Blender Building Masterclass from Concept to Final Render

1. Introduction to Blender Building Masterclass from Concept to Final Render: Ever dreamt of creating incredible three D buildings and environments, truly mastering Blenders power. Welcome, I'm Neil from The D Tudor, and this is the Blender building master class. From concept to final render, get ready to transform your architectural visions into jaw dropping portfolio ready three D masterpieces, entirely within Blender. No more struggling with complex scenes, no more feeling overwhelmed, just pure creative power at your fingertips. I've taught over 250,000 students to conquer blender, and I've distilled years of professional experience into a proven workflow. We'll cut through the noise and get you build in intricate detail structures faster than you thought possible. In this master class, you'll dive deep into a complete modular building system, creating powerful, reusable three D assets that unlock endless possibilities. We'll guide you through every critical step from professional concept referencing to developing complex geometry, using blenders powerful modifiers and tools. You'll master intricate texturing, create dynamic lighting setups, and apply crucial final compositing techniques to make your renders truly pop. This isn't just about learning tools. It's about building efficient, professional pipelines exclusively in blender. You're an aspiring three D artist, game developer, or simply passionate about creating or inspiring environments, this course is your next step. Stop chasing perfection and start building with purpose. It's time to elevate your blender skills and confidently bring your grandest architectural designs to life. Join the Blender Building master class today, and let's create something amazing together. 2. Blender Version Guide and Resource Pack Overview: Welcome, everyone to Blender Building master class from concept to final render. I'm Neil from three D Tudor, and as you can see here, we are using Blender 4.4 0.3, which is pretty important. So when creating or following a blender course, it's not always best to use the absolute nose version of Blender. In fact, using the second or third most recent version often provides the most stable and accessible experience. That's because brand new blender releases can sometimes introduce breaking changes, experimental features, or updates that haven't yet been fully adopted by the wider blender ecosystem, particularly when it comes to add ons, and we will be using within this course, a lot of asset libraries. We'll be using a lot of resources. We'll be using a lot of jumndes and things like that. So it's very important that you perhaps don't get the brand new blender version. For example, the jump from lender 2.7 to 2.8 brought a complete UI overhaul, real time rendering with EV, and a major rework of the layer system. And then moving into the blender, three series involved, quickly introducing jumgy nodes, refining the asset browser, improving lighting and workflows, and shifting how materials and modifiers are handled. Even between versions like three and 3.2, these systems saw meaningful changes. With each update, there's a balance between exciting new tools and the need for compatibility, especially for add ons, which often lag a few months behind the latest build. So even though this course was recorded using Blender 4.4 0.3, any version from Blender 3.6 onwards will work just fine. You'll be able to follow along, build assets, apply everything without issues while also benefiting from the improved stability and add on support. Now there will be one issue, and that will be the compositor we will be using. That does require the latest version. So I recommend if you want to build it out in 3.6, download 4.4 0.3, bring everything into that blendfle or open it up in that blendfle and then you should be fine using the compositor, or use something like blender 4.4 0.1, 4.4 0.2 or something like that. Finally, then, wherever you got this actual course from, there will be a resource pack. Generally, it's actually in the file downloads or underneath the description, or in the first lesson, there will be a link to a resource pack where you can actually download that. Very important that you download that as we're now going to go through that just to make sure that you're ready to begin. This course is going to take you through everything that includes how to get all of the references, how to build a gray box, how to do all of the basic lighting, how to create the little modular pieces, how to bring them all together, how to use geometry nodes, textures, shaders, and everything right up to the point where you're actually rendering it out, and then you're going to be compositing it. So all the way through, you'll be learning from concept to final render how to build a stylized building. And from there, then, you'll be able to go away, and in the future, you'll be able to set up your own buildings with this exact workflow. So first of all, this is the actual resource pack, so just make sure that you've got this available. We've got our composite in here. We are going to go a little bit more in depth into this resource pack once we actually get a little bit further in the course. But for now, just make sure you've got everything. So you will end up with our own blender compositor, and this really helps those final renders. I will go through that later on in the course. You will have your grey box scale. So a lot of the time when we're building things, especially gray boxes, people really find it difficult to actually look at how big they should be building, you know, the first floor, the second floor, the roof, and things like this. So I've actually put in here, if I quickly go into here, a gray box scale when you open this up, you will see if I bring this over, you can actually see there's an extra scale there on these parts telling you how long or short they actually are. Now, I haven't put scales all the way around because you simply have to sometimes make it up how you want it. So you know how long this might be on my own might be not the same for you. You might actually want this longer. And also, it's important that you don't have to stick to this scale if you don't want to. Next of all, then we've got our HDRI. So I have put in here one HDRI which you can use in your own works. It's downloaded from Poly haven, so you're free to use that. Next of all, we've got in here our PUR Ev references. So as I said, we're going to be going through basically how we set up our PUREv and we'll go a bit more into PRV on the next lesson. But on the next lesson, I'm going to show you where to download it from and things like that. It is a free actual piece of software, and it's one of the handiest things for actually gathering references. I'm actually going to share with you my own PUREv document, so you'll see exactly how I do it. And then we've got our references. Now, the references are going to be very, very handy for all of you. This is where we're going to look at the actual parts that I've built. Now, generally, of course, you're not going to have your own references because you won't have built them yet, but I'm going to put these references here, which makes it easier for you guys to follow along. You know, you've got in here pillars and things like that, so you have a good idea of what we're actually going to be building before we actually build it, and that then is going to make this really, really smooth from beginning to kind of some pro actual modeling skills and all the way through. Alright, if we go back then, we can see one last thing, which is our resource pack. This is the most important one within here, which I'm going to show you later in the course, you're going to see all of the geom genodes. You're gonna have all the materials and shaders in there. Now, of course, you're not going to have the actual pots in there because we need to build those parts. That's the idea of this course. And so you'll be able to have access to all of those things. I'm going to show you how to use the asset manager, I'm going to show you how to bring those things in. Alright, everyone. So now what I'm going to do is I'm going to play a short guide on how to use how to set up references and how to actually get PUF. Alright, everyone, so I'll speak to you on the next one. Thanks a lot. Bye bye. Welcome, everyone to our in depth referencing guide, and it's very important that we actually use references in pretty much any kind of modeling or environments that we're actually going to be work on. So before we actually do anything, before we put any cubes down or anything like that, it's really important that we have some really, really decent references to actually work with. So the first thing I want to recommend is that you can use something to actually put all your references on like Photoshop or even word. But what I'm going to recommend is that you use something called Puref if you go to the site, that's called purerev.com, you will actually open this, and from there, you can actually click Get Pure Rv, and that then will take you to this download screen. And you will see at the moment, you've got 157 or custom amount, you can actually put this on zero and actually get this for free. So it's completely free, and you can come back and make a donation if you like. And then all you need to do is click Download. So the only things we're going to talk about pretty much for reference in here, are going to be free except our mid journey part. But there are other alternatives like Dally and a load of others out there that you can use instead of mid journey. Once you open up pura, then, this is what you will be greeted by this screen. And if you want to right click, you can actually drag this around to any of your screens or you can actually make it smaller like so. And it's a really, really good program this really, really handy, highly recommend getting this. So now, let's actually think about getting our references. And there are a few sources that we use to actually grab references from. But generally, what you want to do is you want to build up a kind of reference pack if you're going to be a hobbyist or a professional in three D modeling or environments where you're going to see things perhaps on Pinterest or sketch and actually, you want to save them in a file. So I know people with thousands and thousands of images that they've saved over the years. And whenever they're coming to a project, they'll then dive in and actually find all of the images that they've that particular thing, this could be a Samurai warrior or a Chinese bell. Also, a lot of people I know as well, who are working professionally at this will go around museums. They will take their own actual images, and then they'll also upload those to the file as well. So the first point of call if you're not actually got your own database yet is probably going to be actually Google. So let's open up Google, and you can see here that at the moment, I'm looking for a Victorian delivery truck. Now I'm going to do is I'm just going to go through these and get some nice references like this one, for instance, and then I'm simply going to right click and I'm going to copy image. Then what I'm going to do is I'm going to go over to PUR RV. I'm just going to open it back up, press Control V, and you'll see now that I've got my nice image in here. What we're also able to do with PUR RVs, we're able to also pull it out and make it bigger if needed, which is really, really handy when we're putting in lots and lots of actual images. Now, the next thing I recommend you do once you've actually got an image in there, here's what you can do is you can left click and drag it over somewhere. And then what you can do is you can press Control N and you can actually make a note. So let's call this Victorian Trucks. Let's put it Trucks. Now, within my scene, I might actually want a Victorian lamppost as well as part of the scene or something like that. So let's actually look at the next one. So the next point of call is actually going to be Pinterest, and let's actually put in Victorian lamppost. So let's try that. Like, so let's see what we get, and we can see we've got many, many styles, especially this one. This one's actually really nice. This one's also really nice. So what I'm going to do is I'm going to actually take this one, I'm going to right click Copy Image, go back to my PUEv and then drop the images in there, like so, and maybe make this one a little bit bigger. What I tend to do is I gather a load of images for each of these things. When we're actually building a scene or even just a model, you want to grab as many images as possible. I'm talking hundreds of images here. And especially if you're doing a scene, you want all of the little parts. You want everything down to the lighting, the environment, the trees. You want to grab references for absolutely everything because it will make your scenes just really, really look so much better if you've got some really good references. So now let me show you this is one that I'm actually working on at the moment, so if I come over and load Reason, and I'm just going to load this one here, and you'll see at the moment, I have all of my props. I have all of my main buildings that I'm going to be looking out to use as references. I have a ton of doors. I even have a load of foliage. I have all my windows. I have my lights over here, and I also have, more importantly, all of the lighting. In other words, it's a scene. So what time of day is it going to be? Is it going to be, you know, early in the morning, or is it going to be at dusk? Is it going to be a night scene, or is it going to be midday with that sun beating down on my scene? Just make sure that it actually matches the scene. There's no point having a scene like this, for instance, so this one here. If you've got a log cabin out in the snow, you really want it to match your actual scene. Now before moving on, there are a couple of other places that we do go to use for referencing, especially something like sketch up, which is really, really great because you can actually come into an actual scene. And then what you can do is you can actually rotate around it and really, really check out how a model is put together like something like this, which is one of our actual own. But you can see here how easy it is then to get a good idea of what actually incorporated in this scene. And what you can actually do from there, then, is we can actually come down and we can actually get some screenshots of this or even right click and copy image. Also, let's say, if we wanted to do a Victorian truck, for instance, to keep the same theme as what we've been doing, you can see that there's no end of actual Victorian or vintage type vehicles on here. Not as many as what there is on ArtStation, but still a very, very good place to start looking for reference in. That leads me on to my next one, which of course is ArtStation. This simply is one of the biggest resources for referencing or for looking up artists in the world. So let's put in a reference of Victorian, for instance, and let's see what we actually get. Let's search artwork, so we're going to search artwork and let's see what it actually comes up with. Should be lots and lots of things to work with here, especially good, if you're looking for actual lighting. So you're looking for lighting effects like this one here. And again, we can take these actual um use them for references. And the best thing is about ArtStation is we can also come down and look at things that may be our concept art, so two D or actual three D. And we can also come down as well and look at what subject matter it is. So it could be automotives, so Victorian automotives, or it could be architecture or something like that. So the possibilities with art station are pretty much endless, and you're able to grab tons and tons of really, really high quality references. There are, of course, hundreds and hundreds of other places you could probably go to grab references, but I'm showing you these because as far as references go, these are some of the best places to go. Let's move on then to one of the things that we really use a lot of now, which you wouldn't have thought actually would come into it as far as referencing goes, but it actually is really, really handy. So let me introduce to you now Chat GPT. So here is Chat GPT. You can see that we have Chat GPT four, but we also have 3.5. 3.5 is actually free, and it is actually good enough to do whatever you want. You really don't need to pay for this. It's also free. So what I'm going to do is I'm going to go to message, and I'm going to type in, give me ten different buildings for a Victorian town scene. Something like that. Let's click Enter and let's see what it gives me. So you can see now it's given me a lot of things to actually work with here. And the best thing about this is you can also say, give me ten more. And it will just then go ahead and give you ten more. Now, these things are really handy to use because then I can simply take these ideas and it'll also bounce other ideas to me, and I can then go into Pinterest. Or Google search and actually look them up or try and find something like this. And I can kind of get ideas and design my scene around there using all of those things and especially Pure Rv. We can also take them in to our actual Mid journey. Now, again, our mid journey is paid for. I think the lowest amount is $20 or something like that, but there are many, many free things out there, but I will still show you what we actually do with our AI based image generator. So you can see at the moment, this is the image that we've actually generated. I know we've called it is Victorian era delivery van, and this is what we actually get. If we go to my images, you will see that we've generated a ton of images about all of the things. Especially, we use this as well to generate textures. It's not just there to actually generate images and ideas and things like that. You can actually use it to generate transfers that are going to go on Windows or adverts or actual textures. And we do use this, especially for things like curtains, because it's really, really easy to get that look that you're actually looking for. You can see here, we've got a lot of ideas for living rooms, we've got a lot of ideas for bedrooms and things like that. What we can also do with mid journeys, we can also go and explore. And what you could do is you could look up with a search prom Victorian. Let's put in carriage. And then we can also get ideas from this. So if I put in Victorian carriage, you can see this as what comes up. Now, if we come over to here, we can also see if we click on here, this is the actual prompt that somebody put in, so you can actually take that prompt, maybe change it around a bit, and then get your own images rather than just simply copying other people's images. It's a great place to start to actually gather your own images. The other thing is about mid journeys, I can come in for instance, let's just go back. And then what I can do is I can hold the shift button down. I can grab all of these, for instance, and then what I can do is click the Download button and download all of those images. And the best thing is about PUREv is you can bring in multiple images at the same time, so you can just drag, drop them, and then they'll all appear actually next to each other. So really, really handy things to have. So, lastly, then to sum up, don't do what I did a few years ago, where I just dive straight into blender and not even think about references and just find references if I had to while I'm actually building something. Don't do it that way. It leads directly into building a beautiful gray box, as well, all this, because first of all, you grab all of your references, you make sure everything's set out. You can go and find some more references if you need to. You know, if you suddenly have a spark of inspiration, you want to make something on the fly, then grab some more references for but to start with, grab all of your references, have them really, really nicely laid out, and spend, you know, even half a day to a day grabbing all those references. You can then save the pura that as well into individual files, and then you'll have all the other references around that particular build in there, ready to use maybe on another project in the future. Or everyone, so I hope you found this useful, and I'll hope you'll take my advice going forward. Thanks everyone. See you on the next one. Cheers. 