my actual cycles render engine, you should end up with something like this, and you can see already it's starting to have a effect. Now, let's come over to the strength, and what I'm going to do is I'm going to turn the strength down. Two, 1.5, like so. It's going to be much much darker. And then what we want to do is we want to plug the gradient into our actual surface like so. Now, I'm going to change the actual gradient colors. I'm going to give you the colors. The first one, which is the top one on the gradient here is going to be this x number like so. Just change that and you'll notice that it comes much darker underneath. Now don't worry when we actually render this out, We are probably going to render it out with transparency on, so you might not see this, just make sure it's a gradient that you actually happy with. But just put mine in for now and then you can change it to your heart's content once you've actually finished the actual scene. Let's come into this one now, press Control V, and this is the 15d 878f. Put that in, and you should end up with something like that, which I think is actually quite nice. All right. So now we need some more actual lighting in. So I'm going to do is, I'm actually going to bring in a su first. Let's bring in our sum. So I'm going to First of all, you can see that we've not got any ground plane or anything like that in here. If we come, I think it is this one, yes, we can click on our floor and now we can actually see something. We can also click on our origins and that's going to help and three D cursor is also there. If I bring in my son, I'm going to position it just over the top, so if I press shift, A, come down and bring in a light, bring in a son. Let's press shift space, bring it over, and let's point it in the right direction. I'm going to point it O So Let's point it Y. There we go. Point it in the right direction, something like that. Then let's just turn it around a little bit. So I go to the top, I'm going to press R and Z and s, turn it this way just so we can get some nice shadows. I always like those nice shadows in there like so. Now, the strength of the sun and the color. The color, I'm going to put it onto a x value of F E, I'm going to give you, over here. Control V, and it's a nice yellow actually color, and that's not the color. I'm going to do it again. It's going to be control C, and let's bring it over and then control V. There we go. A nice yellow color, not that color that we had. Let's put this on two, like so. Also, if you actually want to create softer shadows, just turn the angle up of this and you'll see that the shadows start to become much softer and less hard. There is that as well. I'm just going to put mine back to that for now. Then if I want to turn those shadows up to make them not as hard or anything like that, I will actually mess around with this. Now we've got one more light that we need to bring in. That one is going to be a area like. I'm going to actually press Shift S, So Shift S, s to selected, and then shift A, let's bring in another light, and this time it's going to be a area light. Let's now make it a bit bigger, so like so. Let's also a bit bigger than that as well. Something like that, and what I'm going to do is I'm going to come over to this side and you can see that I can actually change this for an actual disc. Then what I'm going to do is I'm going to press three to get front view, and then I'm going to spin it round so, y, let's spin it around, like so, and then I'm also going to bring it out a little bit, like so. Then I'm just going to look round and see what the angle is. I'm actually looking at my screen and I think I need it on The actual beach more. I'm going to rotate it a little bit more onto the beach like so. Now let's come over and actually change the power of this. Let's put it on 2000, like so, and let's change the meter, size 1.14, and then this one maximum bounce down to 984, something like that. All right. We've got everything set up on here. Now what we need to do is obviously, we need to come in and set up our actual lighting in our cycles. We're going to come to cycles. We're going to go back to modeling, we're going to put it actually onto our cycles view. And then what we're going to do is come back to cycles, and now let's set up these parts. Something we absolutely need to talk about is the actual way that blender actually renders this out. You'll notice that if you come to cycles, you've got this feature set, this should be on experimental if you're using your GPU. You'll notice here, you've got supported, you've got experimental, and then you've got CPU and GPU comp. Now, if you can, it's always better to use your GPU because it is quicker than the CPU. If you can. The way you see, if you can, is first of all, come to edit preferences, open that up and then we're going to go to, I think it's on system, and you can see here, this is our options here. Now, this is the new Optics x which we can use. It's basically cycles x. I'm going to prom on both of these. Just make sure that both ticked on. Now you can see because I'm able to tick mine, that I'm able to use my QD or Optics x to actually render things out. If you can, just actually use these. Now it's really important because it's going to speed up the process of actually rendering. Also, if you do have a problems where it's saying that you can't actually use it and you know that you're available to use it because it'll tell you what you need. And to actually be able to use it. I think if you have over it, it doesn't tell me, but it should tell you what you need to use. I think it's something like a GTX 16 50 or something like that is the minimum you can actually use. I'm not sure about the other cards, but that is on the GTx version. Now, if you can use it, if you think you can use it and it says you can't use it, just make sure that the drivers are updated because I know that when I first tried to use Optic x, it wouldn't let me use it because my drivers weren't up to date. So just make sure that they're up to date. Once you've done that now, you can actually close this down, and then what you can actually do is come over to this side, put it on experimental, let it load up and then put this on GPU compute, and that then is going to be your GPU, that's going to be working all of this out, which is really great. Now the next thing we want to do is you want to come down to D noise. You'll notice we've got all of these fireflies and all of this noise in here, but the moon per on D noise, you'll see that clears it all up and look how fast that is now with the actually optic x, which is what it's rendering on in the actual viewport. Now, the other thing about the viewport, if your viewpot is a bit slow, you can see here we've got 4,096 samples. Put it on 1,000 or something like that, if yours is actually not working very fast or something. Now, sometimes you'll find if you open up this D noise and change the D noise into Optics x, it is going to speed it up even more. Just make sure if you want to put that on, put that on, and then also to your render, open this up, so you render D noise, and also put the D nois onto Optics x, and that's probably also going to speed it up as well. Now what we need to do is we need to sort out the other lighting, which is a bit more advanced. But before we do that, let's actually come down and come to where is it performance. So this is basically where you actually manage the tiles. It's basically how Blender actually renders it out. What I want to do is I want to put my tiles down to a small number. Now, I found and there's a lot of controversy around this that if you're rendering with your GPU, you need smaller tiles, if you're rendering with your CPU, you need larger tiles. Now, people have argued about this till the cows come home. So I'm not sure what will work best for you, but for me, I know if I put my tile size on 64, Always do it in double amounts. Basically, you're going from 32, 64, 128, 256, and just 512, and you're doubling up in that way because computers find those numbers the easiest ones to use. That is why we also have things like texture maps, which are 1024, 2048, 4,096. This is the reason why. This is why we set this to 64. Just make sure if you're using a large actual sample size, actual tiling size, that it is set to something around those numbers. So what I like to do is use spatial splits, and I also like to keep persistent data around because if I'm re rendering out, it sometimes actually speeds up the process, especially if you're re rendering it out based on, let's say, animations or a turntable or something like that. That's that done. Now what we're going to do is we're going to come over again. Down a little bit further and we're going to come to our color management, and when you open this, this is where the fun stuff really is. This is where you can change the entire lock of the scene. If you come to where it says look and you put this on very high contrast, you'll see it really brings out that vibrance and things like that. Now for this scene, I don't think you'll need it, but you might want to turn that up. I'm just going to put it back onto num because if you put on any of the others, I find it just really really just saturates it and it doesn't look very nice. It's either numb or very high. I'm not sure whether that is. Let's come to the exposure, and the exposure as you can see is how bright the actual scene is. What I'm going to do is going to put this on not 0.503, exactly the same as on my side, and then you've also got the gamma, which can bring out those shadows and things like that. I'm actually going to leave the gamma on one as well. All right, so we're pretty much now set up, ready to start bringing things in. You can actually turn off the floor if you want permanently. I don't recommend that in the viewport, but if you want to actually have a good view of what that's actually going to look like, then actually just click these two interlocking links, and there we go. Now, finally, I'm going to just put it on material. I'm going to file and save that out, and then I'm going to go back to cycles now. I'm going to actually click on my sand. Come to my material. And what I'm going to do is I'm actually going to apply this. I'm going to press tab, A, come in and click a sign, and there you go. There is your actual sand. You can see what I mean by the actual sides of it. You might not be happy with those, I might try actually beveling these off because actually it doesn't actually look that bad. If I double tap the A and turn this off, you can see actually the sides of there, that don't actually look that bad so I might just try beveling this off and actually having to look what that looks like. Well, I'll wait till the next one. All right, everyone. So I hope you enjoyed that, and I'll see on the next one. Thanks. Bye bye. 95. Creating the Ocean Shader: Welcome back everyone to Blender three, the ultimate stylized scene I've got to say I do like this part. A lot better actually than creating all of the assets, a lot of asets to create, so I really actually enjoy this part. All right. So let's come in and Let's put these two interlocking links on, and let's make sure it's on material. Let's press tab now. And what we'll do is we'll actually try and level this off. I didn't level my other one off. What I'm trying to do is just make it so that this seems to flow a little bit better. What I'm going to do is going to press Control B, bring it out, like so. Let's turn up these segments to three, something like that, and let's actually over look at that. Let's shade it off smooth. I'm just looking what that actually looks like, and I don't think I'm happy with how that looks. So I'm going to do is, I'm just going to go back. I want to press Control B and bring it out a little bit smaller. I want to put this on one, so turn it down to one, press the tableau and right click, Shapes move. Let's have a look at that. And I don't think I'm still not happy with that because I don't think it looks actually very good. I'm wondering, If maybe I should pull this in or something to get that actually looking right. This is why let's actually put it on cycles and actually have a look at that. Yeah. There we go. It actually looks a lot better like that. There we go. Five double tap the A now, turn off interlocking links. That looks actually really nice. I'm actually happy with that. It looks a lot better than what mine did. I think I'm actually going to leave that like that instead of the way I add it. I mean I could come in and put another material on it, I guess. We could actually change over how the shading works. Let's go to our shading. Let's come in. Like, so let's put this on object instead and come back to our actual shading. Then what I want to do is just change this, so it goes all the way over. Instead of that let's have it on normal. No that's not going to work. Let's try U V. You can see now we're getting something where it's actually trying to follow the actual flow of this, and that actually might work out better. But we can see we've got a little problems on here. I'm going to see what it's like on objects as well. And now that's definitely not going to work. I'm just going to put it back on generator for now. I'm going to actually unwrap this and see what that actually looks like. Let's put it onto object mode. Let's grab this, and press a little question mark, and then what we'll do is we'll actually unwrap this. All I'm going to do to unwrap it though is I'm going to come to each of these corners, like so, right click, and I'm going to mark a scene. Then I'm going to come down to the bottom and go all the way around. And then right click and mark sm. You'll know from the previous part that I showed you that you can see why we unwrap it like this. So can see it's going to unwrap a bit like a present. Let's see if it actually unwrap. So if I grab it now, press U wrap, and we should. If we go to our UV editing, it should unwrap like this, which is really, really nice. That's exactly what we want. Now what I can do is I can have a look and see if this is looking any better. Let's go back now to my shading panel. Let's put it onto cycles. Let's press the little question mark to bring everything back, and then let's put this on UV and see if that was worth it or not. And yet it looks to me like it is worth it. Now the thing is, can we actually bring this up a little bit more. Bring in the sand a little bit more, like so. Let's bring this the other way. Like so. Let's take off that so we can actually see what we're doing. Now let's come in and I'm thinking, can I turn the scale up? Yeah, that's probably a bit too much. I'm just going to go back 2.4 and then distortion too much again. Let's try and t. I Beta want to turn the bump of this up. What I'm going to do is, I'm going to basically bring in A displacement note. I'll do is I'll just press shift a search, bring in a displacement and drop that into there. Then all I'll do is I'll plug this into the actual height, unplug this one, and then what I can do is I can turn up this scale, and now I have some control. So if I turn this up really high, you'll see that we've got a lot of control now over that. Let's set this to one and then let's turn it up very slightly to 1.4, something like that let's have a look at that and actually that might actually work out really well. Now the next thing as well, due is, I'll bring in my ocean, and then I'll be able to see exactly what this is going to look like and I might decide then to get rid of this displacement or not. I'm not going to mess around with anything else on here for now. All I'm going to do is bring in the ocean. Let's come over now and click on this. Let's put the interlocking links on. Let's come over to the right hand side. I'm actually going to save out this as well, so I'm going to come to Markers asset, and I'm not going to save out this one. I'm actually going to minus it off because I am going to use this regardless. Let's come then to the ocean, click new. Let's put stylized, Ocean. But when we actually save this out, and now let's head on to our shading panel actually build this actually ocean now. I'm going to say right off the bat that the ocean is an incredibly complex node setup. So just try and follow along. And then once you've got them in place, again, you can go in and mess around with it as you want. Also, you can use it in a lot of your other scenes and things like that. But this ocean, as well, what I did was, I took many, many people's ideas of the way that they put water together, things like that, added my own different versions, added parts on it, and you end up with a massive massive node tree. I'm sure some of the nodes don't actually really do a lot, but let's put it together and see how this comes out. So the first thing I'm going to do is just delete my principle that the way. Then what I'm going to do now is come over to the left hand side, and I'm going to bring in a gradient. Search gradient, texture, and I'm also just going to drop that there and then we also lift this up just so we've got a lot more room so we can actually see something. I'm also going to bring out this, pull it across, and then I'm also going to grab this one and pull it across. So we can actually really really see now what we're actually doing because I think that's important. All right, so let's bring in now a mapping and texture, so control T. Then all you want to do is just just leave them there. They're going to be just generated. Now, let's bring in a color ramp, so shift a color. Ram. This might take two or three lessons, by the way to get this ocean in. Now, let's come in and bring the fac into the fac of the color ramp. And then what I'm going to do now I'm going to make three, so I'm going to grab this first one, Control click to make a third one, and I'm just going to go over to my left hand side and get you the positions first as always. So it's not 0.318, so this one here, not 0.318, and let's come to the next one. No 0.564, not 0.564, and then find the last one. Which will be not 0.795, not 0.795. Let me know if the comments below. If you think I'm going to a little bit more detail, or if you think I should just be moving these nodes and you just place someway you think, or I should be telling you what the colors are and everything like that. So let me know if you're happy with me doing that. Let's now grab the hex of the first one, so control C. As I say, I don't normally do this. What I normally do is just tell you roughly where to put it and roughly what color. So this is A 6b1b9, and let's grab the next one now, which will be this color here. This one here, x of this four FD, nine CB, and then fine middle last one, which will be this color here, which is a deep blue color like so. Not that one, actually, that doesn't make any sense. Let's try that again. There we go. One, two, three, 251. Now let's come over and bring in a transparent BSD. Shift A transparent like so, so transparent, and let's drop that into the actual color. Now, let's come over and while one is a mixed shader, let's bring in a mix shader. Shift search mix shader. Let's drop that in there. Let's plug this into the top one of here, and let's set this down to zero. So. Now let's bring in another mix shader. I'm just going to grab this one, shift D, and let's plug this one into the top of this one here. Now let's plug this into the actual surface and not a lot's going to happen at the moment. You're going to end up with something like that at the moment, which you can see. Not a lot happening right there. Let's move the output a little bit over, and now let's come to the next part, which will be our light path. How does light pass through this? What I'm going to do is going to press shift. A search, light, path, drop that in there. I'm going to use it then. To come into the fact of this one here. I'm going to actually pull this here. I'm going to pull this one a little bit. I'm thinking, yeah, probably here, like that. And then what I'll do is I'll bring in another mix shader. So I'm going to grab this one. I'm going to press D, like so. I'm going to drop that one in there like so. And then what I'm going to do is, I'm going to grab my fat from is shadow ray, and I'm going to drop that into the fact of this one here, like so. Now, I have made one mistake in that this shouldn't be a mix shade. It should be an add shader, so shift a add shade, like so. Let's drop that in. Now let's grab the top of here and the bottom up here, and now let's plug those in, so surface, and there we go. Not a lot of difference at the moment, but we've still got a long way to actually go. Now, what we'll do then on the next lesson is, we'll just carry on this. Like I said, it might take another couple of lessons, but we'll see how fast we can actually get this done. You should end up with something like that at the moment. That's how it should look, and once you've built it up, it's going to be all the way down here, so it's going to be a really big notice stem. All right, everyone, so I hope you enjoyed that, and I'll see you the next one. Thanks a lot. Bye bye. 96. Bringing our Ocean to Life: Welcome back everyone to Blender three, the ultimate stylized scene guide and here we are in our water. Let's now come over here and let's bring in another node. So we're going to do a search, bring in a noise texture. I'm going to zoom in there, and what you need to do is just need to make sure that all of these are set on these. The shod be anyway. It's basically the actual standard for this. And then all you're going to do is grab it and you're going to bring in your actual mapping and yours. By the way, we keep bringing those in just to tell Blender where we actually need this to actually be upon this actual map. All right, so I'm moving over now. Let's bring in a bump. What we're going to do is shift A search, bring in a bomb. Drop that in there, and then I'm going to also bring in a displacement. I'm going to press shift A, search displacement. I'm going to drop that in there. Then I'm also going to bring in a glass, search shift a glass, the SDF, and I'm going to drop that into there. Now, let's plug the fat from the noise texture into the height of ma displacement. Let's then plug the fat also into the height of the actual bump. Let's actually put the distance on north 0.1. And now let's plug the normal into the normal of my actual glass. And then what I'm going to do is I'm going to set the O IOR down to 1.333. So. All right. So now, we need to actually join these up. So let's come and join the displacement. Going to plug my material output down there. I want my displacement to go into the displacement of my material output. Then what I want to do is plug my glass into this actual top part of this mix shader here like so. Then you'll end up with something like that. You can see now it's starting to actually come together, albeit, we can't see through it or anything like that. Well, we can see through it, but just barely. We just need to start now working on it a little bit more. Thing is, of course, over on the right hand side, we really should start actually putting this displacement down a little bit. So you can see here, I've got height, mid level. This is based on the noise texture. Let's put this on something like 0.4, like so. Let's just turn that down a little bit. And then also, we need to put this on displacement and bum like so there you go. Now you can see it's looking a little bit better than where it was before. Now, let's come down then to the most complex part, which is going to be building this out over here. Let's come over to this part here. I'm just going to zoom in my own. Then basically what I'm going to do is, first of all, I'm going to bring in a linear light. I'm going to press shift A search. I think linear light actually is on a mix RGB. Drop that in there and then just go in and you'll see one that hopefully is called linear light, which is this one here. Let's put this on one so. Then for the colors, we're actually going to grab the vector from the mapping and drop that into the top of here. Then what I'm going to do is I'm going to make a map range now. Shift A search. Map range, and then I'm going to drop the map range into the bottom of this color. Now I'm going to bring in a noise texture. Shift A, let's search noise. Texture like so. Let's actually look at this. I'm going to do is change the details to 1.5, I'm going to change the roughness to nothing. I'm not going to change that and basically, I'm going to plug then the fact into the value of my actual mat range. Now as far as these options go, the only one you want to change this one down here, ero 0.360, change that and there we go. Now I'm not going to say anything happening right now because nothing is plugged in, but we're just going to keep moving over and actually creating more and more notes. Now, let's press shift, bring in a Veroni. So OR Veroni texture, drop that there. What I'm going to do then is press shift d, and just duplicate that over here. Now I'm going to plug the color from here to the vector of this one, and then the color from here to the vector of this one. Then what I'm going to do is I'm going to change this now to distance by edge and distance by edge. So now let's put this one on three. L et's keep the randoess on one, and let's set the scale of this one to eight, and again, keep the randness on one. Now, let's move over. What we want to do is we want another node now, so we want to math. So math. Node, bring that in. And then I'm going to want to another math node, so shift D, drop that one down. And then what I'm going to do is greater than. So O both of these set two greater than, this one here, and this one here, and then let's plug the distance of this one into the value of this one, and then the distance of this one into the value of this one. Now, the thresholds, 0.1, 0.1, and then on this one, 0.1, like so. All right. So now, let's bring in a noise texture, so shift a search, noise, texture. Drop this one in here. And then what we'll do is we'll actually need something to join those all up. So we'll use the multiply, so search, mix. GB, drop that in there and put this onto multiplier, which is this one here. I'm going to actually duplicate that over as well. Shift D, duplicate that over. Now we're going to do is going to plug this one into the top of here, and then this one into the bottom of here. Finally, let's now put this on one, all the way on one, like so, and then let's plug the color into the top, and the noise from the fat into the actual bottom of this one. Now, let's just change a few of these. The noise texture here, we're going to put this on four. We're going to put the details on five. We're going to leave the roughness on no 0.5 and the distortion on zero. Now let's plug this up to one, so one on here. Now let's again start moving across to the right hand side. Not actually much to do now, but actually on the final straight. Let's again, bring in another math node. Shift A. Let's spread shift A. Search math. Node, drop that in there. This time, we're going to put this on something called arc, where is it arc tan two? Put it on arc tan two. Then what you're going to do is you're going to grab the color from here, and you're going to drop it into the top of there, and then you're going to set the value 2.590. Now, we need some transparencies, a lot of transparencies. So what we're going to do is going to press shift eight, search, transparent. This one here not the translucent, so transparent, and then you're going to press shift d, and shift D again, so three of those. Now we need a value to give these transparencies. I'm going to do is I'm going to press shift A, and we're going to look for value, which is this one here, and then we're going to press shift D, and just duplicate that out. Now let's put this value on two, and this value minus one, and then let's plug this one into this one here, and then this one into the bott one here. Now we need to mix all of these up, and then we need to add this bott one. Let's mix these two first, so we're going to press shift A, and I'm looking for a mix. Mix Shad this one here. Then what we're going to do is I'm going to plug this one into the top, this one, into the bottom, and then the value from this into the fact of here, and there we go. Now, let's add these together. I'm going to press shift A. Search, add, Shader. Drop this in here. Let's plug this one now into the top and this one into the bottom. Now finally, What I need to do is I need to grab this one, and I need to put it into that little gap which I've got, which is, let's have a look. It's this one here. I need to plug it into this one here. It's the bottom one where it comes from the light path. So if I grab this, I can drop it into that one like so, and there we go now. We're starting to actually really get somewhere we can actually see into there now, and that's looking really, really nice. Now, the last thing we want to do now is actually bring in some actual volume. So I'm going to do is I'm going to click over here, press Shift A search. I'm looking for volume. And it's called volume absorption. So let's bring that in. Let's put the density on. Well, we'll leave it one, and I'll just grab the color now that you need, which will be this one here. So if I click on this X value, contro V, and it should be that nice blue color, and now you can finally plug this into the volume like so, and that is what you should actually end up with some really, really nice ocean. All right. Now you will notice, although it looks pretty good, it doesn't actually look right. The reason is because now all we need to do is just remesh this. It's basically this water is based on the actual mesh because it's generated in that way. If you come over to the right hand side, bring in a modifier, and you just want to bring in the remesh ones. Bring in the remesh and Hey, presto, there you go, there's your actual water. All right, so that's looking really nice. Now, the one thing you can do on this actual water is, if you come over to the left hand side, here we are. This is this displacement and scale. This is basically what controls how wavy this is. If I turn this down to zero, you'll notice now that it goes like that. Let's not have it so wavy, where you will see now we've still got our actual tide on here, and it looks just really, really nice water. All right, everyone. So You can leave your re mesh like that. You don't actually need to actually apply it, and then as we go along, we can actually change it if we need to. So probably better off doing it in that way. All right, so I'm just going to go back to modeling now, and I'm going to do is just put this on cycles. Take another look at my water, and just make sure that I'm actually happy with it. So you can see here, let's press tab. If you don't press tab, you're going to end up with something like that. Let's actually put this on as well. Let's double tap the eight. And then once I've actually got my creatures and my rocks in and things like that, it should look a lot better with things in it. All right, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. I think also what we'll do on the next one as well is we'll actually I think, actually bring this. Maybe bring this up a little bit and bring it out a little bit. You know, it's a little bit flat the morning. I probably want it a little bit more out. So we'll mess around that on the next one. All right, everyone. So I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 97. Populating our Beach with Assets: Welcome back everyone to Blender three, the ultimate stylized scene guide and this is where we left off. Now, let's see if I can go in and actually pull these out a little bit. So I'm going to do it. I'm just going to try and grab one. I'm not actually sure if this is work, so I'm just going to press G with proportional editing on, so let's press G, out ale bit like so and there we go. I think actually that's going to look. Now I'll just pull this one out as well. G, like so, and let's have a look at that. And there we go. Really, really nice double tap a glistening Beach. All right. So now, let's bring in some assets and see what they look like actually in here. So, what I'm going to do is I'm going to come over to my assets. I'm going to go to my assets here, and then I'm going to put this on material, what I'm going to do is I'm going to bring in my first rock. Let's have a look at our rocks. We'll bring in this flat one. I'm going to bring this in, I'm going to put it in there in a pressif space bar, move, and let's bring it in and put it into place. So I'm going to put on my cycle, so I can actually have a look what that looks like. Double tap the eight. There we go. Absolutely beautiful. Yeah, I think actually that's even rotated the right way as well. Let's bring in a bigger rock now, so let's pull it over here. Put it over here. Let's make it probably a little bit bigger, like so. Put it near the ocean. Actually, I'll have it stuck out a little bit of the ocean, I think, something like that. Really get that light on there as you can see now, and just make sure that it's actually stuck into the actual ground. You can see the water actually reflecting off there. That looks really, really cool. Now let's bring in one more, which is the small one here. Let's put it Over here, something like that. I think I want this. Near enough in the wall, just the top of it, maybe sticking out, so x 90, and then z, spin it round and then have save it stuck out of the ocean, like so, maybe a little bit over here. Double tap the eight and there we go. You might want it stuck out a little bit more just so there's not quite that on there might make it a little bit smaller actually, so make it a little bit smaller and then bring it out a little bit. Yeah. I think that that looks perfect like that. All right. The next thing then, let's bring in our actual sharks. I'm bringing in my shark. So and you can see here, first of all is not in the water. So we want that fin stuck out. Second of all, I'm going to make it a little bit more interesting by spinning him around a little bit. You can see though I forgot to set my orientation on here, so set origin to geometry. I can also see that's probably a little bit too big in comparison, so I'm just going to make him a little bit smaller. Have a spin still stuck out like so, and then double tap the A, come back, and let's have a look at that. There we go. That's really telling the story. All right, so I'm happy with that. Now, I'm thinking, what else do I need to do? Let's actually have what else we should do now. I'm actually looking on my other one, just to make sure Now I'm happy with it. I'm thinking I'm thinking that maybe this water just needs to be a little bit more see through maybe. So let's come back to our shading panel. Let's click on our water, and then all we need to do, we'll just put on cycles. We're just going to turn down the density of the actual water. I I come here and look at this, you can see it's a bit washed out, this shot. Let's put it on something like nor 0.4, and there you go. You might want it like that. Maybe touch higher just to get a bit more of that blew in. And let's go back to modeling now. Let's press tab, and let's have a good look, what that looks like. Again, though, they are finishing touches, really, so probably not really time to do that yet. I think I'm actually happy with that as it is. All right. So now let's start actually putting out a few of the deck chairs and things like that and really start building this scene up. Let's first of all, though, I think what we should actually do is bring in Bach bar, let's bring that in, so I'm going to click on assets. There we go. I'm not sure what happened there, but let's click on assets and let's bring in our beach part. Here is our beach part. What I tend to do when I bring things in like this, I'll bring them in straight on. In other words, I'll bring them into here and then bring them into the scene. I'm also going to pray on material or on object mode because it's just so much quicker when you're actually loading it. What I tend to do is I tend to come to these parts, and I'm also going to bring in where is My actual I've got a part missing here. I think I don't think I've actually put it in there. I'm looking for my shades. Let's look at shade. There it is sunshade. Let's put that in there. Then I need some deck chairs. Now I'll just click the x and I'm looking for my deck chairs. Where's both my deck chairs. I'm thinking. Deck chairs, what did I call them? I call them probably loungers or something to call them that. Yeah, there we go. Some lounger. Some lounger up. I don't think though. We've got a Sun lounger down. And don't worry it's just me being silly because it's, of course, in the assign. So I'm just going to bring it into there. What I'm going to do then is just drop back into my other file, and I'm going to basically put it into the proper asset place. So on assign, let's drop it into our assets, and let's save that out. So you will pick up all of the assets anyway. They obviously not in the right place and things like that. So let's save this out, file, save, and I'm hoping for refresh, it's actually gone. All right. So now let's go to our assets, and there's our sun lounger with the up one. Let's bring that one in place. Then what I want to do is, I also want to bring in both of these, can I bring them both in together. I'm not actually sure if I can. Brought in one. This is the surfboard red, so let's bring the surfboard blue. Let's make sure the both in there. Then I think from that we can actually start creating something. Now, let's bring over our bar first. I'm going to bring over our bar. The good thing is, as you can see, is that everything is the right scale. I'm going to press dot. I'm going to put it somewhere. Over here, Let's press three. Put it on the ground. Let's rotate it round, so I'll, rotate it round this way, and let's put it out, and let's make sure that it's actually in the actual sand, like so. What I tend to do as well is, I'll come into my sand. You can see at the moment, I don't really have any edge loops or anything to work with on here. What I'll do is, I'll press control bring in some edge loops so left clip right clip. Then what I can do now is I can actually come in. And grab one of these points. Make sure proportion it is on and just press G and bring it up. Now you'll see it gives that look as though the sands actually starting to brush up against there. Just that really nice look. Braun cycles let's have a look at that. Make sure you're happy with it and there you go, you can see that looks really, really nice. Now, let's bring in both of these surfboards, where are the, they're over here. Let's put them closer together. Let's grab them both, and let's bring them over into place. Like so, and let's spin them round. I need to get them right first, so I'm going to press one, bring them over, bring them down into place, spin them around, so I 90, press the dot board, zoom round them, and let's put them into place. Now, so I'm going to have one over here, so, I'm going to rotate it, so R and x rotate it round this way, and then let's put this one. Over here, a bit further forward, and then and y X s, and rotate it that way, let's just make sure the stuck in the ground, just going to stick this one a little bit further in like so. This one I might even lean on the wall. I think I need to lean in both on the wall, actually, I'm not going to stick in the sand like that. Let's grab this one first. R Y, stick it against this like so, and then let's pull this one back and then r, Y. Let's stick this one ends there. L so. All right, that's looking pretty cool. Now, let's bring the some launder in, so again, seven, I'm going to bring them all over together just so I've got them into place rather than keep messing around with them. Like so. Press three. And bring them all down into the place roughly where they need to be, which is somewhere around there. Now, let's grab this one first, and we'll put one some lounger probably over here, and then we're going to press Shift D. Second some lounger over here, and then shift D, and then the third one. Somewhere over here, don't forget about the steps, so I might need to move it forward a little bit. We'll see how the steps they come. Now let's spin both of these round, so I'll 180, now let's put these into place. I'm going to put this one under here. Making sure that it's actually in the ground, which it is, so you can see it probably needs to come up a little bit like so, let's grab this one. Define definitely you don't want them straight on. You want to basal rotate them round, just so they look a little bit different. There's no way that would be bang straight on. Let's grab this one now, shift D, and, and they wouldn't be level e. So shift D, then ZD spin it around, like so, and then let's grab this one. Shift D. Let's bring them forward and then r and Z, and then shift D, and then and Z and pull it back, like so bit further under. Pull this one a little bit. So, they're all different. Double tap the eight, and there we go. Let's have a then with our cycles on. There we go. That's what we've got actually so far. I think that looks really cool, really nice. And I'm happy with that. All right then. On the next lesson, then what we'll do is we'll probably work on our actual rocks here. We'll actually create that material. We might even get around to create our cobblestone material as well. We'll work on those. Then what we'll do is we'll get all the palm trees in, the benches in and things like that. Then finally, we can probably start work on one of these actual hotels. I've been putting it off and putting it off because I know that it's quite a difficult part to actually do, but we're going to have to do it at some point. Everyone. I hope you enjoyed that and I'll see in the next one. Thanks. Bye bye. 98. Amazing Workflow for Creating Stylized Rock: Welcome back, everyone to Blender three, the ultimate stylized scene guide. All right. So now let's come in and actually create our rocks. Now, first of all, I'm going to put this onto material just so I'm not interfering with what I'm actually doing here. The other thing is, I'm just going to check to see how many polygons this is. This is one look on this one. 40,000 and the guy is 48,000. I'm just checking to make sure that my scene is within a what I want it to be. So you can see here that something on here. I think it's actually this actually. I think because we remeshed it, it's actually shown up as very high. Now, that should be okay as long as we don't actually apply or actual modify it. If we did do that, you would apply it, and then you would reduce it using the decimate modifier. So this one here, just to bring down the amount of polygons it actually is. So I'm not going to worry about that right now. I'm just telling you just in case your scene is a little bit heavy, actually apply that and then bring in a decimation. All right. Now let's come to this and basically we've got a simple deform on, so I'm going to actually apply that. Control A, apply that, and then what we're going to do now is bring in our stones. It's a really really nice technique to actually bring in stones, so let's get started. Let's first of all, to modify it. We're going to bring in a subdivision surface. We're going to put the levels view on six for now, but don't worry, we're going to bring that down as well. We're also going to put it on simple because we don't want to lose that actual shape that we've got. Next of all, then we just want to close this up now, and the next one you're going to bring in is a displace. You're going to bring in a displaced modifier, like so and you'll notice it does that. The reason we're bringing in displace is because we're going to use a actual texture to create the displacement on here. What I'm going to do is I'm going to put the strength on 0.2, I'm going to set the mid level down to zero because the middle level actually pulls it out above and beyond what we actually need. Then what I'm going to do now is I'm going to actually name a new one. I'm going to come in and where it says texture, I'm going to call this rock. That means that you can actually save this out and use this as well within your other scams, as long as you don't actually apply it. I'm going to put that there. Now that means is when I come down now to bring in a displacement texture, you can see that it already comes in as actual rock. You can see here that we've got rock here, and this is the one that we want to use. Set let's set the actual image on movie, whichever we want for our displacement, and what we're going to use is Musgrave. So come down and put your mus grave on and it'll come and look something like that. Not very good at the moment. Let's scroll down a little bit, and what we're going to do is we're going to put this onto Veroni F two and F one, and we're going to scroll down a little bit on here. Then what I'm going to do is, I'm going to put the size in on one. And then what I'm going to do now is put the I think, actually, I'm going to leave all of these. All I'm going to do now is come to color, scroll down, and then what I'm going to do is now put it on color ramp. Open that up, and now let's bring in a new one. What I want to do is hit the control, click on it, and then set this one to not 0.234, and there you go. You can see exactly what that does. Apart from that, you don't need to actually do anything else on here. Everything should be fine on here, and then all we want to do now is come back over to our modifier tab. Then all we want to do is change the color. If you come in and change this color to where it says the V, you want to change that color to not 0.867, and then you want to change the A. This one here to 0.5 like so. There you go. You should end up with something looking already like actual rocks. So now I want to do is want to come back to my actual modifiers and I want to put that one up like so. The next modifier I'm going to bring in, is one or two decimate. Add modifier, come down to where it says decimate, this one here. And the first decimate, you're going to leave on collapse, and you're going to put it down to 0.1. You can see there that soon as to do that it's going to take a long time to think about it because it was 150,000, and we want to bring it down to then we also want to click on triangulate. So wait for that to actually think about that. There we go. Now we can actually close that up, and then what we want to do now is bring in another modifier, and this time we want to bring in another decimate. I also want to make sure that I'm shading this smooth, so I'm going to write click Shade smooth. Let it think about again, it's going to take a while, and then we also want to put on, autos move on. Then we're going to have a good idea what this is actually going to look like. You see already it's looking really nice. But we can go further than this. Now, let's sort out our decimate two. This decimate, we're actually going to put on planer, and we're going to change the actual percentage. So I'm going to not this percentage show the angle limit 215, something like that, and then let's put all boundaries on. Again, it's going to take a bit of time to actually think about this. Let's put all boundaries on, like so. Let it load up and then close that hole. Then we're going to move on to the next one. So add another modifier. This time it's going to be a smooth. Et that load up. What you want to do with this is you want to set this to fall again, let it think by, let it load up. There we go, and now you can see that's looking more smooth and in there. But we're actually going to make this much harder edge, so it's going to really pop out. The way we're going to do that is by closing that up and adding in a bevel. Let that load up again. Then what you want to do is you want to change your bevel to percentage. Put this on percent. Change the percent to 10% like so. Let's put the angle limit on to 20, and then let's change the geometry. The geometry here and