3. Leveraging AI Tools for Creative Reference in Blender: Welcome back, everyone to blend of building master class from concept to final render. So I hope you enjoyed the referencing guide, and now we're going to do is dive in a little bit deeper. So first of all, Ward is PUR Rv. It's a lightweight standalone application designed for organizing and viewing reference images in a clean, distraction free workspace. And even this here is actually in PUREv. I actually just copied printed the screen and put it on here and then cut it out. So how easy is that? It allows you to drag and drop images into an infinite canvas arrangement, then freely zoom scale and pin the window on top of your main application, making ideal for artists, designers and three D creators. It really is, guys, one of the best actual referencing softwares in the business. You should use PUR Rv because it helps you stay focused and visually organized, especially during the concepting and modeling phases. Instead of flipping between browser tabs or scattered folders, PUR Rv gives you a central always visible reference board perfectly for understanding style, proportion, materials, details, and lighting, and so on. It is very, very easy to use. You can basically right click copy, bring it straight into PUREv, organize them way, way easier than like we used to do using Photoshop or another piece of software. Now, let's close that down. And what I'm going to do is open up my own PUREv document. And the way we're going to get to that is through the download pack that you've actually got, you will see in there Pure Red references. If you double click that and then let's open it up, make sure, of course, you've got PUREv downloaded, and then you should be able to open it up. Now, let it load up. It will load everything in. Now, what you can do is you can actually move this by zooming in and out. You can grab it with the middle mouse or you can right click and move it over to your screen if you need to. So now a few things, though, before we get started with PUREv, which I haven't discussed yet, but why aren't the other ways of you know, finding images from Google, why are they not as good or why are they important? Because these images on here, a lot of the time we are using AI, which we'll discuss in just one moment. But a lot of the time when we do things, we're actually grabbing images as well from Google or Pinterest art Station, CG trader, Sketchfab. Even Chat GBT is incredibly good now at creating images. So let's go through a few of these because I've actually made an image of these to actually go through. So if I just bring this over here, we can see then we've got pros and cons of Google images. So pros, fast, broad and familiar, you'll find everything from real world photos to stylized artwork. So cons results are mixed in quality, often uncredited and can like consistency in style or resolution. Now, before actual chat GBT or Mid Journey, I used to use Google a lot, a real lot and then bring everything in, you know, to paint or something like that. And it was hard work because really, whenever you put in you know, a word or something, it brings up the images are so different and far from what you want or what you don't want. Now, Pinterest is the next one, and this used to be pretty good. So the pros, great for building creative mood buds, often surface clean them collections of concept art and real world references. And the cons are pins aren't always linked to original sources. Some images are separated or overly stylized, so you may need to dig deeper. Generally, with Pinterest, it is pretty good, but you need to click on something to then get something else, and you kind of end up in the end with a lot of, you know, the same thing. That's not always something you want. So then you have to click all the way back and go through again. Art station in, let's look at that one. So high quality concept art and three D models from professional artists. Fantastic for inspiration, especially for stylized and game ready work. And the cons can be intimidating for beginners, also more finished rather than raw references, which can make it hard to break things down into component ideas. Generally, with rtstations pretty good. You do end up with, you know, a lot of also rubbish models on there, as well as very, very high quality ones. But a lot of the time for ArtStation, I will use it for concept art. In other words, I'll be using it for environments. I'll be looking at the lighting, you know, these amazing conceptual art pieces. That is what I will be using it for, not so much finished models or anything like that. So let's look at CG trader. This is another one you should be using. Everyone forgets about CG trader. Also sketch fab. Now, they're two different things, really. I know they've put them in the same kind of situation here, but CG trader and sketch fab are used very, very differently. For me, CG trader, I use a lot if I want to put together something really, really quick. So let's first of all, look at the pros and cons oh. So the pros, it's ideal for looking at three D models in real time. You can rotate them, examine topology, materials, modularity, perfect for learning how assets are built. I should say, actually, that is true about Sketchfab sometimes on CGTrader, you will end up with a sketch fab link where you can actually go in and look at that, but not always. And the cons, some models are low quality or wireframe views. Commercial restrictions apply, and if you attempted to use them directly. So a lot of the time with CG trader, we will use it to actually grab references from, Hey, this is what we need in our pack. There are a lot of packs on CG trader. So if we're putting together a Viking pack, it's great for things like that. The other thing it's great for is if you want to put together a concept really fast, there's a lot of free models on there. You can just download them. Bring them into blender. The one thing I would say is they're not always good. You know, a lot of them sometimes don't work. A lot of them are missing textures materials, and they're done by real, you know, people in the real world who don't really know what they're doing. And that's fine if you're using them in that way. Okay, so let's move on then to sketch Fab. Sketchfab is amazing in a way where you can go and see all around. You can actually view all around. You can view the wireframe and everything like that. So it's really good. If you've got a real idea like a windmill, and then you want to have a look around what someone else has done, it's really good to see all the nooks and crannies and how they did it, how they put the textures together and the shaders and things like this. That is what we use Sketchfab for. And finally, hathPTNAITols like Mid journey. There's a lot of them out there now, guys. Some of them paid, some of them free. Honestly, though, I would say the paid ones, regardless of whatever, you know, Facebook advertisement says are always the best ones. So I've found, like, Chat chBT and Mid journey are definitely the best. So let's go through the pros. AI can generate endless prompts and mood board in seconds helping you explore ideas visually before committing to modeling. Mid journey AI images tours can produce very specific generous scenes, EG stylized medieval docs at sunset to get your imagination flowing, and that is exactly the point of this. AI images often contain visual artifacts or unrealistic shapes. They're not reliable as modeling blueprints, but they're great for vibe, mood, lighting, and composition. I really believe in this. So before we move on, is AI cheating. And I don't believe so. Absolutely not. As long as you're using it in the right way, and that is as a tool like Photoshop or any of the other tools. Artists always gathered references from books, from movies, from photos, and from each other. And being as, whether you sit on one side of whether the art was stolen or not is not what we're actually talking about here. It is a mix of all of those reference added in together. And as much as I don't agree with how you know, AI bots were put together. I absolutely don't. They are here, and there's nothing we can do about it. And allly we'll do is speed up the process of creating art from here on out. So AAR AI tools are just another step in that evolution. The key is not to copy a single image. Definitely, I've seen too many people. They get an AI image. They try and copy it, and it's never going to work like that. You need to grab loads of references, which we'll go into in just 1 second and build your own thing from those. So it's always good to a blend of multiple references, gathering ideas for architecture, lighting styles, textures, atmosphere, and more. So think of it this way. Your job isn't to replicate, it's to reinterpret. And that's always been the job as an artist. By pulling 10-20 images, breaking them down, you can start to learn the rules of visual language you're working in. That's how you train your eye and elevate your design. So a lot of the time with these AI images, they do have amazing lighting. And you'll find the more you work with these, the better you are actually bringing in decent lighting, compositing and making your models look more realistic. As long as again, you're not copying from it. So in this course, for example, we're thinking ahead not just about building a single scene, but creating modular, reusable assets. So you'll see in this when I go in it on the next lesson, we've got all these little pots that we can pull from all the windows, the doors, the signs and things like this. That's only possible with strong referencing work from the beginning, guiding everything from a material choice to prop design. So use every tool available, use Google, use ArtStation, use Mid journey, make sure you're always translating those references into your own unique, reusable, three D assets. That's where the real creativity happens, and I couldn't agree with that more. What we're going to do then on the next lesson is we're going to actually go through my own reference and show you what I came up with, how I got all of my ideas, and I've even got down here, as you can see, the actual prompt that I am using. This one, by the way, is for mid journey. Alright, everyone, so I'll see her on the next one. I hope you enjoying it so far. I hope you learn a lot. It might seem like it's a little bit slow getting into the actual build up this thing, but trust me, building up this foundation is the best way because going forward, you really will have a good idea of how to create something from a concept to a final render within buildings. Alright, everyone. I'll speak till the next one. Thanks a lot. Bye bye. 4. Showcasing AI generated Images, how to use promts as referencing: Welcome back, everyone to Blender building master class from concept to final render. So here is my reference in. Now, first of all, let's look at these buildings. So what I've gone is, I've gone in. I've put stylized three D model, 19th century window gain asset, highly detailed cross hatching. Now, what I did with these buildings over here, I put in stylized three D model, 19th century, and then put something like building diorama or hospital diorama, something like that. And then at the input, game asset, highly detailed cross hatching. Try that in your own mid journey, and you'll see it does a very, very good job at putting all these things together. You can also with mid journey take an image, you can put it in there and ask it to give you a prompt. That's also a good way. Now, don't forget, though, about Chat GBT because we're going to come to that in just 1 second. These are actually created in mid journey, and they do a great job of actually giving you a kind of layout. They also do a relatively good job of getting you ideas for these pots. So you can see how these parts are put together. Now, if you take a closer look, we're not going to be able to create these pots. This is why it shouldn't be used in that way. It shouldn't be used to just make a model from because it's never going to work. It might look good on the screen, but building these pots out and how these parts are done is not the way to go. As you can see here with this part, come round, just, you know, you've got these two little lumps here. They don't make a lot of sense. You'd have to bring this part and put it around the center, and then you need to know how to actually fit this round. So you can see, again, this thing, what is it? The light doesn't look like it's even, you know, centered on it. And what is this again? It looks like there's a sol here merged with some kind of other sol, and they don't make a lot of sense. There's one over here, which is a half one makes zero sense. So again, these should be used as conceptual ideas. These parts here should be used again as ideas for creating the little modular parts. You can see we've got a lot of these. And from here, what I do I take also the overall shape. So what I'm looking for in this is how the buildings were built out because it is very good at actually doing this. You can see here this is like one of the asylums or something or a school, but you can see the ideas are here. So we have some thinner spires, some bigger spies. You can see where the doors are and things like this. It is laid out pretty nicely, not perfectly, but pretty nicely to get ideas, and it is much, much quicker using this than trying to get a load of ideas off of Google, for example. So I go in, I get a ton of ideas even going down, you know, to some of the older buildings because these were around in the 19th century, but they weren't from that era. But again, this one, looks like it's been repurposed or something like that. You can see it was a very old building, and then now it's been repurposed. It's got some, you know, modern ish bricks on there and things. And sometimes that might be something that you're going for. Alright, so moving down the other thing that mid journey, especially is good at, is repeating. So you can put in a prompt and then put dash, dash, repeat, however many repeats you want. Look that up if you're interested, and then it'll just repeat it five, ten times, and that then makes it really handy for things like windows, especially when we're aiming it at a certain point in history, which is, as I've put here, the 19th century. So it's a 19th century building. And you can see there's a lot of gothic architecture, old world, really, really detailed stonework. Again, I would say it's nice to see these. Because they're, you know, smaller images, they have a little bit more to them, so they're not just, you know, kind of glossed over. They do have a little bit more to them. But again, I would use this, grab ideas like this, go then and find how these things, you know, were actually put into stone to get some proper references for them, and then you can build out things like that. But as an idea, like with this, it's a beautiful idea, the way this slopes up and round. And I would actually use these actual shapes in my own build. I think they look fantastic. Alright, the doors pretty much the same. Always good to see doors because it also gives you an idea of single doors. So we do have doors like this. This is a single door. It opens up one way. We have double doors in there. This is a great one because it shows you made out of wood, as well. Whenever I'm looking at these references as well, I'm always getting an idea in my head like which parts are going to be made out of stone, which parts out of wood. It's not always so obvious, and this shows that here. This is all made out of wood, as you can see, and it works really, really well. Where it's a little bit more detailed around these parts maybe. This one's made out of stone and you can see there's stone and there's wood, and they're around the same level of detail, but they both work very well in their own right. Now, you've got to understand like things like this probably won't exist. You know? This is a stone door with a stone arch. This probably wouldn't exist in this way. So things like that, you've got to think to yourself, you know, I'm going to make this out of wood? This glass, this stone. Sometimes you have to think a little bit harder. This one's a good one again. Because not only is it made out of stone, not only is it made out of some pots of wood, but the colors are really, really nice. It gives you a lot of ideas of where to put some gold trim in there maybe or something like this. And I really like the idea of that. Alright, so moving on then, I've got lamps in here. So in my own build, you should think about what parts are going round the build to really bring it to life. So when we're building buildings, as we'll go into as we're building it, we're looking for depth. We're looking for lighting, and we're looking for life within the actual scene. If you've got just a building and nothing else around it, so you've got no foliage, you've got no benches, you know, you might even put it in unreal and have some people walking around to really take you up to that level to really bring it to life. But failing that, because, you know, we don't want to do a course about creating characters and bringing those in failing that, we want to bring in, you know, decent lights. We want to bring in benches, want to bring in foliage, and we want to bring it to life in that way. So getting, you know, a lot of references for lights is always a good idea. Next of all, then, I've got streets, what brings the streets to life. Generally, it'll have a lot more images than this, but you can see we've got gateways, we've got lights on here, we've got a lot of weeds and things like that. We can see how the ground terrain is actually laid out, somebody stood over there. Again, some of these are a little bit silly. I don't know what these things are or somebody's tiny car here or anything like that, and that is what I'm saying, Don't rely on AI to create a model W. Okay, so next we're moving on to the signs. Sometimes I just like to get a general idea of what the signs might have looked like or what something might have looked like in that period. So even though these don't say anything, I've just got a good idea of how the signs are laid out, and you'll see that when we come to build or actual street lights and put the signs on them. I've taken a lot of ideas from this. Okay, so next we've got the gates. We have got a part in the build where we need a gate gate sorry. Now, it might not be as intricate as these because, you know, it would take a course on its own to create something like this is incredibly intricate. But we have created a lot of intricacy within the gate itself, and I'll show you that in a while. And finally, then, one of the most important things that you should do. And it's best to actually use hat GPT for this. So what I do is I will take one of these images. Let's say we take this image, we bring in Chat GPT, and we tell it, basically, Do not alter the image in any way. All I want you to alter is the background, the sky, and I want you to make it let's say, a dawn scene. So for me, I had already created the building. And then what I did is I did a render, took it into Chat GPT, and asked it to create a beautiful dan scene, and this is where it actually created. This thing gives me a real idea for how I actually want to light, you know, whatever it is I'm actually building before I've actually built it. Now, generally, I will say that we here render things in midday. And the reason we do that is because the thumbnail generally grabs more attention than something done at dawn. You know, something done at dawn, it's a little bit darker. It's very hard to pull off as a thumbnail to make something a little bit dark like that. Generally, if it's really bright and sunny like this, it's way easier then for people to see that and want to actually create that. Next of all, then we've got dust. Now you might think that we've got dusk and dawn and are they the same? They're a little bit actual different in how they're lit, actually. And I think Chat EPT has done a very, very good job in showing the difference in there, as well as, I've got a lot of ideas for the actual light. So you can see how the lights seem to, come on, and there's a little bit of light shining on them, a little bit of light shining on here, as you can see, and that is something that I'll take with me when I'm actually creating the render. Finally, then we've got a few others. We've got the nighttime render with a starry sky. Again, it's very hard to pull off as a thumbnail this because we've got a lot of dark areas. How dark do you and then I've also done two others because you might want to bring in some effects into there, as well. So you might want a rainy scene or you might want a snowy scene. And again, all these were done in ChachPT. And finally, before I actually go, we also have Karnak on here. So you can see that whenever I click, you can see down left hand side here, there will always be, let's say, if a press P, you can see that comes on down there. So whenever we're building out, you will always have those on screen commands being shown. So if you ever get lost or speaking too fast or my accents too thick, then you will be able to follow along with those when we're actually building things out. So on the next lesson now going forward, we are going to be jumping in to the actual resources and actually doing some work in blending. So this is kind of the the build up to starting your creation, and it is very important that we follow these principles along. So that is getting the ideas, coming up with, you know, the references, all the references you're going to need, coming up with the lighting, looking at the prompt work, whites we use this one over this one and basically having everything together before we even start in blending. Very important. We don't start anything until we get all of those references in place. Once we've got those in place, then we can go and start work. It's going to save you tons and tons of time down the line. It's going to make your buildings look way, way better as a finished result, and it's going to keep you honed in as well. A lot of the time, when I first began, I would be starting something in blender and then jump with something else and jump with something else. This keeps you really honed in, gets you to finish a piece, and that then speeds up how quickly you'll become a decent three D modeler. Alright, everyone. So I hope you enjoyed that, and I'll see you in the next one. Thanks a lot. Bye bye. 5. Exploring Asset Organization in Blender’s Resource Pack: Welcome back, everyone to blend the Building master class from concept to final render. Now, what I want you to do? I want you to go into that resource pack. And the one I want you to open up now is called Resources Blend File. And this is what you should actually open up. Now, we're going to be discussing what's actually in the resource pack, even though if you're a beginner, this is way what you're doing right now, you still need to see what things are actually in here, so you have a good idea what we're going to be doing in the future. So let's first of all, on the right hand side here, you can see that we've got these four options here. Now, one of them is wireframe. One of them is shader. One of them is material view. When you first click on Material View, it's going to take a while to actually load up because it actually has to build all those shaders. So when you first get a game on steam and you first try and load it up, it will say build in shaders. So building shaders takes quite a long time the first time that you actually open them. In the future, though, when you click this on to see what the things actually look like, it will be much, much quicker. So all we need to do at the moment is just click that on, wait for it to load up, and then we're going to have a better visual idea of what everything looks like. All right, guys, so everything is load up. So let's first of all, go into the relatively simple things, which is all the materials. We are going to be using all these materials. Now, remember something. This is on material view. We do have another option here called rendered view, which will give you a really, really good idea of what they're going to look like in real time. Again, though, you will have to let it load up. It's going to take a little bit of time. So each of these, though once you've done it, you know, the first time takes quite a while. After that, it's going to be much, much quicker. So let's first of all, wait for these to load up, and then you'll have a real good idea which one you want to wear between because you'll have a good idea of what they look like in real time and what they look like just as shade of you because in the shade of you, they're not going to have all the lighting on there. They're not going to have all the gloss on there and things like this. So that, for me, took about three or 4 minutes to actually load up. And now you can see when we swap between those. So if I go back to shader mode, if I go back to object mode, or if I go back to real time mode, it's going to be relatively quick as you can see. Now, there are a few things that we can do to actually speed up this process, which I'll show you in the actual blend when we actually go to our own blender file, and then from there, you can actually implement them into your resource pack. I don't want to overwhelm you all at the same time is the thing I'm trying to avoid. So now you can see just how nice these actual materials look. So you can see if you click on one of these, so let's click on just this over on the right hand side, then, if we come to the material tab, which is this one here, you will see it actually has a name. So you can see stone light. You can see we've got light streets. You can see we've got glass. You can see we've got marble and everything in between. So all of these materials are already done for you. We'll be bringing them in. I we'll be going through how the materials are set up just so you have a good idea of how to set up your own materials. Now I'm going to do is I'm just going to put this onto material mode, because we're going to look at geometry notes, generally, it works much, much faster. The lower down, the easier you go. So if you go to wireframe for instance, it's going to be very fast in the actual viewport. If you go to object mode, it's going to be a little bit slower than wireframe, barely noticeable, but very fast and if you go to material, a little bit more sluggish depending on what machine you run. Now next of all, we've actually got geometry nodes here. Now, these geometry nodes are incredibly useful, incredibly useful guides, and getting geometry nodes isn't cheating. It really isn't the way to speed up your own workflow. Same as add ons are used, it's exactly the same thing. I would say, as long as you have a good idea, of how they're working, which we're going to show you within the course, then they're perfectly acceptable to use to speed up everything. So, in other words, creating these tiles, you know, once I've showed you the basics of modeling, you will know how to create these tiles. It's going to take a long time, though, to create every single tile and roof for all of the parts that we need. So way better to use something like a geometry node in this. Now, you will notice something else, as well, that if we come over to this geometry node, click on you can see that it just says three DT oat bark. There is nothing on there. And the reason is, if you go over to the right hand side where this little spanner is, you can see that I've actually turned it off. So if I click this on, you will see now that we actually have a tree. So it went from nothing to a tree. If I actually click it on Render view, you'll see exactly what this tree is going to look like, and you'll also see that it took slightly longer to actually load up. And that is because this tree has a lot of leaves and things like this. It has a lot of bark and little pieces and things. And that's why I've turned all these off just to make sure that when you actually bring it in yourself, open up your resource pack. It is loading really, really fast. We don't want it where it's, you know, crashing or people can't load it up. And sometimes that happens with jumpi nodes, especially when they're very complex. And when we come to put them in our scene, I will show you how to do it the right way just so you're not having issues with running out of memory or VRAM or issues like this. But for now, you can see each one of these pretty much is turned off. So this is the tree one. I can turn that off and come to my hedge. I can turn this one on, double tap the A, and you can see now this is what we've got. So all of these are junction nodes. We're going to be going through these in the actual main course. I'll just turn this one off for now. Lastly, then, in here, you've and things like this guy here. So he's really, really handy because what he does is he basically shows us how tall a human is in the viewport. And that's really important. Whenever we build something, we want to make sure, regardless of whatever we're building, even if we're building something for World of Warcraft, where things are a lot more stylized, a lot more chunky, we want to still have a reference. So a reference to how tall the average human is. This guy is around I think 1.8 meters, something around there, which is the average size of a human, maybe not in somewhere like the Netherlands or somewhere. But generally, you know, around Europe or, you know, in the US, this is around the right height. And so that's why we're going to use here will be the first thing that we actually do in our own built. So make sure that you save this guy out and you put him in another blend file or you save him out as an OBJ. We can do that, and then you can bring him in to any of your pots. So what I'm first of all, going to do is I'm going to open up. So let's open up our file so I'm going to open up this, and this is you can see, our resource pack. I'm going to call this course. So what I'll do is I'll call it blender course. And for me and you, this is where we'll be saving all of our own blender files. This will be saving out our work. So we've got a file there now. So now I'm going to do is I'm going to take my guy. I'm going to go to file. I'm going to go to Export, so you can see we've got Export coming down, and the one that you want is going to either be OBJ or FBX. For just a guy like this, just save our as an OBJ. So let's go to OBJ. We're then going to go to Blender Cs we're going to make sure that this is ticked on, so selection only is ticked on. And then what we're going to do then is just name him. So we'll call him human scale. Let's call him that. So human scale. And then we're going to click Export way from OBJ and there we go. It's as quick as that. And now if we come back to our file, open up our file, you will see within there, hopefully, there he is. There's our human scale. You have got an MTL file. Don't worry about that. That's basically a material you know, they're not that useful anyway when it's just an OBG, all we want for now is just that scale of that guy, and we can bring him into our own file. Alright, so let's now finish looking at the other parts. So we have in here things like rocks. These parts, basically, whenever you're bringing in a geometry node, so the Jumptre node like the hedge or the tree that you saw, they have to come in with all of the leaves, all of the foliage. Whatever it is the Jumptre nodes has, it has to have a way to bring all the parts in. So, for instance, within here, one that we didn't speak about it is going to be the curve meadow. If I put this on and zoom into it. I'm going to press the little dot next to the zero on the number pad. If you click that on, double tap the A, you will see now that we've actually got these foliage, basically. Now, within here, we have plants and flowers and things like that, and that is why within the resource pack, you actually have, if I click on one of these, press the little dot button. You actually have all the flowers and things if you want to bring these in. Now, the other thing is, all of these geometry nodes that come with the course, you are free to use those within your own builds. Not in a commercial sense, but within your own personal builds, even if you put them on ArtStation to show them off, you are free to use these Jummage nodes. It's a huge bonus of actually getting this course. Now at the moment, we don't have any of these in a way that are accessible in an easy way, apart from exporting them out. So as we go further into the actual course, I'm going to show you how we can put these into files where we can then drop and drag, drop drag and drop within our own blend of files. And that then will make it very easy. A give you a good idea of how you can actually do that yourself with your own jump nodes, with your own models and things like this. So, lastly, before we finish, on the right hand side here, you will see that we've got this kind of globe and it's called Wild. And you will see here it says HDRI set I have also given you two lighting environments that are actually self. So we've got HGRI setup, and we've got sky texture. Now, as we click between both of these, you will see there is a huge difference between each of these. And again, we're going to be discussing this in the future, but they are in there, ready to be using, you know, in this actual build and all your future builds. So now if we go back then to the resource pack. So if you come up to here, you will see now we've gone through our resource pack. We've gone through the references. And we've only gone through these in a small detail, I know, but it's just to get you started just so you understand what you've got. And on the next lesson then we're going to go through the blenders files that we're going to actually create. So this will be me and you creating them as you should be creating them for building any kind of building or anything like that. We're going to bring in our human into the actual scene. I'm going to show you how to set up your scenes and how to actually save them out before we begin anything else, and then from there, we can actually make a start, hopefully, on building some of the parts out. I know it's been again, a long introduction, but you need to know all of this information up front to know where to start from. Alright, everyone, so hope you enjoyed that, and I'll see you in the next one. Thanks a lot. Bye bye. 6. Mastering Basic Navigation in Blender for Beginners: Welcome back if you want to blend, build the master class from concept to final render, and this is where we left off. Now, what I'm going to do is I'm going to close this down. So you might want to save it out, so file, save, and then let's close this down because we don't want so many blender files open at the same time. We're already going to have enough as it is. And the way that I'm going to show you how to work things means that you're not going to have to have these blender files open all at the same time. It's going to make it much, much easier workflow, and you should definitely use this workflow going forward. So let's actually close that down. And then what we're going to do is going to have a new blender file. So this is a brand new file guys. This is what you'll have when you first open up blender. And again, you can see down here 4.4 0.3. Now, what I'm going to do before doing anything, because we're going to be moving around the viewport and all that other good stuff, we basically need to play you a short video, which is blender basic navigation. Now, for those of you who already know how to navigate around blender and all of that good stuff, please just go on to the next lesson. What we'll do is we'll play that now. At the end of this, then we'll be moving on to the next lesson. We'll be going through this actual blend file. Alright, everyone. So I hope you'll learn a lot from that, and I'll see you in the next one. Thanks a lot. Bye bye. Welcome everyone to the basics of blender navigation. Now before we begin, it's important to understand how the axises work within blender. So we can see at the moment, we've got a green line going this way and a red line going this way. This is called the Y axis, and this one is called the X axis. We also have one that is the Z axis, which we can't see right now. It doesn't actually come in with blender viewport as default. But if you want to actually set it on, you just come up to the top right hand side, where these two interlocking balls are, and just click the Z axis, and now we can actually see that. So how do we actually move around the blended viewport? There's a number of ways of doing this. One of them is over on the right hand side here. You can see if over here, it's the zoom in and Zoom out. I can actually left click and move these up and down then to zoom in and Zoom out, or I can use the actual mouse to actually zoom in and zoom out using the actual scroll wheel. There's also another thing you can do with Zoom, which is holding control shift and pressing the middle mouse, and you'll see you have a lot more control over zooming in and zooming out. Now, the next thing we want to discuss is actually rotating around an object. So how to do First of all, we'll bring in a cube with Shift A, bring in a cube. Now, if I press the middle mouse button and move my mouse left or right, you can see