just make sure that clam overlap is off. Again, let think about it. Let's close that up, and let's now add in our next one, which will be a weighted normal. Come over to weighted normal. Then you want to add in your final one, which will be the triangulate. Let's close that up. Add modifier, bring in a triangulate. L et you think about a little bit more. The only one you want to tick on here is keep normals, just tick that on. And there we go. Now let's close that up. Let's put it onto object mode, and let's have a look at our actual rocks. There you go, you can see they're looking really, really nice. Now, they don't really look like rocks at the moment because we haven't actually gave them any materials or anything like that. Let's just pull them down, first of all, just so they're below that actual path. Make sure they've got a little bit sticking out as I said before, and just make sure you're without far they're actually stuck out. I think I'm happy with this side, I'm happy with this side. Now what I can do is, I can actually come and actually start giving these an actual material. I'm actually going to leave these lists on. I'm actually going to apply these, and the reason for that is because when I make my steps, I can simply join that to my steps, I'll inherit not only the material, but also all of these actual modifiers. That's the plan anyway. Now let's go over to our materials, and then let's put it new and we'll call this rock walls. Let's double click rock wall like so, and then that's head and over to our shading panel. Let's do M a little bit. What I'm going to do is I'm going to teach you how to make a material, going to pull this down a little bit, that actually looks like it's got sand actually in between all these cracks and things like that. Now this material sounds very complex, but actually let's put it first of all cycle so we can see what we're doing. We've already applied it to it. Let's double tap the A, and now let's bring in first of all an ambient occlusion. Search ambient. Occlusion, drop that in. We're going to leave everything on there as is, and then we're going to bring in a color ram. So shift a search color, ramp, bring that in, and then we're going to drag our AO into the fat of our color ram. Now, let's settle this color ram. Again, I'm going to give you all of the numbers. I think I'm going to bring in one, two, three more, so 12, and three. Let's come. The first one is obviously going to be set onto zero. The second one, I'm going to set seven onto 0.341, so 0.341. And then the next one, I'm going to set 2.532 0.532. And then the last one, well, actually, I need to set the other one as well. 0.677. So not 0.677. And then the last one is 1.864. So No 0.864, so it should look something like that. Let's come to our first one. I'm going to grab the color again on the x, and you can put these in again. So grab this one, x, control V, and then let's come to the next one. This one is going to be a brownish color. This is going to actually be that type of sand that's in between there and then the next one. Again, just pause here if I'm going a little bit too fast for you, so control V, like so, and then I'm going to do the next one. Probably when I come to actually editing this, I will probably slow it down. Just in case the bit too fast, so something like that. Let's also put this on constant like so, and now finally, let's grab the last one and we'll grab the hex from this one. La contro. All right, it should look something like that, and we've got just a few more nodes to do before finishing this. I'm going to grab both of these, bring them in a little bit close. We don't need them all the way over there. Hopefully, by the end of the next lesson, we'll have this material in and we'll actually start wa probably the cobblestones. All right, everyone. I hope you enjoyed that and I'll see you on the next one. Thanks Bye bye. 99. Creating the Rock & Sand Shader: Welcome back everyone to Blender three, the ultimate stylized scene guide. Let's first of all, bring in A RGB curve. Search RGB and curves, and we're going to drop that in there. Then we're going to bring the from the color ramp into the color of the RGB. So I'll drop that in there. Then I'm going to bring in a glossy search. Glossy, BSDF. Let's put that in there. Let's drag the principled under here and let's plug in the color as well into our principle like so. Now let's bring the RGB curves and plug it into the color of my glossy. So, Let's move this over and now we just need to join these two together, so we're going to use an add shader. Drop that in there, and I want this one then in the bottom of here, so. Now, you can see, we've actually got sand coming up on the actual wall. Now, if I grab this and bring it down, You'll see that we can actually alter how dark, this is. If I bring this up, can also alter how shiny our rocks are going to be. I'm probably wondering that it looks good, but does it look right because of the moment, this sand is only up here. Now, do you want some sand in your edges and things like that? Well, if you want that, all you need to do is just come in now and where the distance is, you just bring that either up. Or down, and you can have more or less sand like so. You can see that's looking really, really actually realistic. Let's not go too crazy. I think something like that looks absolutely fine. Then what you can probably do is come in to the actual sand and start bringing these up, so you can see that if I press Z, going to wireframe can actually see that I can just make it out here. If I start bringing this up then, bring up a few of these like so. We can actually, I press tab now, Z, go back into solid. You can see now we've got basically lumpiness, and now let's put it back on cycles. Let's have a look at that, double tab A, and now you can see that's looking a lot more realistic. Now the one thing I'm happy with is probably my rocks. I think they're looking if I click on my rocks a little bit to dock. I'm just figuring out which one is the one that makes them lighter. This one make them lighter at the top. I think it's this one. Let's have a look. Yeah, there we go. Let's make them a little bit lighter so now they seem to be a little bit too shiny, so I'm going to turn this down just a tad, let it load up. Now finally, let's come in and make them a little bit lighter all over like that. Maybe maybe a little bit lighter like so. All right, I think I'm really really happy with that. That's that done, and now what we can do is we can come in and actually make our stone for this top bit. We can also think about making this probably a little bit smaller as well. I'm thinking, Yeah, I'm thinking that this wall is probably a little bit too farther moment. Can I actually get away? We're just pressing S and X and bringing it in and then pulling it out to where it needs to go. So something like that, you can see those are still stuck on there. But what I can do now is actually bring these in, and that's why I'm actually trying to do. So S and y, without proportion editing on, SN X, sorry, bring it in because I don't actually want those to be so big and huge. That's looking probably still and looking now where it's actually coming over, so I need to pull it back, as you can see. We want that over there. And then we want them pulled back. I'm going to come to my angle. I'm going to pull it back so they fit much, much better now, like so, and that's looking a lot better. All right. So now, let's go back to modeling, and let's actually sort these out. So we can see that these are still not right. I'm just thinking, are they hanging over a little bit too far on here? And if they are can probably just pull this back a little bit. I think I'm going to do that. I'm going to grab this one, controls the last one, and then just pull them back. Just a little bit, like so. Let's look at that. Yeah that's looking much bad. I'm happy with those. Now I want to do is thinking that what I should do is probably still make this a little bit athls a little bit too fast still, so I'm going to press S and X and bring it in even more. And I'm looking to see if there's any bits start poking out. I need to bring it forward, still a little bit, as you can see, up to here. The reason I'm doing this, by the way, is because I'm not happy with how thick these are. I'm J trying to get everything into place and you can see I need to bring it back again. It's taking a bit of time, but I'm not happy with how it looks at the moment because I feel like these are definitely too long. Again, I'm going to come in now, I'm going to bring it in. Like so, and now they're going to look much much better. All right. So now I'm going to do this. I'm just going to hide both of these other the way. I'm going to come into this part and a one of bases select all of this. Rather than trying to come in and grab them all, I'm just going to press shift and click and come round to it all including the bomb, like so, and then what I'm going to do is, I'm just going to pull them out into place now you can see, I can't pull them out like that, so Mark Sm come in, press the bton, now I can pull them out. Press tab l tate, bring everything back. Let them load up. And let's double tap the A. Let's actually hide these out of the way again. I don't know if I'll still need them, but I'm just going to hide them out the way. And yet, now that's looking much, much better, much more realistic, and now I'm just looking to make sure that all of this is correct. So you can see that still probably Need to pull that back a little bit, so you can see here, needs to come in back maybe a little bit, so let's pull it back. Just to tab like so, and that looks much, much better. Finally, I'm happy with that. Now what I want to do is actually split these up. What I want to do is I'm probably going to come in and just apply that so control, and then I'll press tab, and now what I'll do is I'll split all these up. What I'm going to do is shift click on each one of these, so. Going all the way down. Press y. Press G, just to make sure they're all split, and then what we're going to do is just delete these ends. The reason I'm deleting those ends is because I don't want an end putting over my ends. Why am I doing that? If I press A now and I bring them in. I'm going to make sure on individual origins, press the S b to bring in, and then what I can do is going to come to mesh, clean up, fill holes, and it's going to fill all of those holes in for me. Now finally I can come in and bring in a modifier. I'm going to press control A. All transforms, click, set origin to geometry, add modifier, and let's bring in a devel. And let's turn it down to zero. Turn it up to one, like so, and there we go. We've leveled those of. Do we want to leveled off a little bit more? Probably so. And now let's bring them all back together, S, bring them all back together, and now just look and make sure you're happy with it. G tap the eight, and there we go. I think I'm actually happy with that. Yes, I am. The last thing then that you might want to do is grab them all, come to mesh, transform, and go to randomize, and then just turn it all the way down to zero. Put this on zero. Like so, and then just turn it up one. Something like 1.1, maybe one more. As you turn that up, you'll see that it starts to make them a little bit uneven really, really easily, and it just makes it look a little bit more realistic rather than them all in the same place. All right, so that's that. Now what we can do is we can actually come and actually use, we'll make a new material. So D I actually want my bevel on. I think you can actually apply that now, so I'm going to press Control A, and then what I'm going to do is come to my materials. I want to call it curb because I use it for the curb as well. Curb. Let's go over to our shading panel. And what I want to do is make these different colors on each piece. Like we've done before. Let's make sure I got my curbon, I make can sure I'm one object on a zoom, and then what I want to do is, first of all, bring in a geometry node, so shift a geometry. Node, bring that in, and then I'm going to bring in a color ramp, so shift A, search color ramp. Then I'm going to bring in a mix RGB. I really love mix RGBs because it really helps you control the actual lightness or darkness overall. What I mean is, I'm using a RGB curve. S mix RGB and RGB, curves, bring that in. Let's plug this in then to my base color. Let's plug the color then into the color of the curves, and finally let's put it random per island, like so. All right, everyone, so I hope you enjoyed that And on the next one, then, we'll get this curb actually into place. We'll probably use it on constant so that everyone. There's not like kind of a gradient on them or anything like that. It sooner I in a constant with a few in. But I'll show you both ways actually so you'll understand both ways. All right, everyone. So hope you enjoyed that, and I'll see you in the next one. Thanks a lot. Bye bye. 100. Creating a Soil Shader for our Palms: Welcome back everyone to Blender three, the ultimate stylized send and this way left off. Now, Let's me show you the difference in here. If I put this to a gray color, and then I put this one to a grayish color, you can see if I bring that up, they end up with something like that. That is a real, real easy way of actually giving yourself lots and lots of different colors. You then can come in and actually control the overall look of brightness or darkness with your RGB curve. This simple sell makes it really easy. However, if you want actually more control over this, put this on constant, and then what you're going to have is something like that, where it's going to be one or the other. Then what you can do is just bring in two or three. We're not even going to just set these up. All we're going to do now is just click on one of them, so click on this one. Make it a little bit lighter, like so, click on the next one, make it perhaps a tiny fraction bit lighter, something like that, and then click on this one. You can see there's a slight slight difference there, then a little bit lighter, like so. Then I'm thinking that this one's probably a little bit too dark. Bring it out. A little bit like so. There you go. You can see how easy that was to actually get that. Again, now with the curves, make them darker, make them lighter, completely up to you. I'm going to make mine probably actually a little bit lighter because they are in the sun, so something like that, and they look really, really nice. All right. Now, let's come in and actually put in our palm trees, and we can also put this in as well once we've actually made our palm trees. Let's bring in one palm tree and set that all to where we actually need it. I'm just going to drag bring in my palm tree like so. I'm just going to bring it over here. Press the dot one and you can see a miles away. I'm going to press three and bring it down into the place where I want it, something like that, and we can see that the palms probably need making a little bit bigger. Let's just pull them over here. You can see they're quite small, these palm trees. Then I'm going to press dot. I think what I'm going to do is, I'm just going to make this one bigger for now and pull it up into place to the right scale. Something like that, and I can change these as well on the fly as you know, so we can change these if we want. Now I want to do on actual potting plant on here. On my original, I actually created just some curbs and then some soil in the sensor. Let's quickly do that. I'll do is I'll come and I think I'll just press Shift S, and I'll just put it on them. Going to I'm going to just press Shift S. C is selected and then shift A, bring in let's bring in a cylinder. Let's put the cylinder on something like eight, something like that, and we can use that then for our actual pot plan. Now let's come in. Grab the middle, press the i. So Delete the center, so delete faces. Grab all these faces, shift D, Shift space bar. Move it up. Grab the rest of it, L, delete vertices. All right, Let's split these up. So each one of these, press y, G, make sure the split, A, S, bring them in. Now, let's pull them together, so E with true, so pull them down. And then what we want to do is now be level them off. So tab control A, all transforms, clip origin to geometry. Now what you're going to do is you're going to come in, and what we're going to do add in a bevel. So add in a bevel, turn it all the way down. Turn it a one. Press tab, A, bring them closer together, so simple as that. Control A now. And now I want to do is bring in a circle. Shift A, cursor to selected. And then yeah, I'm going to bring in a circle and show you how that works. So I'm going to do is I'm going to press sift A mesh, and you've got one that's called circle. Press tab, fill it in with the F button. Press S to bring it in then, so something like here. And now you want to do is you want to press I, bring it in. To their press control, bring in a few edge loops like this, left click, right click, and now you just want to give it actually some noise. If we come over and we add in a displace, like so, put the mid level down to zero, put the strength to 1.1, something like that, and now you want to do is just bring in a displacement. We're actually we'll name it. Instead of we'll call it new and we'll change this texture to soil, just in case we want to use it again. And then what I'll do is now, I'll come over to my actual texture, I should already be on soil. Let's try a bit of noise first. You can see that's what the noise is going to look like. Let's shades move, and you can see just how easy that is. Now, one thing I'm not happy with about this is that we've still got that circle in the middle, and I don't really like that. What I want to do is really remesh this, so we haven't got that ugly thing in there. What do is adding a modifier, bring in a remesh. I need to move the remesh up to the top as well. Move to first like so now you can see that's actually working. Let's right click and shade smooth. I think I actually have to apply it before shading smooth, so I'll give that try first. Let's press control A, right click Shade smooth, and there you go. Now you can see that's looking much better. Now let's come back to our actual texture. Let's have a look. I think there's the size. Actually, I'm not happy with how that's looking. So let's bring let's have another one. Can we get away with a Veroni instead. Yeah, and then we've got actually some size, and now we can turn this upward down and just make it look like actual soil. And you can see how much bear that actually looks. All right. So now, let's come back and actually apply that because we can use this soil anyway for the others. So Control A, let's apply that. Now finally, let's join all of this together. So control J, control A, all transforms right click, origin to geometry. It's as simple as that just to make some soil. Now, let's come in and give it the curb actual material, so down arrow curb. Material, like so. Then what you want to do is just put it on material. Let it load up, and then we're going to make a new one, and we're going to call that new soil. Let's double click it soil. L so. All right, so let's now make our actual soil. Let's head on over to our shading panel. Let's zoom out a little bit. And then first of all, bring in a noise texture. So shift a s noise. Texture, drop that in. Control T to bring in your mapping and coordinates, and then all you want to do is now just turn this to 21, 21.8. Let's turn this up. Well, it's already on two, so, I think we'll leave the rest of them as they are. Let's zoom in. Let's put it on cycle, so we can actually see what we're doing, and now let's bring in a color rom. Shift a color. Rm. You could again bring in a curves. But I don't think on this one I'm going to do that. I'm just going to plug that in to my fat. Then finally, I'm going to plug this color into my base color. Finally, I'm going to also plug in the color to the actual displacement. For bringing this, plug it into this displacement, and now you'll see we've actually got some displacement on there. Let's also make sure that if for coming over, we can put it on displacement and bump, and now you can see that's how that works. Let's bring in the color. What I'm going to do is, I'm going to put this on a brown color, I think, I'm just going to put it out, put it on the nice, brownish color like so, and then let's set this one. Also, I think this is not working because I've not set this onto here. I'm going to grab it L click a sign. There we go. That's looking crazy. I wasn't expecting that. I think it's because Let's put it onto bump. There we go. Much much better. Now let's put this on black, and then we can mess around with that, bring it down, like so. Let's put it onto a nice deep black, and let's also change this color because this is way way too bright, down to a black. L so. Let's bring it down, so I actually looks like we'll grow a bit of soil on there, and now let's change this color. Like so. All right. Is that look in the way we want it? First of all, the actual where is it? The roughness way way too high. It's actually salt, it wants to be probably all the way down there. And now you can see that's looking pretty nice and pretty much like so really really easily. All right. Let's now bring this down. Let's put it back on object mode because we know what it looks like. Let's press seven and let's bring it in to the place where we want it. So our palm tree is going to actually be coming out of here. Just make sure you're happy with the size of this. We're going to rotate it round, so our z's rotate it round like so then I'm just going to check on my palm tree and make sure that they're not too high or anything like that. I think, actually, if I look from here, you're going to have a door in here, I'm looking at my palm trees here, I'm going to hide that al the way as well. And I'm looking, and I think actually that looks absolutely fine like that. Let's go back to modeling now, and now we need to do is we need probably four of these. Probably another one over this side, so I'm just going to grab it. Shift D, bring it over to this side. Spin it around. As say it looks a little bit different, and then shift. Let's put one over here, like so, spin it around again. So and then one more in between where we've got the hot dog stand. So we're going to have our steps here, hot dog stand here. So shift. Let's bring it over on the spin it round once more. Something like that. All right. So on the next lesson, then what we'll do is we'll get our palm trees in, then we'll bring in our benches, and then we'll actually put this actual railing along here as well. All right, everyone. So I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. A. 101. Creating our Handrail with Simple Curve Modifier: Welcome back everyone to Blender three, the ultimate stylized sen guard and this is where we left off. Now, let's bring in all the assets. I'm going to go to assets and because I'm not sure which palm tree I brought in, I'm going to grab this palm tree, I'm going to delete it, and then one going to do is, I'm going to bring them out, all four of them to make sure that they're all different. So something like this, like this. Then one going to do is, I'm going to grab all of them. I'm going to press one. I'm going to move them all down together, something like that. And then of course, I'm going to make them all bigger on individual origin. So S. Like so, bring them up then and there you go. They look much better like that. Let's move them over and get them into place. Let's also pick them up just so our roots are a little bit coming out, so like so, and now let's put them into place. Let's have a look at this one. Does it need picking up a little bit more? Probably so. So let's grab the others like so, press one, and let's just pick them up, joust out that soil like so. Probably gone a little bit too much, back in, like so. All right double tap the A, and that looks pretty good. Now, let's put this one in straight, like so, and let's bring this one in. And then the next one. Then finally, the last one. L. That looks pretty good. Now, let's bring in our benches and we can put a couple of those in, and we can also bring in the hot dog stand, and then have a good look actually where we're going to put this because I think that this one here is not quite far over enough. I think I just need to move it over, pull it back a bit. Let's bring in our hot dog stand, so it's. Let's bring it in. Let's turn it around. I'll 90, and then z 180, spin it round, and let's put it into place. Seven, first of all, let's pull it over. Let's pull it up a little bit of shade from this palm tree. Let's press control three, and hide this out of the way. Hide this out the way, and let's bring it down onto the ground plane, like so. Let's press dot to zoom in, and just make sure that it's sat. On there like so. All right. There we go. Let's press all tate, bring everything back. Let all these load up. Let's hide these again, so we're just going to hide these ones out the way. And finally now, let's put it onto cycles and have another, what that looks like. And yet, I think that's looking pretty good apart from the fact, I need to just bend it a little bit because nothing is perfectly straight. Like so. All right. Now, let's actually think about bringing in our hand rail. I think that's the next thing we should bring in. While we're on here, let's have a look for our hand rail. Where is our hand rail? There it is. Handrail. L et's bring it in. Let's put this on object mode. Let's spin it around. R z -90. No, it's not it wouldn't be. 90, spin it around. Let's get into place then, so we're going to pull it all the way over here, and I think. I'm going to have it starting. Around here, like so, and then let's pull it down into place. I'm going to start around here. I'm also thinking that it's probably going to have to be a little bit out like so. Now let's come over. A modifier bring in an array, and let's pull it back, so these are actually in place, bring back holding shift just into place like so, and then bring that up. All the way till it goes, and we want this one here to be round about here. Again, you can see here that they don't quite fit. Again, as I said before, don't ever be afraid about making them a little bit smaller because it's a very, very small fraction to bring it here. If I press S and why is it? Yes, I can bring them in a very, very small amount like so, and now that you can see it looks to tos. Now we need to do. I'm not sure actually I don't think I can actually bring in a curve while I'm doing this because if bringing a curve, it's just going to base it on one, so I'm not going to do that. I'm going to do is, first of all, I'm going to apply my array, and I'm going to come to add modifier, and I'm going to bring in an actual simple deform, not curve, simple deform, like so. I'm going to press control A all transforms, right plex origin to geometry, and then I'm going to do is I'm going to put it on bend, and we can see here that it's the wrong way around. I'm going to press tab, I'm going to spin it around then. A y and 90. And then spin it back. So tab, r, y -90, and there we go. Now, I'm thinking, Is that curved? I'm not actually sure. I don't think that is curved the right way. No, it's definitely not, so at least we've got that in. Let's press dot and spin it around now, so I'm going to press tab. A, I don't think I actually grabbed it all. What I did was, I made a little bit of a mess there. Yeah, you can see, I didn't grab all of this. I messed up. So let's grab it again. So A R 90 and you can see, what's happening is, I have not got that median point. R z 90, and then tab, and then R z -90, spin it back around. Let's make sure that we've not great yet, which yes, there we go on the Z. Now we can pull it back into place like so. It's going to go around here. I press seven, I've got a good look, how it's going to look, you can see, it's coming in more there, so I want to bring it back a little bit. There we go. Just make sure it's in the floor. Control, apply it, and then come in and actually get rid of these two. No this part. I don't think we want to get rid of that part, so it's just going to be the shift shift click delete faces, and then let's just fill those in. I'm going to come in, grab one of them, press the dot. Then shift click, lef, and then the same on this one here. So slick lef, fill it in, like so. Now, we can see we've got some left here, which I have not got rid of, so re press L and L delete Vertices like so. All right. There we go. Now what we do need is we need a place where you can actually walk down some steps. I'm thinking that if I bring my guy over here, and then put him into place, I'm thinking all I need to do is probably get rid of maybe this one here. This one here, I'm thinking that if I got rid of all of this, that will look round about right. Let's come in and grab this one. Let's press tab. L. You can see it goes up to there, which is great. I can get rid of this one, but this one will go further. I'm going to delete this one delete. Do I want to get rid of all of these or just one of them? I think actually, I'll just get rid of this one and move this slightly over. Yeah, I'll do it that way. I'm going to grab this, shifting click, delete faces, grab this. Then we're just going to pull this over to here, probably, somewhere like that, and then what I'll do is I'll grab this. O shifting click shift click Control plus, You can see it goes all the way over there. Now I can pull it in to the halfway point, so there. Then what I can do now is pull those back as well. I can grab each one of these control plus and pull them back into place. So Let's look at that, make sure I'm happy with it. No, I'm not, so I'm just going to grab each one of these, press the little dot b. What I'm going to do is I'm actually going to delete those, so delete faces, and then I'm going to fill this face in instead. So shift and click OF, and then shift click OF tab, and there we go. Now, let's put it on cycles and let's have a quick look at what that actually looks like. Double tap the A. And there we go. Looks fantastic. Now, let's think about bringing in our benches, so we can see that we've got where's my bench. There's my bench, I'm going to bring in my bench now, and I'm just going to bring in a couple of benches, one around here and one around here. I'm going to spin them round first, so Z. 97, let's go over the top and let's pull it over to this middle part here. Let's bring it all the way down, all the way down. Again, if yours is a bit sluggish, just remember, turn down the amount of samples. In your actual render. I'm thinking as well, it would be facing this way, wouldn't be facing the other way, so we'll have it facing that way, and we'll press D. Bring this next one over, rotate it, so A Z, and then let's just put it over here. Double tap the A, and there we go. All right, the next thing we should do, and the next lesson is, we'll bring in, in fact, no, we won't. We'll actually bring those in now because we have actually forgot those. Let's actually come, and we've got a starfish. Let's do these final little touches on here. We'll bring in a starfish. Let's press seven to go over the top. There's our starfish. Let's bring him over. We'll put him onto this rock here. We're going to press one. We see if we go a long way down to go. Now we're going to press dot, and then I can see now where I need him to go on, so he's going to go on here. I'm going to put him on here, going to rotate him, so R X, rotate him around, and then rotate him the other way, so R and y. Let's just bring him out, and bring him over. Then let's just rotate him a little bit more, so r x. There we go. It's going to sit on there really nicely. Let's double tap the A and look at that. That's look in fine. Now let's bring in our There we go, our castle, dot. Let's spin it around, so Z. Let's bring in now our spade. I'm not sure why, there's the spade. Let's bring in the spade. Put that there. Let's press our zed, rotate it round. So finally now our little beach ball. Let's also bring that in. Little beach ball. There we go. Let's put that over there somewhere. Double tap the A. And there we go. All right, so that's looking really cool. So I think then what we'll do on the next lesson is, we'll actually start work on our actual cobblestones. We'll actually bring in some materials for this because I hate this whiteness on here. So once I brought that materials in, then I can start creating this hotel first. I think they will do this one first, and then we can actually get all the windows in and things like that. I really start bringing this scene together. I'm just going to save it out now, so file save, and I'll see on the next one everyone. Thanks a lot. Bye bye. 102. Creating the Cobblestone Shader: Welcome back everyone, slender three, the ultimate stylized scene guide, and this is where we're left off. Now, I think it's time to do our actual cobblestones, and basically with the cobblestones, what I absolutely want to do is to make sure we've absolutely got some ambient ecclusion. And the reason for this is wherever these are contacting around here and around here, we do want some darkness around these parts. If we don't have that, it's probably not going to look so good. So you see if at the moment, if I put this on cycles render, you can see that we've really, really not got any dark spots under there, so that's something that I want sort out. So if we come to this main part, let's come over then to our materials. Click new, and let's call this cobbles. Like so, and let's go over to our shading panel, which is here, and then we're going to do is just zoom out and let's make a start on our actual material. So the first thing I want to bring in is a ammeolusion, of course, search ammunclusion, the top one. And again, I never ever alter any of these. I do it all through the actual color ramp. So shift a search color ramp, drop that in, and then let's just drop the color into the fat, and then let's bring in a overlay. Pretty much a standard setup. So Olay is mix GV, sorry, so mix RGB, and then let's put it onto overlay like so, and then always drop your aminoclusion, jawed into the bottom, if it actually wants to go in, can't grab it. There we go into the bottom, and then the color into the color of my principle. A nothing really happened at the moment, and that's because it's actually overlaid, but if we come in now and actually turn this up or down, let's have a look. Let's put it on cycles actually. And there you go and now we can turn this up or down, and you can see that darkness actually appears and the higher, I turn this up, the more dark it actually comes in in all of these pots, and that's exactly what we're looking for. I'm just going to leave it on that for now. I'm happy with that. And now I want to do is actually create my cobbles. What I'm going to do is first of all I'm going to come in and bring in a noise texture, so shift a noise texture, drop that in. Now let's bring in a texture coordinates. Not a mapping. I just want texture coordinates, so I can press control T, get rid of the mapping, and then just plug the object into the vector of my noise texture. Now with the noise texture, I'm going to leave everything on exactly the same. And all I'm going to do then is plug it into a mix, so shift to A, let's bring in a mix, it should be mix RGB again. It comes in as a mix anyway, and then we'll just plug the fact into the color of the mix. Now we'll change the actual mix to 0.675, so 0.675, like so. And then what I'll do is I'll plug this into another color amp, so shift a color, and this is basically building up our actual cobbles, as you'll see, once we plug this in. So color into the fat. Now, on the cobbles, we're going to make them different colors, and we're going to use this to actually do that. So I'm going to do, first of all, is just show you how we actually do this. I'm just going to put it together, and then you're going to be able to see how it works. Let's first of all, though bring in a RGB curve, RGB curve, drop that in, put the color in, and then let's put the color from here into my actual overlay into the top one, and we should end up with something like that. Not a lot going on, but that's because we haven't actually done our color ramp yet. As soon as I plug something into this mix and then start messing around with my color ram, you'll see exactly what happens. Now let's finish this off with the last one. What we'll do is again, we'll bring in another noise texture. It's going to be a Veroni, so search. Veroni texture. I'm also going to bring in another noise texture. S D, drop that down there. And then what I'm going to do is, I'm going to plug both of these in to another texture coordinate. If I press control T, get rid of the mapping. Again, we're going to come from the object into the vector of the actual Veroni and also into the vector of the noise texture. Now, with the Veroni, let's put it on four D. L et's change it to distance to edge, and let's change the scale to 1.8, and then the randomness to 0.542, like so. Now let's move down and we've got a noise texture, and let's keep this on three D, put the scale to 0.1. Put the detail to five. 0.5 and zero, they can stay the same. Another mix RGB, Shift A mix RGB, and this time, we're going to put this on darkM we should have one that says Dark, which is down here, and then we'll plug the distance from this one into the color of this one, and then the color of this one into the f of this one leg so. Now we need one more color ramp. Let's just zoom out on my other screen, so we're going to have another color ramp. Shift A search. Color ramp, and then we'll plug the color from here into this one, and then we'll plug the color into this one. So it needs to go all the way back here into this one here, like so, and they can see now we're starting to really get somewhere. Now the thing is let's sort out our color. I'm going to give you exact ones of my colors again. The position of the first one. This one here is going to be on no 0.241. Like so, you can see it there, and then the next one is going to be on not 0.764. This one here, not 0.764, like so, and there we go. Now we can see that something's really happening. Now what we need to do is we need to actually plug this into an actual bump. So for press shift A, search, bump like so drop that here, and this space is going to give us that three D look. The moms looking a little bit flat, and we don't really want that. So if we plug our color into our height. And then what we'll do is we'll change the strength to 0.35 h. Leave the distance on one, and now let's bring in another bump now. So shift A, search. Another bomb drop that there. Then what I'm going to do with this bump is, I'm going to put this in the normal like so. I'm going to turn the strength down to 0.2 and the distance can stay at one. Now what you need to do is you just need to plug this noise fact. Into the actual height of this one here. Plug it into there and now we can actually plug this in. If I plug this now in to my normal over here, so plug this into here, like so, and you'll see now, it actually starts to appear like its actual cobblestones. Now, there is one more thing that we need to do, and that basically is to change the displacement over here, so we're just going to put this on displacement and bump and there we go. Then the other thing we need to do, of course, is come to that actual color ramp that we didn't mess around with. It's this one, where is it I've actually lost where it is, this one here. This is the one that we need to change. I'm going to give you the details in this one and then it should bring out all the colors in this. The way that we actually want it. So let me come over to my left and screen again. I'm going to grab the positions. So we're going to have two more in here, so control click, control click. And the second one is going to be on not 0.214, not 0.214, like so, and then the third one is going to be on not 0.591, not 0.591. And then the last one is going to be on 0.841. So this last one, not 0.841, like so. I'm also going to grab this and just bend it up like so, make it a little bit. Brighter, and now I'm going to give you the actual color. If I come into the first color, it's going to be this x, which is a very weird number, where is it? Not that. This hex. It's going to be just all the sixes. There we go. Then let's come to the next color and that one is going to be a darker color. Let's grab that. This one here, we're going to put this number in like so one F one, D one, D. Now let's come to this one here. And this one here and I'll give you this color here. Now finally, the last one, which will be a bit lighter. This one here. Contro and there you go. That's looking pretty nice. We've got the RGB curves as well, so it can actually mess around with those and bring it to whatever you want it. I think that's looking pretty nice. We've also got, as I say, we've got a nice actual if I turn my ground plane off now, you can actually see where this is actually making contact, and that's exactly what we're actually looking for. Now the thing is you can actually come around and mess around with this now. You can mess around with the ambient occlusion and things like that. I think all in all, actually, it's a pretty nice texture. One thing that you should actually do as well is probably come in and change the roughness if you want to make it much lighter or much darker. A tended what I tend to do with minus, just put it a little bit lighter just to give it a little bit of shininess on there. Just make sure it's a little bit shiny like so and I think that made it look a little bit better. I'm really really happy with that. Then what we'll do then on the next lesson is, we'll start getting and these parts in. And then we'll start building finally this hotel, getting the windows in and things like that. I'm also thinking as well that I might do a bit something with my beach. I'm not sure yet. I'm not sure if I need a little bit of more noise in here like we've got in this, just to bring it out a little bit. I'm not sure though as I say, I didn't do that on the last one, but I'm thinking doing that on this one. All right, everyone, so I hope you enjoyed that. I hope you really enjoyed the course, and I'll see you on the next one. Thanks a lot. Bye bye. 103. Starting the Large Hotel Model: Welcome back everyone to Blender three, the ultimate stylized scene guide and this is where we left it off now. Let's come to our curb. And one thing we've not done with our curb, let's just put it onto material mode at the moment. Come to our curb now, put on so we can actually see our actual selection. And what we really want to do is we want to actually bevel this off now. Now, I'm thinking that I've probably better. Have I actually done this yet? No, I've not actually made my curve, so it's a good idea if we actually make our curb first because at the moment, nothing's there. I'm just going to grab both of these hotels. A boxes and hide them out the way. And then what I'm going to do now is I'm going to try. I can actually select it all. Let's say, look, yeah, it's actually not joined, so that's good for us. So I'm going to do is I'm going to press P, and then I'm going to separate selection, and then I'm going to do the same thing on here. So L P, separate selection. And now if I grab this, I should be able to move it up and down. All right. Perfect. Now, Let's actually join both of these together because it's going to make it a little bit easier like so, and now what we'll do is we'll come in. I think I'll hide this floor out the way as well, and that will make it easier for me. Now I want to do is I want to come in and grab every other one. So I I actually go over the top, we can do it if I pull this down a little bit, like so zoom in, and then what I'm going to do is shift click just on each every other one like so. I think you know exactly what we're going to do here by now. We're going to separate them off, shrink them in, level them, and then join them back together is what we're going to do. Now, don't worry too much about this one here on the other side because we know that this hotel is going to have a drop down. Where the actual car parking is, but we're not actually going to deal with that yet. We're going to put it off until the last moment is what we're going to do. Okay. Let's come round finally to this one. Then what we're going to do is press Y, G, and split them all off, then A, and then come in, make sure you're on individual origins, press the S but, and bring them in like so. Now, let's give these a face on each one, so mesh, clean up, fill holes. And I click the wrong one there. So fill holes. There we go. All right. Beautiful. Now, let's come in and bevel them off. I'm going to press tab. Control le transforms, right click Origins geometry. Come in and add in a bevel modifier. Let's turn it down to zero. Turn it up to one, like so. There we go. All right. I'm actually going to come in and just click on this. I'm going to put it on cycles once more. And I just want to see if the material, if I turn off my where is it? Displacement and bum, can I get away with turning that off? There, I'm just going to turn that off because sometimes it actually uses a lot more power from your computer if it's actually off, so I'm going to make sure that's off. Now, let's come back to these parts here. Then what I'll do is, I'm going to press tab. I'm going to press the S button and bring them closer together. So then I'm going to press tab again and just look at how those curves are actually looking. I'm thinking, do I need to be level it off once more? Let's put it at one more. Bring them a little bit closer together. Hold the shift on down if you need to. So I'm thinking, They look like really, really nice curbs. All right. So now we can come in and we can see that the material on this one is called curb. So we might as well bring that in, so I'm going to click the down arrow and look for curb, which is this one here. There you go. There's your actual curbs. Now what we need is the actual tarmac, and I'm also wondering if this is a little bit dark. A these are a little bit dc. I think they are. I'm going to come in and just pull this down. Actually, this way. A little bit like so, just make them just a little bit lighter. Let's press salt tag, bring back our actual roads. I'm going to our actual tarmac that the hotels are on, which is basically a road or it would be a road. Let's come in and make a new one and we'll call it tarmac. I do want to give this a little bit of noise. What I'm going to do is I'm going to zoom out a little bit. I'm going to pull this up a little bit. And then what I'm going to do is I'm going to come over to the left hand side. Let's bring in just a simple noise set up here. So noise texture, drop that in. And then what I'm going to do is control T. Bring in my mapping and my actual texture coordinates. Then what I'm going to do is just change a few of these. I'm just going to zoom into my left screen and see what I'm actually changing is. This scale will be on 20 sorry, 31.1, like so, and then 20.5 and zero. Now, let's bring in one color map. And that should be enough. So shift a search color Rm drop that in, and I'm coming from the color to the actual fact, and then from the color into the base color of our principle. Now we can see we've already got something. Let's make these a little bit darker. I'm just going to make this one. I'll do the left one, which is this one here, and I'm going to put it on control V like so, and then I'm going to come to the right one and make that darker. So grab this one control the two C two, c2c, and there we go. All right. Now all you need to do is just pull this one, just a little bit. So and you can see, it's really starting to look the way that we want it. All right. That's good. I'm happy with that. I'm thinking let's pull this one down. I'm going to pull it up a little bit. So I think what I'm going to do is just lighten this actual up. I think this one here is a little bit, or this one here, could be the one. It's a little bit too light, so I'm just going to come and darken it up, tiny bit like so then I'm also going to also add in a curves because I feel that makes it easier to deal with. GB curves, drop this in, and then we can come and lighten it up. To our hearts content. All right, I'm happy with that. That's the Tarmat done. Now, let's come back to modeling. Let's press the tab button, Old Tage, bring everything back. And now let's just hide this out the way, so I'm going to hide this one and this one and this one, hide them out the way, and let's just take stock of what we've actually got before we move on. So we can see if we go around the back as well. Got plenty of room on the back hopefully to put our scooters and things like that. Let's start then now finally on this hotel here. All right, so we've got pretty much all of our parts, so we've got all of the windows and things like that. What we just have to do now and start actually building this out. What I'm going to do is, I think, I'll grab this one. I'm actually going to press hole tae. I'll bring everything back again. I'm going to come in now, and I'm going to look at the sizing. I'm going to grab this this, this, and then I'm going to press a little question mark, and that then is going to take all of those away. And now if I press seven, you can see, I can go over the top and see what parts I need to put in. You can see that on here, I need this gray box, and we can also see if we're working off of here. This is the small hotel, so I need to change that out dot. Let's change that out first. And put it on the large hotel. I'm looking the large hotel and let's go to the front. We can see this is what we're looking at. Five press one now, or three. Now we can see that I need to move this up, so I'm going to move it up and move it into place. And then move it up a little bit more, and now we can see whereabouts we are. We can see this fits perfectly. We can see that we need one block going up here round and then in. If I press, press three, why frame. Here you can see this block. Let's first of all, make this block, and then we'll have a look how far it actually comes out because what I'll do is also, I think I'll also put one d going the other way. If I press one, I want an actual side view as well, and at the moment, I can't actually see anything. What I'll do is, I'll press d on this, bring it out, spin it round, so I'll sad 90, and I think that's probably going the wrong way, but I'll turn it round and once I've actually brought in the next one. I'm going to bring in the actual side view of my hotel, which is This is the back view. This is the side view from one side, and this is a side view from the side that I'm actually going to work on now. So we'll bring this one in first. So bring that one in, and then where you can should fit perfectly, if I move it over, you can see it's fitting perfectly, except it's the wrong way around. So z hundred 80, and now let's move it in. There we go. That's perfect. You can see that I've got it right from this side, so I can start building from this side. I've got it right from the other side, so I can start building from this side here. You can see this is where it's coming out, and then, that's the one. I'm going to just pull it over here, so it's not interfering with what I'm trying to do. All right, finally, we got those in, and now we can actually think about actually building this out. So you can see, even on here, we can see how it goes in, we can see how it comes down, we can see how this front view is coming out. We can see how far then this is actually going up here because that's also very important. And I think we've actually created this anyway, so we can actually put that straight in All right. So what we'll do is, I think we'll start that on the next lesson. I don't see the point in starting it now, but hopefully you've got this set up. Once we've done that, then this side, we'll move on to the other side and create that, and then finally move on to the back. So it's better to do it in stages, so the front and then the left side and then the back and the right side and do it that way. Alright, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 104. 