we can actually rotate around. Unfortunately, though, we're not actually rotating around this cube. So to actually fix that, we need to center our view onto the actual cube. We basically want to focus our view onto this actual cube. So to do that, we're just going to press the little dot button on the actual number pad, and then you'll see that we actually zoom in to the cube. If I scroll my mouse wheel out, you will see now if I hold the middle mouse button and turn left and right, we're actually rotating then around the cube. And this is important because if I actually bring in another cube, so if I duplicate this cube with Shift D, move it over, so bring in my move Gizmo. And now you'll see if I rotate around this cube, I'm not rotating around this one. So it's fix that, press the dog board again, Zoom out, and now I can actually rotate around this cube, as well. Now let's look at something called panning, which means that we're actually going to move left and right. And we do this by holding the shift button, holding the middle mouse, and then we can actually scroll left and right around our actual viewport. So now we've actually discovered how to zoom in and the different ways we can actually do how to rotate around an object and how to actually pan. We can also come up to the top right hand side here and use these buttons here. So again, remember we're looking at the Y axis, the X axis, and the Z axis. If we come to our Y axis and click that on, you will see now that you've got a front view of the Y axis. If you click the X axis, then we can change it to that red X axis, and finally, the Z axis, as well. Now, there are other ways as well that we can actually look around the view port, and these involve using the actual number. If I press one on the number pad, it's going to te me into that white axis or front view. If I press two, it's going to actually rotate that slightly, and if I press two again, it's going to rotate it slightly more. Now, if I press the eight, it will rotate it the other way, as well. Now, to go into the side view or the X axis, we can also press three on the number pad, and that will give us that effect. We can also press seven to go over the top, as well. Now, what about if we actually want to go to the opposite? So instead of going from the bird's eye view, we want to come to the underside of our model. Well, that's actually quite easy as well. All you need to do is press Control seven, and that then will take you to the bottom view of our actual model. We can also do the same inside view and on the x axis and YXs. So, for instance, if I press one, I'm going to be going into Y axis. If I press Control one, I'm going to be going into the opposite side on the actual Y axis. Can also find these options just in case you forget the top left hand side here under view. So if I go down to view and go across the viewport, you can see here that this actually tells me exactly what I need to press to get the viewpoint that I've just actually explained. Now, we also have the button on the number pad, which is number five, a number five button in blender toggles between perspective and orthographic views. Perspective view offers a more natural realistic viewpoint with objects appearing smaller as they get further away, mimicking human vision. Orthographic view removes perspective distortion, making all objects appear at their true size, regardless of distance. Useful for precision modeling and technical work. The other thing that number five does, for instance, if I come to my cube, at the moment, I am able to actually zoom into the cube. However, if I press number five, I will not be able to actually zoom into this cube no matter how far I zoom in. I'll still be able to move around it by pressing the little dot button, like so. But if I actually want to actually work on the inside of an object, I can quickly press number five, and then I can actually go in and work around the inside as well. Now, if you're working on a laptop or something like that or a tablet and it doesn't actually have a number pad, you can also use, if I press five, the actual squiggle key, which is under the escape board on the left hand side of your keyboard, and that then will give you pretty much the same options as we had before. So we can click the right view, we can actually click the back and we can click the left view, for instance, the opposite to what we had before. So instead of pressing one and three, we just press the little squiggle line, and then we can actually view whichever side we need to. Now, we're nearly at the end of this short introduction, there are a couple more things that you can actually do. If you come over to the right hand side and you see here where we've actually got the name of the actual parts within our scene, we can also grab them from here and then press the little dot B to zoom in. So I can grab this one, press the little dot B, and that then will zoom us in. The other great thing about this is we can also come in, shift select them press the little dot button, and then we're able to actually rotate around both of these cubes. Alright, everyone. So I hope you enjoyed the short introduction to the navigation within Blender, and I hope from now on, it won't be a struggle navigating around the viewport. Thanks, lo, everyone. Cheers. 7. Using Scale References and Asset Manager Library: Welcome back, everyone to Blender Building Master Class from concept to final render, and this is where we left off. Absolutely, no way, because we haven't done anything yet. So first of all, though, you will notice within your own Blender file, we have this point light, we have a cube, and we have an actual camera. We don't need any of those, so you can click on each one individually by left clicking, Shift click while you're holding Shift and shift clicking again, and then all you need to do is just press Delete while you're in the actual viewport. So when I say viewport, I mean this little box or big box here, which is this massive visual thing right here. If I say in the viewport, you may need to make sure that your mouse is in the viewport. You don't want your mouse over here because if you press delete over here, it will start deleting things like collections and stuff. Wherever your mouse is, generally, that is where it's going to be deleting something. Now the th thing we want to do then is we want to bring in our guy into here because this file here, we will be building out the gray box. So we're going to have three files. One of them is going to be the resource pack, which you've already seen with the geometry nodes, the shades in and things like this. One of them is going to be our gray box, which will be this one here, and the final one will be the place where we're building all of our modular parts. I recommend setting it up like this. Generally, you'd normally have 21 would be, were you doing the actual build? And the second one would be, were you having all of, you know, the modular parts, the Jumpton nodes and all that thing, all that sort of thing. But what I've done here, because the jomtre nodes and the shaders, they're quite complicated, so splitting those files up is actually probably a better way. So in other words, you've got the modular parts for the building in one. You've got all of the Jumpt nodes and shaders and things like that in another. And then finally, you've got the actual. Putting them up like this means your blending is going to go a lot faster because we're going to be taking into account using the asset manager. The asset manager is absolutely amazing, and it's something that definitely will reduce things like V RAM, RAM, you know, because when you bring them in from the asset manager, as we'll get into, you will see that we're not duplicating things. It's like an instance of something, which makes it much, much quicker. Now, I don't want you to take my word for it. Wow, using asset manager. I've actually put a document together so we can look through this before we actually begin. So using Blenders asset manager is a smart and more efficient way to work, especially when building large environments because it allows you to reuse, organize, and update assets without the clutter and duplication. And that is the main word there, guys, duplication that comes from simply copying objects into a scene. The larger your scene goes, the more issues you will have with duplicating. The more issues you will have with bringing in hundreds and hundreds of parts. It's great in the beginning just put everything in your blend file and build everything out in the same file and all of that stuff. But honestly, in the long run, working in this way is going to be much more beneficial to you, and absolutely it will speed up your workflow. So centralized reusability, instead of making copies of the windows, doors or props across multiple scenes, you can save them as assets. Then anytime you need the adj asset, you simply drag it in fully textured and ready to go. Another great, important thing is when you're creating, let's say, 19th century buildings, you will have a blender file which just has 19th century building props, modular parts, things like this, and then you can always bring those in depending on what you're building. So you can have all the parts in one place. And as you go along in your journey through blender, let's say you're doing Sci Fi, you can put all of the pots in one place. You might build five objects one week, five objects a month later and something, and you'll put them all together, and then you can bring them in to build environments extremely quickly from. It's also a non destructive workflow if you update the original. So you've got to update it in, you know, the original blend file and save you improve the detail of the wooden beam. So let's say you update the shade and make it much better. You can update that then in real time. And every time then that you bring it into the old blend file, it will be updated. So every instance across your project can be automatically updated without you having to manually replace every duplicate. So again, you can go into an old file. And you can actually update them in real time from the actual file. So really, really easy to use, and you can see it's really non destructive, much better in the long run. So better organization. The asset browser lets you tag, preview, and categorize your objects, so you don't need to dig through dozens of collections layers or random file names to actually get at what you want, because they're all set out, as I'm going to show you in a very, very nice neat way, and then you can just see them really easily. You can see them named very, very easy to use. And one of the most important things. So seeing up so scene optimization, instead of bloating your file with multiple mesh duplicates, asset instances or lighter on memory, and they're not just a little bit. As you go more and more and more, it adds up. It's way, way lighter on memory, especially when linked properly, and it keeps large scenes more responsive and render times more manageable. And not only that, sometimes when you come to render massive scenes, if you've not done this, it won't actually render out. You'll have some real issues rendering it out, and it means you'll have to render it out in layers, depending on how big the scene is, depending on what your computer setup is. So it's really a good idea to start in this way from the beginning. And I've duplicated this as well. And just to show you that, you know, you don't really want to duplicate things. I actually did it by mistake. But anyway, in short, the asset manager isn't just about saving time. It's about working smart, clean, and scalable, especially when your scenes grow from one building to entire cities. Now, what we want to do here, guys, is we want to start the right way from the very beginning. So the way that we're you know, this is from concept to final render, and it is a master class. So starting in the right way is the best way rather than working that out as you get further and further down the road, because it's all about muscle memory as well as, you know, knowing how to get from point A to point B. You might have A, B, CD, and everything else in between. But if you have a really fast way to get from point A to point B, it's going to make it much, much better in the long run. Now for now, we're not actually going to go to the asset manager because first of all, we're going to start some gray boxing because it is a little bit too complex to get into right in the early beginning, and there's a lot of other ground that we need to cover just to actually get started. So what I'm going to do is I'm going to close this down. So let's close that down, discard that. We're not going to need it. And now let's bring in our little guy. So normally we would bring him in using the asset manager. But on this occasion, we're just going to import him from our OBJ because the asset manager, I'm going to cover it in its own section, covering it as a whole, which I think is better than just now. Hey, let's just set up an asset manager just to bring this little guy and I don't think that's the best idea, and I think it'll be too overwhelming. So that's the reason why we're doing this. So let's go to file. Let's go to import, and we want to import the Wavefront OBJ, which is how we saved him out. So wavefront OBJ now we need to find that file. Now, generally, when you're looking for files, it can be a bit of a pain down here where it says recon is where you're going to find the most recent ones once you've actually used it. So I'm going to go to G, and I'm going to go to the Gothic style building. I'm going to go then to the course setup, and within there, I've got blend of course. Now, of course, you can see in here, I've got my human OBJ. So let's double click it, and, of course, we should end up with our guy in. Now, wherever he was in the actual resource pack is where he's going to appear within you know, within our actual viewport. So all we need to do now, we can see we have two issues. First of all, let's talk about his orientation. His orientation at the moment is over here. So if I press a little dot B, you will see that I zoom in here. But when I try to, you know, move him, so let's press Shift Spacebar to bring in our move tool, you will see that his move is all the way over here, and we don't really want that. We want to be able to move him from you know, his actual model. So what I want to do, first of all, is press right plate, I want to set origin to geometry. And now you can see his actual orientation has moved to the center of his model. Now, next of all, I want to put him right in the center of our viewport. I can either drag him over, you know, and stick him in the center. So what I can do is I can press Shift S, and where is it selection to cursor keep offfset. And then we'll drop him right in there. Now, on the viewport, of course, we can press one to go into front view on the number pad, and then what I can do is I can drag him up, making sure he's on the actual line here. Very important because I want him to be on the actual ground plane. So the ground plane is basically where the X and the Y. Interact with each other. This is basically the ground plane. We want everything to stand on this because below here is kind of, you know, under the ground and above there is in the sky. It makes it really easy to build things if we stick to that point. Now, finally, what we're going to do on this one is we're going to save it out. And I recommend that after every single lesson you're saving out your work, because if not, you know, you might end up losing some work. On the next lesson, we are going to go into how to sep your blend file. I think that's very important, even though it's a little bit technical right off the bat to actually set it up. And what I'm going to do is I'm going to go to file, I'm going to go now to save Art. So save s and I'm going to go to course setup, Blender course. And then what I'm going to do is I'm going to put the name of this file. So it's the actual built. So let's call it 19th century sent to course, build. And then we know which one that is. So if I now enter, enter, like so, and now it's actually saved out. Now, if I move something like here, you can see that we end up with a little star over here, even if I press control z. So if I press control z and putting back, you can see that star still there. That basically means it's not been saved out. So all you need to do is come now. You don't need to click save us. All you need to do is click Save and it will save out your work. So it's really, really quick now to actually save things out. The other thing is now, if you go to File Save As, you will see now over the left hand side, as in recent, you can see now it says Blender courses, and you can easily now click to where you actually want to go to this file. So if you're saving something else out and you want it to go into the same file now, you can see it's going to be there in recent. Alright, everyone. So on the next one, then, we're going to go through setting up the blendfle We'll set you up in a basic way. As we go through the course, we'll add little bits in there, but setting up your blendfle from the beginning is pretty important, especially when we're coming over to the right hand side where you can see there's render properties. All of these make a difference, actually, in the viewport, as well as setting up some of the things in the edit menu. So edit and preferences. We have a lot of things along here that we should change to make sure it's going to run much, much faster for. Let's put that down for the elbow, and I'll see you on the next one, everyone, and I hope you're really enjoying the course so far. Big buildup again, but soon, very soon, we will actually start modeling something. Alright, everyone. So I hope you enjoyed that. See you on the next one. Thanks a lot. Bye bye. 8. Understanding Blender System Preferences and Optimization: Welcome back everyone to Blender, building master class from concept to final render. And this is where we left off with our little guy in here. So now I want to do is I want to show you how to set up your own blender. And you will notice that over on the right hand side, in this new blender, we've got the vision, and then we've got this little but here which says, Network Access, basically. And we want to have Network Access on sometimes. So how you can do that, you just click this and you'll see it says Allow online access. This is important when you begin to set up your own blender file to actually bring in add ons. So some add ons that you might really a lot of them have been taken off. So if we now just open up this and we go to add ons, you will see if I put in something like loop tools, which some of you may have used and some of you might not, it's incredibly handy. A lot of the tools now like node Wrangler, for instance, are actually built in. You can see now it's built in, you just need to turn it on. So first of all, let's look at how actually we bring in addons nowadays. It's a little bit different. Before we begin with anything else, because as we're going on in the course, we might need to bring in some of the add ons, you might need to download them. So what I've got over here, if I bring this over, as you can see, I've got the extensionsblender.org, add ons Loop