3D Lesson 103 Laying out our Hotel Efficient Workflow: Come back everyone to blender three, the ultimate stazed scene guard and this is where we left off. Now, let's build this bit in. What I'm going to do is I'm going to press three first, and I'm going to bring in. I'm going to actually grab my hotel. I want to press Shift S just to bring in the cursor to selected, and then I'm going to do is I'm going to press Shift A, and I think we'll bring in a plane, spin it around, so R Y 90, and let's bring it into some sort of place. I'm not going to worry where about it is in the depth yet. I'm just going to get it right down to here and then pull it out, so S and Y, pull it out. It's going into the right place. As you can see this far out, and then grab the top of it. Like so. You can see if you line these up properly, it really really is actually easy to do. So line them up properly, pull it all the way up to here, like so. You can see this is probably where it's going to go in. I'm going to press Control, left click and bring it up to there like so. Now I can go to side view. So if I press one, I can grab it. I I think I press A, there we go, and then I can pull it out to here, like so. Then what I can do now is I can bring it back, so and press E, pull it back with extrude all the way into there, and now I can come to this part here. Press three again. And I've got it the wrong way round. There we go. One, it is, and then pull it back to here and grab all of this. Shifting plate, bring it down. And there we go. That should be then in the right actual place. Now, I have made a little bit of a screw up, so I'm going to I'm thinking should I go back? No, I can actually do it from here. So if I press three, I can see that I can bring in a couple of edge loops, so Control. Left click, bring it over to place it's going to be, Control, left click, bring it over to the place it's going to be. Now I'm hoping that they are perfectly aligned, and I'm not actually sure, and it's kind of frustrating that I've got there might be a little bit out is what I'm saying, Do I actually want that? Do I want to mirror it over the other side and do it the proper way? I'm probably going to actually Yeah, I think I'm going to do that. So what I'm going to do is, I'm actually going to mirror this over the other side. So how I'm going to do that? I'm just thinking I'm going to do that. I'm going to press L, grab the whole thing, press Shift S, cursor to selected. And then I'm going to do is I'm going to put one straight down the middle. Left click, right click, and I'm going to delete the other side. So Alt Shift and click, t shift click and delete faces. And now I'm just going to come round, press SD going to solid view, and I'm just going to delete this as well. So L Elite. Ts. Now I'm going to do this, I'm going to mirror this. I'm going to press tab controle transforms right click, origin 23d cursor. It's actually probably a good job I did this because it's showing you if you screw up how to actually fix this. So now let's come over, bring in our add modifier, bring in a mirror, and then let's put it on the y, turn off the x, and there we go. We should end up with something like that. Now we can actually start bringing this actually in. So you can see here. I'm not going to need this, and I'm not going to need the back of it as well. Let's tell out the way it's now. Let's come back to it, and let's get rid of that. So delete. Faces like so, and then what I want to do is fill these in now. I'm probably going to apply the mirror first. I'll press tab. Control, they apply that mirror, and I just want to see if these are joined or not. They're probably not going to be join. They are, so that's quite good for us. Let's join these up now F and F, and then F and F, and finally F F join them all. That's looking pretty good. And if I now press tab, I'll take bring everything back. There we go. That's what we're looking at. The first bit on our hotel. I think what else I'm going to do is, I'm going to grab this, I'm going to press shift, and then what I'm going to do is, I'm going to bring in another one. I'm just going to bring in the actual view of the hotel because sometimes it's actually easier to see that as well. Let's come over and bring in a new reference, and what we'll do is, we'll come in and bring in, which one I'm looking at. That's come down. This one here, but I think I'm going to bring in where I'm looking for the big hotel of the view that we want. I think this is the view that we want on this one, Sal. Yeah, there we go. We can actually see that. We can actually make this one much bigger if we need to. So we've got a good idea then what it's going to look like. We can see these windows coming down here. We can see the corner parts coming down here, and we can see this coming down here and this is all the front. Let's now work on these actual balconies. You can see here these are the blue balconies. Let's start bringing those into here. I'm going to pull that back a little bit just so it's not in my way. What I'll do is I'll come in to my assets, and I'm going to bring in actually the small windows. F Zoom out, we can see we've got the corner, the small windows, and this one here. Let's bring those in. So we'll come to balconies, first of all. Let's go to all. My actual assets are not coming in. And of course, the reason for that is because I've got it selected on there. Now, let's go to my balconies and this, I think, this is the one that I actually need, so I need this one. Let's have a look at that. Let's put it on material so we can actually see what we're doing. Let it load up. Actually saw where that went then. Let's press dot. There we are. Okay. Let's now grab it and spin it round, so Oz 90, spin that one round, and that then is going to be over here. They look pretty small and now and dinky when we pm over here. So let's put that in there. Let's then bring in the corner one, which will be this one here, and let's also bring in if we come to our asset, we're looking for window. Window like so, we're looking then for this small one here, which is going to be these that are coming up there. So let's get those in as well, so it's this one here and bring that in. Let's spin that round and make sure it's the right way. As 90, is that the wa way? The reason why I'm going to know that is to put it on face orientation, and yes, it's the right way. We can also see we have many problems in here. I'm thinking that I'll probably come in and fix that now. I'm going to grab my beach, turn that around. I'm going to grab each of these now. All of these, unfortunately, I have to grab them all separately, would be the way, wouldn't it? Grab them, A, spin them round, shift. There we go. Let's grab our curbs, A, shift end, spin them around, and let's grab the new part that we've built, and we can see we've got a bottom on here as well, so probably a good idea that I check this. Shift, spin them around. Let's have a look at the rest of it, and that's all done. All right. Now, let's put this off of phase orientation, where is it? There we go, phase orientation. Let's come in and get rid of this bottom as well. Let's press tab. And shift click shift click, delete faces, and hopefully, that should be it. I'm just going to grab it with G, and there we go. It's deleted out of the way. All right. That's that. Now, let's come in and actually put in our first actual balcony then. We might as well move our balcony to here because we've still got our cursor in here. I'm going to do is, I'm just going to press Shift S and selection two cursor, keep offset, and I'm thinking that that is absolutely perfect, and now I can actually pull it out and we can see it's a little bit look. I think it's a little bit in there, and that's not what you want. What I'm going to do is, I'm going to first of all, bring my man over. Where's my man, here he is, and we should be trying to line up everything now on here. I'm going to press sad then, going to wire frame, and then bring him over. What I want to do is, I can see, I can put him on there, so it's the right size this way, it's just the wrong size this way. It's up to you whether you grab it and squish it in, so you can squish it and you can see also, it's a little bit out as well. So what I'll do is I'll pull it this way. Like so, and then I'll squish it in a tiny bit. So if I press S and y, I can bring it in very, very slightly, like so, and I need to check now if it's actually in place so solid, and there we go. Now you can see that still a little bit out, so bring it this way. And now you can see these are actually in the place where we want them. Now, thinking that I've still not got my window out. So if I pull this out, you can see it's a little bit out. It's a little bit too wide at the moment. So what I need to do now is grab this and grab the window, so I can come in grab the window, and hopefully I should be able to then pull the window out like so. Now the reason it's a little bit back in there is because we do need to move it back in there, but we actually need to beverly out first. That's the first thing we need to do. So what we do is, we come in and we make a new piece, so t shift and click like so, and hopefully, that should be going all the way around. So if I now press sift D, I should be able to bring that out and you can see now we've got a whole window. And now what we need to do is just press F like so, right click and put it on Face select and just make sure it's correct, triangulate faces like so. And then finally press E. Like so and now, why have we done that? We've used that because we're going to use this for a actual bevel. Now, if I grab this and pu pull it back a little bit into there, now actually that's ready to go. So now based on what I mean is that the window will be able to be put back and actually look a lot more realistic than if we didn't do this. Now we need to do is just place this on the first one. So if I pressed wy frame, and what I'm going to do is I'm going to bring it up to the first one, which is round about here, something like that. And now I can array these down. If I come over to my actual ad modifier and bring in the array, put this on zero, and of course, it's going to be the Z, we're going to bring the Z down to this one here, and then let's keep making more, and then we can alter them as we come down because you can see they're a little bit out, like so. And now you need to do is just look at the bottom one. Is the easiest way to do this and put it down. And then move it up into place. I I move it into place very, very slightly, holding the shift board, and you can see them still getting a little bit out. So now I just need to put -1.335, something like that, and there you go. You can see it in place perfectly. Now if I press said, go back to solid. You'll see you've got something like this, and now all we need to do is just split off these. We'll do that actually on the next lesson. We'll create that bole, and you'll finally understand exactly what we're doing here. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot, bye bye. 105. Learning how to Fix Problems we Created: Welcome back everyone to Blender three, the ultimate stylized scene guy and this is where we left off. Now, let's come in and grab all of booleans. All I need to do is just grab one of them. I need to then press P selection. You'll see it scrab them all because they inherit the array. Let's then come back to this Boolean. And I'm hoping that I can now press Control A, all transforms plex origin to geometry, and it's not going to move them out. So they're still in ADN. No, they're not. I'm going to put that back. There we go. L et's actually see now. Can we Yeah, this still actually yes. I'm going to I'm not going to change the origin. I'm going to see. Let's just press controls head and move them back again. I think I've messed up there. So there we go. For some reason, it doesn't like that. So what I'm going to do? I'm going to have to use the Boolean while it's actually in this place. I'm actually thinking, I'm actually thinking what I need to do here instead, is they actually need to apply that and then split them off. So I'll have to do it that way. Unfortunately. So let's hide out this main part here, so press H. Let's come back in now. For you apply her, grab all of these, all of the Booleans. Press tab, now apply ray, and now what you're going to do is have all at least selected. Now I can press P selection and split them all. Finally. Now what I can do is because I need to reset all transforms, is control, all transforms right click, so origins geometry, and now let's actually create this boolean. So I'm going to come to my main hotel. I'm going to add in a modifier, it's going to be a Boolean, and then I'm going to come, and I'm going to grab this, not the hotel balcony, just this bit here. So if you can't grab it, hide those out the way, and then come back, bject. Oh, it is part of it, that's okay. Press Control A, and let's actually have a look see if that's worked so delete, and no, it's not. Sometimes as I said, that will happen. Let's pull these out a little bit. Let's make them then a little bit wider, so S and X, like so. And now let's try that again. I'm going to grab the hotel, I'm going to press Control A transforms, clicks Origin to geometry, bring in a boolean, and let's come in. Click on this, and let's put it on fast, and let's now apply that. Press Control A, and finally, now that should be done. So press delete, and there we go. Then what we'll do is now, if I come to these and press tab, you can see we've got one of these. I don't want to pull these back because if I do that, it's really going to mess it up because I've actually managed to do this twice. Made a little bit of a hash of it there to be honest. If I pressed y now and G, you'll see behind those, that's the actual Boolean that we want. I I press delete and faces. We should end up with something like that, which is a little bit cleaner. Now, if I press tab tag, bring back my actual windows, I should now be able to come into each of these windows and actually pull them back into that place to make them look realistic. So is going to come down like so. And then I'm going to bring them back now into play so I can bring them back all the way in as you can see, and there you go. Now you can actually see because I've actually done that, can you see how it's actually gone in there like so? I'm just going to overlook at this and just make sure that I'm actually happy. With the actual bottom, and I'm also then going to double tap the A and then come in and elo on actual cycles and just make sure I'm happy with them. So I'm looking down here, and you can see now why I've actually done that because they just look so much more realistic when we've actually done that. All right, so that's that part. Now, let's think about the next part, which is going to be creating these small windows. Going to do exactly the same way apart from, I'm not going to make a hash of it this time. All right. So let's put it back onto materials. The other thing I'll do is before I forget is actually we put actually the material on. If I come over to my this hotel, I'll click the down narrow and I'll put in building, and it should be a white building material, which we've already actually sorted. If we now press onto our cycles, we should be able to see that we've actually got this and we've got our ambient inclusion, and that's basically what I'm looking for. So this ambient, if I minus this off, and then press Control Z, you can see what the actual difference is, nicer. Also, this part here, let's actually have a look and see if I've got the gray or dk. I've got a dog. No, I don't think I've actually got the dark. I'm wondering if on any of these balconies or assets, put this over, like so, and come to my balconies, did I actually make a dark one? I think actually this material here has it, so I'm just going to look at what actually that material is. So build in gray, there we go. If I come to this now and I put in gray, Building gray is the one that I actually won. I'm wondering, did the building gray material, let's come to our shading panel, and let's have a look. Yes, it actually has got the ambient occlusion in as well. So that's good. I'll just have a quick look and make sure Down looking down the bottom, you can see it has got that ambient occlusion. Now the problem is that is that actually too much? It's probably going to be a little bit too much. Let's see if I'm just rain that back in a little bit and also on the building. I'm also going to rain it back in a little bit. It's not actually too much because I'm feeling that that's probably a bit too much. Let's see if I can put this on B spline instead. Now let's try bringing it in like so. I think it needs to be just a little bit more so than what I actually had it. Yeah. Something like that, I think looks much better. We'll also then have a lot doing the same thing on here. I bring this back up, put it onto B spline, and now just bring this up. And make it very, very subtle like that. I think that just works so much better. All right. Now let's go back to modeling and then what we'll do now is bring in this next window because we've got this basically perfect now apart from the fact that we just need to bevel these things off. I think we'll bring in a next window, and then let's bl this off now. Control Ale transforms. Let's come over and no reason why we shouldn't be bling it off at this stage. Let's put that on there. Let's put it down to zero. Let's put it on to zero. Let's put it up to one. Or 0.2. That actually looks really, really nice. I'm happy with that. What I'll do then is just press control and actually apply that. Now, let's bring in our actual window. I've got my window should be over here somewhere. I'm actually going to move both of these back just so I can see over here. I'm also going to delete this part, and then I'm going to do is I'm going to bring my window over. I'm going to bring it back into place roughly where it's going to be. I'm going to press three then. I'm going to press Z to going into wire frame, and then I'm going to do is I'm going to move it over. You can see it needs to be a little bit bigger than what it is. I'm going to put it there, I'm going to press the S button and bring it out. Like so, bring it out even further, you can d the shift born and bring it out. I'm not going to worry about the width. I'm just going to bring it out to that size. Then what I'm going to do is I'm going to actually bring it back now, so Z, going into solid, and let's make a back of it first. So we're going to Grow the back, shift and click, so Shift D, pull it out, F, and then I'll press E, pull it back like so. Now I should be able to pull these all the way back, so pull them back into place. Like so. Then now we should actually be able to use again, our actual array. Let's put in zero, and let's this time, not make a hash of this. Let's bring it down. Hold in shift, and then finally let's bring it all the way down to there. Just keep bringing them down. You can see there they're near enough, perfect. If I bring this probably up, it's going to be miles out, so I'm going to hold the shift, and bring it very very gently. -1.3 L et's try seven. Is that going to go that's the wrong way. So one p three. And there we go. Perfect. All right. There we go. On the next one, then what we'll do is we'll actually be level these off, and then what we'll do is we'll actually start work on our corner. We're just as I say, going to work our way round the hotel and actually get everything in, and then we'll probably come to the actual front and start on that because we've got some plants on there as well. All right, everyone. I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 106. Creating the Complex Corner Balcony & Booleans: Welcome back everyone to Blender three, the ultimate stylized scene guide. Now, let's put this onto object mode, and let's actually see if we can bevel these out together. I'm going to do is, I'm going to come to my hotel. A modifier, and let's come to not Bevel Boolean. I keep seeing bevel. I don't mean that. I mean Bolean. Let's grab this, and let's put it on fa let's now see if I come in and actually apply that, let's see. L et's now level these off. If I come in and select one of these. What I'm going to do is let's see if again, if I can try it now. If I press P selection, there we go. Now we can actually this should still be all in the right place, which they are. That's better than what we had before. Now I want to make sure that I'm pulling them back far enough. I'm going to pull them back a little bit further. Now finally, I'm going to actually come in and grab my hotel, Control A transforms, click Origin geometry, and now let's bring in a new boolean. We can see we've got our Boolean on here. Let's close that down. Grab this one like so, so small window one. Let's press control A, and hopefully, now, if I move these out, there we go. There's our actual Booleans, and now I can come back to my window and pull this into place now, like so, and there you go. They look much much better than what they actually did. So let's double tap the A, and there we go. All right. One look on our cycles. Yeah. I think I'm really really happy with how days turned out. All right. So now let's come to our actual balcony, pretty much the same thing, so let's grab our balcony. We can see it's the wrong direction a moment. Let's press our Z 90, spin it the right way round. Let's press three to go into the right view. Let's press Z to go into y frame, and now let's grab it and pull it into place. I think these are going to be a little bit too big. I'm going to bring them in, and then I'll probably have to bring them out, bring them in. You can see that that's probably going to be a bit better. And let's bring them into place. We can see Maybe I'm going to have to pull them out so we can see here that this balcony is going to have to come out a long way. I'm just going to press Controls and bring it back. I'm going to put it to there. Then what I'm going to do now is I'm going to I think bring my balcony in a little bit on each of these. I'm just going to check when I put it back to see where it actually looks like. Because I knew that everything wouldn't be fitting in place perfectly. It's just something that we'd have to deal with. What we need to do is just make sure we can get them into roughly the right place. I'm just going to press Control and then bring it back and put it into place where it needs to go so I can put it out. Like so, and then pull it back and then into place, it's probably going to go something like that. Now, the one thing that you have to remember is that, of course, these are going to be pushed further back. So we just have to take that into account. I'm probably going to be better off at the moment, splitting this off away from this whole balcony. I'm going to press P selection, and split it off. Now I'm thinking is that I need to move this back into place. Can I come in and just grab this shift and click. Can I actually grab it? Pull it over, and we can see there that that's not going to work ever. Let's press control plus, and you can see again that that's not going to work ever. What I'm going to do is because this is actually beveled, as you can see, it's beveled here, I'm just going to grab all of these, and then a should be able to just grab this, and now hopefully I should be able to pull it back. Let's see if I can pull it back into place. When I'm looking there, I've got another part here, that's not actually working. I'm going to press control plus. Going to minus that off, and then we're going to press shift and click just to get all that off. Now let's see if I can actually put it in place and there we go. I can pull it into place now, that's great. That's what I need to do apart from this part here. I'm thinking, how can I actually do this? The best way to actually do this, and it's probably going to be pressing three and actually using my brain a little bit more, so grabbing it again, and now let's press sad, going into wireframe. Now what I'm going to do is, I'm going to press B and just drag it, grab it all like so, and now I can actually pull that all the way over and that's just going to make it so much easier. So now if I press sd, go back into solid, and you can see, it's just made it so much easier because I can actually pull it into the place where I actually need it, which is something around that. Then what I'll do is I go over the top and I'll do exactly the same thing. I'm going to press sd, going into wire frame, and now L et's grab this one here. I'm just going to grab one of them, press B, bring it out now and pull it into place. You can say I've not grabbed that as well. I'm going to make sure that I'm on actual edgelck. I'm going to press B, grab it all like so, and now I should be able to pull that into place to where it needs to go, which is right there in that actual wall. Again, now let's press that, go back into solid. Let's press tab, double tap the A, and there we go, just make sure everything's fitting in place. That looks good. Just got this side now. How far is it going to be out on this side? Probably, Want it around how far this is, that will be absolutely perfect. I think. Let's press one and just make sure, sorry three, just make sure that it's in the right place. I'm going to press sad, going to wire frame, and I'm actually looking and it's far enough out. The angle of how far it is out is probably perfect. Now I just need to move this side. What I'm going to do is I'm going to press seven. I'm going to go over the top. I'm going to press B, like so, and you can see that I didn't press tab first. Let's grab one of them. Let's make sure we in edge sle let's press B. Grab it, and let's pull it over to where we actually want it, which is going to be around that sort of distance because then we've got this sort of distance here. Now, at the side of here, we can see that we've got our air conditioning units. So make sure that it's at the side of there. They're going to be every other one anyway. So as needs to be that kind of distance from each of these. I think that's fine. Now, finally, let's grab this, pull it out into the actual wall, and there we go. Now that should be fit in perfectly. Now let's press head once more, let's bring solid, and let's bring our little guy. So where is he? I can't actually see him in our build, and that's probably because I've not got in there. I'm just going to press tag, bring everything back. And then I'll bring back my little guy. So question mark if that doesn't work, let's have a look for him. Here he is. All right. Let's press one or three, and let's pull him up. I'm always always checking to make sure that everything is fitting in place as it should be. And you can see the that if I pull back onto the actual balcony. He's got plenty of room, and yeah, that's looking pretty realistic. Finally, we've got that in place. Now let's come to this part. Let's put it onto normal. And you can see that's not really going to help us at all. Let's put it back onto global and then what I need to do is I need to get it into some place. What I'm going to do is I think on this one, what I'll do is I'll just pull it out like so, and then I'm going to have to fit it into place once I've actually created it. I'm going to hide this balcony out the way. I'm going to grab this now and let's make our actual Boolean. So we're going to grab this shift and click. Shift D. Put it onto normal. Now you might me to get away with that, and yes, we can, so that's great, press the F button, and then press E and pull it back into place like so. Now we need to do is line both of these up, so I'm going to grab this one with L, grab this one. All right, let's grab this one first. Nope, that's also going to work. Let's try and grab it this way and then press L. Nope, still not going to work. So we're going to have to line them up the hardware thing. Let's bring it into place. And you can see that that's not working either, so we're having a few problems with this. Let's bring it out seven, and let's line it up even each side, and I can see now that that's probably going to work, and now let's press Z and see how far this is in. Y frame, and it's in far enough, that's fine. We've got those in place now. So finally got those into place. Now we can see this is where it is, and now we have to actually array it going all the way down. Let's actually do that now. I'm going to do is, I'm going to add in an array. Let's put this on zero. Let's bring this down to here, hold in the shift button, and then let's increase the number going down. All the way. Finally, one that's actually gone on properly, as you can see. That's good. I'm thinking that my balcony is not there now, so let's press tate, bring the balcony back. I'm thinking that once I've actually made these actual Booleans, I can join this up hopefully together, or I could just copy them. If I come to this, let's have a look -1.4, control. Let's come back to our balcony then. So add moi, let's put this on zero, and then this on control V, and let's put this going all the way down now, and hopefully. No, it's still not working because I'll have to actually probably line these up separately, I think, Let's line them up like so. Let's then bring them out like so. What I'll do is before I actually join these, I think, I'll just make sure that they're all lined up perfectly. All right, Let's press that, go back into solid, and now let's make that boolean. What I'm going to do is I'm going to grab my hotel. Press Control A, all transforms, right, clicks origins geometry, and now let's bring in another Boolean. Little question more, click on it. So let's put it on fast. I'm hoping this will work. So let's press Control A. Let's hide these out the way just to see. Yes, there we go. It's work. So that's great. Now, let's come in and grab all of these. Make sure you grabbed all of these because then we're going to move the windows back. So I can grab all of these first, and then what I can do is I can actually apply that. I'm going to press tab. Tab. Let's now apply that with Control A, and then what we should be left with is hopefully delete all these, delete faces. We should now be left if I come in and grab my hotel, press the question mark, so press the question mark to isolate everything. And now let's press tab, you can see that we've got all of these going down. Now, just be aware that some of them haven't gone all the way in. So I'm just going to have to go in, press delete and faces and delete all of those out the way, and we should be left with all of the Booleans actually done nicely for us now. Now, finally, we can actually press ultage, bring everything back, or the little question more, and now what we need to do on the next one is actually bring back our windows, and finally, we've got these in. Another part in. So that was actually pretty hard to be honest to get those in the right place. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 107. Creating the Large Hotel Front Entrance: M. Welcome back in Blender three, the ultimate stylized sing and this is where I left off. Now, let's get these in. If I press seven to go over the top, I'm going to press sad to go into wireframe, and now I should be able to see each side of these where they're actually going to fit in. Now I be able to. I'm not going to put on non put on global. It's going to make it much easier for me pull these in two place where they need to go. Can see a little bit out there. I'm going to go further in just very slowly. I'm hoping I've got them, I have. I'm not going to worry about it. I'm going to bring them in. Into place like so something like that I can see the line up perfectly. All right, Z, solid, let's go and have a look at those, and they are perfectly in place. Let's press tap, double tap the A, and there we go. Let's put our cycles on, have a quick look at that. Yes, and there we go. They're looking pretty nice. All right. So now, let's think about working on our actual front of our building. We're not going to do what we're going to say, we're not going to actually do the plants at the moment. What we're just going to do is build out this bit, so this bit here and get our front bit in. So again, I'm going to move our guy down. I'm going to put it also on material and move him down to the front and just to see how big the actual front is. So I've put them on the front there, we can see if we press three, that this is where he's going to be. Like so you can see it's a fair, fairly big door. All right. So now what I want to do is I want to press Z, going in to wireframe, and now we can see how this is actually going to look, how it actually all comes into place. Now we could actually hide out all of this just so we can see what we're doing. So I'm going to grab this, hide it out the way. Grab my bench, hide that out of the way. The more I actually hide out of this, the more you can see as you can see what I'm doing here, so hide all that out of the way. All right. There we go. Now, let's come to the front of here, first of all, and put in our cursor. So everything that we bring in here, then we're going to be actually lining this up with. So what I'll do is I'll come to my hotel, so I'll grab my hotel, and then I'm going to try. In fact, I'll grab both of these, that will be easier, and I can grab them each one of these. So each side of these shift S, cursor is selected. And now what I can do is press shift. A, bring in A, cube. Now what I can do is I can press three to go into front view, and then bring it up and then put this into place. So S and Z, like so. Don't worry about making it the right size or anything like that. We just gain the actual depth and the width. S and y, bring it out into place, like so, and then shift D, bring up another one, and then S and Z, bring it into place, like so, and then S and y and bring it in place so. Now, let's press A, bring in another cube. S, let's bring this into roughly the right place where it's going to be, something like that, and then let's bring it up. I'm going to come round to the top, like so, I'm going to press three. I'm going to bring it up to here. Then what I'm going to do then is I'm going to bring it in now. If I come in and press the ie button, I should be able to bring that in. Just going to press dot to Zoom in just to make sure it's even going all the way around, which is what it is. Let's press three again, and now let's bring it up to the top of here. So E like. We're going to work on actually bringing these out far enough once we've actually got this in place, and now finally I need a bottom. I'm going to look Z, go back into solid. I'm going to look at what this actually looks like now. We can see that if I press a little question mark, sorry, not question mark, tag, bring everything back. Tab, tag, bring everything back. This is where it's actually going to look. And I'm actually looking now to bring my guy back a little bit. Now we want actually a step on here as well. What I'm going to do is I'm going to bring in again another cube, so shift A, bring in a cube. Let's press S and and bring it down. Realistically we wanted the satn here, but without it being too high. If I bring up his legs here, we can see if we bring this to here, that's basically one step. So we need to bring this down. How far out do we want it? Probably actually around there. Let's press S and y and bring it out. To the edge of here. Maybe just in there like that. Then I need to come to the back of here and pull out this back. I'm going to grab this face and then pull it out to the back. Like so. All right, Let's press a seven, then to go over the top, and now I should be able to press, going to waive frame, and now I should be able to see where I need to bevel it off. I see on mine, it actually comes out a little bit further. This is actually the top and we can't actually see the bott. We can jaws probably make out the bottom here. What we'll do is, I think, first of all, we'll bring this out a little bit further. If I press Z, going to solid, and I'll bring this out as to tad further, something like that. Then what I'll do now is I'll come in and grab each one of these, press Control B, and just bevel them out. Like so. Then what we'll do is now will come and bring out these parts. I'm going to bring this out here, and I'm going to place it then to where I actually want it, so we can see we're a little bit out. We need to pull it back slightly like so. Then what we can do is we can pull this up now into place. Now we can bring the other part out. This part here, press seven to go over the top again. Actually, I need to grab it, so let's grab it in face elect, like so, and then press seven to go over the top, Z to go into y frame and then let's pull it out. It's going to be Probably out to something around here, as you can see, and then back to here. Let's see if that actually works, again in solid, and t's come. Grab each of these. Press control B and bring them back just in front of those posts like so, and that's looking really nice. Now with the next one, we don't really need to do that. We can just grab it and pull it out. Into something like there. I think I'm going to pull it out a little bit more, so L and then S and Y, just pull it out a little bit more, and then come in and grab each one of these, press Control B, and pull it back into place like so. Yeah, and that's looking really nice. Now what we need is just this post on this site. I'm going to grab this. Shift this Cursor selected, grab my post. Control Al transorms, clicks Oigin, two, three D cursor. Add modify it and bring in a mirror, put it on the y, and there we go. We've got our posting now as well. All Now what we need to do is we just need to pull our guy up onto the top of this step. Now what we need to do is create the actual hotel dot. What I'm going to do is I'm going to well, I don't know if it's in the center, but I do know that McCurs is in the center, so that's the main thing. What I'm going to do is going to press shift A cube. I'm going to pull up this just to the top of my step. So you can see maybe a little bit in there at the moment. I'm going to pull it back. Like so and jaws looking, if I need to pull it up, jaws to tad like so. And now I'm going to work on the actual sizing, so if I press three, we can see that this needs to come in a little bit. It's way too wide even for a hotel, so something like that, I think is a little bit better, and then we can grab it. The thing is about hotel doors and windows and things. The entrance is normally pretty formidable. So if I press three, pull it up, and that looks more like a hotel. All right. So now, let's actually use this to actually create a Boolean. So I'm going to grab my hotel again, press Control A, all transforms, right click. Set origin geometry, and now let's boolean it off. So add Boolean, and let's grab this, and hopefully. I press Control A, apply it, delete this. Hopefully, there we go. Now, I'm just going to bring it back actually, so I'm going to press Control. Now I know it's actually worked, and then what I'm going to do is I'm going to use this for the door. So if I come in and press, shift and click, delete, faces, come to the back, delete. Faces, and then use this actually for my door. It's just going to be a simple door, so I'm just going to press control of, left click, right click, and then what we do is just separate these off. I'm going to grab this side, y, G, make sure it's separated A, and then let's just shrink these in a little bit on this part. If I come in with individual origins, and then press S and y, shrink them in very, very slightly like so, and then grab both of these edges, and I'm just going to pull them out. We've just got a tiny, tiny gap on there, is what I'm trying to go for. Now if I put this on medium point, pull them out, as very slightly, like so, and then grab them all with A. Then let's pull them back so E L, L, pull them back into place, something like that, I think looks absolutely fantastic. Now let's make our actual handles. Let's move our guy to the side. We've still got these in the actual center. I'm going to do is I'm just going to press shift A. I'm going to bring in a cube. I'm going to press three, I'm going to bring it up, and let's make them now the right side, S, bring it in. Into the center in place and then Ss head. We can see where our actual guy is, so we can see they're probably going to be quite formidable and quite big. Now let's press S and y x, bring them in. Now you could put it back on here but I don't see the point because no one's ever going to see that. So what I'm going to do is I'm going to bevel off each of these. I'm going to press Control B, bevel them off, and then let's round them off. Now I'm just looking at that. I'm happy with that because I didn't actually reset my orientations and transformations, but actually, I think that's turned out quite well for us. So I'm going to pull it back, pressing dot. Roughly into some place. I probably gets the reflection on there. Then what I'll do now is I'll control A all transforms, right click origin to three D cursor. And then I'm just going to mirror it, so add modify it mirror on the y, turn off the x, and there we go. That is pretty much done. Let's now apply that, and I'm thinking that I don't need anything else on here apart from to join it altogether now. If I join it, so let's come in. Join all of these parts. Maybe accept the glass. I don't want to join the glass yet, so I'm just going to grab all of these because I'm going to actually bevel them off. I'm going to grab all of these. We can see we've got a mirror on here. Let's just shift click it, press control A and apply that. Let's press Control J, apply it all press G, just to make sure we've got everything and then Control A transforms, right clicks the origin to geometry. Add modify it, bring in a bevel. Let's bring it all the way down, put it up one, and there we go. That looks really, really nice. Let's actually apply that now, and on the next lesson, then, what we'll do is we'll bring in the materials. We'll join all this together, and basically we should have the front finished, except the plant pots, of course. But I think I'm really, really happy with how that's turned out. This one. I think it actually looks better than what I did on the original. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 108. Updating Part on our Asset Manager: Welcome back everyone, Blender three, the ultimate stylized scene guide. I hope your hotel is really, really coming together now. I know it's a very, very long course, but by the end of it, you're going to have a lot of skills, and you're going to have a beautiful scene and beautiful assets to actually create your own vision of hotels and things like that. I think by the end of this course, actually, you should be able to create any stylized scene that you chose doing it in this kind of actual format. I know we're actually working to references, so there is that component to this actual course as well, so I think that's also very, very helpful. All right. So now what we'll do is we'll actually create a new glass. We'll also, I think, apply our array, so let's press control A and apply that. And then what we'll do now is we'll come to this part here. Come to our materials, and let's create a new one and we'll call it glass. And I'll call it gray. It's going to be not really great. It's going to be a little bit or glass doc, I think. I'm not sure if we've actually got a glass doc. Let's actually check that before. Let's print dark. Now we haven't got a glass dock, so I'll rename it glass and I'll call it dark blue. White so. Now let's go over to our shading panel and we just quickly create this. We've created glass before, so we shod really know what we're doing now. Shift a glass. SDF. Drop that in there. Let's add in a transparent. L so. Let's bring in an add shader. So very, very simple glass. Again, so add shader, drop that in there. Plug each of these in, plug this in, and finally, plug this into the actual surface. Now, let's come in and add some colors and change this a little bit. Noh point naught 38, like so, and the IOR should stay on 1.45. Let me grab you the color, so the color is going to be this one. Sorry if I grab this control V, five A 77 P, and seven F. I think it is. Yes, seven F. Sorry about that. And now let's grab the other color, and the other color is going to be this one, which is a slightly gray color. So let's put this in control V. There we go, and that's that color. Now if I press dot and zoom in, you can see that they're slightly slightly darker than these ones here and that's exactly what we want. All right. So now the next one we want to create is actually some gold, and golds very, very easy to create actually. Let's come in and grab this part here. What I'll do is, I'll come in. First of all, I think that we'll actually give this the building white. Let's come in. Building. Like so. There you go, that's changed, and now we want actually the gray. So the gray I'm going to make here the bomb of here. You can see I just want the bomb of these. What I'll do is, I think, I'll grab all of those, and I'll just give them the gray, so plus, down arrow and build in gray and click a sign. Then what I'll do now is I'll come in and just change these. Old shift and click and put those back to the white like so. All right. I'm just checking as well that everything is looking good. Now let's actually come in and make our gold. I'm going to come in new gold like so, and all you need to do to create gold. Let's first of all, assign it on these L and L. Click a sign. All you need to do to make gold is put your metallic all the way up to one. Put your roughness down to something like not 0.1, so not 0.1, and then put your color. So the base color up to a yellow color, and there you go. If you press tab now, you can see you've got that gold effect really, really easily, and there we go. That's looking really, really cool. Now, as I said, we're not going to actually mess around with a plant yet. We're going to build those once we've actually build the hotel. The one thing I can see though about this hotel at the moment is that I actually need to drop this down probably a little bit. I'm probably going to do that now actually. So what I'm going to do is going to press one. Then what I'm going to do is going to try and grab all of this. So I'm going to press B. And grab it all. I'm hoping that I grab it all going all the way through. I'm just looking to make sure if I press G now, what I've actually grabbed, Yeah, I've grabbed it all, so that's what I want to do. When I press one again. And then what I'm going to do now is, I'm going to press shift right click just to bring my cursor in. Little V, let's put it onto three D cursor. Let's press the Z button, going to wireframe, and now we can see where we need to drop it down, C can see. It's just slightly above on some of these parts. So if for bringing this down very slightly, Z solid and now double top A and the should now be touching the floor. That's also important obviously for our ambient occlusion as well. Now for pret and cycles. There you go. You can see you've got that ambient cusion now because it's actually making contact. And that's what ambient clusion does, and that's why I want it in. All right. So now let's move around to the actual other side. Let's hide this hotel out of the way. Let's actually probably hide this out of the way as well because I don't think we'll need it just for this bit, and let's go back to our modeling. Now, let's move around. What I want to do is want to bring in one of our first actual air conditioning units. So to do that, let's go actually to our assets while we bring it in, and then we can come back to our modeling, so I'm just going to clear off this and go to assets, and let's look for the single one, which is this one here. If I bring this in, I'm going to bring this in again, so it's flat, so I'll bring it in here. And then what I'll do now is, I'll spin it around the correct way. So I'm going to spin it around so our, 180, and we can see there that I spinning around over here because I need to press a little v, go to individual origins, put this on material. Then press our Z, 180, spin it around. Let's press control three this time. I think that'll be the right way. Is it? I don't actually think it is. No, I don't think that's our hotel. I think it's the other way, so butts press three and there it is here. Let's pull it out. So that was, Control one. There we go. That's the right way. That's what I want it. Now, let's put it back into place, so we're going to pull it up into some place. I've actually forgot on the air conditioning units to put the bottoms underneath. So I'm actually going to have to update these on the other actual asset managers. So let's probably put this in here, and I'm hoping that once I've updated it, will it update on these? I'm not actually sort. Let's first of all, go in back to our asset managers. So just open up the asset manager, and let's come in and actually edit these. I'm just going to pull them out and I'm hoping that I can do them pretty much together. I'm just going to move them away from each other like so and then I'll come to this one. I'll press Shift S, urs mesh Shift S, Kursor selected. And now let's bring in a be mesh, cube. Let's press dot just to zoom in, and now let's bring it in. Not that. Actually, I don't want to move that. Why is it moving the whole thing? Because we've got put portion in on. Let's press one. Let's bring it into place the size that we want it. So something like that, let's make it a little bit wider. S and X, pull it out a little bit. Y that looks absolutely fine. Let's move now around to this side. Let's squish it in on the Z, S Z so, put it into place. Tab, grab the front of it, shift space bar, move it out, so. Now, let's make a little groove in it, so control two, left click right clip, and I think we'll make the groove somewhere around here, so control. Left click, right click, and then let's come in, grabbing each of these. Delete faces, and now let's just add in those faces. I'm just going to grab this one and this one, F, come round, this one, and this one, F. And now let's come to this one and this one and press the F button. Now let's make the back of it. I'm probably going to have to pull this back a little bit. I'm going to grab all of these, pull them back. Now let's make this bit that's going to go down here. I'm just going to press Shift S. Cursor to selected, and then shift A, bring in another ue, make it smaller. And just make it actually fit into there. You can see it's probably a little bit big, a little bit smaller moment. S and y, pull it into place like so. Let's make it a little bit wider. S and X, so grab the bottom of it, and let's pull it down. Something like that, I think, is it thick enough this? This is why I'm checking now. Does it look robust enough? At the moment, as you can see, the answer is no. Let's grab all of it and let's make it a little bit wider, S and X, let's pull that out. And now does it look robust enough and the answer is, yes, except it needs to come out a little bit. So let's make it a bit chunk. So press tab, double tap the A and just make sure that you're actually happy with it. Yeah, and I think that's actually looking, much better. Now, let's bring in some bolts. Again, I'm going to grab the front of here, Shift S, cursor is selected. Let's press and then shift A, and we'll bring in a cylinder. I'll bring the cylinder down to something like seven, seven, and from that we can make a bolt. R X 90 let's just make a very, very simple bolt, press dot, and there you go there is your actual bolt, let's pull it up, and let's rotate it, so y, let's put it down, shift D, make another one, like so, and then let's grab them both and make them a little bit thinner than what they are. S and y, pull them back. There we go. Now let's actually give these some material. What I'll do is, I'll grab, so all of these. I'm thinking we've actually agate attached to that. There's my materials. No, we've not. We have a press tab. We can see There we go. I've got no materials. Let's come in and look for gray metal. Green metal, green bin, green sign, concrete, building great. Let's put in metal and see if we've got a dart metal then, so metal. Like so, and we should have a light metal and a dog. Where is the dark we met? Painted metal dog. Let's put that in, and we'll have a look at this once we've done it and then we'll grab each of these. And what we're going to do is plus down arrow metal again and this time, the light metal. So light metal, click a sign, and there we go. Now, let's have a quick look at what that looks like. Double tap the A. Zoom out of it, and there we go. That looks absolutely perfect. All right. I need one on this side and then one on my smaller one, and I'm not going to put one on here because actually this huge one here is going to be actually on top of the actual building. I'm not actually going to need them. Now I'm going to do before I do anything else, I'm just going to hit file and save, and hopefully hopefully that should have updated them. We'll check that though on the next one, but hopefully they should be. All right, everyone. I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. Oh. 109. Adding the Air Conditioners to the Large Hotel: Welcome back everyone. Blender three, the ultimate stylized scene guide, and this is where we left off. Now, let's grab this part here, and Actually, should we grab this and grab the bottom of it, press shift S, cursor to selected, like so. Then grab this and press Control A transforms, right plate origin to three D cursor. Let's just add in a mirror. Come on, mirror, put that over the other side like so. I think I'm happy with that. Now I want to do is I want to press shift D, and I want to bring my mirror over to this side, so I'm going to press one. I'm going to bring it into place like so, and then bring it down. To the bottom of there and then just make sure that it's ferve enough back and is it going to fit properly? Probably a little bit too big. So I'm going to do is going to pull that back. And then what we're going to do is I'm probably going to grab the whole things and make them a little bit smaller. So S, make them a little bit smaller, pull them up. Into place. I think, yeah, that looks much better let's pull them back a little bit as well, so they're going to go in that wall. And there we go. All right, let's apply the mirror, Control A, ply this mirror, Control A, join them both together now, so I'm going to join this with this, Control J. Control A all transforms. So now before end, I'm just going to bevel these off. So now I'm going to add another modifier and Bevel, and I'm going to turn that all the way down then turn it up to one. So maybe that is too high, so Not point or not three. And that looks better. Control A. Let's do the same now with these. So again, Bevel. Note point not note three. There we go, press control A, and now it's join the moo. So I'll grab this, this, Control J, this, this, Control J, and then right click, set origin to geometry, and the same now for this one, set origin to geometry. Hopefully, now, they will have updated. So if I come to my assets and bring in this, there you go. You can see it's actually updated. So that's great. Let's delete those. Let's put these back into place now, so just pull them back into place, and now I'm going to save out the file. And hopefully, if I refresh it on the other one, they should have updated. Let's now put that down and go back to our other scene. What I have to do is, I'll have to actually re open this, so I'm going to save it out, and then I'm going to go to file. And open reason and just reopen it, and let it load up. Hopefully, that should fix the problem that we have. All right. So here we go. Let's see now. There we go. Now it's updated. No idea where that was. Now, let's press shift S cursor to selections curse offset. Spin it around, so I'll ZD hundred 80, so Let's press one on the number pad Control one. Sorry, that is, and let's put it into some sort of place. We can see this is roughly where it's going. I I press three and no, sorry, one and let's press Z, going to y frame. We can see where is my actual reference there it is. Now I can see where it is. We can see that is the wrong side. Let's press control one. I don't actually think. Yeah, I'm actually trying to do this without one that side. I'm going to grab this one here. I'm going to press shift deep. I'm going to bring in the other one now as well, so I can actually work on the side. I'm going to hide this one out the way. So if you can grab it, hide out the way, and let's change this one now for the other one. I I come in, open, and let's put this onto images, and what I want now is the one, which is, not this one. It's the large hotel, and it's this one here. This one here, change it over and now we can actually see what we're actually doing. It's just the wrong way round, so we need to spin it around, so I a 180, and there we go. Now, let's put it back into place. If I press one, I can pull it into the place where I want it, and we can see I'm actually probably going to have to go round this way. Control one. There we go. Now let's pull it into roughly the place where I want it, which is probably around there. I'm just looking to make sure that lines up, this lines up here so we can see now if I grab this, it's starting from the top of my roof like so and then going down. Let's now bring in a ray, add a ray, and let's put it on zero. Let's put this down, bring it down to the, something like that, and then let's go and bring the count down all the way down to here. And you can see they're a little bit out, so come to the bottom one, always the bottom one, and then bring it out holding the **** bone, just a little bit, and there we go, they line up. Now, let's press Z. Let's go back to solid. Let's hide this hotel out the way. We don't need that in a moment, and then let's pull this back into place. Making sure that these are against the wall, but not in the wall. We don't actually want them in the wall, so we just want them out like soap. Double tap the A and there we go. All right, so that's that bit. Now we need to think about this bit here that's going to come out, which is we can probably do that from here, so we need a cube. We're going to bring it out. If we go over the top, let's go back to modeling. Let's press seven, to go over the top, so seven. Let's press the Z button. So Z wire frame. And there we go, we can see that I'm hoping. Can we actually see that? I can't actually see that one, so I'm actually looking where where is this one? Let's pull it out. I need to change this over then for my other hotel. I come over the top view of my other one because that's the one we're working on now, and we're looking for large hotel, which is this one here. Finally, let's bring that over, and now we should be able to see exactly what we're doing. If I put this in here, you can see now that this pretty much all lines up and now we can see how far this has actually come out. We can see we need a cube, and then we need another cube coming out. Let's actually go and make a start on that. What we'll do is we'll press sad, go back in solid. L et's grab the center of here. Let's press Shift S. Or should I grab each one of those? I think you grabbing each one of these sides and make it a little easier for me. Shift S, curs the selected, tab, shift A, let's bring in a cube. Now let's press seven, go over the top again. Press the Z button, go into y frame, and now let's bring this into place. I'm going to press S. Bring it all the way back now in something like that. Let's press the S and the x, pull it out, and there we go. Now let's bring out the next one, so we're going to press shift D, bring it out, and then press S. Like so and then bring it out into place something like that. Now if we look at this side, we can see this is how it actually looks on this side. We can see this is the top bit, this is this top bit here and this then is the front bit. I think on this one, at least well, the front bit is actually fly. Looks like it's bending a little bit for some reason. We we'll do then on the next lesson is we'll get this sorted out, we'll get these actual windows in, and then we can make a start on the actual other side. But I think for now we've actually done the hardest parts of this hotel. That's behind us. The other hotel obviously is a little bit harder than this we've got the hardest part of this hotel down. So next time, it should make it much much easier. Alright, everyone. I hope you enjoyed that, and I'll see you in the next one. Thanks a lot. Bye bye. 110. Fixing the Cant Apply Modifier Issue: Welcome back everyone to Blender three. The ultimate style, I see Gad, and this is where we left off. Now, let's press. So I'm getting mixed up here with which way around I'm trying to actually do this. So it's control one, and there we go. All right, so let's come with the big block first. This is this one here. And then what I'm going to do is I'm going to press S and Z and pull it all the way up. Into the top of here where you can see. Then what we need to do is we need to pull it down into the actual ground, not too far into the ground. I don't want to disappear into there, so just below that ground plane like so I think I actually, I'm not actually going to worry. I'm actually going to pull it down a little bit further. Then I'm going to come to the top. I'm going to grab this top. I'm going to press control one again, and I'm going to pull it up into place. Now I'm going to come to the next block, which is this one here. Exactly the same thing, S and z, pull it all the way up. Like so into this place here, and then just make sure that the bottom of it, so press tab, grab the bott, pull it into the actual ground plane, like so. Let's press, go to solid, and there you go, you should be left with something like that. Now we're if we look on here, we're looking for these windows. I think those windows actually are the same ones of these. I think we could probably could we grab all these and put them going the other way around hot from moving them a little bit further down. I don't actually think we'll do that. I don't want to cheat and actually bring them around because they might be a different size and look they're starting from a different place as well. It might make it actually more difficult is what I'm saying. Let's first of all, then bring in the asset though and have lo see if they're the only windows we've got, put in window here. We can see that they are definitely going to be the windows. I'll bring it in, and then wall presses shift S and selection to cursor keep offset, and that's going to put right smack in the right place. Then I can just press control one and then first of all, get the scale right. So I'm going to press Sed going into wireframe, and we can see that we're looking. These windows need to be a lot lot bigger, so I'm going to bring it out, bring it into place, and that then looks about the right size. Then what I'm going to do is I'm going to move it up. By now, we should have a really, really good flow actually. So like something like that, then we're going to do is press SED back into solid, and now we're going to pull it out, and we're going to make actually a Boolean as well. So let's come in. Grab it going all the way around, so shifting clip. Shift, bring it out F, and then press E, pull it back into place like so. Now, let's actually array this now. Again, Control one, Z to go back into y frame, and now let's come over. In fact, we'll reset the transformations first. Now we'll do is we'll come over and add in an array. Ray, let's put it onto zero, and let's bring the Z down to something like here. And then what we'll do is we'll bring them down all the way down to the bottom, and probably not going to line up as they never do, and now let's line them up. So Maybe there. I think I'll do for now. Now I can do is I can actually bring in the actual Boolean. Z, solid. Let's come to this part here. Let's press control A, all transforms, clicks the origins geometry, add modifier, bring in a Boolean, and the Boolean, of course, is going to be my window. Let's bring in the window. Just make sure I've got this selected first, so you can see here I've got it selected like so. Then what I'm going to do is apply Maboan. If I come in now, press Control A, and we can see that actually I can't apply Mablean, because this has got the same data as this here, as you can see. They're actually linked. I don't know why I actually linked them, but somehow they actually got links. If that ever happens to you, all you need to do is you need to come over to here and just click this button here, and that then should unlink them. Now if I come in, grab this and I should be able to press Control A and apply my actual modifier, I can then come in and apply my modifier here. What it is is basically adding a ray on each one of these. Let's press Control A, so let's come in, delete all of these vertices. Let's press tab. Make sure they're incorrectly, which they are, and then come back to this one. Press tab, delete vertices, and then that's press tab again. Let's press now controle A. So Control A, all transforms rightly. So Origin geometry, and now let's push these back into place, and it should actually fix that as simple as that. Just making sure that all of these are done, double tap the A, and there we go. Just in case that ever happens to you, just make sure you actually unlink them. It might have happened to you hopefully not a little bit further on in the course port just so you know that's how we can actually do it. All right. Now let's move on and what we're going to do is move on to the other side now. This side is a lot lot simpler than the other side. We can see here what we've got is, we've got this part here going down. You can see slightly bend to the top and then windows going in, and then we've got our corner windows on here. Let's hide this one out the way so we can use just this one and let's press one to go into side view. Let's press Z to go into solid. Sorry, Z to go into wire frame, and now let's have a log. Here we are we can just make out how this is actually going to get a little bit chaotic around here, no, but we should actually be able to see what we're doing. Let's now press shift d, we'll bring in a cube. I'm not even sure where that cube's going to come in, but I'm going to prey it round about here, something like that, and then going to pull it out, so S and x, pull it out to the right side. I'm also going to look. I can see on here, that's how far it comes out. If I press, let's have a look. Let's press three, and now we can see it's this side. If I press three again, I need to I think, it's in the wrong side. It actually needs to go over there. There we go. Now let's press three, and now we can actually see where it's actually going to go. We can see it's going to go in there, S and y, and let's pull it back. Let's pull it out like so, and there we go. That's fitting in place. Now let's press tab. Grab the top of it with face elect. There we go. Press let's have a lot. One, and let's bring it up. To here, let's finally bring in one edge loop. In fact, I won't bring an edge loo. What I'll do is, I'll just bring it down to here, and then I'll press E, pull it all, and then finally S and X and pull it in, like so. All right. That should be about. Let's put it on solid, and there we go. Something like that. Now, let's come in and actually bevel off all these while I've got them. I'm going to join all of these together. So control J. Let's also join it with this one, so control J. Then we've got them now for 112 level them off. We're going to bole in it out first again, and then we should be able to level them all of And you can see, as well, we've not actually beveled off, so I might actually leave it till the end. But I think for now, we'll just bole in this part of. All right, one. So on the next one, then we'll bring in the small windows and get those in place, and then the corner ones. And finally, then all we've got is this back to do. And then we can start getting some more assets in. All right, so I hope you're enjoying it, and I'll see on the next one. Thanks a lot, bye bye. 111. Fitting in our Corner Balconies: Welcome back everyone. Blender three, the ultimate stylized scene guide. Now, let's bring in these small windows, so I can see here that they probably I think that these windows here. I think let's have a look. And looking on here as you can see. So on this one, t's a look at the side view. Yeah, I think that these ones here. I'm not sure. This is large window, this is small window, either way. I'm thinking it's this. Let me bring this in. I think that is the right one. If I press one. And let's bring in the other one. So like, Levell look where that one went. Where is it? There it is. Actually going to go back actually and bring them in. So I've got a window can window, small, let's bring that one in. Actually, it might be that window there. That one looks way too big, and that one looks way too small, so I'm not sure which one it is. I think we can actually worked with this one at Sevel. Yeah, I think we'll work with this one. This one, I'll do. All right, so let's grab the other one. Let's delete it, and let's bring this in now ins place. I'm going to just pull it all the way over here. Seven. Bring it over a little bit further. T like so, and I'm thinking that it needs to come round about somewhere like there. Let's press one, so we've got a side view, and let's first of all, put it into place. So what I'm going to do is, I'm just going to grab this. Shift S, cursor to selected, and then I'll grab this, and then shift S and selections cursor, put it right bang smack in the middle. Then I can press Sed, go into wire frame, and let's have a look where we're going to put these. You can see first of all, that the lining up perfectly, and then we can press the little dot board. Let's press sed, go back in solid, and now let's pull it out and make our tra boolean like we do every single time. So I shift and click, shift D, bring it out F, and then E, pull it out, and we should really really be able to get into a nice form now. Now we've got that. Let's actually bring them down. Again, one Z, wire frame, add modifier, and array. Zero, and let's put it down zero. Zero, is it actually working? No, because my number locks zero. Let's pull it down to there, and then let's bring them out all the way down to here. Bam, bam, bam, bam, down to here like so and actually they're nearly, not quite but nearly All right, something like that. Now, let's actually bole in these off. What I'm going to do is I'm going to press sed, go back into solid, grab this control A or transors, right, click sargent geometry, add modifier, Bole, grab them. Put it on fast. If it does that, sometimes it will do that, don't worry about it. Press control, and now you should be able to grab these, hide them out of the way, and there we go all done. Now, let's bring them back with tag. Let's hide the hotel out the way. I really don't want that in there, and let's come in, grab these. Then what we're going to do is going to come just grab all of these. Like so apply myxoal ray, come back in, delete vertices, grab them all, pull them into place, like so. Simple as that now. We should have a really, really efficient way of doing this. Now if we put it onto cycles, we can double tap the A and have a look at that. Now, one thing we did forget is that this needs the material, and it's the building material, so building just to give it that little bit of ambient occlusion, and I can see that looks much better. Just check in this as well, making sure that this and this I've got the wrong actual color on, so I'm going to grab this. I'm going to grab it with L and L plus. Let's put gray. We can see building gray, and then let's assign that to this tab tab and now you can see, looks fantastic. All right. Now let's think about our corner. What we're going to do is we'll bring in our corner to here, so I'm going to grab this here. Shift S s to selected. Let me bring me in my corner window now, put it back onto material. Here we are. This is the one. It's facing the right way, so that's great. Shift S and selection to cursor. Press the dobb and now let's just get it into place. We can see where it actually needs to be. It needs to be obviously in. Well, I'm just actually going to put it there, and now I'm going to line them up and do exactly what I've done before because I'm going to actually press Shift S selections Cs and just put it back there. And then I'm thinking that I need to actually make a cube to actually fit this in. I'm going to do while I've got this here, I'm going to press shift A. I'm going to shift A, bring in a cube like so then what I'm going to do is I'm going to make this cube a little bit smaller, so it fits, as you can see, and then let's pull it back into place now. I'm going to pull it back. Into place like so and then back into place. Now what we need to do is we need to pull it out to make sure that it's the right width. So if you press seven go at the top, you can see, we need to bring it back all the way to round about here, and then all the way to here. Let's press tab. And we'll grab this, and we're going to press seven, to go over the top, and now I'm going to just pull it back to here. Doesn't matter if it's perfect. Just don't get right on the edge though because you don't want it to go past the window, and then we'll do the other one, which is going to be this one here, seven, go over the top again, pull it back into place, like so. I'm thinking now if I pull both of these back into place, and then we should be able to have a good idea of how this actual boolean is going to work. I'm going to, I think, grab them both, And if I pull them this back to here, something like that, and pull it back to here, something like that, I think that's actually going to work for us. Now, the one problem is, of course, as you can see, is that this boolean needs to actually be stuck out, so I actually need to come in, press the tab, press ed, going into wireframe and I need to bring this boolean out. So you can see I need to pull it out all the way and then pull it out all the way here, then press ed, go into solid, and you should end up with something like that, and that is exactly what you actually need, something like that. And then what you need to do is you need to grab both well, actually, I think we'll do our windows separate. I'm hoping that this is actually separated from my windows. Let's just have a quick look. And there you go. They both separate, that's great. Now, let's not worry about that at the moment. What we want to do now is just bevel this off. If I press three, Z, going to wire frame, let's have a look where the actual windows are. I think actually the wrong view. I need to be in this view here. Joe zooming out and we can see that I've got this one in the way and I don't actually want that. Let's grab this one. So this one here, hide it out of the way and press one, and there we go, that's better. All right. Now I can actually get my corner. So if I grab this, you can see this is the corner, and we can now line them all. You can see also the size of this. What we'll do is we'll get this in, and then we'll actually sort out the size in and everything like that. So let's put it in. T here, something like that. Now think actually the sizing maybe a little bit out. Let's grab our window now, so they see it. Let's pull it up into place, and let's grab them both. Let's make them a little bit smaller. Just make sure that it's still stuck out, which it should be, and then you're going to pull this up now into the place it needs to be. Now what you can see is that the window tops and bombs are a little bit out, just processings head, pull it out, so there near enough touching like so. Now, let's bring this down with an array. So I'd modifier array. Put it on zero, and then let's bring it down to the next one, and then let's bring it all the way down to where it needs to go, which is around here like so, and then finally pull it up into place, and we'll get there eventually. There we go. Something like that. Finally, Z, solid. Let's have a look at that. Let's press, and I'm hoping that this will work. Let's give a shot. Add modifier and bring in a bole click on it. Let's click, sorry, accept, and let's actually delete those. Well, let's press apply rate, then delete those, and there we go. All right. So that's looking, really, really cool. Now, what we need to do is make sure that these are actually going to fit into place. Now you can see the fitting in perfectly there. All I need to do now is bring in ray. So let's put this on zero. Let's press one to going into sinview, or three, is it three? Is it Control three? Sb No it's three. I think. No, it's not. It's Yeah, we can do it with one. I think we can do it with that. Can we actually see through that a lot? I'm thinking that I've brought this hotel in again, and I don't really want to do that. I've brought this hotel in, and I'm just going to b Let's press it now. There we go. It's one. It those actually. I need to make them a little bit more see through on one side and then that's going to fix that problem for me. The other thing is now let's press, going to waive frame. Now find that I can see what I'm actually doing. Brilliant. Is it actually falling all the way though? I need to just check that. Let's have a look. Is there a gap there? Yeah, you can see there's a little bit of a gap there, so let's pull it in, just making sure it's sitting in place in both of these, so there we go. That's better. Okay. Now it's fitting in perfectly. I'm checking the bottom and the top. Yeah, I'm happy with that. All right. Now let's actually fix this. If we press one, now we can press Z, wire frame, and now let's bring in an array. I didn't realize that we brought in array already, but not to worry, let's bring it down to the next part, so holding shift. Making sure that it's fitting in place like so, and let's now bring them all down to the last one. This has to be very accurate actually, so we need to check these very carefully. If for bringing this down you can see it's fitting in there, and I'm just going to work my way up, just making sure that they're all fitting in place. As we go closer to the top, this should actually be fitting much better. Now let's press Control A. Let's press Z, go back into solid. L et's double tap A, and there we go. We should have our corner windows actually in. And that leads us then finally to the last windows on the back of here, and then we can start work on the top and get some assets in and things like that. All right, everyone. So I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 112. Finish the Large Hotel Main Body: Welcome back everyone, Blender three, the ultimate stylized scene gad, and this is where I left it off. Now what I'm going to do is I'm actually going to duplicate this, so shift D, and then what I'm going to do is bring in the next one, which is the back of it. So let's come in and go to this one here. And what we're looking for is this one basically this large hotel. It's got balconies on each side. Let's double click that. Bring it in. Let's actually hide this one then. Hid out of the way. Let's press. I think let's have a look Control three. Is that it? Yes, it is. Let's actually put that then into place now, and I want this obviously turning round. If I press I'll said, 180, spin it round. Let's bring it into place. Roughly something like that. You can see everything's near enough fitting into place like that, a little bit further maybe. Then I'll press sad going to waive frame, and there you go. Now you can see where we need each of these balconies. This should be the small balcony. Let's actually have a look at that. Let's come to balconies. Let's close that. Let's look for our small hotel balcony, I think, It is this one. It's actually the large hotel because this one, I think, if I press dot and zoom into there, that is the actual hotel to. It's definitely not that one. What it is is this one here. I think it's this one, yes, it's this one here. Let's spin it around so I -90. Then what I can do is I can press, let's have a look three. I think it's three. No, it's not it's control three. And let's move it over into place, and it might actually be. No, it's not, it's the right way now. We can see. Luckily for us, these are fitting perfectly into place. The windows are a little bit big, but apart from that, I don't really care about that actually. I think that's going to fit in absolutely fine. Let's first of all, bring it out. Let's make our boolean like we've done many times before, so we're going to come in. Finally, one that's actually not that hard. Let's press, bring it out, press the F button. L et's press E, bring it out like so. Now let's pull those into place. We're going to put them into place like so. Then what we're going to do is, is that far enough in actually, I think, probably a little bit further. Then what we're going to do is I'm going to press Control three, and I'm going to bring them up. I'm going to press Zed going into wire frame, and let's bring this first one up. We're going to give it two ases. Let's bring it up. We can see maybe maybe it's a little bit No, maybe it's a little bit too big, but I think I'm actually going to go with it. I'm going to leave it by that. I want They're not quite leveled up, as you can see. Do we want them leveled up? Yeah, I think actually they are leveled up, so we can work with that I think. Let's do that. Let's go to our ray. Let's press a ray, and let's put it onto zero. And move it down and we should be able to get, much faster now as we can see. Now we're working to a little bit of a faster pace. Let's put it down, going all the way, and let's make sure that last one lines up relatively well, which I actually think it does line up pretty well. Now what I'll do is I'll actually apply that array and then we'll move it over to the other side. What I'm going to do is, I'm going to press control. Do I want to apply that or should I just actually duplicate it. Maybe maybe Probably we just wave duplicate it. I'm going to press shift. I'm going to zoom out a little bit, I'm going to move it over then to the other side. I'm going to make sure that this ones fit into place and the right height, like so, something like that. Now we should be able to join both of these up. If I press, going into solid, I'm going to grab this one, this one, press, control J, join them both up, and now we've got an array on each one, which is really really great. Now we can actually come in, grab this and this and that then should grab the arrays going all the way down. Now, let's come back to our hotel and let's see if we can get this boolean to work. Let's add modifier. Let's come in and bring in a Boolean, and the Boolean, of course, is going to be this here, and let's put it on fast and hopefully hopefully that has actually worked. Let's apply that. Let's come back to our balcony, hide out of the way, and there we go. Yeah, it's worked. Okay, I'm really happy. Let's press saltage now and get rid of this part here. Let's press delete and Vertices, get rid of all of those. And now let's come to both of our windows, L L. What we're going to do is pull those into place first. I'm going to pull these into place like so, and then I'm going to grab all of my balconies. Don't forget these little tiny bits as well. I should have probably brought it a little bit closer to get it back. I'm going to come grab all of these. Making sure I've grabbed it all and there we go, and then let's pull these back into place like so. Let's press double tap the A, and there we go. Just make sure you're happy with your windows being in that far. Let's put it onto cycles and have a quick, look round. And there we go. Absolutely perfect. Now, let's hide this out of the way. And that's look in really, really cool. Now, let's come in and apply our actual array, so Control A, apply that, and there we go. Now, finally, we need to bring in our door, so we can see. We've got a door on here, we might as well make the boolean for the door. I'm going to press three or Control three. Control three should do it. Then let's press Z, go into wire frame. Here is my door, so I can see it's around here. I'm going to just I think shift right click, shift date, I'm going to bring in a cube. I'm going to make the cube smaller. Get it to the same size as the door, like so. I'm going to press S and z then, pull it out, pull it into place. Like so. The one thing I don't want to do if I press now I'm going solid. I really don't want it to be too far below here. I'm just going to pull it down. I'm actually going to pull it probably a little bit further down into there like so to make the proper entrance. Finally, I'll come to now my actual hotel again. I'm going to add Mifi Boolean. Come in. Grab my cube, press Control A, delete the cube, and there we go. Now, let's come in and we'll grab This part here, Shift S cursor to selected tab. Now let's come to our assets. Basic door is here, as you can see, so I'm just going to zoom out. I'm going to bring my basic door to here. I'm going to spin it round, so R Z runway, R z -90, spin it round, and then shift S selections cursor, press the dot board, and there we go. Now, let's just fit it in properly. I'm going to pull it out. And put it in properly, making sure that it's actually fitting upwards as well as you can see here that it's now in place, pull it out. We can see that needs being a bit wider, so S Y, pull it out, t a tiny bit, making sure those hinges are fitting in place. Then it's up to you, how far you want to out? You want it this far out. I think that's probably better, something like that. Now what we can do is we can actually start actually bringing in some more of our actual assets. First of all, I would probably bring in our exit sign, so come in. Exit. Nine, bring that in, and let's spin it around. It's probably going to be our z -90. Yes, it is. Let's out, press three, that way. Control three. There we go. Let's bring that in and put it just above our actual door. Like so. Let's come out this way, where is it gone? There we are. Pull it out. There we go. That's looking pretty good. Now, let's think about our actual bins. If we come, put in bin. So and let's bring in the green bin, and we'll also bring in the brown bin. Then what I'm going to do is spin them both round. If I grab them both, z -90, Let's spin them both round and just get them into place, like so. I want it in the floor. Making sure they're actually fit in, like so in the floor. I look at that. Are they actually too far in the floor? And then let's pull this one out and then just rotate it a little bit. Z then let's bring this one and we'll rotate this one a little bit this way and pull it a bit closer together, like so. We've also got then our bin bags, and I'm going to bring one bin bag here, and then the other bin bag just on here, rotate it, so Z, and also probably just rotate it on the x as well, and then just put it a little bit closer together, like so. All right. That's that. Now what else we need to bring in is a couple of street lamps. Let's bring the first one in though. So if I put lamp on here, and then we'll bring the first one in to this corner here. Moping that I'll sit on there. Nice and flush. Actually, it has. It's actually sat on there really really nice and flush. I'm going to put my first street lamp on there like so. All right then. I think we've got another maybe a couple of street lamps to put in. Let's actually have a look at what we're looking like now, operate on cycles. There we go. That looks really, really cool. I'm sure you're happy with it so far. We can also as well come in now and we can get rid of both of these ones. We can probably keep this one. I'm thinking we should keep this one as well. We'll just let both of these for now. We'll keep this one and I think these actual are both the same. You can see I've got a side view there. I don't need that one anymore. Then we'll do is when we're bring in the small hotel, we can actually level this up with this. I don't actually think I need it all in there as well. I think I can put them out a little bit further to work on the next hotel. So something like that. All right. I take one more lo around. Yeah, I think I'm really, really happy. The one thing we need to do is as well, is we need to do the roof on the next one. So I think we'll do that bring in the other parts, and we'll actually get the roof view. I think it's actually on the pres seven. Going to wireframe. Yeah, the roof views here look of this one anyway, so we've got a little trap door. I don't actually think we create our trap door. Well, you can see, we've got I think we've got some air conditioners on top as well. No, they're not. They're actually the water systems, aren't they? So water systems, solar panels, and we'll bring this in as well, and then we'll bevel it off. All right, everyone. So lots to do, and let's get on with that, and I'll see on the next one. Thanks a lot. Bye bye. 113. Seting up & Working with Cameras: Welcome back, everyone Blender three, the ultimate stylized scene guide. Actually, before we go on any further, I think it's important now that we actually take a quick render of this. What I'm going to do, I'm just going to grab one of my references. I'm going to come over to the round side, press the little dot b. I'm just going to turn this off on actual renders. This p here turns off. You've not got this p here, click a little down arrow and just make sure this is actually ticked on, and then whatever you click on there will not be shown in the actual renders. What we're going to do is I'm going to click on all of these images. It should be all of these empties, I think, this one here. And then this one here, Yeah, over here. And then finally, this one here, which is this one over here. I'm just going to click all those off. I'm also going to click my little man off as well. I don't want him to be showing up in the actual renders, like so. Now what we're going to do is we're actually going to bring in an actual camera. I'm going to go for this back to my modeling. Like so, and I'm going to press Tab just to make sure I've not got that guy. Yes, I've not actually selected. Double tap the A, and now what we'll do is we'll bring in the camera. Now, the camera is going to come over, of course, we're Max cursors, and we want to put the camera here. But we're going to bring it in there anyway. If I press shift A, come down, bring in a camera, there is our camera. Now what you need to do just to bring the camera to the view that you actually want is just press control, old and zero, and there is your camera in the place that you actually want it. Of course, we can't really see a lot of this at the moment. All we need to do now is come over first of all, to this little of print icon. What we're going to do is reset the resolution for the camera. You'll notice at the moment, it's 1920 by 1080, which is greater than that, but we actually want to square image instead. I've come over here and put this on something like 2048. 