Tools, and you can see, here's the loop tools. Now, generally, these are not going to be updated so much nowadays unless they actually change how this works, but you can see over here it says, drag and drop into Blender. So if I just drop this back over here, and then I drag on my left screen I'm bringing it over, I'm going to drop it in, allow online access, click Okay. So we just need to turn on allow online access, like so. I'm going to close that down, and then we're going to drive and drop and bring it in. And it says check in extension. Do you want to install the following add on? Click Okay, and there we go. Now, if I come up to edit preferences, go to add ons, we should see now if I go into loop tools is actually there, and there we go, it's actually imported into blender. That is a new way of bringing in add ons. I don't like it as much as the old way, and the old way, you might still be running a blender where the old way, is working, but that's what we need to do for now. So enough about add ons, that's how we'll do it unless they're built in, and as we've gone through the courses that say, we will be bringing in some addons like the node wrangler for instance. All right, so let's look at the next part. Which is going to be the interface. So as you can see, if you click on the interface, come down here and you will see that we've got a status sp. Now at the moment down the right hand side, all we've got is blender version. We want a little bit more than that. And when Blender first comes in, you won't see anything else down there. If you click all of these on though, like so, you will see now down on the left hand side, you'll see how many vertices we've got in our entire scene, how many faces, how many polygons, how many objects are in the scene. And most importantly, for me, at least, is this VRAM. It's very important. I do keep an eye on that. The memory and VRAM tell you basically how much is, you know, in the scene, how much is, it costs in all of these things that are in there. Basically, Blender will always try and keep it within the VRAM on your GPU, which we'll discuss in just 1 second. So before we move on, Ward is actual memory and the difference between memory and VRAM and why they're so important. So RAM, which is this memory here, random access memory, is your computer short term memory, and Blender uses it to store and process everything you're working on LTD models, textures, modifiers, simulations, and everything else in between. So why is it important? The more RAM you have, the more complex you seems can be. If you think of big environments, high polymehurs, lots and lots of dense textures, and if you don't have enough RAM, your computer may slow down, freeze, or even crash. That's basically what the memory does. Now, what is the difference? So what does VRAM? And this is video memory, and it's actually based on your graphics card. So your GPU has an amount of VRAM. Some of them have four, some eight, some all the way up to 32 and beyond. And this is used to render your scenes, preview your shaders, display graphics in real time. So why is this one important? So VRAM is especially critical when you're using things like blender cycles, rendering or EV, very important. So the more VRAM you have, the easier it's going to be to render things out or view things in real time within the viewport. And if you've seen uses more VRAM than your GPU has, it will fail to render. So it might say something like out of date or something like that, or it will just crash. What it'll try and do, though, instead of crashing, is it will switch to your CPU, and then you'll end up with a lot of stuttering because the CPU is way, way slower in the viewport and rendering. So, the more basically this, I've noticed myself, I've got a lot of RAM on here, which is pretty cheap RAM nowadays. So you can easily get, you know, 24, 32 gig of RAM, and it will make things run faster. You'll always run into problems though with your VRAM. So the more VRAM you have, the better you're going to be. Generally, 8-12 is going to be ideal, and you can see on here, I have actually 16 gigabytes of VRAM, which makes my computer run pretty fast when we're running blender. So now we've got all those on. We've got a good idea of how everything's running. That makes it then very, very easy to just get an heads up overview of everything. Now as far as performance and optimization goes, we'll be going a lot more deeper into this as we go on through the course, so much, much later on because this gets a little bit too complicated. But for now, we will be looking at things like system. System is a very important one. It's one we should set up right from the get go because pretty much how the viewport runs, how the renders run is based on that, and we're going to be jumping around between those a lot. So let's make sure we've got the right one on. Now, at the moment, you can see mine's on non. We've got Cuda, sorry, and we've got Optics X. Luckily, you guys actually went away and did a little bit of research myself, so you actually know exactly what they are. So it sees it says here above KD and Opex or technology is made by NVDA Notice doesn't say AMD. So QDA system that allows blend to use NVDA GPU, speed of rendering. It's been around a long time. Optics X is the new one. So I recommend if you're using AM Video card, using the Optics X. So it says, see a new faster system. It's better ray tracing. It can run the scenes even faster than QDa, especially for complex lighting, which, I mean, although lighting isn't complex, it will make a difference with other shaders that you'll only see OpticsX an option if you have a ATX GPU, 2060, 30, 70, et cetera. I think we're running at 40 70 here. So even from the 2060 series, you can see you can use OpticsX. So what about AMDs, for instance, if you run an AMD out there, guys, you should be using the hip HIP. It's a blender alternative. It allows GPU rendering on AMD cards, just like Cutter optic sex. Don't ask me which one's faster. I have no idea. So I'm not going to get involved in all that. Alright, so then you can see the summary here. Take a screenshot of this if you want to, and then it tells you basically what you should be using in blender. Now I'm going to close that down, and pretty much for me, I always do the same thing, so I put it on Optic sex. I do make sure then I've got my G four ticked. I don't tick the bottom one. I always find if you tick this bottom one, it slows things down because it tries and uses both of them and not in a good way. I don't think it's optimized too well, so I always just make sure I click the top one on. So whether you can click OptiSX or Hip, make sure you've got that selected and then make sure you've got it ticked here. And hopefully, you've got one of these and not none, something like. Now, just so you know, one of the things I would not mess around with is the undo steps. If you turn these up, it is incredibly hard on your blender and your computer. I've seen people ramp these up to 250 to make sure that if they make a mistake, they can go all the way back to the beginning. Bad idea. Don't actually mess around with this, leave it on 32. In fact, if your systems really, really struggling to run blender, I would actually turn this down, not up, so don't mess around with that guy. Okay, so next of all, then we're going to go down to save load, and you can see here as a save prompt as save versions and recent files. Now, what blender typically tries and does, it will have another saved version out. So if you lose your work, more than likely you will be able to find it. I'm going to show you that in just 1 second. So we'll look at that in just 1 second. And lastly, the last one that we will be using fairly early on is called file pass. And you can see here there's one that says asset libraries. We're going to get into this pretty early on, not right now, but pretty early on. This is the one that we're going to look at. So now let's close that down. And what I want to do is I want to go to file open recon, and you can see, these are all the files that we've actually created within Blender or I have. And you've also got one here that says recover. It can recover the last session, or it can recover a autosave. If I go to recover an auto save, you can see here the time here is 1026. You can see it automatically saved out my work at 10:25. Now, it's not always handy because, you know, you're not going to end up with ten saves on here, and I don't recommend you do that. You can, of course, come up to edit preferences, go back to save, and turn this up. So save versions, you could put this up to ten, the number of all versions to maintain to the current directory when manually saving. So we could put that up to two, for instance, and that shouldn't be any big deal, and then we'll have two saves always from let's say 1015 and then 1025, and then the one you're working on. So I do recommend turning that up to two, but apart from that, I wouldn't touch anything else. So now let's close that down. Now, on the right hand side, we're going to get now and have a quick look in these parts on the next lesson because it's very important for the way that we're going to be actually working. We're not going to be using too much EV. I will discuss on the next lesson what the differences between EV and cycles. And I know, again, there seems a lot of upfront knowledge, but you will need this to actually get started to give you the best chance of creating things and making sure that we don't have problems going forward with, you know, blender crashing and things like that. Alright, everyone, so I hope you enjoyed that one. I hope you learned a lot, and I'll see you on the next one. Thanks a lot. Bye bye. 9. Setting Up Lighting Parameters for Performance Rendering: Welcome back everyone to blender building master class from concept to final render. So now we said, we're going to look at over here on the right hand side, we've got the render engines, and we're going to be using mostly cycles. I do recommend, though, if you have a lower end machine using EV to actually just have a quick view on the viewport, for instance. So having this in the viewport, putting this on render. There won't be any line the scene, so it'll probably just be black. So let's just actually click it on, let it load up. And once this is loaded up, it will be very fast with easy. We'll just bring a quick light in just so I can show you what I'm talking about, and then you'll see how it actually works. So here we are. Let's bring a quick light in, so shift day, and all we're going to do is come down to light, and we're going to bring a sun in, and there we go. Now, if I just rotate this sun, so if I just press R and X, rotate it round. Let's press R and E rotate it round to the front. Like so, and there we go. Now we can see when I'm moving around here, you can see it's just loading in real time, like it would do in Unreal Engine. If I now put this to cycles, you will see it takes a little bit of time before it renders everything out. And over here on the samples, you can see when I turn this around, it goes up so far and then it clicks done. So it has to go up to a certain level before it's happy with it, and then it's actually done. But you can see every time I move around, it's actually having to recompute everything. If it's on EV, it's going to do it automatically. There is no compute lock, nothing on here. It's just in real time. So it's way, way quicker. So EV is basically Blender's real time renderer, and it's designed for speed and responsiveness. It's very fast. It's great for animations, previews, stylized visuals, things like that. Uses screen space effects. So it takes things like reflection shadows and lighting, and it works more like, as I said, a game engine. Yet it has some limitations, though. It's not physically accurate, especially with light. You can't render complex materials out and things like this. Some effects like caustic, soft shadows, they're going to be missing, and it won't match the final render if realism is your goal or if you want a very high render. You can work, you know, incredibly hard with EV and get it to be very, very close to cycles, but it takes a lot of work. And then we move on to cycles. So let's put it on cycles. And it blenders path tracing render, designed for realism or designed. I don't just think it should be under realism. It should be very, very nice renders This is what it should say. Of course, it doesn't say that. So it's physically based rendering. So light behaves the same way it does in the real world. It supports global illumination, real reflections, caustics, and shadows, and it's ideal for photorealistic rendering, product shots, architecture, and cinematic shots. Limitations, much slower than EV, especially at high quality, as I said, and requires way, way more memory. So, again, if you're running a lower end machine, better off viewing everything in EV and then switching around to cycles when it comes to actually render out the final scene. Alright, you will notice then, as we have got it on cycles, at the moment, it says CPU. This is one of the most important things. So you'll notice at the turn this, it goes up to this. It takes quite a bit of time. If I now put this onto GPU compute, now you'll see when I turn it. Done, done, done because it's using my GPU, not my CPU, real big difference there. Now, if I just quickly switch back to EV, we're not going to be going through these at the moment. Now, I will play you rendering out in cycles and EV later on in the course, but for now, we're not going to be going through these. We are just going to be going through these on cycles. So at the moment, you can see that we have a view port and we have a render. Now, turning on denoise in the actual viewport. So if I put denoise on, you will see as a turn, it's very, very smooth. Only put this on if your computer can handle it. It does take a lot more GPU power to actually use that. So that's undersampling. Next of all, then if we close that down, we've got light paths. Now, this is one of the things. You may as well turn this down something like five. Because, you know, the higher this goes, the more light bounces there are, which means the more GPU you're actually going to use. So very important to turn it down. The other thing is, when we go a little bit later on in the course, I'm going to show you about transparency, this generally for leaves and things like that, it said a little bit too low, and we will start turning that up as we go through. Now, I always turn on fast GI approximation, and you can hover over here, we'll tell you what it said. So why do we have it ticked on? Is it worth using? And what does it do? So instead of letting cycles spend tons of time calculating full light bouncers, so bouncing off here, which is accurate. Fast GI approximation uses a pre computed cache of lighter behavior. In other words, it speeds it up. It gives you roughly accurate lights bounce the fraction of the rendert and it works more like a light bat but still keeps cycles ray tracing for direct light reflections and shadows. So what are the benefits? It usually speeds speeds up complex scenes. It's much faster at previews and final renders, and it's perfect for environments. Limitations or it's an approximation, so it won't be exact may cause subtle lighting differences or artifacts, and it's best used for soft indirect lighting, not shop caustics or precision renders, which is exactly what we will be doing with it. Okay, so there that. Let's close that up then. And as I say, we're briefly going over these. Next one we've got then is simplify. This is a really, really handy one. If your computer is slacking a little bit, you can click this on, and what you can do is you can turn down the maximum amount of subdivision. So if you're subdividing things, we can turn those down. It won't show up in the viewpoint you can say viewpoint here. The main thing is, though, the main thing I use this for, especially when they had a lower end machine is turning down the texture limits. I can turn down those shaders and textures, which means I'm going to get my viewport much, much quicker. So if, guys, if you're having a sluggish time, once we've got a lot of parts in here, make sure to turn the texture limit down all the way down. Just start from 128 until you get it in that sweet spot. And then it should be fine. Again, you can do it in the render, but generally, it's more for the viewpoint, I would say. Alright, let's close that up. Let's turn off simplify. And then what we'll do is, as we work on, we will come to film, and I'll show you how if you put transparency on or off when it's a good time to use that. Next of all, then we've got performance and we've also got compositor. Now, being as we here, we might as well set this up. Obviously, if you're using your compositor with GPU instead of CPU, it will work much, much better. So we might as well put it on GPU straightaway. Next of all, then, we've got memory. So let's close up, yes, performances under memory, anyway. So let's most people miss the composite part. I know I missed it for a while before I saw it. Next of all, then we've got memory. Let's close up threads. 