20, 48 by 20, 48 like so, and now we'll have a nice square image of our actual render. Now the thing is at the moment, you can see that if I try and move my camera or move around with my camera, it actually just takes it off. If I press zero, though, it's going to put it right back to the camera image, and then all you need to do is press n, bring out view and then camera to view like so. Now what you can do is you can actually move around. With the middle mouse. You can actually press shift and move sideways, and you can actually press scroll in and actually move it in and out. Now the thing is, it sometimes scrolls in way way too fast, I'm just going to position it here. Then what I'm going to do is I'm going to press control shift. Push up with the middle mouse backwards and forwards and you'll see now that it scrolls in real, really slowly and really nicely. All right. Let's bring it something like that. That looks a real really nice image, let's bring it down a little bit. Now what we need to do is we need to come over to the right hand side, what we're going to do because we don't actually want to take a real great image of this, we want to turn the samples down. At the moment you can see on my viewport, is at 1,000. As I say, again, if you have problems with the viewport, turn this down lower. Now the render, we're going to put on 100 so we're going to make sure that our performance, under our performance is on 64 tiles as we've already spoke about, and then what we're going to do now is we're actually going to render out our image. Now, it's important before you do that, just make sure you save out your work, and also, it's important that you put it onto wireframe. Always put it on wireframe. The reason you're going to do that is because if you've got this on for instance cycles render, you're actually going to be trying to render this out twice. Blender is going to be rendering this out. And at the same time, is trying to render it in the viewport, so you don't want that. What you can do is to maximize the speed at which you can actually make a render, you're going to turn it onto actual wireframe. Now if you come over and go to render and go to render image, it's going to start rendering it out. You can see now, It's going to build up the scene really, really slowly in those little blocks. Then what it's going to do once it's done that, because we've actually ticked that de noising on, is actually on the top here, you'll see it actually says D noise in, and then it's going to be D noise. Now, once this has rendered out, what we're going to do is, we're going to actually go over to the composite in and actually set the composite up because then it's going to make it really good every time we render it then, it's going to actually recomposite all of those options that we've actually chose and give us that really, really nice image. One thing I didn't do on this render, which I probably should have done, is just got rid of the background and set the background, maybe to see through or something like that. But I think what we'll do is once this is rendered out, we'll discuss that after. All I'm going to do now is let this render out. Once this is rendered out, we're going to go over to Combat in, and it's basically just taking a break and getting it set up ready for when we actually want to make our final render. All right, everyone, so I'll see you when this is finished. Okay, everyone. So you can see that here is my render. Doesn't look great at the moment. We can see we have a problem in this. I'm hoping I can fix that. Don't worry about anything like that. Always happens where you need to go in and fix something. But the main thing that we're looking at is what this looks like at the moment. And more importantly now, blend it will actually save out this render. We don't actually have to do anything with this. All we can do now is go down to close, and then we can actually put this back on and actually have a why that actually happened. I'm actually moving my camera on you see there just going to click it off. I think it's just because I didn't actually apply on all of these subdivisions and things that. I'm having a look if I actually put on the viewport. I'm actually also going to press the little dot. I'm just making sure that I can actually see that. What I think I'll do is on the next actual render, just to make sure that I saw once I fix this, is just actually apply those. Put it on a cube first, then apply it and just make sure that wall is actually going to work properly. Enough of that, all we need to do now is actually come over to our composite and here we are. This is what you should end up with. This is your render result. Now you can see on here that it's not actually in here, but if I actually delete this and then bring in another rendered, render, Layer, bring that in and then let's plug that in to the image. There you go. There's our image actually in there, actually ready set up. Now what we'll do then on the next lesson is, I'm going to go in and show you how to actually do a really, really nice setup to get a really, really nice render from there. Then what we'll do is we'll actually come in, fix this, to make sure that we can fix it. But what we'll do is we'll do on a much lower render to make it real, really fast. From that point on, we're going to be doing them on a really, really low render just to make sure that everything is working correctly. All right, everyone. I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. Oh. 114. Learning about the Blender Compositor: Welcome back everyone to Blender three, the ultimate stylized scene guide. Compositing. Let's actually fix this now. I'm going to do is I'm going to move this all the way over to this side somewhere like that, and then I'm going to zoom in. Now, compositing is basically a node system pretty similar to the node system that we use in to make materials and things like that. The first thing I'm going to do is bring in an RGB curve, and of course, we know exactly what this does. I'm going to plug this into here. I'm dragging it down, plug it into here, like so. Then what I'm going to do is, I'm just going to grab it, and you'll notice straightway if I bring this down, it's going to make it darker or lighter. I'm just going to bring it down very, very slightly to something around here, just making it a little bit darker because we're going to use a few other things to actually create the light for us. Next of all, what I'm going to bring in is a u and saturation. So I'm going to press shift A, and saturation, and just bring that in. What I'm going to do is I'm going to plug in my actual RGB curves into my image of here, and then finally, I'm going to plug it in to here, and now you're able to see what exactly what this does. Your note at the moment, nothing actually changes, and that's just because I'm just going to move this over here on my other screen, just because we've not actually done anything with it, but you will see if I come in, Now you don't ever want to mess around with the u because the u is going to change all of the colors and make it really, really funky, and that's not something you want to mess around with. But you do want to change your saturation, and if you bring it up, you'll see how you can get loads and loads of vibrant or really gray it out. I'm going to do is I'm going to set this to 1.150, like so. Now the value basically is going to determine how much we actually bring in of the actual light, how dark it is, and things like that. Let's put this on 1.367, and that's going to brighten up a little bit. Finally now let's put the f on no 0.550, like so. There we go, you can see already, it's looking a little bit better. Now what I tend to do is I tend to sharpen my image up a little bit. I'm going to come in, I'm going to do a search. I think what I'm looking for here is a mix. I think it's a mix, have a look. No, it's not the mix. So I'm going to press shift A, I'm going to go to filter. The one I want to bring in is this one that says filter here. Under this one, you'll actually find if you come down, you'll actually see that says one that says sharpen. Now, let's bring in our sharpen, so I'm going to drop my sharpen in there and you'll see you end up with something like this. With this, you can actually use that then to actually sharpen up the image so you can bring it all the way down to zero. Or you can bring it up and just bring out a little bit, make it a little tiny a bit sharper. Now, what I would do with this at the moment, I'll put on zero. And then when you come with the actual main image, when you've actually put it up to a really high level to actually get a really, really nice render, then bring in you sharpen and sharpen it up a little bit. I might just put it on not point. Let's just try not 0.5. That's way way too much, I think I'm just going to bring it down now. I just zoom in a little bit and just sharpen it up. Just a tiny bit, and then zoom out and have a look at the sharpness on there now. I'm actually thinking that that's still probably a bit too high, I'm going to bring it down, jaws ti more, something like that, just to sharpen jaws a little bit. All right. Now we want to do is we want to bring in a little bit of glare. The glare is important, especially if you've got lights and things like that in that you actually bring in the glare because you can actually make streaks and things like that. What we're going to do is we're going to bring in our glare. I'm going to press shift and it shod be on the filter, and it's this one here that says glare. I'm going to drop that up there. Then what I'm going to do is, I'm just going to plug my sharpen into my image. Then what I'm going to do is I'm going to now Come into my glare and just set this up. And again, you can come around and mess with this once you've actually set it up. So I'm going to put on streaks. I'm going to put on medium. I'm going to put leave iterations on three. I'm going to set the color module 2.767, like so, and then we're going to set the threshold 215. So, streaks, and everything else can stay the same apart from this actual fade, which we're going to put on 0.750. All right. That's that. Now I want to do is I want to bring in some sunbeams as well. All we can do is in press shift. A, search. Let's see if we've got one that says S beams. There we go. So Beams. Then what we're going to do is we're going to drag the Alpha from here into the image here. All right. Then we're going to do with our sunbeams is, I'm going to just set this ray length on no 0.417. What that's going to do is it is actually going to make a little bit of light appear from a different place. So it looks as though there's actually sun within the actual scene, and that's what we're going to do. I'm going to do now is I'm just going to overlay these and then you'll be to actually see these in action fully. So if I press shift A, I'm going to do a mix RGB, So mix, and we're going to put this onto overlay like so. And then we're going to do is going to plug in my sharpen. So this one here, I'm going to plug it in to my image. I'm going to then plug my suben image into here, and then finally, I'm going to plug this into my image. And there you go, let it load up and there you go, you've see what you've actually got there. Looks really, really nice. Now, we're not done yet. What we're going to do is, we're just going to move this over a little bit over to the right hand side. Then what we're going to do now is, I also need to add in that glare. What I'm going to do is I'm going to press shift A. I'm going to do a search. I'm going to again put in my mix. This time now, we're going to put it as a ad I'm going to click the down arrow. Come down to add. Now I can do is I can plug my glare into the bottom of here and plug my image into the top of here. So let's also come down and change this overlay. So I'm going to put the overlay down to not 0.692, click on it. No 0.692, like so. Let it think about it, let it load up, and there we go. Then let's come to this next overlay, sorry, add and put this into no 0.692 again, like so, let it think about it. Then basically, if we plug this in now, if we plug this into our image, we should end up when it's thought about, it's compiling, like so. You can see it brightens it up as that little bit of sun and things like that. I'm just looking at my image and just having a good look around it. And I think I'm very very happy with how that's turning out so far. Now then, what we want to do is we also want to bring in the Alpha from this one here, so this Alpha and plug it in to the Alpha of our actual composite output. Put that in there. Again, let it compile, and there we go. Now finally, let's bring in two more. First of all, I'm going to pull this a little bit further over, and then what I'm going to do is, I'm just going to pull this a little bit further over, level it up. Now I'm going to do is, I'm going to bring in a color balance. Shift A, search, color, balance. This one here should end up with three of these, and let's plug them in like so. Again, it's going to compile it. Nothing should happen at the moment because we haven't changed the colors. And then finally, now, I just want to bring in a exposure. So shift day, let's bring in an exposure. Drop that in there, like so. Let it think about it, and the exposure, of course, is how bright, the actual overall seam is going to be. So we're going to put this on not 0.3. If you come down to here, put the exposure, not 0.3, compile, let it finish. There you go, you can see it's a little bit brighter. Now finally, let's come in and alter a few of these colors. The first one, I'm going to pull down a little bit onto the actual yellow. Again, every time you move this, it's going to have to compile, think about it, and you'll see how it's brought a little bit of that yellow tinge to it. Now let's come to this one. Let's put it a little bit on the blue. L et it compile again. Nice it's a little bit blue. And finally, this one, then, let's put it a little bit on this greenish color. Let it compile, and there you go. You can see just what we've done now. It's really, really subtle, but has a really, really nice effect. All right. Let Zoom out and let's actually have a look at this. I'm just checking on mine to make sure I've actually got everything in there that I need. I think that is exactly how I actually set mine up. Yeah. I think I'm happy with that. Let's have a look at this now, pull it out. Yeah, that looks really, really nice. I'm happy with that. Then going forward, we can actually see that this is going to look a lot there, really, really brightens it up. We should also end up with some glistening on here as well, depending on the angle of what we're taking of the ocean and things like that. Let's pull that back. Now, we've done that. Now, as I say, every single time we render it out, it's actually going to render it, it's going to denise it, and then it's going to add in all of this composite for you, so it should already be done for you. Let's now go back to our modeling. What we're going to do is I'm going to make sure that this is actually working before I actually do anything. A I'm going to do, I'm going to actually create a cube. So I'm going to press shift A, mesh cube. And the reason I'm creating a cube is because I want to take all of these modifications onto here. If I grab this cube and join it to this wall, press Control J, you'll notice Now when it actually thinks about it, that I should have put onto material before doing that, by the way, if I put material, now you can see that this cube has inherited all that, and now I can split this cube off. If I grab this cube with LP selection, and the reason I did that is because I don't want to actually put all of these things in again. That's the reason I'm doing that because I'm making some steps here, and I don't want to add all these in. I'm going to do is control Ay transforms, click the origins geometry. Come over to my actual cube, hide it out to make sure that it's not actually in the actual render, and then come to this now and I can finally add all these. Control A, ply the subdivision, let it think about it again. If it is a bit slow, just do it in actual y frame. It's probably going to be faster, so Control A. Control A, and they will get faster as they go down, as you can see, and then add them all in. Put it back on to material and you should end up with something like this. Now, the moment of tube, let's actually see if this actually works, to do that, though, all I'm going to do this time is, I'm going to put it on a lot lower. Maximum samples, let's put it on 100 just to make sure it works, and this should be really fast. Let's put it onto i frame. Let's press render, render image. Here we go. Let's zoom out, can see how much faster it's actually going to go. Maybe pray on even less if yours is not fast. I should still give you a good image because it is actually going to denise everything as well, and we're actually going to see the difference now in what this is going to look like once it actually comes to the end. I'll let this finish out. Just keep watching it though because it's going to be very fast once it gets up to here. There you go. It's actually finished. You can see our wall is looking really nice. We've got our sandy bits on there. There's some sand around these because it's actually tuck those and actually put those against there. That's very nice, and you can see the colors really really coming out now looks really beautiful. All right. What we'll do then on the next lesson is we'll bring just a couple more things into the scene. We'll actually discuss as well collections because that's really important. Going forward because we don't actually we want to weigh basically to hide some parts of the actual scene really, really quickly. Sometimes, having all those references and things and having a hotel that we've already built, that's going to gain the way, is really, really going to make it really difficult for us. So collections is what we're going to discuss next. All right, everyone. I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 115. Creating the Beach Steps: Welcome back and run, blend the three, the ultimate stylized scene guide and this is where we left it off. Now, let's do what we said. We're going to discuss collections as we said. Basically what we want to do is we want to hide this hotel and everything in it out of the way. What I'm going to first of all do is just hide all of these parts like so. Just hide them out of the way, for now, just so I can actually get just at this hotel. You can see that these are actually together, probably better off. Not doing that, so I'm going to split all of these off. If I press P, selection, and then I'm going to come to these parts, and I'm going to grab all of these. I'm just going to go round Press B, grab the press Control plus, to make sure I've got the P selection, and then just grab this, hide it, and grab this one, and hide it, and I'm actually looking at what that part is. Not even sure what that part is there for. I think it's just below there. I think what I'll do is I'll just delete the other way. I don't think I need that. Now finally, I've got a hotel here. I'm also going to hide the references that way, and this is what I should be left with. All right. So now, You will see over then the right hand side, if I move this down a little bit, that we have something called scene collections. We basically want to make a new collection. If I come to where it says scene collection, right click, I can click on new collection. Now, the new collection will always appear somewhere in here, down here log. I want to move that to the top. I'm going to drag it all the way up to the top, and you'll see there's a little bar in there, just drop it in there, and then we can call this hotel large hotel. Let's call it that and then we know exactly what this is, large hotel. No, large hotel, not just large. Like so. Then what I can do is now, I can come and grab everything in this hotel. B, grab everything in here like so and then drag it into large hotel like so, and then close that up like so. Close this one up like so, double tap the A, lt, bring everything back, double tap the A. Now to hide this hotel, all we need to do is come, click that bone, and there we go. Really, really easy to hide it. Now what we can do is we can actually work on our actual scene. Now, it's important As well, that when we finish, that we make sure everything is named, everything we can is joined together and things like that, and we really, really clean up the scene before we actually finish. But for now, I'm just going to file, save everything now, and there we go. Now what we're going to do is we're going to actually go. Add probably another light to this scene. And then what we'll do is we'll probably make these steps down here before starting on this main hotel. All right so let's do that now. So A I'm going to do is I'm just going to come in, grab my light, pressure of D, bring it over, and then Z 180, spin it around, seven to go over the top, and then I'm just going to put this lie near this bench, something like that. Make sure it's actually on the ground plane. Is not, not yet. There, something like that. All that looks pretty nice. Now, let's actually think about our actual steps. We can see if we grab our guy who is right on the roof here, let's bring him down and let's make these nice steps over here. I'm just going to bring him down. Now, mine I've not got railing or anything like that. I don't think I actually need one, I'm going to bring him up. I'm just looking at how big the actual step is. Let's bring it up. And I think the steps absolutely fine. I don't think anyone has struggle climbing on those steps, so that's the main thing. What I want to do now is think about creating our steps going down. I'm going to do is, I'm going to press shift S. S is selected. Shift A, bring in a cube. Then what I'm going to do is I'm going to create the bottom of here. I'm going to press S and y, pull it in. Pull it down. So pull it out, and now let's pull it up. I'm going to grab this, pull it up, just to there. And then I'm just going to pull it out now with E, so pull it out, and then I'm going to pull it out with E over here. Then finally, one I'm going to do is, I'm going to press Control two, left click, right click. And then I'm going to pull this down and then pull this down a little bit. Something like that, I think it's going to be absolutely fine. Now, let's bring in some steps and then we can see exactly what we're looking at because this might be a bit big. We also can join this with this cube over here, so press control J, join it up together, and there you go, you've got your actual stone in there and we can mess around with that once we've actually got our steps leading down. Now let's bring in our steps. All I'm going to do is I'm going to press shift A, bring in a cube. I'm going to bring it over. I'm going to bring my guy on there once I've done that. I'm going to press S S and Z, bring it down, and then let's bring our guy over to our steps. The first step, as you can see, is probably going to be wanting to be about there. I'm going to spin around then. O Z -90, spin round. Let's put him on the first step. I'm saying probably just under there like so. Something like that. Let's also, I'm thinking this should be a really big step. I'm going to pull it round about here, I think. Then what I'll do is I'll grab the back of it. Like so and pull it back into place. It's hidden under there. Then I'm going to pull this bit out and imagine if I pull it out properly, how big this step is going to be. Something like that, I think's going to be absolutely fine. Then what I'll do is I'll steal a part of this. I'm going to grab this, shift, bring it down and then press E and pull it back like so, and then probably pull it out like so. Now what I want to do is I want to bring my guy down to here and just have a look in, stud on there, how far is each side. I think actually that's look in pretty nice like that. All I need to do now is just to array this down. I'm going to get this LP selection tab control A all transforms, right click, origin geometry, Add modifier, add in an array, and let's bring it. First of all, this to zero. Let's bring it out on the y, and then let's bring it down on the Z, just two under here, bring it back up. There, something like that, and then let's array it all the way. Down to the sand. Now we have got a problem, as you can see. In that, the sand touches there, and this is way way bigger than what we need it. But you can just come in and bring it together so S and y, pull it together, like so. There you go, you can make it fit much nicer, something like that and he still his feet are touching it properly. Now finally, let's come to our rocks and you'll find that you can actually pull them around like so. Then what you can do is you can press old shift and click, grab them all, and I'm hoping that if I grab each one of these as well, and each one of these, that it should be able to pull it over into place like so. Now, I'm also looking in this part here. For press tab now, you'll see that's how it looks, which is really good, but I'm hoping that I need to pull this over and I need to bring it out a little bit. S and X, let's pull it more into place, and then SN X, like so, and that's really really fitting in place now. I'm happy with that. Now, this part here should already have the material on, which it has, as you can see. Now I can come in and I can get rid of this cube. I'm going to grab this cube, press L, and then delete vertices. Now I'm going to do is I'm going to come back now, pressing tab, pack stairs. I'm thinking with these stairs, could it get away, we've actually given them the same material. Maybe I could. The material is cold, so. Rock walls. Let's see if I can actually grab both of these and grive it a rock wall, this one here, and let's also give this the rock wall as well. See what that actually looks like. Rock wall. I don't think I did this on the other one. I'll also come in and apply my array, so Control A, grab this top, control J, join them both together. Now let's also apply all these, so Control A, because I'm happy with that anyway. Let's just go down and apply them all from the top, remember, like so, and that should be much easier to move around. Now let's think about what this actually going to. I'm going to put my cycles render on, b tap the A, and there we go. It it might be a little bit too much I'm thinking. Instead of doing that, what I can do now is I'll just go back two material. Grab this. I'm going to actually come over to my material, click the plus bone, and I'm going to call this new and I'll call it Rock stairs. Then we'll do is, I'll copy this material. Paste this material, so now I can do is I can actually alter this material. I'm going to do is I'm going to press question mark. I'm going to come to shading panel, and I think I'll have to press question mark in there as well. Yes, I will. So shade in. Then what I'll do is to put on cycles. Double tap the A. And actually, that's looking much better as you can see now, and I'm not sure. I think it's because if press question Mark, you'll bring everything back. Now I'm going to have to do it that way. Now before doing anything, I actually need to apply that on this. I'm going to click a sign. And now if I come in, I should be able to reduce that down. So you can see, I'm going to go the other way. I'm going to bring that up. And just reduce it down a little bit. So there's a little bit of sand on there, and then you can see that looks lots, lots now, too much sand on there before. All right, Let's go back now to object mode. Let's go to modeling as well. Let's press press question mark, bring back everything, and let's press file and save out. Now, on the next lesson, then what we'll do is we'll actually set up all of our references for the hotel, and then we'll make a start on this last hotel, and then hopefully, everything in place now so that when we actually come to actually render it out, we should have everything there. So there's not, we've got no composite to do. We've got no stairs to do. We've got none of that left. All there is is building base at this hotel and then getting a really nice render. All right, everyone. I hope you enjoyed that, and I'll see you in the next one. Thanks a lot. Bye bye. 116. Starting the Small Hotel Build: Welcome back, everyone to Blender three, the ultimate stylized scene guide. And here we are on the last actual hotel. So let's come in first of all and actually hide the large hotel out the way now. And then what we'll do is we'll come in and change all of these. So what I'm going to do is, I think I'll delete this one. In fact, I'll keep these two because I can use them then to actually bring in my other references. So let's come to the bottom reference first, and the one we're going to bring in, let's go over to our references, and we'll put the opacity up. For now, let's put it up, like so, and let's bring in, let's have a look. So we're looking for our small hotel, so we can see here, small hotel and the one over the top. So it looks like it's this one here. So let's double click that one, and let's get this one then into place. So if I press seven to go over the top, I'm going to press Z, going to wire frame, And here we are. This is the one. Now the thing is, I need to make sure that it is the right side. So I think that this over here is the parking meter, and over here then is the actual hotel. So if I bring this into place. Now, the other thing is, I've got to be careful because the road is actually going to go down here, so I need to make sure that I'm putting this in the right actual place. So I think I'm going to pull it just slightly over, like so. Let's bring it back there. Something like that. All right. So now I'm going to do is I'm going to bring in the next one, which will be this one here, and I need to probably bring in let's think about bringing in the front and then lining it up with this one. I'll show you how I'm going to do that. So I'm going to come over, bring in the front of the small hotel so let that load up. Let's find the small hotel so small hotel side, small hotel rear, small hotel front is here. So let's bring that one in first, and now let's get this lined up. So if I move it over to here, I should, if I bend it now by 90, so RY 90 and we can probably do it that way because this is going to be the front of here. So if I bring this over. And then what I'll do is I'll bring down the opacity, so let's bring it down. And now we should be able to see exactly what we're doing. And hopefully, they then should line up. So if I bring this over, you can see that the line up pretty much perfectly now, so you can see just need to bring it over a little bit like so, and that then is lined up. And now can simply spin it back. So y -90, spin it back, and hopefully that then is in the right place. So that is going to be the front. Of my hotel, which is this, and now I can turn up the opacity again, and there we go. That's the front. Now, the other thing is, I'm going to put all these as well into an actual group, and I'm going to do that because of the fact that they're going to get in the way as well. So let's put it back onto object mode, and let's just pull this back just to here for a minute. And then what I'll do is I'll grab, I'll hide this out the way. I'll make a new collection, so let's make a new collection, and we'll call it Beach. So let's do new and collection three, and let's call it Peach. Like so, and then we'll open up our collection. And now what I want to do is I just want to grab all of these things here. So I'm going to go in. I'm going to grab all of these little parts here, even the hot dog stand. This path here, this here, and anything that's really going to get into the way of me actually building this hotel. I've got a nice clean area to actually work on. All of these, and let's drop I'm going to go down and drop them into beach. This one here, drop them in, hide them out the way. Now when I press three to go into front view, this is the view that you should have. You can see, of course, that it's not lowing off down now as well, so that's the other important thing, so I'm going to bring it down onto the ground plane like so. All right. That's looking right. Now if I press ol tag, let's bring everything back. And I'm going to press where is it? We are we? Let's bring the large hotel back as well. And I think actually, it's bring the beach back, and n for press oltge, and the little question mark. You can see that I've actually deleted this cube here, so I'm going to have to bring a new one of those in. So I'm going to probably again, hide my large hotel, hide my beach, and let's bring the cube in again just to get the right scale. And the scale, of course, is around here as we saw. If we press seven as well, press Z to go into wireframe, we can also see that the scale of this is going to be roundabout, so we can see how this bends in. But it is this bit round here. So you can see round here, this is the bit that I want to make a start with. So if I now press shift S, Shift S, cursor to selected, seven again, and it's come over the for some reason, I wanted it to come actually into here. So grab this. There we go. Shift S, cursor selected. Let's bring in a cube, so Shift A, not a plane, a cube, Shift A, bring in a cube. Let's make the cube bigger, S, bring it out. I'm going to bring it over. I'm going to make it probably a little tiny bit bigger and then try and move it into place, so something like that you can see is fitting. Fine now, and then I'll just move around to this side, press the tab, I'm going to grab that cube then, press seven, and then bring it out to this point here because these bits here are actually stuck further out. So this is actually the floor that we're dealing with now. We are going to pull it all the way up, but then we'll be actually cutting it away. So don't worry. It just gives us a reference to where we actually need to be. And then all we're going to do is we're going to come underneath now, grab the bottom, and then we're going to pull it up onto that ground plane. So if I press into solid mode, I can see now where that's actually going to come, so it just disappears just past that. Remember around the back as well, we'll also need the actual parking spaces. All right. So now let's press three, let's grab it first, press three, and let's bring it up, where it actually needs to be. So something around there as we can see, and this, I think will make a good start of where we need to be. Let's just press three again and just have a look at this side because I'm a bit worried about the side a little bit out. So if I pull that back, let's have a look where it's going to start. So it's going to start. If you can see here, it's going to start down here. So this is the actual bottom pit starting down there. All right, so that I think we can actually work with. So what I'm going to do now is I'm going to actually cut this away where it needs to be cut away. So if I press Z, going to wire frame I'm going to cut it away around here, like so. So if I press Control, left click, bring it down, and that is where we're going to cut it away. And then what we're going to do now is we're going to bring this bit out. So again, I'll press Control and get it really, really accurate, bring it down. To around here, and now I'm going to bring this bit out to the size that it needs to be. So we can see at the moment, if I press Z going to solid now, you can see that's what we've actually got. And what we're going to do now is bring out this piece, and then we can start working on the pieces upwards. Now it's important because this is a fair fairly complex piece to actually build. So that's why we're actually doing in this one in stages, a little bit more difficult. So I'm going to do is I'm going to grab this around there. I'm going to press three again. I'm going to press E and then enter. I'm going to press Z to going into y frame, and then I'm going to press t S, and then I'm going to just bring it out like that. I'm hoping maybe that it went came out all in one go. If yours doesn't, just reset your actual transformations. All right. So that's that there. Now what we can do is we can actually split off this part here, so I can grab all of this, grab the top of it and just press y, G, just make sure it's split off like so. Then what I can do is then come down to the bottom of here now. And I'm going to actually just bring it up a little bit like so, and we're going to, in fact, we'll use this actually to create this part here. We'll create this part here underneath, and then I think we have to bring it in a little bit. So yeah, we can use that. We'll do that first. We'll bring it down to here, like so back to there. I'll press three again. And then what I'm going to do is I'm going to grab it all now, so L, and then I'm going to bring it in now. So if I press, let's say let's press So let's press this head again, going to wireframe, and this is going to be where it comes in. So if I press control are here, bring it down, so bring it down like so, something like that. I think actually I can get away with actually using this. Let's now split this off as well. If I come in and grab all of this, going around here. Shift and click trying to grab it going all around there, which is not working. So I'm going to pres, go back in solid, and then I'm going to grab it going all the way around there. I'm going to press y, G, and then split that off. Now what I want to do is pull this bit back a bit. If I press three, press Z, going into frame, and then come to the front of here, three again, and then you can see that this comes back around here, and this is the actual post. Now, think at this point as well, that it's pretty important if you actually take a look. At the actual reference. Zooming here, you can see we've got a post down here, and what else I'm going to do is, I'm just going to move this over. I'm going to press shift d and bring it out, and I'm going to bring in an actual side view as well, just see we've got an idea of what we're actually working towards. So if we come in and we look at our where is it main image side view, I think we're looking at. We've got three, rites. This one here. You can see We've got a post here, we've got a post here, and we've got these running up here like so, basically, that's what we're actually trying to achieve. I'm not sure what those dark shadows are there. I'm not sure if I've actually got something that actually took away. I think they are actually posts actually that was holding it up. So I think also these actually looking at this now was also the ambient occlusion, just being set a little bit too high. It's a good job that we've actually set a little bit lower. All right. So now we've got that. Let's pull it then past these actual posts. So if I press said, going into solid mode, and it's this one here. So if I grab this, this part here, I'm going to just pull back Over here, I'm going to press three, and now I'm going to press dot to zoom in, and now I can see where I need to pull it two, which is here so that post can actually sit on there. Okay, so we've got that main bit then then. Then what we need to do on the next bit is, we're going to actually create our window. We're going to fill in this top, and then we're just going to work our wheel creating the main bulk of this actual hotel. Once we've done that, then we can get these nice stylized parts actually in place. All right, everyone. So I hope you enjoyed that, and I'll see you on the next one. Thanks a lot, bye bye. 117. Creating the Small Hotel Greybox: Welcome back at Blend three, the ultimate stylized scene guide, and this way I left off. Now, let's come to this part here with our actual edgeck. Let's grab this edge, and then what we're going to do is going to press control B and bevel it off. So and then you're going to turn up this bevel just to get that nice actual roundness of this actual window on here. All right, so I'm happy with that. I'm not going to do anything with the window yet. What I'm going to do though is, I'm going to actually split this off. So I'm going to press control. And I'm going to bring that in now, so I'm going to bring it across. What I'm going to do though is I'm going to press seven. I'm going to go into wireframe, so Z going to wireframe, and we can see that I need splitting off to here. I'm going to split it off to here, and I'm going to split this one off to here as you can see. So let's put it over here. Like so, and then we're going to bring in one more, so control. Left click. Bring it over here, like so. Now what I can do is I can come round and I've not put that one in the right place as you can see, so I'm going to grab it again. I'm hoping I'll put that one in the right place. So there's that one in the right place. Let's press control on here, so control Left click, bring it over, seven to go over the top, and now we'll move it across. There we go. That's looking better. All right, I'm happy with that. Now let's bring in these sides now. If I come to face leg, what I'm going to do is, hopefully, I'm going to delete this first so we can delete this part. Z again, go back into solid and then let's delete this off, delete and faces, and now let's fill in this face. I'm going to grab this one and this one fill it in with F, and then this one and this one fill it in with F. Now, what we need to do is go over the top and I need to bring out these two outcropping parts, there's one this side, and there's one this side. Let's bring those out. If I go over the top again, I'm just going to see where they are first. I think I'm going to have to pull it back. We're just checking it out. You can see that I'm going to have to pull the whole thing back to here. And they're going to have to pull it out to here and then put a couple of edge loops in here to bring these parts out. That then is going to form this nice part on there when we actually use the insert measure. So let's do that now. So if I come round, I'm going to press Z, I'm going to go into solid again, and I'm just going to grab this part on here, and I'm going to pull this back now. So I've great grabbed, I can press seven again now, press the Z button, go back into wi frame, and now you can say, I can pull it back to here. I can also then as well, pull this here, so can press control, and hopefully, I'm going to grab it going into there. I think I am. I don't think actually it's this one. I think that's the wrong one again, so I'm going to press control. I'm gonna press Control Z. Gonna press Control law, to go round. Left click, right click. I'm going to put another one in as well, C S Control Law. Let's put it here, left click, right click, seven to go over the top, and now I can see them hopefully both in here. So I've got this first one, and I'm going to move this out to round about here. And then I've got the second one, and I'm not sure where it is. I think it's there. There it is. Shift shift and click, seven to go at the top, and then let's move that one out here. And you can see how these perfectly line up, which is really, really great for us. Now what we can do is we can come back to Face let, select this face, if you can, seven again, and then we're just going to press E and pull it out along there, and then go back to the other side now, grab this one, seven, and we're going to press E again and pull that out along there. All right. There we go. Now, let's press seven, go back into solid, and we've pretty much, near enough, got our main part of our bat build actually done already. So that's looking pretty nice. Now what we need to do is we need to put this part on here, and then we're going to come around and put these parts on so. All right, so let's make actually this part first, so you can see it comes from this actual part here. The way that actually works is it just sticks out past this point here. I can actually probably use this to create it. I'm going to do is I'm going to grab this part. I'm going to press shift D, and then I'm going to press P selection, and just split that off, and there we go. We've got our part, control A now, all transforms, click, set Oigin to geometry, and let's use that then to actually bring it out. If I then use a solidify, create this little part here going around all the way back down to the bottom. I should then be able to have a really, really nice piece of mesh and be able to just solidify it. We'll do it that way. If I now press three and come in, press the tab button. Fact, let's see if we can actually grab this first before I actually do that. So there we go. Let's press three then, and now we should be able to jaws create this. If I press, let's go actually. If I come up to, let's say here, I'm going to press E and Z, bring it up. Let's press Z as well, it's going into y frame because it's really really hard to see without that. I'm going to bring it up to there. And then what I'm going to do is now I'm going to press E and y and bring it over. So all the way, over to let's say, so follow this line here, bring it back, bring it up, like so and bring it back a little bit more like so and there you can see now it's going all the way to there. Now what I'm going to do is, I'm actually going to bring it all the way down all the way back to round about the bottom off here somewhere. Let's see, and we need to line that up as well. So if I press key and Z and bring it down and now G it, I can see where it's going to come to, it's going to come to the center of there. Just a little bit up like so. All right. So now, That's looking pretty nice. Now I'm going to line it all up once I've actually be leveled this off. So the first thing I'm going to do is just grab this edge. I'm going to press three again to go into side view, and now I should be able to level this off on the inside. So if I press control B, bevel it off on the inside, you can see that's perfectly leveled off not. I'm not even going to mess around that actually, so close to it. Now what I'm going to do is grab the other part. So come round here. Grab this part, three again. And then I'm going to level this side off now, so control B, level this side off, like so, and there we go. That's looking really, really nice. Now if I press, go back into solid, you should be left with something like this. And that's exactly what we're actually looking for. Now what we need to do is we need to actually solidify this off to the same size as this part here. Let's see if we can do that. Let's grab it control A. So let's press Control A. All transords, right click, Oigin' is geometry, and let's come over, bring in a solidify. Let's also save out our far because we haven't saved it for a bit, and let's press three now. Go into the main view, and that's put on even thickness, and then bring it out this way. Like so. Even though it's not actually perfect, I'm actually happier with it, and I'll tell you why I'm actually happier with it. Because on here you can see it wasn't quite right, how I brought that out. On here you can see it's near enough perfect, and that's exactly what I'm looking for. Now, the other thing is, I want to bring this out very, very slightly. If I press S and X, just bring it out, just pass there, so that looks a lot more realistic. Finally, then what I'm going to do is I just want to make sure that this is just dropping below this part down here. If I come to this part, you can see that this is where I need to actually fill this in. For now, let's hide this out the way, Let's hide this part out the way. I'm going to do is I'm going to grab this LP selection, split that off, hide that part of the way, and then what I'll do now is I'll fill this in. You can see here I've got a little bit of a job to fill this in, so I'm going to fill this in, so Alt shift and click, and I'm simply just going to press F now because I'm going to fill it all in with proper actual polygons once we actually get a little bit further into this built. Now, let's bring everything back with Al tag. And then what we can do now is we can see that this one is not dropped fur enough down, and this one as well has probably not dropped furbug down. We can also see that this window need to pulling back a little bit because at the moment is too far stuck out over here. What I'm also thinking as well is that I also need to pull this out a little bit. So I'm going to do is first of all, I'm going to grab this side like here, I'm going to grab this rather than alter my window. I'm just going to check. So I I go over the top, press seven, so I can see this is where it is press Z, going to wire frame, and I can see that I probably need to pull it out all the way to here like so. There we go. And now we should be able to just bring this out a little bit further, so Zed, solid, bring this out now a little bit further because I still want it to go in there, and I still want it to jaws poke out to it. I'm jaws going to drag it over a little bit and then press S and x and just bring it out, making sure that it's jaws touching this part here, and it's also just poking out, maybe a little bit more, something like that. All right. There we go. And you can see now this window looks so much better because we actually did that. All now we want to do is just drop this this side, down a tiny bit. I I grab this side in face elect, let's grab it hopefully. Let's grab it. We can't grab it yet because we need to apply our solidify. Let's actually press the tab and actually apply that. And then we can come in now and grab this face and pull it down. Two here, and then I'm going to grab this base and pull it down to here. And the reason I'm doing that is because I want to level them both off. And the way I'm going to do that is, I'm just going to press L now on it. I'm going to press three to going into front view, and then I'm going to come up with mesh and come to bisect. And now what we're going to do is just level them off perfectly. So if I grab both of those, make sure that these are on zero. Already told you can see this one isn't quite on zero, so just put on zero. And then what you want to do is clear let's have a clear the in it, and then also fill it in like so. All right. So now I'm happy with that, and now can just pull that all into place, holding the ship board, making sure that it's just coming below there. And there you go. Absolutely perfect now. So now what we want to do is We want to actually start building this out a little bit more. I think we need two little grooves that are going to go on here. If I press seven, you'll see if I press going into wire frame again. We've got these two little grooves that just sit on here. Let's actually think about creating those. I'm just going to make them slightly bigger or should I actually use actually this to create them. Let's have look again at our mesh. If I press going solid and just looking at my mesh on here. I could actually use them to bring them out on here. Would it be worth doing that or I could just put them on the side? I think actually what I'm going to do is I'm not going to do that. So I'm just going to press Shift S, and cursor to selected. I'm going to press tab shift A and bring in a cube. I'm going to make this cube smaller. And I'm going to put it just over here and then I'm going to shrink it to the size that I needed. So I want it just below there. Seven again, let's put it into wire frame once more, and then let's bring this down, so let's press S, bring it down. Let's press controls, so I can grab it again, bring it out, like so, like so. Let's have a look now at what that looks like. So Z, solid. Let's pull it up. So it's jaws below there, and then let's grab the bottom of it, and let's pull that down. It's just above here, like so. And then if I press three on the number pad, I can grab this going to y frame, and then press L, wherever I can grab it. There we go. Now I can see that ones here and one, I think is this side here. It's a bit hard to see I guess, shifty, I'm just going to move it over there. I will check it as well, so I'll press seven as well to go to the top. I'm just going to bring it in bit hard to see actually that side, so I'm just going to pressed now back in solid tab double tab the A and there we go. Now, we're really, really making progress. So I think what we'll do actually on the next lesson is, we'll actually cut start actually creating this Boolean to go into here, and then we're really, really going to have a great feel for what this has actually looked like. Now, the main part of the hotel is actually nearly built. We just need a few extra parts on there, and obviously we need our car park, but it's really, really coming together. And then it's basically about actually putting in the doors and all the balconies and things like that. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 118. Starting the Front of our Small Hotel: Welcome back, everyone, to Blender three, the ultimate stylized scene guide. Now, let's start with these windows. Then we'll do our door, and then we can actually work on this other date that goes around there. So if I press three to go into front view, I'm just going to press Z just to get my bearing, so wire frame. We can see that all of this, we might as well cut out. All of this, we might as well cut out each of these because this center point then is going to be created by our actual center point that we actually made on the actual balcony. So that's going to go in there. As well as that, we can see the size of this balcony is going to be dependent, so how far the depth goes back on our actual balcony that we've actually built. So to say that, what we need to do is we need to first of all, bring that in. So if I come into assets, and let's have a look for our balcony. So if I come over, let's put it on actual balconies, and let's look at the one that we've actually built. So it's this one here as you can see. So if I just pull that into there, And then what I'll do is, I'll just a look at it. I need to spin it around, so z -90. No, it won't be. It would be our Z 90, let's spin it round, and then we can see what the depth fact is. I'm just going to pressure S selections cursor keep offset, and there we go. We can see now the depth of what that needs to be pulled back to. I'm just going to pull that back to something like that. And then what I'm going to do is I can see now that if I grab this balcony I can put it the other side with this. So I can fit them into place in other words. All right. So that gives me a good idea of how far back that needs to be. I'm going to also hide this out the way because I'm not going to need that right now. And then what I'm going to do is, again, I'm going to bring in a cube. Shift A, let's bring in a cube. Let's bring that in. Let's press three to go into front view. Let's press Z to go into wire frame, and let's start measuring these up. So if I grab this, I'm going to press S and Z, bring it into place, something like that. Remember the balcony is a little bit smaller than that because obviously the window comes up to here, as you can see. Now I'm going to do is I'm going to pull it back into place. I'm going to grab it to there. Then going to grab the side of it, press three again, and I'm going to pull it back into place over here. Then finally what I'm going to do is I'm going to grab the whole thing, press seven to go over the top. Now I'm going to do is, I'm going to pull it back into place just in front of there. I know this lines up. Now finally, what I need to do is I need to level up the back of here. To be probably just in front of this actual balcony here, this window. We need to pull the window back. I think I'm probably going to level it up just in front of this part here, and then we need to make another boolean for these parts in there if you get me. I'm hoping it will make sense the further we go on. I'm struggling, actually. Yeah, there it is. There is my actual balcony. There is the center point, now can come grab the back of here, press seven again. Here is the center point, and I'm going to pull it back just in front of there like so. That's probably going to line up perfectly now, and now let's have a look at the front again. Three. What I'm going to do now is I'll actually array it. I I come down to array, ray mesh, let's put it on zero. Let's put this on zero, and we want the Z obviously to be coming down. Z coming down and I'm just wondering. That's not actually doing anything. Let's turn it up. Why is the ray mesh? I'm not going to ray mesh on there. Let's press Z going solid. I think it's probably use. There we go. Because I was in actual edit mode three. Z again, wire frame. Let's bring it up now to the place I want it to be. So hold in shift, bring it up like so four, and there we go, something like that. A There we go now Let's press Z, go back into solid, and now I want to do is boolean it off, so I'm going to grab this. I'm going to press control A or transforms, click Sgen geometry. Now let's boolean. Add modifier, bring in able in, and let's click on this bole in here. Let's apply that control A, hover over it, and let's now delete that other the way. There we go. Now, We can just bring this up just to sit on top and it should sit on top absolutely perfectly with this bit kind of hanging out like so. And if I pull this over this side now, I can kind fit it into places like so. Now, the moment of truth, what we need to check now is to make sure that this is going to go the other side as well. If not, we just need to make them a little bit thinner. So that's what we're going to do next. So if I come in and I'm going to grab this, this and just all of these parts, except the center console, and then all I'm going to do then, I'm going to grab this as well. I'm going to press three. And I'm going to actually look on wire frame. So, here you go, you can see it's probably a little bit out. And basically, I want to mirror this over the other side. So I think what I'm going to do is I'm going to split it off from this center balcony for now. So I'm going to press P selection, like so, and then I'm going to grab this now, controly, all transforms. Come back to my center balcony because I can use that then to actually put the mirror, the orientation of this mirror. So if I press Shift S, If a press Control A transforms right clicks at origins geometry, now press shift S, curs selected back to this part here. You can see as well that I'm going to have to lift it up a little bit. It's a bit too low. And then what I can do is right click origin, two, three D cursor add modifier, and bring in a mirror. Let's see how far it actually is out. We can see here. Then it looks to me like it's miles out at the moment. So I need I've got a lot of work to do here in other words. So what I'm going to do is, I'm going to come in. I'm going to grab my window first, and I'm going to sort that one out first. So that's the easy one. Let's bring it up then, so we can see it's roughly in the right place, something like that, and now let's come into this actual balcony bit. I can see that it's probably going to be this window. So this one here, I come back. To this, that needs sorting out. I think we'll go back in solid because we can actually see what we're doing now, and there we go. You can see what we're actually looking at. We can see that it's also this part here is not centered, and that's another part, Another issue with what actually we're doing here. And you can see that these are nowhere near centered as well. I think rather than center it around this, I'm going to have to actually move this part. So what I'm going to do is, I'm going to come in. I'm going to grab this back wall, shift S, cursor to selected, and now grab this part and then shift S and selection to cursor keep offset. That then is going to put it bang in the center and now can finally just pull it out just beyond that. All right. So that's looking good. Now what I need to do is I need to grab this, I need to set the orientation to that part there. So right click, set origin to three D cursor, and there we go. Now we're actually getting somewhere, and now these are more in place. Now the thing is you can see that they're a little bit too low at the moment, so I need to bring them up so that we've got a little bit of a gap under there and that looks fine. And now you can see that it's this part here that I need to bring over. You can see this part fits in perfectly both sides, so that's really, really good. Do I need to put them back a little bit? I don't actually think, so I think they're looking really nice. What I'm going to do now is and then hide the center point out the way. I'm going to come in to this part here. I'm going to grab this part and this part and this part and bring them over to where I want them to be. I'm going to bring them all the way over to here, and then what I'm going to do is I'm going to move them back. I'm going to bring them all the way over here. I'm going to move them back once I've actually got this then into place. To get this fit into place, let's see if we can actually do this an easy way. What I'm going to do is I'm going to grab this one and come down to this one here, and then we're going to press control plus, and I'm hoping that with that, I can actually move that. I move it? Yes, I can. Perfect. Let's press tab, ol tage, bring back my center console, come back to this part, press tab again, and now we can actually pull this in place. If I press three, it's going to front view, I can realistically see that this is the gap from here. From here to here, so now I can pull it over like so, and now I can actually bring in these parts. Let's see actually if we can bring in these, to the place that we want them. And you can see that I need to grab this one as well. And then I'm going to pull it into place. And I'm looking at the gap from here to here and I think, I need to do it a tiny bit more. I'm going to grab this one. Come down, a bit fiddly, control plus, press three, and now just make it a tiny, tiny bit more like so and that looks perfect. We're in solid mores. Actually ever look at that. So double tap the e. There we go. That's looking really nice. Now what we need to do is we need to think about and bring in these down and then actually creating our Boolean as well. Let's think about our Boolean first. I'm going to come in. Being as this is actually mirrored, I can create one on the other side as well. So that's great, and then we can mirror them down. Sorry array them down. Let's come in and t shift and click. You can see that I'm struggling to actually get that. What I'll do is instead, is I'll just come around to this edge and try and do ult shift and click like so. Then I'm going to press shift D, bring it out. There we go. Then what I'll just press is round the edges. I'll come round this edge first. T shift and click, press the F button, and then come to the front, t shift and click, press the F button, and then find what we'll do is we'll pull these out, so L, and then S and X, pull them out, like so. Then I'm going to split these off, so P selection, split them off. And now I'm going to press Control A, all transforms. And what I want to do now is I want to set it to this center. So right click, set origin, two, three D cursor, and there we go. Now I can pull these back into place like so. So let's go. Maybe we can get away with going over the top or can we do it without actually doing that. Pull them back into place. So we can see here that's a little bit stuck out. I can see if I come round here, how far it's actually stuck in, so that's really handy. And again, if you can't see in, just press the five, and there we go, we can pull them back to something like that. Alright, so we're pretty much set up now to actually bring in our ray to actually actually bring these in. So this is probably one of the hardest parts. Alright, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 119. Creating Complex rounded Windows: Welcome back everyone to blend the three. The ultimate stylized scene guide and this is where we left off. Now, let's see if we can get these arrays in perfectly. If I press three, let's press Z, go into y frame, I can see that these are roughly just a little bit above it. I can see that they kind of line up to there. So I I line them up probably to around here and here the same as this, then maybe we'll get away with that. Let's press addfi Bring an array. Let's put this on zero, and let's first of all, bring in the Z, so bring it down, holding shift button, and I'm thinking that probably roundabout there looks absolutely fine. Now let's increase it by another two, so one, two, and you can see we're a little bit out now, so we need to bring it up s to tie like so and you can see probably a little bit more. Maybe a little bit less. Let's Let's just put click on this and put seven and see where end up on that. It's somewhere in 6-7. Let's try 65, and there we go something like that. Let's press sad into solid. What I'm looking for now is this gap under here. If I double tap the A, you can see we have any gap under here, and yet at this one, we have a nice gap under there, so I'm going to have to lift it up even more. Let's put it on 68, something like that, and that's the wrong way. We're going the other way, so 62 There we go, we've got a bit of a gap, maybe a little bit more. Let's try 60. I'm looking to see if I'm happy with that gap under there, and I'm looking at the rest of them. The gap is still probably not high enough. Let's try 58. So five and eight. There we go. That looks a much better gap. I'm happy with that. That's a much better gap. Now, let's see if we can actually grab these parts here and copy the actual array. Can I actually copy an array? No, I can duplicate. I don't really want to duplicate. I thought we could actually copy it. We could, I guess, join these together, and then it could try it that way. Let's grab this, grab this, press Control J, join them together, and let's hopefully have these in the right place. I'm just going to look round. I think, actually, how has that worked, have a look. We can see one problem in. I need to bring them down a little bit on each of these because I don't think the window is going to actually go in. Let's just hide this out of the way a minute. Let's hide this out of the way. And the window on this, I don't think it's going to work properly. But I've actually made it out far enough. So it's probably actually going to be okay. All right. Let's press oltge, bring back everything and let's give it a try. Now I've done that. What I need to do is I need to obviously split all of these off. I can grab all of these with L and then press P selection, split them all off, and then I've got them there like, like that. You can see that I do have a problem now in that, it's raised it up again. That's not what I want. Let's actually press Controls, go back like so. I'm thinking now, what's the best way to do this? I'm probably going to have to pull all of these ones out a little bit just so they don't actually bevel off. I'm going to grab all of these. I'm actually going to press A Pull it all out, and then I'll just grab this part now, and I can actually see. That's actually a good idea because now I can actually see what I'm actually doing. I'm going to pull that in so go around the back, pull it out a little bit more, and let's have a look now. Yeah, y, that's looking much better. Now let's actually give this a try and hopefully it's going to work. So we'll actually see. What I'm going to do is I'm going to come to actual building, add modify it. Let's bring in a Boolean and let's click on these for the Boolean, and let's actually apply that now, so apply that, and then let's just hide these out the way, and let's have a look. I think that's actually worked, and it's worked really nicely. Now the thing is ever gone back far enough is the question. And I'm thinking probably so. I'm thinking I might want to go back a little bit further. What I'm going to do is, I'm just going to press Control Z, bring them back, bring back the Boolean before I actually use it, turn it off a minute like so, and then let's come in and bring these back a little bit further. I'm just going to press tab. I'm going to grab all of this again. This one here, press tab L, make sure I've grabbed it, and let's pull it back. A little bit further. Just make sure it's still out the front, which it is. Now let's once again do it again, so we're going to grab it, modify it Boolean. Click on my window, press Control A, and now it's had those out the way. Yeah, and there we go. That's much better to me. All right. I'm really really happy with that. Now, let's finally, we've applied our Bo and we can get rid of all those now, so fi press ol tage. I can bring I can actually, I'm thinking, can I apply my modifier? Probably not yet. I need to actually delete that. If I delete it, am I actually going to change this? What I'm going to do is I'm going to delete vertices, and there we go. It's not actually changed anything, so that's really good. So now I can actually pull these back into place. Like so and then my windows actually already fitting in place. Now I just need to look. Am I actually happy with where that window is? It's still a little bit stuck out. So I'm going to grab a window like so, and then I'm going to pull it back into place like so and yeah. Okay, I'm really happy with that. Now I can finally come in. I comply my mirror and I comply my array. And there we go, we're actually finished. Now, let's press all tag, and we can see that we didn't do this part, but this part we can actually bring down anyway. So I'm just looking at this, I'm going to pull it just a little bit up into place like so. And then I think I want to bring down the bottom actually have it. I'm just going to grab the bottom. I'm going to press control plus and bring it down just to there, something like that. All right. Now I think I'm going to do is actually going to bring this down on its own, actually. So I'm going to press three, Z go into y frame, and now I'm going to bring it down. I want it. You can see it's just sat on the top of there. So if I press sift D, I can bring it down. If I zoom in, we can see that it's just going to be sat on the top of their like so, and then shift D, bring it down. Again, just going to be sat. Actually, I've got that. Now, I've not got that line here. I'm going to use this one here, on the top of their like so, and then shift, the final one, bring it down, and sit it just on the bottom of there like that. Let's press, go back into solid, and then we can fix them if we need to. Double tap the eight, and what I'm looking for, because all of them have a little bit of a gap underneath. You can see this little bit of a gap. So now I can just come in, bring it up slightly. Same on this one. Rub this one, bring it up very slightly like so, and finally on this one. This one, it's not going to be as far down anywhere I don't think, so I'm going to bring it down slightly like so. Now I'm thinking, D O actually want them stuck out or do I want them in the wall? I think I'll just grab them all now. And then just pull them back and look what they look like actually in there. Yeah, and I think they actually look better like that anyway. Double tap the A. Yeah, that's looking real nice. Let's join all of these together, and let's join together with this, so control J, like so, and they've already been all leveled off anyway, so that's great. All right. Now we can actually move on to our actual window. The window needs actually coming in first of all. I I come, I'm thinking I'll probably do it from From this place, here is where I'll bring it in from, I think. First of all, what I'm going to do is I'm going to click on it. I'm going to grab it, I'm going to press Control, two left click, right click. And what I'm going to try and do is actually create a frame for my actual window. If I now press Essens ed, I can bring those out if they're on medium point, medium point, Essens Ed, pull them out, and then that will be the bottom window frame for me. And now I should be able to actually bring this in, maybe from this one actually, bring it in and start to create that window. Let's see if we can actually do that. So if I grab this going all the way around here, Yeah, I'm going to bring it to here. This one here. I'm going to also press tab control yl transforms, click to Origins geometry, and now grab it. Now before I do this, I actually want to make my actual where is my wall coming up to on this side? It's probably going to come to round about here, so I have a press Control law, bring it over. I'm going to have it up to there, that'll be enough supporting over that side, and then I'll also have a piece of wall probably along here. I'm also going to press Control law. I'm going to bring in just another supporting piece of wall, probably something like that. Now what I've got at the moment, I've got this going over here. So this is here, so this is like the sport wall. What now I need is an actual frame going around here for the actual window. If I come in and we'll grab it going all the way down here, we'll press tab, Control Al transforms right click origins geometry, and now press the i button. Now you can bring it in, and you can actually start to create that frame and the actual window. The other thing is as well, is, I'm probably going to have to pull this out and then create another part. So what I'm going to do now is just going to press Control plus, and I'm going to pull this out. I'm going to press Y. Enter and then just pull it out like so, and I'm going to create my window from this part with this actual frame. What I want to do is I need two more window parts in here. If I press Control, left click, let's bring it over, something like that, and then control, and then left click and let's bring it over. We'll have something like that. And then we'll have this main frame here I think. So we just need two pieces of framing here. So what I'll do is I'll grab both of these, press Control B and bring them out. You can see we've got major major problems in the fact that we don't need six. We just need one. And now what I'm checking is the actual size of these in comparison with these parts here. I'm going to press control, I'm going to press control B now and pull it out and I want them to be round about that size. All right, so I'm hoping that you get the idea of what we're actually doing here. So this part here is actually going to be the window, and this part here is going to be the frame, and we're going to slot that back into place. In here. So we're actually going to make a bevel for this as well. So let's actually bring it out first of all. So what I'll do is I'll grab this piece here, so lt, shift and click, shift D, enter, and let's bring it back a little bit like so. So what I'm going to do now press tf, fill that in, and then I'm going to grab it again and split it off. So P, selection, tab, control or transforms right click, S origin geometry, and now I'm going to do is, I'm going to actually solidify that. Add modifier, bring in a solidify, even thickness. Bring it out now this way, like so, and then I'm going to use that actually then to make my actual gap in here. I'm going to press now. So I'm going to save this out now and we'll actually start that on the actual next one, of course. All right, everyone. So I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 120. How to Create Accurate Step Height: Welcome back, everyone, Blender three. The ultimate stylized scene gad, and this is where we left it off. Now, let's actually come to our window. We're also going to split that off away from it just to make it a little bit easier. I'm going to come back to this back to this. And now I need to do is I really need to fill this in and then bole on it out. So let's do that first. So what I'll do is I'll come in. I'll grab all of this shift and click, TF, fill it all in, like so, and now we should be able to booling it out. You can see we've got a problem in here in that this hasn't gone nowhere near the way I wanted it to, so I'm not going to do it that way. I'm just then going to get rid of this one. Get rid of this one. Instead, I'll just come to bridge edge loops and that's going to be much cleaner. Now I want to do is I want to pull this back into place and actually see where it's actually going to go. So you can see I've pulled it way way too far there, so into place and I'm just looking now, making sure that it's pretty much even going all the way around. It's a little bit uneven on this side. So I think we'll do that when I've got the window in, it's going to enable it to go just past there, so I think we can use this. All right. So we've got this in like this. So I think what we'll do now is we'll grab this part, we'll press Control A, or transform right clip, set origin to geometry, and now I'll do is we'll add in boolean. Add modifier, bring in a Boolean, and the Boolean, of course, is going to be this. Let's press Control A, and let's hide this out the way. And there we go, there is boolean in. That looks great. Let's press control there, bring that back, and now we can actually delete that way. Press alta, bring back the window, and now let's create our actual window. So what I'm going to do is I'm going to pull all of these out. The way I'm going to have to probably do this is by using a solidify and then putting the windows back in because at the moment, if I try and pull all these out, it's going to extrude it out, it's going to be not right. It's going to be further up here. I'll show you what I mean, if I come in and grab this and grab this. Let's see if I can actually do it. I'm going to grab it going all the way around two here, shift selecting these little bits, because this is our actual frame like so E, enter, and then Altern S, and actually it's worked if we press alternS. That's actually great. Yeah, actually that looks really, really good. I'm actually happy with that. Let's press control A transforms, click the origins geometry, and let's pull that then back into place. We know we're going to have some problems because it's not going to fit actually perfectly because obviously, we've made it a little bit bigger. Let's press S and y, pull it back in, like so and then start just shuffling it back in. What we want to do is now want to pull it under like so. I actually goes in there like so, and then it's got this part here, which you can see needs actually pulling out a little bit. Let's see if we can actually press S and X and pull it out a little bit. Like so, and then S and y and pull it back the other way. S and y, pull it back the other way, like so and then try and just get evened up. Now you can see, we've got a problem with this side here. Don't worry about that though. I'm just going to pull it out a little bit now. What I'm trying to do now is actually get it to fit into this place without destroying it too much. Let's press S and y, bring it out a little bit, and let's pull it back into place, like so, and then S and y, I'm happy with this. I just want to pull this probably a little bit this way. I'm thinking that I could probably do that, grabbing each one of these, putting in proportion editing on and pulling it this way like so, and then pulling it this way. Like so and that's probably going to be a little bit easier than the way I was trying to do it. That's looking good. Now we've just got this part here and this part is actually easy, so I can grab this one, this one, and this one. Take off a portion it's in an organ simply do. Just pull those out in place. Then I just want to make S's just to make sure that fit. S's, pull it out, and that fits perfectly in place, like so. That looks really, really nice. Now we can see we do have a problem in that this part here. Is sticking through here and we really don't want that. We can see that this is the issue here that this is not far enough away. Let's come in, hide our window out the way, and there's this part, and then what we can do now is we can probably pull that out a little bit. If I come in, grab this one, press Control, click on this one, and let's see if you can actually press Test and bring it back. Instead, like so, and then let's press tight, bring it back, and there is your window. Now, let's come in and shade smooth. Let's put Auto sove on, so Auto Smoove, and there we go. Absolutely fantastic. That looks really, really nice. Now one of the problems you can see is we've not got a top on this part here, and we really need a top on there, so we might as well come in and fix that now, so we've actually got a top on. I shift and click, and then let's press F just for now to fill that in. All right. There we go. Now, let's think about this part out here. Thinking I'm going to have to have probably two columns on here. I'm actually going to as well shade off this as well. Shade Smooth. Auto smooth. Now I can really see what I'm doing. I'm going to bring in a cube. So Shift A, bring in a cube. Where is that cube gone up there? Let's bring it into place, something around here. Press the S, let's shrink it down and let's put in. One support probably on each side of here, I think. Something like that. I'm also wondering if I should have a tiny support here maybe, let's have a look first. I'm just going to pull it back into place like so, and then I'm going to press Sen's Ed and see how far that actually sticks out. Let's pull it down into place like so, and actually, that's not looking that bad. I'm going to put out a little bit. That's actually looking like it's going to support that. Let's now press shift D and bring in another one to this side. And let's double tap the A and actually have a look at that. And yet, that looks really, really nice. All right. Now we've got that bit. We're working our way around. Let's actually make a start on the front bit. If we zoom into here, can we actually see, we can't actually see how many steps. I'm going to have to do this. Can we actually see from, I don't think we can see from here either. If I press dot on this one, let's see if I can zoom in. And we can make out one, two, three, four, five, six steps. I think it is. I will check my own reference, but I think it's six steps. F that we can actually work out how far the depth is back from that. Let's come in. Let's press M three. Let's press ad to goingto wire frame, and now we need ather boolean to come into here. What I'm going to do is this time, I'm going to just shift right cla press shift, bring in a cube, and then I'm just going to get the scale first right. I'm going to come over here. It doesn't matter if it goes through the actual floor a little bit, so S, spring it out, making sure that's the right size, something like that, and then S and y, pull it out. Pull it across into place, and then S and y, bit more. There we go. I think that's going to be absolutely fine Z solid, and then I'm just going to find it dot to zoom in, and there we go. Now, let's pull it back far enough, and let's have a look now about our steps. Once we've go and brought our steps, and we can actually see where that's actually going to come to. I'm also looking from a human. Where did I put my human? I'm not sure. Human is here. He's in large hotels, so I really need to take him out of the large hotel and move him into scene collection, something like that. All right. Here he is now he's back, there we go. Now I need to do is need to spin him around so I at 90. Now let's get our actual steps. Our steps are going to come from here. And the need to go back going all the way back. From here, this part here, going all the way back, that then will give us our actual depth of our actual door. The first thing though, because I can bole because I can boolean this out. Once I've got my boolean in, I can just pull it back as long as I actually mark a seam on there. So we'll do it that way. I'll do is we'll grab this. We'll press control A transforms, right click origins geometry, and let's just add in a fast boolean, so add modifier Boolean, and let's click on this, like so. Let's apply it control, and now let's delete that out of place, like so, and there you go, you can see how easy that was. Now from here, we can actually create the rest of our actual steps and things like that. What we can do is, if we press three press going to y frame, we can see that the steps come up to at least here. The steps come up to here. I think there's a bigger step on here, and then we've got a posting here and things like that. But once we've got our actual depth, then we can actually see where this actually needs to come to. All right. So let's just bring the first step and then we can actually stop till the next lesson. So what we'll do is we'll bring in another cube. I want to press shift S. Selected, shift A, bring in a cube. Let's make the cube smaller then. Let's press three on the number pad. Let's press s going to waive frame. Can we see how big each one of these steps is? I don't think so what I'm going to do is I can see the width, so that's good. So I'm going to do is I'm just going to press S and y and pull those out to get the actual width of these steps. It's something. Like that. Something like that looks absolutely fine. Now what we can do is I can measure these steps based on my actual human here. I can see that I can pull it down to here and we can see that this step is way way too big. They want to be probably really shiny. Sen's, bring it down. You can see if I pull this down now. Is roughly where his shin is, and he can actually should be able to walk on those fairly fairly easily. Now, if I bring this back just past this point here, now I can actually see that I can bring it back and this is where the door is going to actually go. So I'm looking on my other reference one, two, three, four, five, and there is actually six steps. So on the next lesson, then what I'll do is we'll ray this bag, and we'll actually start building this part out, and then that will be the front done. All right, everyone, so I hope you enjoyed that and I'll see in the next one. Thanks a lot. Bye bye. M. 121. Creating the Entrance of the Small Hotel: H Welcome back everyone. Blender three, the ultimate stylized scene ad, and this is where we left off. Now, let's bring in our actual steps. We're going to do is add modifier, bring in an array, and I'm actually really happy because we're really really getting somewhere now and not how far off actually finished, believe it or not. Yeah, it's really really starting to come together and that makes me really happy. Something like that. Let's actually bring up the count all the way back and let's see where that's actually going to be now. I've got one, two, three, four, five, six. It's going to be probably to there. I'm just going to press three. I'm going to measure it up, so Z, go into y frame, and we can see that This is probably the top step, so we can see that these are probably a little bit short. We could put another step on there, or we could actually lift these up. Let's have a look. Oh, actually, this is the top one because the top one is probably going to go back a little bit. So I'm just going to put in solid, and I'm going to look how far that actually is back. I'm going to grab my guy. And the bringing back, I think, actually, if I pull this back now and pull these up a little bit, that's going to be absolutely fine. You can see if I don't do that, this door is going to be absolutely huge. So we're going to have to do that. I'm going to do is, I'm just going to come in, grab the top of this one, press three again, press Z to going into wide frame, and then let's just pull the mob a little bit like so. We can see that the top of it is here. I'm going to hold shift and bring it down, so bring it down, hold in shift, so Z, solid, and there we go. Now, let's just check to make sure that they're fine, like so. I think they are. I'm just looking now. You can actually stand on them. They're actually probably Probably, they're around the shin just above it, so that's actually going to be fine. All right. So let's come into our steps, apply the actual modifier, and let's come around now to the back, so grab the back and let's just pull that out into place like so. And now we can actually create our door and our actual pillars that are going to go in there. All right I wanted to make this one a little bit different. Now, let's actually bring in another cube, so shift A, bring in a cube. I'm going to bring this cube over here. Then what we going to do is, I'm going to make it smaller, like so, press S and y, bring it out into place, something like that. I'm going to pull it back then and I want it in to the actual wall, so we can see we pull it down. I'm going to press S and y, pull it back into the wall, and then pull it back into this wall like so, and that's got that leveled up. I thinking that that's probably a little bit too thick. I'm going to come round to this back and pull it out, probably Probably to the first step there I think it's going to be fine, and then I'm going to pull this back to Tad. I'm also going to make sure that it's actually on in the actual ground plate like so. All right. So now I want to actually level this up. So if I press three again, grab the top. S press three. Z going to wireframe, and now I should be able to level it up to here. So if I bring this up now, that is about up today. You can see it's probably a little bit too far forward, but it doesn't really matter too much about that. Let's press control then bring in another edge loop. Keep that thickness because I'm going to have a pillar on there, so probably this thickness. Press sed, go back in solid, and now let's come round to this back bit, and let's bring it into place. If I bring it, I need to extrude it out, so E, pull it out into place. If I put it there, then I can actually grab this top, press three, Z, wire frame, and I can see that's going to come to round about that. Z solid and there we go. That's looking really nice. Now, what I want to do is I need a piece of mesh on here, and that's for the actual soil where that's going to be. So if I just grab this, and then I press E and y, pull it out all this way. And then what I can do is, I can grab this then, press y, just to split off, bring it out, press the Sp and then just to make it a little bit bigger and there you go, it fits into place. Simple as that. Now I want an actual pillar on here. And what I didn't account for is the pillars on mine is actually sat in this part here. So maybe maybe I can get away with pulling these a little bit further across like so. Yeah, and that looks fine. Now, let's put our pillar in place so grab this. Shift S because to selected shift A, bring in a cube, make the cube smaller. Bring it into place like so. Something like that, I think it's going to be absolutely fine. Let's then grab it with E, bring it up S, bring it in, and finally then E bring it up, so it's actually holding that structure, so E into there like so. There we go. That's as simple as that. That's looking really nice. Now, let's bring in our door so. Again, I'm going to I'll probably use a plane for this. Shift A, bring in a plane. I'm going to spin it around, so R Y 90. Let's press three again, Z, go into y frame and let's now get the scale of the door. We can see it's perfectly, actually. I must have just used the plane and just stuck that on there, so I'm just going to bring it up a little So I'm going to also bring back the doors probably a little bit as well. But you can see that's absolutely perfectly aligned there, so I'm going to press Go solid. Now what I'm going to do is I'm going to create another one of these. I'm going to press D, like so. I'm going to grab it. I'm going to press E, bring it back like so, and then I'm going to press L P selection, split it off, control A, all transforms, plates origin to geometry, and now let's bring it back into place. It should be ws above there. Now I can create my actual Boolean and put the door a little bit further back. Of grate here. Let's actually bring this part here. Grab it, modify a Boolean, and the Boolean is going to be this press Control and then delete that out of the way. Delete, and I'm hoping if I click on it, press tab, it has actually created that, so that's good. Press delete faces, and there we go. There is that. Now, let's come in and actually create our door. I'm going to press Control on. Left click, right click. Now all I need to do is I'm thinking probably should, I'll just grab it, press Control B, and then I can create a little sliver down the middle and now find there can actually delete that, so delete faces, and there we go. There is our actual dog. Now, let's grab each side of these, so I'm going to grab each one of these, pull them out with E, Just a tiny bit, doesn't need to be much. Press Shift S, cursive selected tab, and now let's bring in another cube. Shift date, let's bring in a cube. And this cube, of course, is going to be for the handles on each side. If I press tab now and move it across, we're still going to keep the orientation there, which is very important. Let's actually bring it in now, so S and X, let's pull it out. S and X. Let's press three now. Press Z, going to wire frame, and this is the size of them, so we can see it's going to be something like that. Let's press S D, bring them up. Let's grab it again. Bring it down a little bit. Let's press Control two. Left click, right click. Pull these out now, so S and y, pull them out, L so, and then let's just bevel off the top of these just a little bit. Z solid. I'm hoping at this stage that your workflow is really, really fast, and you know exactly what I'm actually doing. Control B, bevel these off. Let's round them off one like so, and there is our actual door handles. So now, and what I want to do is I want to grab it all. I want to pull it back. So it's actually just in front of the door like so, and then what I want to do now is come over and bring in a mirror. So just a mirror over that side. Apply that, control A. Join this salt the door, so Control J, and now find that we can pull our door back. Into place like so. There we go. Now, let's think about some pillows. What I'm going to do is I'm going to press shift A. Bring in a cylinder, so. I'm going to put this. Let's have a lo run 32. Let's put it on 18, something like that, and I think what we'll do now is we'll just shrink it in. I'm going to shrink it in though in edit mode again, S, bring it in. That shod be in the center and now can bring it out S said, make it bigger, and let's pull it back into place and then we can see how big we're going to actually have to go with this. Can see it's nowhere near in the right place. It needs to be roundab here. Needs to be probably a little bit bigger like pull it back a little bit. Essen d, and we want to make sure that's actually in the floor as well. In the floor and in the ceiling. There we go, we can see we're nearly in both there, so Essen d and there we go we're in both. All right. Now, let's right click Shade Smooth, and then let's add a auto smooth and let's put it now the other side. I come in and just press add modifier and let's bring in a mirror, put it on the y, turn off the X. Control apply that, and there we go. All right. That was really, really fast as you can see. Now, think we've got pretty much all of this built out except this part and our actual car parking. I think the only two things we have to do I thinking as I'm looking around, that I've got all the rest of it built out, except maybe the top of here, we'll just bring that in so we can actually put things on top of there. I'm actually looking at if there's any flashing behind here, why is that? I'm just looking behind here, just to making sure. Sometimes you will get some flashing if it's very close to these parts here. If you get that, just give it a try and just pull it back All of these a bit just to make sure that they're not actually connecting to the window too much, so let's pull them back solage, double tap the eight, and there you go, your flashings gone see because they were just too close to those back ones, so sometimes that happens. All right, everyone, so I hope you enjoyed that. Let's actually save it out, and then what we'll do as a say on the next one is, we'll start on this part here. You can see it's this part here, and we'll also create this roof bit. Allright everyone, I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. A 122. Creating the Top Roof Entrance: Uh, Welcome back everyone to Blender three, the ultimate stylized scene guide, and this is where we left off now. Let's come in and do this bit first. I'm going to grab all the top of hear marks. We'll get this bit done, get it out of the way, and