2048 is the perfect tile size if you're using a GPU. If you're using a CPU, I recommend that you drop that down to 256 or something like that. As we get further on in the course, again, I will explain more of this. But for now, make sure you've got tiling on. Make sure it's on 248 and make sure persistent data is on. I always find that really helps in our final renders. And finally, then we've got our color management, and this is a little bit different to how it used to work. So you'll notice now we have something called AGx. Those of you out there might be running older versions of Blender, and you will probably have this on filmic. Now, luckily for you guys, I've actually prepared something, so let me just open that up. So I have here the difference between filmic and AGX which we'll quickly go through. So filmic is the old version of um the color management and expands the dynamic range, so you can see a good dynamic range, realistic tone, but it has some issues with color flattening. And there's definitely a difference between them when you compare side by side. That is, for sure. I always find that the new AGX is a little bit harder to work with. But I do feel like it gives a much more realistic color palette, let's say. You can see AGX it replaces the color management in Blender four, and you can see the strengths here, clean colors. It's actually, I think, really, really good for stylized work, personally. That's what I think. So it's still new. So some workflows, you know, most tutorials may assume filmic, so make sure you're aware of this. And if you're watching a tutorial, yours doesn't look the same. It's going to be down to basically the AGx over the filmic. And finally, in simple terms, I've got you this and when you should use it and things like that. All right then. So now that is everything set up. I'm going to close all these up now just to make sure close all these up. So it's nice and neat and all of these are closed up, like so and making sure that I've gone cycles and GPU. And finally, then what I'm going to do is I'm just going to get rid of this light. I'm going to put it back onto object mode. And finally, I'm just going to go and save all my work and on the next one, so I'm going to save it on here in the same place. And on the next one, we will finally be making a start on building out our grey box, and I'll explain all that on the next lesson. Alright, everyone. So that is all of the kind of master class of the beginning of building anything, how to sell blend and everything like that. I hope you really enjoyed it. We spent a lot of time going through all that, but I definitely think it's worth it in the long run. Alright, everyone, so see you in the next one. Thanks a lot. Bye bye. 10. Integrating Reference Images into Blender Projects: Welcome back, everyone to blend the Building Master Class from concept to final render, and this is where we left you off. Now, before we go on, there is one other thing. Let's first of all, save you out. So there we go. And what we want to do now is we can come to File, and we can go down to where it says defaults and save startup file. What that means is it'll save in our human. It will save all of these things that we've actually done. The only thing is with the new blender is if we go to edit preferences, you will see if we come to interface on the status bar all of these are ticked off again for whatever reason, I don't know why it does that. But anyway, if we now come over, in fact, you know what, before we do that, what we'll do is at the moment, we're on layout. Now, layout has the actual animation timeline in here for doing simulations or doing any animation, anything like that. We don't really want that. What we want is a full view port. So what I'm going to do is just click on a full viewport, like so and now what I can do is I can now come up to file defaults and save Startup file, which means I will always start with the file exactly like this. So if you now go and open up a new blendfle, you'll see it comes in with umenin with all of those options, probably with these missing, but everything else, including the cycle setup, should be set for you as well, including all of these options, which is really, really handy to have. Now in this one, what we're going to do is we're going to be showing you the basics of modeling within blender, so I'm going to play a short video on there. But before we do that, what we want to do is we want to discuss references. Obviously, we've got a lot of references to work from, and we should be using them. But how do we use them? First of all, show you a way where you can bring in the references into the blender viewport on their own. So Shift A, if we come down and we go to image reference, we can actually then bring in these references. So if I go to references, I can see I've got a lot of references on here. I can't actually see them, though. So if I come over to where these four square parts are, then I can actually see them, and I can also make them larger, so I can make them larger, larger, larger. So I've got a good view of what I actually want to see. And one of the references I'd like to look at is this one here so I can bring it in. Now, one problem is when I brought it in now, you can see it's at a weird angle. Let's delete that, and let's press one on the number pad, Shift image reference. And now because I've got this straight on, if I bring it in, you can see now and bring it in, like so shift spacebar move and I can bring it out. I can scale it with S, and there we go. That's one way of doing it. The second way of doing it is if we come over, to the right hand side here, and you'll see you've got a little cursor in this right hand side right around here. We can then drag this up, and you'll end up with exactly the same one as this. But what you can do now is you can click the little down arrow, go over to Image Editor, go to Image, open, and then what we'll do is we'll go and open those images that we just had open. So references here that, and there's your image. So you can work with it over here within the blend file as well. Now, to get that off, if you don't want that because I don't work like that, on the left hand side, you can click the little, left click, pull it down, drag, and there you go. You've got everything back to how it was or you just reload your blend file. That might be easier. Now, the way that I like to do this is I will. Create a Puri file, bring in the images that I want to wherewith, so the main images, and I will have those on my other screen. Most people have two screens nowadays. If you haven't, you'll have to do it the way that I've showed you. And if you have, it makes it really, really easy then to create these things. Now, I always recommend, as well, when we're starting that we've got all of our references ready to go, and we've done all of this work before even even touching blender. So before even starting any modeling, any grey boxing, we've already done all of this work. From there, then it's going to make things much, much easier to build everything that we need. And I also recommend that you actually really take the time with your grey box. It might take us four or five lessons, an hour of work. It doesn't matter because it's going to make such a huge deal long term. So whenever you're building a building like this, always, always build out your gray box. And now I'm going to do is I'm going to play your basic modeling video just to get you started in the basics of modeling. This will discuss things like object mode and edit mode, for instance. So when you come back, you're not going to be too lost in the things that I'm going to do. Alright, everyone, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. Welcome everyone to the basics of modeling in blender. And this is a short introduction just to get you started on a few of the basics in modeling. So the first thing I want to do is bring in a primitive. So the way that we're going to bring into primitive is press Shift and A, and then what we're going to do is open up a menu, and you can see that we've got all of these things along this actual primitives menu. But the one we want to focus on is the actual mesh. And from here, you can see we can bring in many, many things like cylinders, cubes, planes, and the one we want to bring in just for now is going to be our cube. That we brought our cube in the next thing I want to discuss is object and edit mode. And you can see at the moment, over the left hand side, we're actually in something called object mode, and this means basically we can manipulate this whole object. So if I press G, I can actually move it around my viewport like so. If I press S to scale, I can actually scale the whole of the object in. But the thing is, we don't really want to work in object mode necessarily, and a lot of the time, we're actually going to be working in edit mode. So we can come up to the top left hand side and put this in edit mode, or we can actually press the tab button and jump into Edit mode that way. You will notice once we've actually gone into Eddy mode, we have a lot more options to use, and more importantly, we have a lot of the topology now to play around with. So the first thing you'll notice the difference being is that we have now these three options up at the top and side. And if you have over them, it will say vertex, edges, and faces. Now, vertex is going to be these little points here. The edges is going to be these edges of my cubes or any of the edges. And finally, we've got the faces, which is actually the whole polygon face. Now, you can also, instead of clicking on these, press one on the keyboard, and that then will jump you into vertex select. If you press two, you can go into edges, and three is going to take you into faces. From here, we can actually manipulate any of these parts. So you will notice at the moment, I've got gizmo here. Now, if you don't have the Gizmo available, coming over to the left hand side and you'll have this little button here that says move or you can press Shift spacebar and bring in your move tool like so. Now because I'm on faces, I can actually pull out this face like so, if I go to edges, I can actually grab one of the edges and pull this out like so. And if we're on vertexes, I can grab this vertex or grab the second vertex with Shift Select and then pull this out like so. Really, really easy to actually manipulate things once you know how to select each of these parts. Before we go too much in the weeds with actually modeling in this actual Edit mode, let's just jump back into object mode for now. What I want to show you is how we can actually move this actual cube around. So as well as moving it with the actual gizmo here, we can also press G and actually free move this object around or we can press G and Y, too. Let's put it along the Y axis, move it around or the X axis, for instance, and move it this way or even the z axis and move it up and down. To drop it back where we started, let's just right click like so. So that's actually moving the location of it's not a cube anymore, but let's just say it's a cube. We can also scale this in as well with the S but so we can scale it in or scale it out like so. Now we can also press the S but, hold the shift button, and then we have a lot more finesse on actual scale. You can also scale this up by, let's say, a factor of two, so S, two, enter, and there we go. And of course, we can scale it down pretty small as well. Now the next thing I want to discuss is rotating, because if we rotate it with R and just rotate it around, we haven't got a lot of control over how this rotates. So what I want to do instead is, I always want to press R, then attach it to an axis, which might be the Y, so the green one, and then rotate it either by freehand. Or by actually inputting the value under our number pad. So if I want to rotate it, let's say, by 90 degrees, press the ends button, and I've rotated this round by 90 degrees. Now, if I want to rotate it back, I can press O Y, the little minus button on the number pad, 90, and then we can rotate it back. There is something else that you need to know. We also want to reset our transformations, and this is one of the most important things within blender, because if you don't reset your transformations, blender still considers this a cube, even though it's not really a cube anymore. So what we want to do to reset the transformations is press control. A, all transforms then you'll notice that the orientation has moved over here because it will always move to the center of the world. From there, then we want to actually reset our orientation as well. So we want to right click, set origin to geometry, and then it's going to put the origin right back in the center of this object. Now, it's also important to know resetting the transformations will also impact things like UV mapping, things like modifiers. Basically, if you ever have a problem in blender, always make sure that you reset your transformations, and then most of those problems will definitely go away. Alright, the next thing about resetting our transformations, it makes it really easy then to get something back to how we had it before. In other words, if I press S and scale this down, and then let's press R and Z and rotate it round this way. Because before this, I actually reset my rotations. What I can now do is press lns and put it back to the scale that it was before I did anything and then alternR and actually reset that rotation as well. So really, really handy, once you've actually reset your transformations in what you can actually do. Now, moving on, we're actually going to be looking now at duplication. So if I come round here, I'm able to actually duplicate this. If I press Shift D and then press the Enterbor it's now a duplication, and I can move this over to the right hand side. So now we have actually two objects. Now, what if you want these two objects actually combined, and you didn't mean to actually duplicate it in object mode, for instance? Well, that's easy. We can just shift, select the other one and press Control J, and now they're both actually join together, as you can see. So if I press tab now, we're able to come in and actually work on them both at the same time. What happens if we want to actually split them up, so we don't want the objects to actually be together. That's also easy. Just make sure that you select one of them first, and then all you're going to do is press L just to select everything. So all of these faces, then you're going to press P. Come down to where it says selection, and now if I press tab, they're both actually split off. Now, of course, using the same command, if I press tab, I can actually come in, grab a face, for instance, press Shift D. I can actually also duplicate things with inside Edit mode as well. We might want to duplicate all three of these. Shift D, I can actually come in then and actually duplicate them like so. It also means, though, is that these, when you duplicate them in edit mode will be part of the same object, of course, because in edit mode, they're not actually classed as an object. They're clustered as the same actual part. Now, for the next part, I'm going to bring in a brand new cube, and I'm just going to show you some of the basic modeling techniques within blender and go through a few of the options. So here we have a brand new cube, and the first one I'm going to show you is, if we come into Edit mode, we'll always be working in edit mode to show you these things, make sure you're in edit mode. I'm going to grab the top face. And what I'm going to do is press E, and that then is going to extrude this out. Now, sometimes you will need to extrude something out, and it will need to be along A axis, for instance. So all I'm going to do is go to Edge Select, grab this edge, and then what I'm going to do is press E, and you can see, because it's not tied to an axis, it's floating around everywhere. However, if I press the Xpon, you can see now it extrudes out, following along that actual axis, which then makes it really, really easy to manipulate it where I actually need it to. One we're going to look at is something called beveling, and then all I need to do is come in, and I'm going to grab my edge. So I'm going to press two on the keyboard, grab an edge like so, and then I'm just going to press Control B like so. And you'll notice now it's actually bevelled off that side. You'll also notice down on the left hand side here, we have something called an operator panel. It will be closed. Just open it up. And from here then with the actual bevel, we're able then to turn the bevels down, for instance, turn them up, move how the shape of the actual bevel is going to be and all that other good stuff. Pretty much anything you do in blender is going to give you an operator panel like this. We're not going to go too much into this, but basically, the moment that you press Tab button to come out of Edit mode, this is going to disappear, and then you're locked in with the actual shape that you've chosen or the insert or the extrusion. So just bear that in mind. So the moment I press tab, that actually disappears. Now what about if we want to bevel off verts and not edges? So for instance, if I come to a vertice like this and vertice like this, press Control B, you'll see that it bevels off like this. But if I come to one that are the opposites of each other, press Control B, you'll see nothing actually happens. However, if I press control shift and B, then we're actually able to bevel off the actual verts like so. So that's another handy tip for actually bevel. Now the next modeling technique we want to discuss is actually edge loops. So how do we get more geometry onto this? So, for instance, I want to bring some edges on here, I can press Control, and that then will bring me one edge in here. If I left click then, you can see that I can put this either this side or this side. But let's say I want it right in the center. I'm just going to right click on the mouse, and that then is going to put it right in the center. Now, the other thing I can do with the operator panel again is then come in and turn all of these up to give me more actual edge loops, and I can even move them to the on the right. Now, I can also, if I press Control ed, come in, press control law. I can actually scroll up on the mousewheel to give me as many edge loops as I actually want. Or if I want a little bit more fins, I can actually type it out on the actual number pad, so I can type out 120, for instance, and have 120 edge loops. To cancel it at any time, just press the escape board, and then that will cancel it out. Now the next modeling technique I want to show you requires two actual blocks or two cubes like this. And all I'm going to do is I'm going to come in, and I'm going to select opposing faces like so, and then I want to actually join these together, for instance. So all I'm going to do, I've selected them both. I'm going to right click and come down to where it says bridge faces. And now you can see I can actually join those together. Now, if I press Control's dead and just go back a minute, you can also do this by coming in and let's say grabbing this edge and this edge. And what I'm going to do instead is, I'm going to press the F bone like so, and come down to the bottom, as well, and then grab both of these and press the FBne like so. Sometimes bridge will not work because bridge has to work with two edges and nothing in between. In other words, nothing selected there. If I come into this one now and try right click and come down to where it says, bridge edge loops, you will see select at least two edge loops. So we can't actually join up from there, and that is when it's a good idea to use the FBN instead. Now the final modeling technique that I actually want to show you is something called insert. What I'm going to do is I'm going to grab this face here. I'm going to press the ebon and then you can see you can actually insert this face in, and from there, you can actually extrude it out if you want to. You can also then press Control B and bevel it off if you want to. And you can see now it's really easy to use all of those techniques that I've actually showed. Now, lastly, the last thing I want to show you is the insert again. But this time we're going to grab this base and this base, and if I press I, it's true you can actually insert them both at the same time. Now, the best thing though about insert is, if I press the I and then press I again, we can actually insert them separately from each other like I see a lot of renders on Facebook and other social media that kind of look really, really blocky. And for instance, if I press Tab now and go into Object mode, you will see this actually looks pretty blocky. But there's a really easy fix for this, so it doesn't actually have to look like that. All you need to do is once you've actually finished, right click, come up and where it says shade auto, smooth, and that then will shade it off based on the actual angle. So really, really easy to either shade flat, shade completely smooth like so or shade auto smooth, like so. If you actually are struggling and you actually want it to shade it a little bit smoother than what it is, you can come over to the right inside where this little triangle is, go down and open up the normal, and from there, you can actually increase this and shade it even more smooth based on a higher angle. The default is always set to 30. So make sure you set it to 30 in case you actually over. The last thing I want to show you in this introduction is the actual cursor because I think it's very, very important to actually modeling. So what I'm going to do with the mono is I'm going to make another cube with Shift D, and then I want this cube on top of this cube, for instance. Now, if I move my cursor over here, so shift right click. And then what I can do is I can press Shift Desk, and I'm going to go selection to cursor, keep offset, and that then is going to move the exact center of this cube, all the orientation to my actual cursor. Now, how would I get this then on top of this cube? I would literally grab this cube. I would first of all, right click and set the origin to geometry just to make sure that origin is right in the center like. So I would then press Shift desk cursor to selected, and that then is going to put my cursor right in the center. And then I would grab this cube, and from there, I'm able to go Shift Desk selections cursor, keep offset. And now that cube is right next to this actual cube here. From here then, I can actually bring this up, and let's actually just have a quick play aound of everything that we've learned. So you can see now if I pull this going to join them both together then with Control J. And then the first thing I'm going to do is come in, grab this face and this face, and we're going to right click then, and we're going to come down to bridge faces. And then going to bring in some edge loop. So let's bring in two or three edge loops. Left click, right, click. And then what I'm going to do is I'm going to press Alt Shift and click just to select all of this edge going around here and press the S but and pull it out like so. From there, then what I'm going to do is I'm going to bevel off both of these tops, so I'm going to grab this top, shifts like this top. I'm going to press Control B and actually bevel them off like so. From there, then I'm going to bring in an insert, so I'm going to grab the front top here. I'm going to insert this with the eye button like so. And then from there, I'm actually going to extrude out. So I'm going to extrude this out like so. Now, let's say I want a bigger piece on the next bit, I'm going to press Shift D. Pull it out, so this is a duplicate of this face. I'm going to press the S but to make it a little bit bigger, and then I'm going to press E and pull that out along the axis. Finally, then what I'm going to do is grab this one and this one and going to right click then and bridge faces like so. And you can see just how easy this really is now to actually start building out some really, really complex models with everything that you've just learned. Alright, everyone, so I hope you enjoyed that, and I'll see on the next one Cheers. 