hopefully I can actually bring this in. So if I press I now, let's see if and bring it in. Make it relatively thick, something like that, I think, and then just press E and bring it down. Now in this one, we don't actually need to bring it down that far because we are going to have actual E on top of here where he can actually walk out of. I think what I will do is, I'll grab my man and I'll pull him up here, so just put him on the top like here. And then put him into place so he's actually stood on there, and then we get a good idea of what this is going to look like when we actually bring in our door, which we're going to bring in around this part here. All right. So now let's make a start on this part here. I'm just going to hide this part out the way, which gives me access then to see how big this actually is. And all it is is basically a bit that goes around. So once we've got this part out here and relatively out far enough, then we should be able to get a good idea. Actually if it press seven, let's press seven and going into wide frame, and there you go. You can see how far this is actually supposed to come out here. So we've got a good idea of scaling. While we've got this, let's actually press shift, bring in a Que Let's bring our cube into place. Let's put it over here into place like so, and then let's grab the back of the cube now, so I'm grabbing that face, seven again to go over the top, and then I'm going to just bring my cube out to something like that. Let's press said now, go back into solid and we'll see that the cube is a little bit out. I'm sure of it. Let's bring it up. Onto here like so. But yeah, it's a little bit out as we can see. What I'm going to do is, I'm actually going to pull it down into place like so and I need it to be just stuck out of those. I'm going to press S and y and pull it out. There we go, something like that because the other parts are actually going to come out a little bit further. Let's pull it up so it's just sat on there like so, and let's now check the back of it and the back of it is way way too far out, so I'm going to pull that back into there like so. We can also see that we do have a problem in that this bit here doesn't actually have a face on here, so it might as well fill that in as well, so I'm going to grab. I'm actually going to pull my cube out first, then it'll make it a little bit easier for myself. I'm going to grab it, pull it up like so, and then hide the cube out the way I'm in it, and then let's put a face on here. I'm going to grab this, put a face on here, tidy it up a little bit like so, and I'm looking. That this bit is a little bit out. This bit here looks a little bit out to me and sometimes this can actually happen like that. What need to figure out is which part is out. Yeah, It's because of the fact that this here is wider than this here. Actually, I'm going to press controls head and just take that away, and what I'll do is I'll fill it in with the bottom bit. If I grab this bottom, Hopefully, I should be able to fill it in with this one and this top one instead because this isn't attached there. What I'm trying to do is fill in something that isn't attached. You can see here that this has a bottom, but this doesn't have a bottom. Now I'm going to grab this part, I'm going to grab this one, press the F button, and now that has an actual bottom, and that looks absolutely fine. Let's press all tag, bring back the actual cube. And now I'm going to do this, I'm going to pull this up, so I'm going to come to just my cube. I'm just going to press three, going to front view. I'm going to pull it up now to around this part here. I'm going to do is press sd wire frame, and let's just grab it and pull it up to the top of the Let's press sad solid and we should end up with something like this. Now we just need to bevel off this part. If I come in, grab the top and top of here. Then what I'm going to do now is I'm going to press, let's press three, and Let's press Control B, bevel this off to where it needs to go. You can see it's come into there. Now, maybe I need to reset this. Control A or transforms right click, set origin to geometry, tab again, and now let's press Control B, and now you can see that should be vel off a little bit nicer. Now let's turn the bevels up. So we can see something like that, and I think that actually looks perfect. Now, on mine, I've actually got three. So I've got three kind of things down here coming the way down here. So let's actually use that. I'll do is, I'll come in, and I'll press control on. Three, so one, two, three, left click, right click. Then I'm going to press Control B, bring them out, hold in the shift board, but I'm going to turn down these 20s. So now I can actually bring these out. So if I press E, enter AlternS, I should be able to then pull them out to where they need to go to. So if I press three again, I should be able to pull them out to the top of here, so I'm actually thinking, if I press said, going to wide frame, Actually, that's looking actually fine. I think I'm fine with that go to solid, and let's now have a look at how far they've come out. You can see that just dropping basically below here, and I'm not sure whether I want this part here to drop below there or not. These are actually in. I'm thinking should I pull this part out a little bit further to actually bring those into place. Sometimes it's just worth doing that just to fix things into place. If I grab this and pull it out just slightly so you can see it doesn't really take anything away from it, but it makes it look a lot lot better when you do that. I'm happy with that. I'm happy with this part. Now, let's make a start on this top actual roof pt, and then we can get that in. If I press seven, go over the top, if I press s then to going into wireframe, you can see here is actual roof pt. If I press shift A, bring in a Q, L et's pull it over. We can see the cube. Again, fits perfectly in place, and now just need to bring it up and into the top of the building. So let's bring it up into the top of the building. Let's press Z going into slime. We know it's in the right place now, so let's bring it up, so now what we need to understand is that we need a door into here. I'm going to probably pull it up a little bit more. I'm actually going to do this by I rather than using this actual reference. I'm going to hide that, and I'm looking. I I put my guy in the middle now, Maybe maybe that's a little bit too high thing. I'm going to grab it, pull it down a little bit, like so, and then what I'm going to do is now, I'm going to probably pull this out and then pull it down into place. If I grab, I could grab all of this and just pull it down so that's probably going to be easier. We're not going to worry about a little bit inside there anyway. I've got that, let's press control or transforms right plate, set origins geometry, and now let's bring in our door. If I come in, put in door, on assets. There we go. There's our door. Let's see if I can actually bring it in there, like so. Yes, I can. Oz 90, spin it around. Let's grab the back of it so we can actually bole in this off. I'm going to grab this. I'm going to press shift D, duplicate it, press E, just to bring it out, and then L. What I'm going to do is I'm now going to move these into place. I need to put them into the right place before I actually split them off so I can see here. I obviously needs to be. It's actually probably a little bit big that door. I'm going to actually make it a little bit smaller. Like so because it would be a little bit smaller than that to be honest. Then I'm just going to make sure that I'm just probably above there. We've got a little bit of a lip is what I'm looking for, so a little bit of a lip like so. And then just pull it back into place. Something like that, I think it's going to be absolutely fine. You can see though that the door is probably not quite high enough now. What I'll do is I'll just bring them out a little bit, S, bring it out, just so it's above him, and then bring it up, and then I can get into place where we actually need it. We've got a little bit of a lip there still. Let's come down to the top and what we'll do is we'll just pick up this top, just a tiny bit more. Like so. Now we can actually Boolean. I'm going to add modifier Boolean. Click on my door, door. Then what I want to do is press Control A, and then I'm going to come in now and delete this part. I'm going to grab this L, delete vertices, and there is my actual door. Now, why is it looking like that? Shade smooth? Let's put on auto smooth. And there we go, that's fine now. All right. So let's pull it back into place. So let's move in forwards now. And then we go there is our actual doorway is actually going to come out. All right. Now what we need is the things that are going to go on the top here. Fire press said going to wireframe. We can see that we've got two solar panels and then a big actual air conditioning unit. Now, on my reference, it doesn't look like there's two air conditioning units, but I think I'm going to put two in there. So I'm going to do is I'm going to press Z, go back into solid, and I'm going to bring in my first solar panel. If a point solar panel, let's bring that in. Hopefully, it's going to go right on top of there, like so. Let's press seven, go over the top, Z wire frame, and let's put this into place. I'm going to put it into place right about here, and then I'm going to press D, bring it over like so. And I'm hoping that there on the floor. Now, let's put in our air conditioning units. So Air. And it's going to be this big one here. Let's plug that into there, and then I'm going to press shift and just bring it out now over to there. Let's press, now, go back into solid, and you can see that for some reason, they've both gone on the floor like so. Let's hide the bottom of this. Let's grab both of these then. At least the same high though, that's one good thing and let's pull them up. Press one and now I can see exactly where they're going to go. I can see they're roughly on the floor. Let's bring back everything, so Alt, double tap the A, and let's have a lot of what we're actually looking at here. There you go. You can see they look really nice, and we can see all of that top it is done now. Now finally, what we need to do is, I think we've got pretty much all of this done now except the car parking on the back which is quite a hard part, but we've left it to last, so we should be able to get that done, and then we should be able to get our windows and things like that. All right, everyone. I'm going to save it out. I hope you're really enjoying this. Nearly at the end. Just a few more lessons and then we'll be done. I'll see on the next one. Thanks a lot, babe. 123. Creating the Car Park Entrance: Welcome back everyone. Blender three, the ultimate stylized ing and this is where we left off. Now, believe it or not, we can actually use this reference here, if we're going to model it to actually create our back because we can see where these places actually drop down. Basically, the edges want to come in between each of these. Let's go to solid. Let's actually bring in a cube. Shift A, let's bring in a cube, and then let's pull that back into place where I actually want it. Let's press three then, and then what we'll do is we'll press sed, go into wire frame, and I'm hoping now we can bring this to the actual right place of where we actually want it. If I press S and X, no S and y, pull it out halfway between, something like that, and this is basically going to be the curb that's actually partly into the wall. Maybe actually we'll go all the way out. Actually, we'll go all the way out to the edges like so. Something like that gives us the actual scale or at least the depth of what we need to do. If I pick this up now, we can see that's what it's going to look like. Now let's change this out. For the back of our actual hotel. Now we can actually see where this is actually going to go up to, basically. If I change this out, come over and change this to, let's have a look at the back. We want the small hotel and we want the rear, which we can see here as well, we've got the actual depth of how far it's going to go out. I think actually, first of all, we'll get the height. Let's small hotel, here's the back. Here is the back. And then what we'll need to do is we need to spin this round. So I 180 Z, 180, spin it round. Let's bring it into place now, so we're just going to line this up, I'm going to press three. I'm going to press Z. I'm going to go into wire frame, and I'm going to grab this now, and I'm looking to line it up, so where is that cube. I think my cube is round about here, so I can just see it. So I'm going to pull it into place like so. I'm hoping if I pull this back now, press it solid, I'm hoping that that should now line up perfectly. Now what I need to do is I need to come and grab my cube, and then I'll be able to see. If I just grab the top of my cue so, press three again, press, going into a y frame, and we can see now that this is where it leveled out. I can see I can bring it up like so. We can see that it's a little bit big this cube. I'm going to do is I think I'm going to come to the side of it and bring it in a little bit. I'm going to grab my cube on there three, and then bring it in. Just a little bit like so because I can see now that is halfway between these. All right. Now we've got the right height. We haven't got the right depth at the moment. I need to bring in another one and find out what the depth is and how far this is going to go because I might as well use it on the floor as well and get in actually properly. I'm going to do is grab this. I'm going to press sift, I'm going to bring it over. I'm going to press Z 90, and then let's swap this out then for the small hotel side view, which is going to be well, we can use either one of the sides as long as we level it up. Let's bring that one in, and let's press one. And let's get this to the back so something like that, and you can see it goes all the way down here. I didn't actually realize it went so far down. We can also see that it starts actually dropping down round about here. Let's actually do that now. First of all, I'm going to pull this up. I'm thinking, I'll pull it and then I'll actually extrude it out. I think I'll do it that way. What I'll do is I'll come to my cube. I'm going to grab it at the bott. I'm going to press one, and what I want to do. Is bring it round about there, which is probably just below that curb because I don't I want to drop this curb down basically what I'm saying, I'm going to put it there, and then one to do now, I'm going to come round this side, and it's fairly fiddly this, I'm going to press one again. Then I'm going to pull it out to here. Yeah, actually, I'm going to pull it to here because you can see it probably starts bending down around here. Let's give that a try. Let's pull it out with E all the way out to here. Then one more to do now is come around, grab the bottom of it. This one here, press one, and then I'm going to do is pull it down now. Now I can actually see where I need to bring this up, so I'm going to come back into the bottom of my cube, which I think is there. Press one, bring it up. Into place, and there we go. Now we can see that's roughly about right. Now, let's press said, go into solid like so. Now let's actually start cutting this away because this bit here, remember is going to be a little bit flatter, and we're going to have some curves that are going to actually hide that way. I'm going to actually pull this out now a little bit further. I'm going to pull it out all of this way. Probably to here, something like that. I think I can actually get away with that if I drop my curve down. Maybe I'm going to have to drop it down a little bit further actually a little bit further because this here is what I'm trying to actually get rid of. Yeah, I'm going to have to drop it down a little bit further just above there like so, and I think I can actually deal with it like that. All right. Now I'm just going to press one. I'm just going to go to side view once more, so wide frame, and I'm just going to look at this actual line, as you can see. This line now is a little bit out, so I'm probably going to have to drop that down just a tad more. Coming to this back bit, one, and then just drop it down a little bit more like so, making it a little bit of a slope like that. Now we've got all of that in place. Now let's give this a try. I'm going to hide this reference and this reference out of the way just so I can see what I'm doing. And then what I'm going to do now. I'm also going to grab my man. I'm going to press shift right click Shift S selections cursor, put him there. What I'm looking for now is if I put him on top of this, Yeah, that looks about rack. Remember people are actually sat in their cars here, and this is probably going to be fairly low. Yeah, that looks fine. Now, let's come to this bottom part and let's come in and add in a boolean. Add modifier boolean. Let's grab this boolean here. Let's press control A and let's hide that way. H h out of the way. That's the first stage. Now all we need to do is the actual second stage now, which is this part here. Again, old, bring back this part, Let's grab it again. Control A, All transforms click set origin to geometry, and let's now bring in a boolean. Add modify Boolean, grab my blean, like so, and let's hover over it, press control A, and now let's hide the bolean out of the way, and let's have a look at what that looks like. I'm just looking Now I've got my bottom part that I need to do as well. So we've cut this away and now we've got the bottom part that we need to do, which is the actual sand. Let's again, once again, tag, bring everything back, and then what we'll do now is grab this. Control A, all transforms, right clicks the origin to geometry, and I'm just making sure I'm going to put onto material that I've not messed around with that or anything like that. Now I'm going to do is this has got beveln as as you can see, I might as well apply that, so Control A, and then add modifier Boolean, and then let's bring in this boolean. So you can see it's air conditioning unit, and I don't know why that is. Oh, it is classed as an air conditioning unit. I don't know why that's done that, but anyway, let's supress control y. Let's hide it out the way, and we can see that now that has actually worked perfectly going all the way through the floor there. Now what we need to do is we just need to work out this part here, so you can see at the moment that this needs pulling back now. Now, if I pull this back, even a little bit, you can see it's probably going to mess around with this. I'm going to see if I can actually pull all of this back without actually upsetting my actual cobblestone. So you can see here, I'm going to pull it back probably to there and actually, it's not really done anything to my cobblestones, which is really, really great. All right. So now we can actually start putting a bottom on here and actually filling this in. That's the best part. At least that bits out the way. Now, on my original one, I actually used cobblestone on here, and I'm not so sure if I should actually do that. I think I should use actually a road on here instead. Down here I mean and going all the way down. I think maybe I'll use cobblestones, maybe I won't. I'm thinking I'll probably change this a little bit. I think what I should do, first of all, though, is just come in, and I'm going to delete this out the way. Now, I don't think I need it, I'm going to delete that one out of the way as well, and I'm going to hide this one out the way, and that is what I should be left with. Now I've got a real really good idea what this actually is going to look like. All right. I'm happy with that. Now I want to do is I want to think about on the next lesson in actually building this out, bringing these parts down as well and all that sort of stuff. And then finally we shod have our actual parking. Now I'm wondering, as well, before I go, should I actually pull that down? I think I should pull that down a little bit. I think that's just going to look a little bit more realistic and not only that, I can build around this part as well. So that's probably going to be the best thing. All right. So that's looking great and hopefully you enjoyed that and I'll see you on the next one. Thanks, live. Bye bye. 124. Finishing the Underground Parking: Welcome back, everyone, Blender three, the ultimate stylized scene guide. Now, I think before we go any further, it's important that we actually first of all, put in a piece here that goes down, which is going to be our road. If I grab this, you can see that's probably going to go a little bit further out, but it will give the ability to actually start with this pot. I think we'll actually start with this, we'll press shift, and we'll just bring it up very, very slowly like so. Then what I'll do is we'll grab this now and pull it back. If I grab all of this, actually we'll grab it all, press delete, and we will diol limited dissolve and that then we'll make that a nice flat piece for. I can do is I can press E and x and pull it back into place just under this curve black. Finally, I can split this off now, so L P selection, split it off. Now what I can do is I can actually give it this actual concrete. So if we come over it, we can see this on tarmac. This is actually on cobbles. Let's just put this to tarmac, TAR tarmac, swap it over, and there we go. Now, we're already starting to make progress. Now, before we actually do anymore, let's actually bring in our parking meter and that then is going to show us where we need to actually place everything. I'm going to do is I'm going to go over to my asset. I'm going to print parking. And hopefully, they're both there. Yes, they are. Let's bring those in. I'm going to bring them both in. I'm hopefully going to put them flat there, and then I can press I head -90 and now I can start putting these into place. I'm thinking that I'm going to put them round about here, pull it forward a little bit. It's round about there and that looks absolutely perfect. Now let's press dot just to zoom in. I'm just looking now, are they low enough on the floor. I'm going to put it back on material so I can see what I'm doing. And yes, they look absolutely perfect. You can see that goes over there. You can see that people can just walk past here. You might want to pull your bit to make sure people can walk past by think, actually, mine's fine. All right. What I'm going to do now is I'm going to drop this curve down. I can see it needs dropping down from here and from here, let's drop it down. Let's come to our curve then. What I'll do is, I'll just press Control, left click, right click, and then just move it along, so I'm going to drop it down from here, and I'm going to come to this part, so control. Left click, right click. And then I'm going to move that over to there, something like that. I'm also as well thinking that actually I need to level this up. So five press S and y, I should be able to just level that up a little bit like so. All right. So now I can actually bring these down. How am I going to do that? I'm just thinking that I should probably grab this, this, and this, and I'm hoping that I can bring them down because the bevel hasn't actually been applied, so I'm hoping that I can bring them down. Like so. Now, all I want to do is just bring them up a little bit, bring my road now back into place under there. There we go. Perfect. That looks really, really good. Now, what we can do is we can actually take a piece of curb, so I can actually grab a piece of curb like this, so L. I'm actually probably going to make, I'm going to use this actually shifty, and let's spin it around, so R Z 90, and what we'll do is we'll use this piece of curb on here. I can see that's going to go something around there, and then what we're going to do. What I want it to do basically is come two here, like so, and then I'm going to follow it all the way down there. Probably actually. Maybe it's actually worth bringing, I need it going over here and then this part pulling up. It's a little bit more tricky than what I originally fought. I think what I'll do is, I'll create a new piece of mesh. I'm going to actually come in and I'm going to actually press Shift S c selected, shift A. Let's bring in a cube, and that cube then will inherit the correct dimensions and the correct bevel on here. I'm going to actually use it from here, so L, delete vertices and now grab my Que because I know this queue is straight, whereas this part here isn't straight. We can also say again that this shouldn't be here, I should come up a little bit. I'm thinking that I'll also, press control in here, bring it over, so then I think I'll bring this que over. Like so, and then I'm going to pull it out into place. You can see it's all over the place that's pull it out, just into place like so, and now I can actually pull this back. I can pull it back like so and then I can make another piece and actually start my journey down there. Now you can see that the one thing we've got is this, and what I'm going to do, I'm just going to pull this back just for now, and then I'm going to pull this part up. O shift and click, pull it up. Not that, just the top interplace, just so it's hiding that out there. I think on this side, luckily for us, we can probably get away with hiding this by just pulling this forward, just a tad, and I'll do that. That's that. I think I'll leave this part here. Now what I'll do is I'll just come in back to here. I'm going to pull it out a little bit like so, and there we go. All right. I'm happy with that. Now what I can do is I can create another one of these. I I press L, shift D, bring it over, put it into place. Press tab making sure they're going into place like so. I'm happy with that. Then what I can do is now I can bring this over here to maybe here like so, and then I can press shift D, bring it out, to tab like so, and then press E, pull it out. Then just make sure that the lock into place, so bring it out. Now what I can do is I can actually I'm looking at where my actual hotel is. I'm thinking I can probably drop this down. I'm going to come to this edge. I'm going to drop this down into place. I'm thinking that probably the easiest way to do this is bring it all the way back to there, and then to drop it down. I'll probably do that. I'll bring it all the way back to here. And then drop it down into place. Because that curve it would be like that it wouldn't be loads a little pieces. It would just be one long curb. Now what I can do is I can use these L and L, bring them over, so shift to the other side, like so. Then what I can do now I can bring this part out, so I can bring it out to here, and then what I can do I can either leave it there, which I think let's have a double tap the a. Yeah, that actually looks fine, looks absolutely great like that. Now what I need to do is I need one more piece. I'll actually come over and use this. I'm going to grab this. I'm going to press tab, grab it, shift, bring it over to start somewhere like that. Then what I'll do is, I'll bring it in. S and y, bring it in. It's pass there. Then what we can do now is we can bring that over. I'm just going to make sure first of all, that it's actually in there, so I need to bring it in, pull it down a little bit, just so it's in place like so, and then I can grab the edge of this and pull it all the way out. To there like so. Now I can actually grab it, put it on the other side, so shift D on the other side like so. That's looking pretty good. Now, what I want to do is I need a gray building on this part, so I'm going to grab each one of these. I'm going to press tab, grab this, and I'm going to grab each one of these. I'm going to come over to my material plus down arrow, and what we're looking for is the gray building material. Building gray, let's click a sign, and I'm also seeing if I can actually hide that. Now, do I need to hide that? If I come around the front, you can see I can actually get away with actually given that color, so I might as well do that as well. Now what I'll do is I'll put a top on here. Now, the bottom in mine, it needs to be a black hole down there. You don't really want to see anything else down there, so I'm thinking that actually, for me, if I press tab and just hide this out the way, you can see at the moment that's where it's actually looking like. I'm not sure I put on cycles at. Actually that might do. I don't think I actually need to do anything more with it except put a little bit hiding this on here. What I'm going to do is I'm just going to grab this like so, I'm going to press L. I'm going to press d, drag it out and then spin it around. Y, s 90, and then bring it in. S and y. Bring it in, keep bringing it in. There we go. Now let's put that back on interplace. I'm going to pull it back with the red inplace in front of here. Bring it up a little bit, maybe. Make it bigger, S D and then pull it out. S and Y, pull it out like so and then just make sure that we can't see any parts of that. That's the main thing. So double tap the A. And there we go. Perfect. All right. What we'll do then on the next lesson is we'll put this little sign on here, we'll put a pocking sign on, we'll put our little scooter in, and then we can actually start getting in all of the windows and things like that. We're really really moing along now. All right, everyone. I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 125. Adding Material to our Small Hotel: Welcome back everyone. Blender three, the ultimate stylized scene guide. Now, I've just actually pressed tag and brought back this part here. The reason why it's called airconditioner is because this is a tach stt. Let's press tab. Let's come in and we don't need this boolean anymore. Deletes and you should end up with something like that. Double tap the eight and now one winters. I'm just going to pull this out a little bit over there, so I can actually see what I'm doing. I'm going to also move my man probably to the front now, something around there. And then now let's actually start bringing in some of the other parts. So I'm going to bring my parking sign in. I'm going to put that there. I'm also going to bring this little arrow in, and I'm going to put that there, and I need to spin that round. I'm also going to bring in my scooter, scooter, and we're going to bring that. Can I actually put that straight into there? Maybe so. Let's actually spin this round, so rs dead and we'll put the scooter up against the side. Just so it's poking out because I do like telling stories, so we want to make sure that it's just poking out like so and maybe maybe lean it up against the wall. So r and Y lean it up just against that wall. So let's just have a look from the back now. If we take in, let's move that back a little bit so we can see, y, there we go. Maybe a little bit more even out, something like that. That looks perfect. Now, let's spin this sie round, and of course, the sig wants to say, so we go in that way, we don't want to be going that way, for instance. So if I spin R and x and 90, and then what I want to do is, I want to turn it round now. I think, actually, this is going the wrong way round. So I think we have to spin it all the way round. So I I press rY, 180, and then R z, -90. There we go. That is the way that I want it, and let's just put that on top of there and then bring it into the actual floor, so hold in the shift born, and then bring it out a little bit further. Double tap the A, and there we go, perfect. Now the actual sign, the actual sign is going to go just above here, going to spin it around. So, und 80, spin it around, and the sign is going to pop out on there like so. And again, up to you, how I have it. Double tap the A, and there we go. All right, really, really happy with that. Now, before carry on, I'm just going to use my cycles just to bring back everything just so I can have a quick look and make sure that I'm happy with it before I sign off and that's why I always do. So we can see that it disappears down there. We can see that looks really nice around there, and all of this looks really nice. Now, the other thing is, we might as well, before we carry on actually bring in our colors and things like that. So we know Basically now that this is done. The only thing we need to bring in is all of our windows and things like that. What I'm going to do now is bring in the colors and smooth it all off and everything like that. We'll do this bit first. What we'll do is we'll press control, all transforms, clicks the origin to geometry, and then what we'll do is we'll smooth it off, so right click, Shades move, bring in our auto smooth, and then we'll just bevel it off now. If I come over, bring in a bevel, and you can see it's way too much, bring it down and maybe what that looks like, something like that looks absolutely fine. Let's bring in our materials, so we're going to have gray, building, and there we go, and let's then apply our bevel, so Control A. Now let's come to this part here. So I'm thinking, Let's press Alt and sorry, not Alta. Let's just press control. Let's press shift H, and just hide everything apart from this. I'm just looking at all of this part here, and I know that I want this to be the building material. So if I come in, put in, build in, like so, and that then should bring that in. I will check this out as well once we've finished. Now, the other thing is we need to be vel off all these parts. I'm going to press control A, all transforms rightly so origin to geometry. The other thing is the building obviously material doesn't really show up until you've actually ben cycles and then you can see we've got those ambient occlusion and things like that. All right now let's come in and bring in a modifier and we're going to bring in a bevel. I'm going to put this on material now just to see how that bevels interacting and we haven't got any bevel. Let's go into geometry, turn clamp overlap off, and then bring it all the way down and bring it up just one like so, and now we've got that tiny tiny bevel. I'm going to look all around this, just making sure it's not messed up anything, and I think that's fine. Let's press control late. Let's press tag, bring back all the other stuff. Now, unfortunately, I'm actually I should have actually pressed question mark there instead, I think, so I'm just going to come in, hide that. Hide this part, and now I'm left with these parts. Let's come in and I think we'll do this part next. What we'll do is we'll right click, Shade Smooth. Auto smooth on. Control all transforms, right click, set origin to geometry, and now let's bring in a material, so down arrow, gray. We're looking for building gray like so, and now what we're going to do is bring in a bevel, Bevel, turn it all the way down, turn it up one, like so, and then let's press Control A and apply that. All right. So that's that bit. Let's hide that out of the way, and now we've got just a few more bits. We've got a window here, and because we've hit everything out of the way now, we can see the problems that we've actually got here and created for ourselves, so we can actually fix those. What I'm going to do is first of all, I think I'll hide. Yeah, I think I'll do My wind I'm just wondering, I'm going to press shift H again and hide everything out of the wast so I can actually see what I'm doing on this part, and then what I'm going to do now is I'm going to come in, l shifting click te and just fill all that in nicely like so. I'm just making sure yeah, it's filled in really nice. Now we'll do the obit, so shift and click te fill it all in. I'm also going to grab it right click, and I'm going to make sure on face right click, triangulate faces and tries to quads like so. Now I'm going to do is I'm going to right click shapes move. Auto smoothes on, and then I'm going to press control le transforms right click, origin geometry, and finally now let's bring in a bevel. Bevel modifier. Can we actually have we got any bevel on there? Don't think so. Again, we're going to turn the clamp overlap off. I'm going to turn this down to zero. So the amount down to zero, put it up by just one, and let's have a look at that. Maybe that's a little bit too much still a thing. What I'm going to do is, I'm actually going to turn it down to No point not three. Maybe, yeah, that's actually bet. Let's press Control A then and actually apply that. Let's press altate, bring back everything, and now we're on a few of the smaller parts. If I join these and these up together. Control J, join them up together, and these actually are all going to be great as well. So what I can do is control A trans d clicks origin to geometry. Let's shade so. Let's auto so on, and now let's add in a bevel, so Bevel, and let's turn that all the way down, turn it up one, and that's fine. Let's press control. Let's bring in the material now, so gray. Building gray like so, and that's that one done. Now I'm just working away. I know I've done this bit. I know I've done this main bit here, which is all that. I know I've done this top bit here, and I know I've done this bit here. Now we're actually onto our actual window. The actual window is going to be a frame on here. So first of all, though let's press control A transforms right click, a origin of geometry, and now let's come in and bring in frame, frame. Now for the glass on here, I think what I'm going to do is, I'm going to create glass dark because I don't think actually create that. I'm going to click plus new. Let's actually see if I've got a glass do. I've got dark glass. Yes. Let's bring that in and let's see what that's going to look like. I'm going to grab all of these on here, glass dark, click a sign, like so. I'm hoping that's going to look really cool. Now, I need to actually be level this off. I need to make sure that it's smoothed off. And now we need to press let's go and click add modifier bevel and then bring that down all the way, and then up one, something like that. Let's then press Control y because that looks absolutely fine. Now let's hide that the way, and we're on to the last stages. So we're onto this here. Let's think about all this is joined together. We might as well join it all up together. There's no reason why we shouldn't. We can bevel it all off and things like that. Let's join all that together, press Control J, press G, just to make sure you go all right click. And then what we going to do is put an auto smooth now, so Auto smove on so. And then what we'll do now is we'll press control A again, all transforms, set origins geometry, and now let's add, modifier, bevel and just make sure we're beveling all this off. You can see here. Now, we're beveling this off probably a little bit too much. Let's turn it up one. Let's put it on no 0.3. No point not three, like so and bevel it off just that amount. I'm wondering, Yeah, I think actually that's leveled off. I don't think I need to be too accurate with that actually. I'm going to press Control A. Then finally, now let's actually bring in the materials. I'm going to come to this part here. We'll bring in building material first because that'll be easier. If I come in, put in building, like so, so build in, bring that in, and then click plus, down arrow, building gray. Then what we'll do is we'll bring in the building gray on this bit. I'm going to do is old shift and click Control plus a sign, and then I'll come to this bit, and then we're going to click. A sign, and then we're going to click on this bit. L, click a sign, and now come to this bit. We're going to have soil, down arrow soil. Click a sign. Now finally, let's come to the windows. Let's now give this glass, the gray glass. Hopefully, let's click plus down arrow glass, and we're looking for blue glass. Let's click that, click a sign, and then finally the gold. The gold on each of these plus, down arrow, gold, click Assign, Lg so. All right. Let's press all tape, bring everything back, and there we go. Let's have one look around now to see what we've actually done, so we're going to put on cycles. And there we go. You should have something that looks beautiful like this. All right. That's looking really, really nice. Really happy with that, looking around the other side, looking at the top and just making sure that it's all come together really, really nicely. All right, everyone. So I hope you enjoyed this lesson. We finally got there. We just need now to put the windows in and things like that. But the main bulk of the hotel. The hardest part of the whole course is actually behind us now, and now we can actually move on to get everything, renaming everything, and then we can actually take a really nice render. All right, everyone. I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 126. Adding in the Balcony Extentions: And Welcome back everyone to Blender three, the ultimate stylized scene guide. What we need to do now is bring in we might as well do the back first actually because these windows are really easy. We ain't going to do any booleans or anything like that. We're just actually going to slot them in place, so that's really easy. Let's put it back on materials mode. Let's bring in then one of our balconies. I'm just going to get rid of scooter, and what I'm going to do is bring in this one here. This one is the extension. I'm going to spin it around the right way, so Oz and -90, so ZD -90, and then what I'm going to do is I'm going to put them into the right depth first. I'm going to pull it over. I'm going to pull it up and just put it into something round about the right depth, bring it over. So something around there, and then let's pull it out now to something like that. I'm just making sure that's in correctly because it looks like it's a little bit out. Let's pull it in a little bit more. There we go. That's in. I think what I need to do is just pull this. I pull this? Yes, I can. I'm just going to pull this out just so it fits properly. Now I'm going to do is I'm going to press three. I'm going to go around to the back. I'm going to press, going to wire frame, and hopefully, I should be able to see where these are going to go. It looks like they're going to go there. Below here. Press Z, just go into solid, just have a look and make sure that it's just below there, like so. So that looks like slightly fine. And then we're going to press three. Again, press Z, going to wireframe, and now we're just going to bring them down to here. A I'm going to do is I'm going to come over, add modifier, bring in an array, put this on zero, the same as we've been doing many times before. We need one, two, three, four, five, five, Z, bring them down, and then all the way down to there. I'm going to hold the shift. And bring it down to something like that. And then all I'm going to do, I'm just going to look to see where this actually ends to make sure they're in the right place. So Z, solid, come around the back, and just make sure it's above there and that there's enough room on each of those. I think actually that looks really nice. Double tap the A, and there we go. Let's apply that array then, and now we'll do is we'll bring in the next window. If I come to assets, I'm looking for window now, and the window I'm looking for is this one here. I'm going to bring this one in next. I'm going to make sure first of all, so Z -90, that it's the right way, and then going to put it into place. So far enough back, into place. I'm going to poke it out a little bit then. We want to actually have the sides, actually poking it out a little bit as you can see. Then we're going to do it is the same thing again. So three Z wire frame. We can see that according to this, these are real, really small, actually, so I'm going to actually make it a little bit bigger. You can see S, let's make it a little bit bigger so, Let's put it into place. I don't need to be absolutely exact, but something like that. Let's put it up to the top one. Now let's come in with our ad modifier, bring in a ray. Again, I think, one, two, three, four, five, so let's put it on five. Let's turn this to zero, and let's then bring this down, bring it down, hold in the shift born all the way down to roundabout there. I'm looking to make sure you can see that these actually look as though there's a really big gap. I'm just looking one, two, three, 45, they go down one further. That's what it is. I need to go down one further. I'm hoping, actually, did I bring this down to here? I think it did, it needs to be one more down. Let's bring it down. Two here, and now they're actually fit in place. Oh. I thought I messed up there. All right. Let's press, go back into solid. Let's press double tap the A. And there we go there, fit in place now perfectly. All right, so I'm happy with that. Let's press Control A, and there we go. Now, what we need to do is we need our actual other windows, so these are if we come round to this side, these are these windows here. If I press one, if I press Z, I can actually bring in wire frame. I can see where these are now. So what I can do is I can actually bring in my window and then put it to the back. Solid. Let's go now and bring in this window here. And let's make sure it's the right way first, so yes, it is. I'm just looking. But this one here now we have to actually bring in a boolean. Let's put it into place first. I want to press one. I'm going to put it in some place, making sure it's the right size. I want to press, wire frame. They need to be bigger as we can see. S, bring them out. Something like that looks about right size, and then what we're going to do is I'm going to press solid, and I'm going to pull it back a little bit into place, just make sure it fits first. I can see minus a little bit out. All you want to do is you just want to pull it across like so. Then just make sure you're happy with the size. I'm looking on Yeah, I think actually that's going to look pretty good like that. It's a fair size window. There's going to be enough support on each side. That's based of what I'm looking for. What I'm going to do with this, then, I'm going to actually create Boolean. I'm going to come in create my Boolean from this side here, so I'm going to grab the top of it shift and click shifty F fill it in, delete, so limited dissolve. Yeah, I didn't actually get rid of those corners, but never mind, we'll pull it back now into place. You can see here, this is too high the moment, or this is too low one or the other. We might have to do a little bit different here. If I press one, press, going into wire frame, I'm going to actually bring it down a little bit like so because it's a little bit out on this because it's not fitting perfectly, but we can see we need one, two, three, four, five of those. I want to press Zed, going to solid. And I'm looking for is to make sure that it's not sticking out now, which it just is. It's just on there as you can see. Let's pull it down just a tad like so. Now we've got that in place. Let's now bring it all down to here. Press one, Z, wire frame, and let's come in, add modifier and array. Let's put that on zero, zero, and let's put it on five, three, four, five, and then let's bring the Z down, all the way down now, holding Shift born, all the way down to the, something like that. That matching, one, two, three, four, five, six of them is six. Now we have to bring it up. And there we go the fit in much better now. Now let's pressed, go back in solid. What I'm looking for now is just to make sure that the same on each side, which I think they actually are, so that's looking fine, and now can actually bring in ablean so grab this a modifier Boolean. Grab this, press control, and let's just hide these out the way that we normally do, and there we go all ban. Let's now come in. Grab in each of these. So, delete faces. There we go. All right. Now, let's bring back our windows, so I'll tag. Let's come in and grab each of these. L, delete vertices. Let's come in and grab our windows now and I should for grab our windows, pull them back into place. Maybe that's a little bit too far, something like