11. Starting Environment Blockouts with Primitive Shapes: Welcome back, everyone to Blender building master class from concept to final render. And finally here goes. We're finally here where we can actually start building something out. Now, we're going to be using a few tools to build out the grey box. One of them will be visual. One of them will be me telling you the correct sizes or roundabout the correct sizes because building this building isn't so easy just working off a reference. As you can see the reference, which is here, it's pretty hard to, you know, establish the exact sizing of things. And although I do want you to build out your own buildings in your own way and things like that, I think it's important that you have a good start. So what I would do is I would build out this gray box. Once you've built it out, then you're free to go in and change the things. You just have to make sure that the modular part you put in will go corresponding to your own gray box. But I think for this building, if we take a quick look at it, I have looked at how everything is built out. It's got a lot of depth to this building, as you can see. You see, there's a lot of things going in. There's a lot of extra sticky out parts everywhere. It had this amazing front on this building, and, you know, each side from this side to this side is very different. These are things that you really need to think about. You need to think about height need to think about things being different heights, for instance. We need thinks about things being set back, and we need to especially think about how it's going to be set out with foliage to bring it to life. Where the benches are going to be, you can see the bench here. This part comes down here into the street. These are all things that give it life. These are things that don't make, you know, the buildings you're creating too flat. So saying all that, let's move this over to the left hand side, and let's discuss how we're actually going to do this. So first of all, let's move our guy over here, and what we'll do is we'll bring in a cube. So if I come in, bring in a cube. Now, just watch this part, and then you'll have a good idea of what I'm actually doing. A number of ways then to scale things. So if we come into Edit mode, we can come in, of course, and pull things out. We can pull out faces like this. We can pull out edges like this and so on and so forth. But the thing is there are better ways than simply just pulling things out. There are tools that are going to make this easier. If I bring this back with Control E and come up to this here. So these square here with this little white block, you will see it disappears in object mode. So it can only be put on in edit mode, come down, and then you've got edge length measurements, which makes it really easy then to pull things out and get a good idea of what the measurement is. So when we're talking about measurements and how high things are, like we've got on this building here, 7.16, you know, these measurements, that is one way of doing it. The other thing is, as well, if I pull this back over, knowing the distance from here to here, especially if you're new, is incredibly important. And I'm going to be going through that with you as well, and I'm going to be showing you the ways that you can do that. Now, the other thing is to make something the right side. So at the moment, you can see 2.57 along this edge here. Now, if I come over to the right hand side, open this up, you will see it says 2.57 on the X axis. I can come in and actually alter this on the dimensions over here as well, which makes it really, really easy to get a good idea, not only in edit mode of how big things are, but also in object mode, we can actually use this to create the right scale of things. So both of these tools together now the last tool I want to speak about is the measuring tool. Very very few people use this, but it's incredibly handy. If you come over to the left hand side, you will see you've got a measuring tool where you can just select it, drag it, put it on, and there you go. You've got the measurement or roughly the measurement of what this is. You can go from here to here, for instance, and just measure everything out. Now, this gives me a good idea of what size and everything is, and from there, I can actually come in and click on the actual measurement, press delete twice, and then I can actually take it off, like so. All right, so now we've got the ideas of what we're going to use. Now what we're going to do's come in and create our first block. Now, our first block is going to be this block in here, and that then will give me a good start of, you know, knowing how big these steps are, how big this is, going all the way up. In other words, probably better off building out the dome first and then adding these things on, you know, after we've done that. So I think it's just going to make things much, much easier. Alright, 'cause the front of this is pretty complicated, to be honest. When we come out to actually build it out, you will see how complicated it is. Building a gray box is a little bit easier. But still, getting all of these things all tight together, all working as they should is going to be fairly hard. Alright, so let's move that over to this side. And the first thing I'm going to do then is put that right. I'm going to, first of all, come in, bring in a cube. So shift day, mesh. Let's bring in a cube. And now all I want to do is start out with where the doors actually going to be. So my cube on here is going to be 5.355 0.15 0.8. This is the size of my first cube. So now if I press one, I'm going to press Shift space bar to go to MVT because I had it on measurement tool and bring it and this is how big the front. So this part here is going to be. Now, a lot of this is actually hidden away in this part here. So there's a ceiling on here, for instance, and also it's a little bit higher up because of where the door comes. Now, the next thing we want to do, if we zoom in here, you can see this has actually pulled out a little bit. So what we need to do now is put on this little bit that comes out here, and we need to measure it out. So what I'm first of all going to do is I'm going to press tab, go into Facet. And what I want to do is I want to pull this back now a little bit. So you can see at the moment because we moved it out in object mode, you can see now when I move that back, it moves on here, but they're not correlated to the ones on the inside, and you need to take that into account. So what I want to do now is if you're working on, you know, edit mode, make sure you keep working on Edit mode. If you're working on object mode, make sure you keep working on object mode. So what I want to do now on the Y axis, I want to pull this back to 4.7. So 4.7 like so, and then I want to come to the front now and bring it out. So I'm going to press tab, I want to press Controller. To bring in an edge loop. Now, most people bring in two edge loops like this. So left click and then they split them. So S and X pull them apart like this. It's not the best way of doing it. The best way of doing it is pressing Control. Left click, right click, dropping it right in the center. And then instead of doing it that way, just go over the top. Press Control B as though you're going to bevel it, and then what you do is you can actually pull these out at the same time. It's much, much quicker to do it this way. So I'm going to pull them out something around here. So we've got a little bit of a gap each way. Now, mine is no 0.292. So around no 0.3. And then what I want you to do is I want you to come to the front of it, seven to go over the top, and I want to extrude this out now. So I want to extrude this out, and then this is going to be the extrude out part, which we can build around. So if I come to the top, press the extrude bone, which is E and just pull it out a little bit, like so, and there we go. Now, if I put my guy there, you can imagine he's going to have a pillar this side, a pillar this side, and a big door in there, and then the ceiling's probably going to come from round about here. Alright, so far so good. So we've got this part in now. So the next part we need to think about is the part that's going to go on top, and that then will lead to our dome. Now, our dome is going to be larger than this part because it's going to be slightly hidden, you know, by these blocks that are going to be here, by the roof and things like this. So just bear with the process, create the dome a little bit bigger, and don't worry if it doesn't look quite right. Now, the first thing we want to keep this centered. We want to move our gout a little bit, and we just want to go through a couple more things. So what I'm going to do is going to hide this out of the way. So hide is H to hide it out of the way. And then we're going to press Shift A, and we're going to bring in a cylinder. And the reason we're bringing in a cylinder is because we will be using cylinders a lot in this actual build. And it's important to know what I'm going to tell you now. If we bring in this cylinder at the moment, you will see it's on 32. So 32 vertices, move it over there. Let's bring in another one. So shift, bring in a cylinder. Let's instead put this one on 24, and let's move this one over there. Let's now bring in another one. So shift, bring in cylinder. Let's put this one on 12. Move it over there. And finally, the last cylinder. Mesh, cylinder. Let's put this on 200. Like so. Alright, let's look at these cylinders then. This one looks amazing. Really, really nice and smooth. If we go into it, though, we will see we've got let's just take off the measurements. Crazy amount of verts in there, crazy amount of polygons. If we come to this one, oddly any. And if we come as we go further up, we can see more and then more again. Now, if we come in and we go to this one over here, and we right click and we shade auto smooth, we can see this shade's pretty smooth. There's a little bit of jaggedness on here, but all in all, unless we're doing something hyper realistic, there's no point in having 200 polygons in there. Now, if we come to this one, which is 24, right, click, shade auto smooth, again, we can see it's shading really smooth. Now, some people believe that they should put in more polygons to create something that's smoother, but you don't have to do that. You just need to get a happy medium. And this one, right click, shade Ato Smooth, you can see, doesn't shade smooth very well. Now, this one is on 12, this one on 24, this one on 32, and this one at 200. How much polygons are we actually saving by going to the 200 or even the 32? So I recommend when you're building anything like the steps or the dome, you stick to round 24 unless you really, really want it to have smoothed out. And if you do want that, then go to the 32, but I don't recommend going over there. And this is a really important lesson because going forward, we will be making a lot of cylinder we will be making stairs. We will be making things like columns, the dome, and we really need to understand why it is that we're using round about 24 vertices. So you can see here if I click on this, we have 796 triangles and polygons are 202. If we click on this one, we only have polygons 14. If we click on this one, we only have express tab, 26 polygons. So we've gone from 202 to the one I'm going to be using 26. Massive difference, especially when you start adding those up over time. So what I'm going to do is, I'm just going to delete all these. Now, I need to bring that block back that I actually had. So all I'm going to do is press TH, and there we are. It's back in place. And what we'll do then on the next lesson is we'll actually start getting out our actual steps. So we'll make these small steps here that will give us a grounding then to actually start from, and then from there, we can start putting the dome on here. Alright, everyone, so you enjoyed that I'll see you on the next one. Thanks a lot. Bye bye. Oh 12. Enhancing Greybox Symmetry with Mirroring Modifiers: Welcome back if you want to blend a building master class from concept to final render. Alright, guys, so what we're going to do is if I bring this over here, we're going to build this part next. So this part here is what we're going to be building. We're not gonna build this out part on there, anything like that. We simply building the grey box and we're going to get just this part in. This is one of the hardest parts to do because of the angles that are involved. It's very complex actually building, you know, all of these, getting them look right. But the front of the building is one of the most important parts. You'll see in any building around the world, the front is the part where they spend the most time, and the rest of the parts, then you have to build after. So I always work the same way. I think about the front whenever I'm designing this, I build the front out. And this, to be honest, the back and, you know, these tops and things comes right after that. So saying that, let's bring up our reference. Let's put it wherever you've got your reference. And what we're going to do first is we're going to bring in a plane because I think a plane is going to help us much more visualize scale and size and things like that, just for these. So what I'm going to do is I'm going to bring in a plane. First of all, make sure that your cursor is in the center, so you can see here my cursor is in the center. So shifts, cursor to world origin, shift D, and let's bring in a plane. So bring your plane over, and you'll notice it always comes in flat. You can actually I will show you something else, as well. Bringing a plane, so shift A, bringing a plane, you will notice that you can actually bring it in rotated. So if I come in, you can see I've got an X axis running this way. If I put this on 90, that means then it's rotated. Now, if I delete that press shift A, bring in a plane, you will see it's not rotated. Now, there is one other thing. If we come in and scale it, so I'll come in and scale it up like so. It should now, if I move let's see if it comes in scaled. So I'm going to press Shift A plane, and there we go. It's actually scaled. I'm actually going to rotate it, as well, you know. So I'm going to rotate it by 90 degrees. And then what I'm going to do is move it, delete it. Shift A, let's bring in a plane again. Yeah, it's still not rotated. So you can only actually change the scale, and then it will save out the scale till you actually reopen blender. So I learned that, actually. So anyway, let's bring it over. Let's rotate it. So RX 90, let's rotate it the right way, Ram. And then what we're going to do is get the scaling right. So what I want to do is 5.2 along here, 5.2 going along the X axis. So let's put it on 5.2. Let's put it then on the height at 6.56. So we'll go here, 6.56. So, in fact, it's not it's this axis, 6.56. Let's try that. There we go. Alright, so that's the right height for this. Now what we're going to do is we've got the width, we've got the height of this part. And what I'm going to do now is shift D and bring up the next one. So I've duplicated it, I'm going to pull it up. And then this one on the Y, I think it is. Yep, on the Y is going to be 5.23. So 5.23. It's gonna, of course, be exactly the same on the actual width, and I'm going to put that one back in place now. So this is the second floor, and now we're going to work on the third floor. So what I'm going to do is I'm going to press Shift D. I'm going to bring it up. Up to here. And this one then is going to be on 3.65. Now, bearing in mind, this is our actual roof. So this is this roof bit, is this part here. And this is the bottom part. So we need to see if it all fits in together once I've got this part here, 7.16. So let's give it a try anyway. So what I'm going to do is I'm going to put this then to 3.65. So 3.65, there we go. And now let's see if it all comes together. So I'm going to pull it up, like so. And then what I'm going to do is I'm just going to grab this edge here, and this is my roof, so I'm going to press S and X and pull that in. And you can see now if I get my measurement, so let's bring my measurement. I should from here to here be 3.65 something around there, which is what it is. Alright, that's perfect. Now, to get rid of this, click on it, press delete and delete again, and there we go. Alright, so we've got the right dimensions now. Now we need the dimensions for this because obviously these are two D planes. Sometimes I think working with these two D planes makes things much easier when I'm working with gray boxes because I can get the right shape and things like that. So what I'm going to do is comb around here. I'm going to grab the bag like so. Now the thing is these need to be joined as well, so I'm just going to join them up, so I'm going to shift, select, shift, select, shift select, so the last one here is a yellow press Control J, and then we join them up. And from there, can press tab. Make sure they're all selected, so you can press A to select them all. To deselect them, you can double tap A. So A to select them all, and then I'm going to press E and pull them out like so. Now I want these at 5.3. So we can see here if I put my edge on, so let's go to edge. So edge length. And it's this edge here that I want. So five, pull it out, you can see now it's moving. So we want to hold the shift button down when we get close. 