that, double ta. There we go. Let's apply that. Apply that. And there we go. Now the last few things. First of all, I'm going to put some actual air conditioners on this part here. I'm going to put three of them. It doesn't matter really where they go. So let's bring those in. I I just close that, put in air con like so and let's bring in I'm thinking probably bring in a double one maybe, something like this. Yeah, probably the double one because it's going to be a lot of homes that are surfaced from this, so probably this one. Let's bring it in. And let's put it into place like so. Let's pull it back against that wall. Dot just to zoom in, and pull it out. And then let's pull it up now into place. Something, let's start there, and then let's put one right down here, so shift D, bring it down to something like that, and then shift, bring it up. I'm going to actually put four in a thing, so shift. Double tap the A. Yeah, they look absolutely fine. The one thing is, I just want to make sure, are they touching the wool? I think they're a little bit out. I'm just going to grab all four of them, join them together with control. Control A all transforms right click, Sg geometry, and I can just make sure that they're in. The actual wall like so. Go we'll tap the eight, and there we go. All right. So that's those parts. And now we also we put some more on the other side, on this side here. And all we need now is just our balconies and three windows. Yeah, three windows on this side here, and then the balconies. So what we'll do is on the next lessons, we'll get those in, and hopefully, this hotel then should be fully finished. All right, everyone. I hope you enjoyed that, and I'll see on the next one. Thanks a lot, bye bye. 127. Finishing the Small Hotel: Welcome back everyone to Blender three, the ultimate stylized scene guide. Now, let's bring in our next balconies, which is going to be come to here. We've got I think these are the more modern ones, I think it's that one if I press dot and zoom into that. Yes, that's the more modern one. Unfortunately, as well, we're going to have to actually bole in these as well. But let's spin it around so 180, and we're also going to need our small window. I'm also going to bring that out as well. I'm going to go to Asset look from my window, and I'm looking for the little tiny windows. I think that these ones. I'm going to bring that in as well. And now we're basically ready to rock and roll. The other thing is we need our air conditioning. So these three things, and then we should be finished with this hotel. I've just got them all out ready, I'm going to bring this one there. I also want to change this round, so I'm going to actually change this to My small hotel and I'm looking for not that side, it is this one here. This is the one that we're looking at. Let's line it up then, so let's press one. Let's press Z, go into wire frame, and we can see, I, I think, that is the wrong way round. I'm going to press Z 180, spin it round, and then I can line it up. Into place like so. We're pretty much lined up there. Now you can see where I'm going to put these actually into place, and you can see where I'm going to put the three windows into place, and you can also see where the little air conditioning units are on the other side. That's that in place. Let's press solid, and let's bring our balcony just into some place, first of all. Let's just make sure it's roughly in the right place. So something in the middle. Remember we're going to bole in this as well. I'm going to put it just in so that that is in the wall, like so. Now let's line it up. I'm thinking as well that probably to line it up, I could probably just grab this. Press shift S, curs to selected, grab this, shift S, and selection to cursor and now pull it up out and I know it's lined up perfectly. So just pull it out to there. And then when we're going to do is I'm going to press M three. No, not. I'm going to press One, I think I'm going to do it with one, let's have a look, Z, wire frame, and yes, I can. I'm going to do is I'm going to line it up to there. So I'm going to make sure as well that this is not touching the top, so if I come around here, yes, that should be okay. There's enough room there to actually support that, and that's exactly what we're looking for. Now we'll do is we'll pull it out. And we'll make an actual Boolean, so we'll come in and make a Boolean like we've done every single time before. Old shifting clip, shift D, bring it out, and then F, and then E, bring it in like so. Then all I'm going to do is I'm going to pull it back into place in there, something like that. Then again, let's press one to go round the other side, and now what we can do is we can actually press Z wive frame, and let's now bring those down. It looks like I've got one, two, three, four, five, six. Let's go and put in an array, and we're going to print six, We're going to put this on zero, and then we're going to put the ZD going down, holding shift, all the way down to the bottom there. Let's press D going to solid, and let's just have a quick look at where that's actually going to go. And yes, that looks absolutely fine coming down there. All right. So now let's add the bolean, so we're going to grab this part here, add modifier Boolean. There we go, grab that, press control A, and then let's come in and there we go. Let's hide all of these out of the way, this one. This one here. Grab, delete vertices, hide them out of the way. Hide these balconies out of the way, while we just cut these away now, so we're going to cut these away so Delete faces. There we go. Let's press, now let's put these back. No that. All these interplay. Like so so the poking out and now come and grab your whole of your window, and then you shove it back where you actually want it, like so, and there you go. That should look. Absolutely great. Now let's think about putting in our air conditioning units. I'm thinking I'll put one in each side of here. Spin this round to Is hundred 80. Press one, Control one, maybe three with it was one. I'm thinking control one. There we go. That's the right place, and now I can bring that out as you can see. Just going to line it up with that. Then just put it back so, it's stuck in the wall. That's too far stuck in the wall as you can see, and then press one. Control one, there we go. Let's bring it up. So, and let's array it because that'll be just faster. Let's put this on. We've got six again, six let's put this on zero, and then let's move this or down with the actual shift be. I'm struggling actually to see where that is, I think it's rounda there. How many have a put on there? I think I need one if it's actually got seven. Let's press control one, one, two, three, four, five, six. I wondering why? One, two, three, four, five, six. I think I need it down to there. I'm actually going to do this just by instead of messing around with there, something like that, and I'm also going to move them over into more of the middle. Apply that control. Let's over over it, Control A. Let me apply it again, and we know why that is. If we com two, this part, sorry, this one here, just click this button, and now you can go back to modifiers and apply that, and there we go. It's just because some of them are linked sometimes. I don't know why that happens, but sometimes it is, and now you know how to fix it. Now, the last three windows, let's come in, and let's press Control one. Let's bring it up. And we're struggling to see this, but we can see that we need to make it a fair bit bigger, so S, I'm going to bring it out like so I'm just going to do this by ice. I'm going to grab that one. I want to press shift D, bring it over. I'm going to press shift D, bring it over, and now I'm just going to press Z. Solid and just make sure, grab them all, Control J. We're not going to mess around with these. We're still going to bole in them just to make sure we finish it off nicely. So I'm going to do, I'm going to grab shift click old shift click Shift D. Bring them out. F fill in the faces. E pull them back into there. Just make sure that they're going into there where I want them, something like that. Come back to this building, then, add modifier Boolean. Control A, and now let's come into these parts and delete of those. Delete vertices, and there we go. Now let's pole windows, into place, like so leaving a little bit of a gap, D tap the A, and let's have a look at our actual building. And there we go, just looking at the soil. Yet the soil looks nice as well. I'm looking around it, I'm looking at any mistakes that I've actually made, and I don't think I have, and I think that looks really nice. All right, I'm really happy with that. Now, we just need to bring in the last few lampposts. I actually, I think there's just one lampost to bring in, and then all we need to do then is create our actual plants. Once we've done that, then, Then that's it. We can actually take our final render. So let's go back to modeling. And let's then bring in this final lampost, and then I can bring everything back. So if I just actually, I'll bring everything back now because we can see our hotel here, I can just grab then this lamppost. I can press shift D and just bring it round to this corner. So if I grab it shift D, bring it around now to this corner, like so, and then double tap the A. There you go. Looks beautiful. Now, I'm looking on mine, if I've got one on the front and I haven't. I've just got these lamp posts like this. I'm looking at anything else that I've kind of missed, and I don't think I've missed anything. I'm looking at the top, making sure I've got all of my solar panels, water heaters, things like that on. I think actually, Yeah, I think we've got everything in there. So the last thing to do now is leaves and creating some plans. So what we'll do is we'll do that on the actual next lesson, and I'll show you exactly how to do that. A really, really easy way of actually doing that. All right, everyone, so I hope you enjoyed that, and I'll see you on the next lesson. Thanks a lot. Bye bye. 128. Great Ways to Create Leaves & Foliage: Welcome back, everyone, to Blender three, the ultimate stylized scene guide, and we're near there. We're nearly at the final hurdle. Final hurdle being leaves, believe it or not. Let's actually come in, and we don't need these anymore, so you might as well get rid of them. Delete, get rid of those. Let's press. Make sure everything is back. We will need to come in and make sure everything is named and everything is o And before we actually finish up, we can see we've got a lot of things not in here. All we would do is we'll join all the hotels together because we've already got the assets anyway, so we just join them all together and just make sure it's nice in me, and everything's named in the actual scene. But hey, we'll do that after we've actually done our plant pots. Let's first of all, come in and create a leaf. All I'm going to do is I'm going to bring in a plane. I'm not going to worry whereabouts the plane comes, and I'm just going to go over the top of it. What I want to do is just create a leap. So I'm just going to press Control law. Left click, right click, and then control law, and bring in, I don't know three, something like that. And then what we can do now is just spread it out. So S and X, pull it out. Like so, and then all I want to do now is probably come to these, grab this one last, right click and just bring in a merge and at center like so. All right, I think, I'm happy with that. Now all I need to do is just make this to be the kind of leaf shape that I actually won. So I'm going to bring these first of all in, so S and Y, bring those in. And then let's now start just shaping these whoops. Let's grab both of those. S and Y. Bring them in, like that, and you can see already, it's looking a nice leaf shape. S and y, bring them in, and then all you want to do is just grab the middle and just pull it down like so. Simple as that, and there's your leaf. Now what you want to do is you just want to grab probably the middle one. You always tend to do this. Put your proportional editing on and just zoom in and just pull it up a little bit like so, and then just drag this one down a little bit, and then this one down a little bit more, and then just bring it down in the center now. So take a proportional editing, bring it down in the center, that's the easiest way to create a leaf. Let's shift Shades move, Autos move on, and there we go. Now, let's bring in some materials. Let's just create a simple material. So I'm going to click new, and I'm going to call it leaf. Right so. And then I'm going to go over to my shading panel. I'm going to press dot to zoom in, and we should be pretty much dab and actually doing this now. So let's press shift a. Let's bring in a mus grave. And I think we only have one more actual material to go after this, and that's just for the little plants. So mus grave texture, bring that in. I'm going to actually leave everything as it is. I'm just going to press control T. I'm going to leave it generated as well, and then I'm just going to bring in a color ramp, so shift a color, ramp, bring that in. Drop that in there. And then all I'll do is I'll bring the hg and then bring the color. To the base color. Now, finally, let's just give it this some color. The first one, I'm going to put the position on not point not 23, so not point n23, and then I'm going to give it the color. Well, I'll give you the color of this one and on the x control V, this the color 1b4f 15, press the enter board and there we go. Now the last color, I'm going to come in and give it this color here, so it's a little bit lighter. So control the on there, like so. All right. Now let's actually keep this on linear. Let's put it on material. In fact, we'll put it on actual cycles just so we can actually see what it's going to look like, let it load up, and there you go, you've got something like that. You can mess around with this now to bring it out and make it a little bit more random is all I tried to do here. Bring the details up or down, it's up to you really what you actually want to do with that. I think I'm actually happy with this on five, so I'm just going to leave mine on there, brings a little bit of color to it. All right. Now we've got that. Now, let me show you how we create this into an actual bush. If we go back to modeling now, what I want to do is I want to actually bring in a UV sphere. If I press shift A mesh, bring in a UV sphere and where has it gone over here? Let's first of all, make it the size that we want it, something like that, and I'm going to bring it then over here to the size of the press dot, I'm going to bring it down, like so, and I want it to be Want it over next to here. I'm thinking just next to here, let's bring it up and back like so. Let's shape that smooth. Something like that. Is that too big? I think actually that's about the right size that I actually want to. Something around that size. Now what we need to do is we need to actually create a particle system. I'm going to do is, I'm going to come over to the right hand side, click this L bone, click plus, and you'll see that we've got a new particle system. Let's call it leaves. Like so. Then what we want to do is we want to put this on hair, and you'll see that you get all of this hair popping out of it, and we want to click Advanced on as well because that'll give us a few other options. Now if we come down, we don't want to change any of these options yet. What we want to do is come down to where it says render. We want to click this onto object, and then the object that you're going to click is going to be your actual leaf. If I come over now and my object is here, so instance object, click the leaf on and there you go. Let's zoom in with Dot, and you can see that, it looks relatively good, but not great. So let's come up to rotation, you click rotation on. What we're going to do is going to give it some random rotation. Well, first of all, let's put it into the way that I need it. Something like that, let's poke them out the right way. You can see we're getting a lot of randomness in here, there we go, let's get our randomness in like so. Now, what we want to do is you want to bring the leaf over. Bring it over, like so. Let's make it smaller. So once I start making this smaller, you will see that the whole of the other leaves get smaller. So let's just make it smaller. Also, once I actually put the orientation to here, that's then going to change how these leaves actually come out of here. So I I come in, put the orientation to here, so shift this, curs to selected tab, right click, set origin, two, three D cursor, and now you'll see that's actually going to change. Now when I rotate this round, not on there, in edit mode, when I rotate this round, if I rotate it, Y, and then our Z, you can see now I can actually get it to actually come out and look like an actual bush. Now you can see that we've got a lot of leaves in here, that look really, really nice, really, really easy to do. Now what we've got though is all the same size leaves. That's not also what we want. If we come back to this, we've also got an option where we can actually change the scale, so you can actually make it bigger or smaller, so we can change it, and we can also change the scale randomness now, and that then is going to make it much better. Now, a lot of the time, instead of making more leaves, what I tend to do is just bring it up. Like so and make them just a little bit bigger as long as they're about the right size. All right, so that's that. Now, what we need to do is we just need to make this into an actual plant pot. And also, what I tend to do is this, I'll actually check to see if I pull this out, if I press and pull it out, do they actually look bet? I think on this one occasion, they do actually look better. Now if I come back to here, you've also got one. If we scroll down, we can also hide the emitter out the way. So when we actually click on it in cycles now, if I double tap the A, that's actually, where is it show miter in the render. That's in render view. We can also hide the emitter in view p as well. And there you go. That's what we're actually looking like, and you can see it looks really, really nice. All I'm happy with that. Now, what I want to do is I want to actually make the actual bock, and I want to actually make the plant pot. I can also come in and hide that other way. I'm just going to press dot plane, I'm going to rename this now, so leave like so, and I want this hidden in my actual only in my render. It can stay there, but I don't want to actually to come up in the render. I'm going to put on materials now. I'm happy with that. What I want to do is I'm going to pull my leaf over here because I'm actually going to work on this part next. Now, let's come in, and what we'll do is we'll grab this. We'll press shift S cursor to selected. Then what I'm going to do is now is I'm going to actually create my plant pot and my actual piece of bar that's going to go into the actual plant pot. But we'll do that in the next lesson, so we'll make this lesson a little bit shorter. All right, everyone. I hope you enjoyed that, and I'll see you in the next one. Thanks a lot. Bye bye. H. 129. Simple Stylized Flower Creation in Blender: Welcome back everyone to Blender three, the ultimate stylized scene guide. Now, let's crack on them with this. So what we need is just a simple plant pot. So I'll do is, I'll bring in a cylinder. Let's bring in a cylinder. 18 should be fine. Let's bring it down to the size of our plant pot. So, something probably like that. Let's come underneath, and I'm going to actually bring it up a little bit for now. So I can grab the underneath. And then what I'm going to do is, I'm going to come under. Can I grab that? So S, bring it in. And then we're going to do is I'm going to press Control. And then I'm going to bring this back out, so left click S, bring it out, and then let's bring this down now, bring it down, like so, and just a very, very simple plant pot. I'm going to do is going to be level off the bott. Control B, bevel that off, like so, and then come to this bit here and now press I. Like so, and then E, bring it in, and we're going to put soil over the top. So what might as well do is press shift D, bring that up, and then right click and triangulate faces, tries to quads, and then just make it a little bit bigger so it fills that out like so. Then finally, we can come in and just level off these edges here. O shift and click control B, level them off like so. Now, let's press shift S to select a well we've got them all, and then what we'll do now is we'll create So I've created the plant pot, let's put that down on the flop, and then let's bring it up a little bit. And now let's create the actual piece that's going to come out here. Shift A bring in a cylinder again, make it smaller. I'm really not worrying at the moment about polygons too much. All I want to do is kind of just get these things in. What I'm going to do, I'm going to press dot again to zoom into it. I'm going to come over there, grab the face, and I'm going to pull it up like so. Then what going to do now, it's going to bring in some loop, left click, right click, and I'll grab this one going around here. So I shift and click, and then press S, bring it in, like so, and then just work my way down, S. Bring it in. S. Bring it in, and finally, S, bring it in, something like that. That's a little bit out. I need to bring this one in a little bit. S, like so. I'm just looking, Am I happy with that? I think I need to bring this one in as well. S. There we go. Yeah, I think I'm happy with that now. Right click Shapes Move. Let's join it up to here, so Control J, right click, Shapes. Let's put on Auto on. Now let's create our bark. We'll come over plus new and bark. Like so, and we'll also create a plant pot, new plant pot. There's a few more actual materials than actually said, but let's not worry about that. Let's come in and create our bark first of all, so. This bark, let's come over to our shading panel. Let's just create some simple, quick actual box. All I'll do is I'll bring in a wave texture, so shift A wave texture. I don't think we've used one of those before. I'm going to actually zoom into it now. And then what I'm going to do is I'm going to come. And I'll bring in a texture and mapping, so control T. And then what we'll do is we'll just change this to rings. Change the, I think we'll keep the sign the same and then I'm just looking at my own so it's 5.8, and it's 27.6, and it's two, one, 0.5 and zero. So the rest are the actual same. And now I'm going to do is press A. I'm going to search, color, ramp, bring in another one. And then what we'll do now is plug in sorry, not the color, the actual fac in this time because we want that actual color to be based like this. You can see what we're going for here. Let's as well come in, grab the bomb, and we'll assign that to plant pot, and we'll also click plus, so we can actually see what we're doing and we'll click soil like so, and we'll assign this part here with soil like so. Now we can actually come in work on this. What we're going to do now is we're going to bring in where is it bark, we broaden another one. Let's now change the colors. The first color, we're going to keep it on linear as well, is going to be this one. We're going to put it on this one. Like so, and then you're going to put the next color on this one. So you're going to put it. Onto this x like so. You're also going to put this on naught 0.341. Now the final color, and you can see already what's actually happening here. It's really actually quite nice bog, a really easy way to do it. Press the stylized bog, contro V, enter and there you go. Now you can see. Now what we need to do is just turn up this roughness a little bit, and now you can actually go in and alter that if you wish. Now what we're going to do is the actual plant pot. I'm just going to make a blue plant pot, so let's come to my plant pot, and I'm just going to turn this to something Blue like this, make it a little bit darker, like so, and then maybe just bring down the roughness. Just to tad, make it a little bit shiny, double tap the A. And there we go. I'm happy with that. All right. Now what I want to do is I want to grab everything, and I want to bring it over now. So shift D, bring it over to this side. And then what I want to do is I want to make this just a little bit smaller. So if I grab this, I can make it a little tiny bit smaller, pull it down, and then just rotate it around like so so, it looks a little bit different from this one, as you can see. All right, so I'm happy with those. I'm just looking at my plant I'm making sure. I think I'll make it a little bit darker actually. So a little bit darker. So, double tap the A. There we go. All right. Now, the last part. I think what we'll do for this is we'll create just a little flower. I'm going to press I want to put on object mode actual object mode like so. I'm going to actually come to modeling, and I'm going to press tap. I'm going to come over to my leaf, which is here, press the dot b, zoom over, and now let's just create a flower. I'm going to press shift A. I'm going to act press Shift S first. Shift A, and let's bring in I'm thinking a UV sphere. Let's bring in a U V sphere, but let's turn this right down, so 12 and eight. Rings because we really want it pretty low on there. I create a different flower for this on the other one, but I'm thinking that this flower is probably going to look better as some kind of daisies or something like that. Old shifting plate delete faces, grab the bomb, L, delete faces, and then let's just squish it in a little bit, so Sen's a little bit so Now let's create the actual flowers. What I'm going to do is shift S to selected, shift A, and now let's bring in a plane. Let's just turn off proportion edit in. I don't think actually it was on, but anyway, let's bring it in. And now let's create our actual daisy with S and X, bring these out, like so. Now let's bring in some edge loops called control. Left click maybe five, left click, right click, and then let's come to the top. S and y and there you go. You can see my proportional editing is in. I'm going to bring it in something like that, and then bring in the bottom. S and y like that, and then let's just bring these in as well. I'm just going to turn it off a minute. And I'm going to bring them in just a little bit separately. I'm hoping. Yeah, there we go. It is off S and Y. Bring them in. S and Y. So, then I'm thinking. Yeah, I think I've going a little bit too far on this one. So let's bring it out. Let's bring now this one in. And then S and Y. Yeah, there we go. That's looking a lot more daisy. All right. So now let's bring up the front, so I'll put on proportional. I'll bring up the front. L so, I'm going to bring it out a little bit. So there we go, we've got a slide bend there and now I'll just bring up the middle as well. Bring it in. That's the wrong one. This middle. Bring it in. So. I think that's going to look fine. All right. Now what I want to do is I just want to spin this around like 45 degrees or 90 degrees probably, do it like that. I'll do is I'll press the little sideways V, and we'll go to three D cursor, Shift D, and then Oz 90, shift D, 90, Shift D, Z 90. Now, let's grab them all, join them all together, Control J. And then all you're going to do is you're going to grab them all now and you're going to press D. And then RZ 45, and there you go. That is your little flower. Now, let's bring them down like so, and what you want to do now is you just want to move these ones around. So just move them around individually, like so, and then just move this one down a little bit like so, like so, and just bring them out, so they look a little bit different like so. Now, let's join everything together with Control J. Let's write click Shapes Mo. Like so, and let's put in auto smell, and then let's make them a little bit ser. And there we go there our actual panzis. Now I'm going to do is going to press Control A all transforms, right click, set origins geometry, cybras V, individual origins again. And now what I'll do on the next lesson is I'll just bring some simple colors into these. Nothing too drastic at all or anything like that. And then we'll get those on our actual soul. Alright, everyone, so I hope you enjoyed that. I'll see you the next one. Thanks a lot. Bye bye. A 130. Using Vertex Groups & Weight Painting: Welcome back everyone to Blender three, the ultimate stylized scene guide and we're nearly there, everyone. We're nearly there. Let's come in and click new. Let's give this a material. I'm just going to put on here just so I can see what that's actually looking like. I'm going to put this onto white. I'm also going to make sure that my roughness is correct. I think I'm going to leave it like that actually. Then I'll just come in with the center. I'm going to grab the center so L, I'm going to grab it L, and then I'm going to click new. I'm going to put center. Flower. I'm going to take off my caps. Center flower like so, and I'm going to call these petals, like so, and then we're going to go to center flower, and we're going to put this onto a yellow color and then click a sign, like so. We should end up with just something really, really basic like that, and we might want to make it a bit more dark or a bit more vibrant. Yeah, think that looks absolutely fine. All right. So we've got that. Now, I thinking with these, I just put on a ambient occlusion maybe? Or not. I don't actually think well bother. It's up to you whether you want to. You've got the skills now to actually do that, I don't think I'm going to want to. All right, so let's now come to our actual soil. I'm going to actually split this off because I don't want it all over, so I'm just going to grab this P selection, split it off. And then what I'm going to do now, I'm going to add in this actual leaf. Let's press control A first, all transforms, set origin to geometry. And now let's come in and add in other. If I click the plus, I should be out adding a particle system. But instead of it being this particle system, what I want to do is a base, they want to duplicate this one. We can see at the moment we've got leaves. Let's rename this as well to leaves, and now we'll know which one we're talking about. Let's also click this little shield. Well, that means is even if this isn't being used in anything in the scene, it will still be saved out by blender. That's the best thing. The other thing is, if you come to file now and you go to external data and you put automatically pack resources, you'll see that we've packed 12 files in there. Means then whenever we send this file over to someone else or onto a different computer or something like that, it will actually pack all of the files that you actually need into the blender file as well. Normally, if you send this over by, we transfer something like that, it won't actually do that and anyone that gets a file, they won't actually have the particle systems, or some of the textures and things like that. That is exactly why you do that. That's that. Now, let's come over. To our soil, and what we can click now is a down arrow and put it onto leaves like so. But you can see that we do have a problem with our leaves. They're not stuck out the right way. Now, if I change this leaves particle system, it's going to change this one over here. In other words, if I bring this up, you can see that they're also going up, and we don't actually want that. What we want to do instead is, we want to create a new particle system, so plus, and then we want to copy this one to this one. Instead of actually creating new and what I can do is I can click on this and click Duplicate particle system. There we go. I click on this one, I can actually minus this one off and rename this one. So I'm going to call it leaves one and then make sure it's actually saved out. There we go. Now if I come over and just click this little two files here, click them, and then what we've got now is a different particle system. Now, if I change this up, you will see that these move up, but these ones don't move up, and that is exactly what we're looking for. The reason we're looking for that is as well is because I want to bring these out a little bit more than what they actually are. You can see at the moment, they're not actually out in the right place. I want to offset these a little bit. If I come down now, I can see where we've got our render bon, we can change the scale now. We can bring them out a little bit more, like so, we can change the randness, a little bit more. Then what I can also do is I can come up and where we've got rotation, we can rotate this a little bit more, but we can also change the actual hair length, change the segments. If we come to this velocity here, what we can do is we can change how they're actually aligned. You can see here, I can actually turn them, so they're actually aligned a little bit different. I'm going to do is a adjusting, I'm going to turn them the other way, so they're poking out a little bit different than the other ones like so. That's actually looking good. Now, there is something else. I'm going to turn these up, so we've got a few more. L so, let's turn them. It's covering a little bit more. I'm going to turn this one here, just turn them around a little bit like so. Then one to do is, I'm going to turn them a little bit smaller, let's pull the scale down just a little bit. So I'm happy with that, and I think I'm actually happy with how they look. Then the last of all, I'm just going to check to make sure I've not altered any of these. I don't think I have, so that's good. What I'm going to do now, I'm basically going to put them where I actually want them. Now we want to do is we actually want to not have these all in this place here. We don't want them all in that place. We actually want to make it so that we can actually control where these leaves are put. This is very, very handy if you ever doing IV and things like that. The way that you want to do this is first of all, you want to give this sg loop. I'm going to come in and I'm going to press control, left click, right click. Control left click, right click, like so and give you some edge lips. Next of all, you want to come down to the bottom here with the triangle. Just make sure they've clicked on vertex group and you've actually got a group. Then finally, now, you can come over and put it onto weight paint. And now you can see that wherever we paint this, this is going to be this vertex group. I'm just going to paint around here. I'm not going to worry about anything yet. I'm going to paint this round here, like so, and then all I'm going to do now is I'm going to change the name of this group and I'm going to call it leaves, like so. Now finally, let's put it on object mode and you'll still end up with something like this. Let's come back to our particle system and scroll nearly all the way down, and what you'll have is vertex group. To where it says this density, put it onto leaves, and there you go. Leaves are only going to be where you actually put them out, really, really handy, and now you can see exactly where we put our leaves. Now what we're going to do on the next lesson is, we're going to do the same thing for our flowers, put a few of these flowers in on here, and then we've actually shod, I think, have finished our actual scene. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 131. Finishing the Scene: Welcome back it run, Blender three, the ultimate stylized scene garden. It's been some journey. Now I'm hoping that this is going to be the last part of it. So what I'm going to do now is I'm going to add another particle system to this piece of soil. What I'm going to do is I'm going to come over to my particle system. I'm going to click plus. And then what I'm going to do is I'm going to call this flowers. Like so. I'm going to also come over and call it flowers on here. So, I'm going to hit that shield then, then one going is going to put on hair, like so, and then I'm going to come down and where it says path, I'm going to change that again to object, and then the object is going to be this flower here. Not exactly what we're looking for. I know, and they're a bit small at the moment. But first of all, let's come in and rotate these rounds. If I press A, and then R, you'll see the start to rotate round with proportional it on, R, and they're still rotating funly because we need it on medium point and now it press R and y, or is it going to be R and Z? Let's look, no, it's going to be R and x. RN X. There we go, rotate them around, and finally, you can actually pull them out, not that way, not that way into like so. All right. There you go. You can see it looks really, really nice. Still way too small, but we're going to sort that out now. First of all, though, let's decide where we actually want them. I'm going to come in again, and we're going to actually do another weight painting, so I'm going to pret plus. I'm going to click on my soil plus, I'm going to call this one flowers, like so. Then what I'm going to do is I'm going to come back to weight paint. Again, we're going to aj weight paint on here. Just around where the leaves are. Then we're going to click off that, put it on object mode, and now we've got one that's called flowers. Now, let's come back over to our particle system. We've got it on flowers. We've got it on objects, and let's now create them a little bit bigger. We've got object. Well, first of all, we want it on advance. We need object, rotation, object, then what we need to do is we need to change the scale. I'm going to change the scale to much, much bigger, change the randomness up like so, and then one want to doers, I'm going to change this children down by a lot. So something like that. The now log in to doers, I'm going to come down to where it says, density, click that on, put it on flowers, double tap the A, and there you go. That, really, really that easy. Now, the one thing I can see is that this is the wrong way round. We can see we've got a well, there definitely the wrong way round, so I need to spin these round. If I press, that's not going to w. So I need to spin them round the correct way. So I'm just going to grab that, and I'm going to come in and try and spin that round. So I think it's R x 180. Spin that round, have a look. Yeah, and there we go. So they're all spun round now, and they look really, really pretty. All right, so that's that. Now, let's come over and rename this. I'm going to press dot. I'm going to call it flower. Like so. Then I'm also going to press dot, and I'm going to come in and actually hide it in my actual render, and then I'm just going to move these over here, like so. They're out the way now, they shouldn't be rendered. Now let's press ol tage, bring everything back, and this is what we should have now. Everything should be done. I'm looking round, just making sure that everything's in that I actually intended to put in there. I'm actually looking at my beach ball, at my starfish, and all things like that. Now let's put it on cycles. Let's have a good look round, let's turn off our floor. There you go. Absolutely beautiful. Exactly the same as Sims or the city skyline. And that's exactly what we're looking for. So now all I'm going to do is, first of all, I'm just going to put this onto material, and I'm just going to grab, I'm going to put this floor on as well, and I'm just going to grab where's my little man. It's still got him in there. Yes, he's there. We're not actually going to need him anymore, so I'm just going to delete him out of the way. And then what I'm going to do now is, we're going to actually rename everything and put them into the right place. So I think I'll split this into three parts. So we've got hotel one first, so we see large hotel. Let's hide that out of the way, and let's now come to We'll call this one floor, we'll have all of this in the same one. I'm going to do new collection, I'm going to call it flow. Collection here floor, like so, and we've got beach and we've got floor. Now I'm going to do is I'm going to grab all of these parts, all of this, all of these, all of these, just every single part, all of the plants, not that. All of the benches though and this floor. Then what I'm going to do is I'm going to drag them now and put them into my floor. I open up my beach, I should be able to drag them down and put them from very careful into my floor, which is a little bit down here. As you can see, drop them into floor and now just hide them out of the way. And now you'll see exactly what your left wis, I'm going to grab all of these. And I'm going to come and find them. They're all he, drag them down. Drop them into my floor. Now let's press al tage, and if we can't do that, let's just bring them back this way. Now we've got all of these parts here, which should be most of these on here. Now what I'm going to do is I'm going to check now. I'm going to put those up. I'm going to hide my beach, so hide my beach. You can see, I've still got a lot of parts that I need to point in the beach, so I'm going to grab all of these. Press B. And I don't actually want my lights in. So I'm going to do is I'm going to grab both my light sources, hide those out the way. And more so, where's my camera. I'm going to hide that the way, just so I have got that in there. And then what I'm going to do now is I'm going to grab all of these things here. And I'm going to put those into my beach. Press the little dot. Let's drag them up or down, wherever they need to go. Let's put them in. To beach, L so. Now, let's have a look what we've got left. This should be just this hotel. If I bring back my hotel, you can see that I've actually got some of the lamps on here. What I'm going to do is I'm going to grab these lamps, these lamps, these lamps, and these lamps, and I'm actually going to put them into my actual floor. Little dot, grab them all, drop them into floor. Now let's close that up, L so. Now if I double tap the A, we should be able to come in and hide the large hotel that should leave all of these. Now you can see the large hotel, these parts here aren't in it, and I really want those in there. I'm going to grab this and this and this. I'm going to press a little dot, spheres, and put them into large hotel, like so. Now we've got the large hotel, we've got our floors. Let's just close that up a minute. Floor. I'm just going to look around this side and make sure I've left everything in there. Yes, my floors there. Now we've got our beach, and now we should have just this one left, which should be the small hotel. So right click new collection, small hotel. Like so, and now you should be able to grab all of this like so and put it into my small hotel and then hide the other way. There you go. That you've seen actually cleaned up. Now, what's this one here? I'm not sure? Oh, yeah, that's the lighting and camera. Light in and camera like so. That's that as well. Let's actually see if I bring these back now. Let's press t, bring those back, and now should be able to hide those out of the way. G the A, and there we go. All right. Now, let's bring them back, so this is the large hotel. Beach floor small hotel. Now what you can do now is you can go in and join these altogether if you want to. I'm not going to join mine altogether actually, I'm going to leave them the way they are, but I would join them together. The other thing you could do as well, if you really want to clean up this scene, even more is rename everything. Either join it altogether or don't join it together, but just make sure everything is named correctly. We're not going to actually do that because that's just going to take a long time on a long long coll, that don't see actually the point in doing that. We are going to do though, we're going to cut this lesson short, and then the next one, we're going to actually take a beautiful render of this, exactly the same as we've done. And then we're just going to do a little bit of critique as I always do on all my courses. All right, everyone, hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 132. Outro Lesson Rendering & Critique: Welcome back everyone to Blender three, the ultimate stylized scene guide, and this is where we left off. Now, let's bring in our camera, and let's level it up properly, so I'm going to put camera to view on. I'm going to bring it in then, and I'm going to zoom out a little bit, like so. Just making sure everything's in. I want to get some of these details in on here, and I want to also probably get around the actual bit of the scooter and just basically bring in all that work that we've actually done. So probably this angle here. What I'm also going to do then is actually come round and put this onto at the moment you can see on our render, we've got 100 samples. I would say, always start off with a very, very low sample level. Let's go to render render image on 100 samples, and you can see that I did make a mistake. I'm just going to close it down because of the mistake I made was, I need to put this onto wireframe, then render render images. And now let's let that actually render out. All right, everyone. This is actually what I've end up with, and I'm just looking around now just to make sure I'm really, really happy with everything. I am really happy with it. I think camera probably needs to be turned a little bit so we actually get these windows in a little bit bed. But I think that if I was you would probably make a side shot, a back shot and things like that, just so you can really really sure if you work. Now you can see that this is not here properly, and this is the reason that we always do and these quick renders and things like that, just to make sure that we've got everything in place and that before we do a major render and these things that you can't see in things. That's why I always do that. Now, the other thing is, I'm just looking around, making sure everything else is okay, and looking at the leaves, looking at my flowers, and I think actually, it's really, really nice render. Now what I would tend to do is go in I would put this onto materials, I would come into this and have a look and I know what the reason is, it's actually not that. I'm just going to find this now so I'm going to press dot and it's turned off on render for some reason. There we go. I thought it was actually because we've left all our modifiers on. Now what you'll actually do is you'll actually come in and you'll actually do a much bigger render turning up the maximum samples to something like 2000 or something like that. I'm not actually going to render this out this time, it's going to take three or 4 hours to render that out, you can see how mine turned out in the actual course image, you can see it turned out really, really nicely, and you'll also turn out really nice if you've actually built this pretty much to the standard that I've actually created it here. Now if you do want to know how to make a turntable, then go to check out my other courses because you'll actually find out that. This course has already been way way way long enough. I don't think we need to cover actually making turntables and things like that in this actual particular course. If you are interested in more stylized, courses, then check out my other courses again, and we also do a lot of things like for instance, realism, medieval realism, we do things in unreal Engine five. We do the complete actual workflow of the gaming industry all the way from creating the asset to actually texturing it in substance painter, using Z brush, using Mamas, and things like that. I think there's around 18 courses now that you can actually check out. So I'm sure this is something that you're actually going to Alright, everyone, so I hope you really, really enjoyed the course. I hope you learned a lot. If you want to, give me some feedback, put that down below, and I'll be really interested to see what you thought of it. Okay, everyone, so till next time, happy modeling, and I'll see on the next one. Thanks a lot. Bye bye.