5.3 is where we want it. So around 5.3, so something like this. And there we go. Alright, so next of all, then what we want to do is you can see at the moment, my orientation isn't in the center, which means if I rotate this round, it's not going to rotate it round the correct way. So what I'm going to do is Control. All transforms, right click, set origin to geometry, and there we go. Now it's right in the center, which means if I press and Z, you can see now I'm actually rotating it around the center. Now, one of the hardest things to see from here is this angle. It's very hard to measure what this angle actually is. So I'm going to put it around 55 degrees. So it's just you do the same. But of course, as you build this gray box out, you can change that if you wish. So what I'm going to do is put that back over. I'm going to go over the top. So seven to go over the top, Z 55 degrees like so. Now I'm going to do is I'm going to put this into place. So I'm still over the top. And if I press G now, it will follow. So if I put it over here, you will see that it doesn't actually drop down. So it does follow the ground plane. And if I press G, a long key, you can see I can move it up, I can move it down, but you will see it's actually locked to one of them. In other words, it's not going further this way. If I put it over here, you can see it's still in the same place. So it's really, really handy to actually have that. So I'm going to go over the top, and what I'm going to do is I'm going to put it into place. So we've got a little bit of a gap here. And don't worry, we're going to measure this as well. But what we want to do, first of all, is just get this into place, and then what I can do is measure this one and this one once I've got my mirror on. So, speaking about that, let's bring in our first modifier, which will be a mirror, obviously, we want to bring then this. So this one here over to the other side. So let's do that now. So if I come in, we can also, once we brought a mirror in alter pretty much anything we want. Now, I will show you the wrong way to use the mirror and the right way, and I'll show you why they don't work. So if you come over to add modify it, come down to generate and then go down to mirror, you will see that nothing kind of happens if I put it on Y or can see something's happening, but it's not really doing anything. And the reason is because orientation is set here. So basically, it's mirroring on itself because it's not mirroring from here. So let's right click Set Origin, two, three D cursor, and there you go. Now you can see it's mirroring from there. If I put it on Y, if I put it on Z, you can see that it's mirroring from that place. But the problem is that it's not actually mirroring from here. So what we need to do is we need to mirror from an actual object instead. Now, generally, sometimes, for instance, if I set the orientation now, this will actually mirror from this point perfectly. So if I go Control A, all transforms, there you go. It's mirrored from that place. Now, sometimes, you will come across where the mirror has a problem. And if we go here, click on this, then we can actually mirror it from that angle. So two ways of doing it there, both of them really, really handy to know. Alright, so now we've done that. What we need to do now is I want to measure this gap from here to here, making sure that we're in the right place. So let me get my length, so my measurements here. Let's come from here to here. So this is 3.85, and I want it round about 3.9. So if I bring it round about here, and unfortunately we should be able to drag this in, which we can. So three point, I'm going to want it 3.9. So what I'm going to do is I'm going to come in, I'm going to actually delete the other way so it doesn't confuse you. And then what I'm going to do is I'm going to press tab. And because we've got a mirror on what I can do is I can press A to select everything and then move it slightly this way, very, very slightly, guys. And then I'll come in, grab my measurement tool. Let's delete that one. And let's pull it now from there to there, and it should be 3.91. It's a little bit too far out, so I've gone a little bit too far. So let me just move it again. So we're going to move it as to slight bit. And then I'm also going to come in with my measurement tool. And measure it around the top, which should be around 10.25. We can see it's a little bit out. So what I'm going to do instead is, I'm just going to rotate this. So hopefully, I'm going to rotate this round. Now you can see that as a rotated round, we can bring it now a little bit easier into places I rotated jaws to slight bit. And then what I'll do is I'll move it down now. So if I breast shift and space bar, bring my move toll in, I should then be able to move it down a little bit. Around here. And now let's see how close we are because we need to get these kind of right. So what we're going to do is I'm going to delete this. So delete it. I'm going to go from there to there then, it should be around 10.25, which is about right. And then we're going to go to this one. So delete, delete. And this one I want at 3.91. So 3.8, it's a little bit out, which means I need to just rotate it a little bit more. And Z, I've got my measurements there, as you can see, which means that I can press Shift space bar and move, so I can move it out a little bit, like so. And then back to my measurement tool, and now we can see if I delete this one. So delete, delete grab it from here to here. It's close enough. So you can see I've grabbed it from the corner, and that is close enough. So we want it around those dimensions, and I know it seems a little bit fiddly. I know we're talking about a few centimeters here, but it's important if we're building the same sort of gray box, and that's why I'm spending this time just making sure we're in the right place. Again, as I said, everything is coming from here, so everything is from this kind of central point. So delete all your measurements, and we should end up with something like this. And then from there, what we can do is we can come to file and save it out. Now in the next one, then what we can actually start doing is we can actually start building out this part here, and we can start building out this part here as well. We don't really need some accurate measurements for anything like that because we know we've already got these parts pretty much built out, and then from there, then we can start building this actual dome. Alright, everyone. So I hope you enjoyed that. I hope you'll learn a lot, especially about gray boxing, and I'll see you on the next one. Thanks a lot. Bye bye. 13. Designing Circular Greybox Fronts for Stylized Buildings: Welcome back, everyone to blend the building master class from concept to final render. Alright, so let's get this step in here. So first of all, let's bring in a cylinder. And remember what I said if you come down on the left hand side, let's put this on 24. And then what we'll do is we'll bring this out, so I'm going to press the Sp. Bringing out really, really nice and big. Now, you can see from the reference that this stone has a few steps going up, but basically, it comes near enough to this point here. So let's actually do that part next. So what I'm going to do is I'm going to press Esn'sEad and bring it down. Now, what kind of height do I want it? I want it round about no 0.9, so I'm going to put it on 0.9 light. So I'm going to go over the top again. Then what I'm going to do is just make sure that it's actually coming out the way that I want it. And you know what? That's actually looking pretty good already. If I press one now, you can see, though, we do seem to have one problem. In that Shift space ball. Let's move this down. In that, these are not actually touching the floor. So this is touching the floor. These are not actually touching the floor, and I need to make sure that they actually are. So I think what I think is, we've gone a little bit high with these. So I'm basically going to grab these, I'm going to pull them down to the floor like so, and there we go. I think that's looking much, much better now. Alright, so now what we'll do is we'll pull this up into place. So that also sits on the ground plane just into the ground plane, as you can see, we'll pull these down a little bit, then and sit those in the ground plane. And there we go. So we've got a big door that's going to be in here. And then above there, we're going to have another part. So I might as well use this actual cylinder while I've got it here. And then what we can do is I can show you how we cut this part away because we're really, really not going to need it. But we want to cut it away, that makes sense. We don't want to cut it away, so it's, you know, just broken. I'll show you those two ways as well. Alright, so where do we come up to then? We haven't actually built this second part yet, but we do know it's going to be around this part here. So that's something that we need to, you know, build up. So what I'm going to do is I'm going to grab this part. I'm gonna press Shift. I'm going to bring it up then to the second floor. And what we absolutely need to make sure that we're doing is we're putting it just on top of this building here. So you can see here that we're going to be building within this part here, so it's going to have some, you know, supports and things like that in that part here, and then the balcony over the top. Now, the one thing I want to do is make this a little bit thinner. So a said, let's make it a little bit thinner and let's pull it up. Like so. And I think to put this in, I will actually also extend this out. Now, rather than lift this up, all I'm going to do, I'm going to press one, we can see the gap there. I'm going to press Essen'sEad and just pull it up a little bit and then pull it into place like so. So you should end up with something like this. Now the next thing we've got to think about is if we come to our reference, you will see that this balcony is set back. So we've got one, two, three steps, and this balcony then is set back because these pillars are actually going to be set on them. Again, when we come to all of this, it's important to understand this is just a gray box. When we start building things out, things will move even up to a meter or something, just depending on, you know, how accurate your gray box is. So your gray box is just there to get a vision of what your building is going to look like. Isn't there for complete accuracy. Alright, so what I'm going to do then, is I'm going to make this a little bit smaller while still keeping this set. So, this sets around six, not this one. This s is around no 0.65. So what I'm going to do is bring it in now. So if I press the S but, I can bring it in, bring it in. And then not 0.65, so will get me then the size that I had, and then I can pick it up again, as I said, just to get it into place, like so, and then is that going to be far enough back? Maybe, maybe not. I think it needs to come back a little bit more, so we're going to bring it back a little bit more like so. Now, the other thing to check here is, if I bring my guy up, what I'm going to do is I'm going to press G, bring him so he's just stood on this balcony. And if we pull him back, then we can have a really good idea because it's a bit hard to see how much room he's actually got from the actual door. So once we put this bit in now, we've got a guy here, and we can see how much room is around these, you know, to get a good idea of scale. So if he walks over here, looks over the balcony, we don't want it too small where there's no room to actually walk around here. The point of this balcony is he can come to, walk around it and look over the side. So we've got to take that into account. Now, let's work on this part here then. So this is a hexagon. So what we'll do is we'll press Shift A. We'll bring in another cylinder, and what we'll do is we'll put this on eight. So eight sides, like so, and then we're going to bring it up. We'll make it a little bit bigger just for now. Now, you will notice that we do have a problem here in that. Rs is flat here. So we can see this is flat, but one here isn't flat. It's got this edge on it. It means it needs rotating. So if we go over the top, so if we go over the top here, we're going to rotate it slightly. So what I do is Rs head, rotate it so it is flat, like so. You can see it's pretty much flat there. And then we can see that this should be on 22.5. Because if you do 22.5 degrees, divide it by eight. So 360/8. 360 is the complete circumference of the circle. Divided by eight equals 45, but we're only turning it half a kind of half a turn because we're just trying to get flat, which means it's 22.5. So now for this part, I'm actually going to give you then the right dimensions. Now we've got it in place. Let's come over to the dimensions, and I'm going to grab both of these. I'm going to put it on 9.17, and then we're going to come down to the bottom one, and we're going to put that on 7.02, like so. Then what we're going to do is I'm just going to press one. I'm going to pick it up and put it onto the top of here, and then we're going to go over the top, so seven, go over the top. And now we're just going to line it up. So if I pull it back, pull it back, pull it back, we should end up with something with a little bit of a gap like this, maybe even more. Let's pull it back a little bit more. And a little bit of a gap coming out here like so. So something like this, I think, is about right. And now we can get an idea of the scale. So first of all, we've got some walls that are going to come this way. We've got a wall that's, you know, a support that's going to come up or a column, and we can actually work with this. We might even pull it out a little bit more. We've also then got a big door that's going to come from here. We're going to have a balcony on here, so he's got plenty of room to actually walk around in. And you can see already now it's really, really starting to come together. Now, let's go back then to these kind of half circles that we've got here. Now, if you go over the top, you will see if I come over, let's do the bottom one first. So I'll just hide this one out the way. I'll grab the top one, hide it out of the way, come in and put it onto this button here. So if we click on this, we can actually click on this then and we can see through this now, which is really, really handy. You'll hover over this, it says Toggle X ray on and off. Now, you could also come in and put it on wireframe instead. That also helps, but I always find toggling on the Xray is much much easier. So I can see that if I cut from here to here, get rid of, you know, all of this part in this part around here. That then should be fine. You could even go one step further and come to, you know, kind of this part here, split it down the middle, you know, make it even more refined. That is up to you. For me for now, I would just cut it over here and there's another reason behind that in when you want to create these steps if you start cutting around here, so bringing it to here and here, that's probably a bad idea. Let's first of all, come in, and what we're going to do is we're just going to grab this edge and this edge like so, and I'm going to press the J button. And what I'll do is that will actually create a new edge going along there. You can see now we've got if you come around here, we've got an edge between the bottom like so. Now we come to this and this one. Press the J button, and there we go. Now we've got another edge going around there. Now it's important that you don't grab one here and one here, because if you press J, it will try to put a loop in there, but it actually won't work. Now, what we should be able to do it's coming now. You know what? I'll just take this off because we don't need this. Let's delete that out of the way. What we should be able to do now is come in, grab this face and grab the bottom face. So you can see these little points here, grab this face, the one inside, and we should be able to press Delete and faces. And now we should be able to come in and grab this one and go all the way around and delete the faces. Now, rather than selecting going all the way around, just select a new face and press Control click. Like so. Let's put it on move. Control click Go round. Control click, press delete and faces. And now you'll see if you take this off that you've got half of that there, and it's much, much cleaner now. Now if we press Altage, bring back the other bit, do the same with the other bit. So again, we'll go over the top. And what I'm going to do is put it on X ray. I'm going to press the Tabb. I'm going to make sure that I grab this one and this one. Now again, making sure that they're both at the bottom, like so, press J, grab this one and this one, press J, and now it can come in and delete the top. Like so, delete faces. Grab this face. Control select, going all the way round, control select, going all the way around. Delete and faces, and there we go. And that's looking pretty good. So now let's turn this off, double tap the A. And yeah, I'm actually really, really happy with how that's working out. I think now on the next lesson, then what we'll do is we'll create the dome on top of here, and then after that, we'll actually bring in our first material and bring in some basic lighting because once we've got the front on, it's a really good idea then to actually get some lighting in there so you can click on the rendered view and see exactly what you're building, see how everything's come together. See how the lights bounce off things. So I'm going to show you a really, really great technique to actually do that, and it's something you should be using, you'll notice. Even when they're building games and things like this, they will be building out a gray box. They will be building in some basic lighting, some basic materials, and they do that for a reason. So I'm going to show you whenever you're doing your own buildings, this is the way to go. All right, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 14. Modeling Domed Roofs and Skylights for Ambient Lighting: Welcome back, everyone to blend the building master class from concept to final render. Alright, so the part we're going to do now is this actual dome. Now, when we cran the dome, you will have a little bit of leeway of how tall your dome is going to be. I'm going to keep mine round about the reference, but you might want yours a fair bit higher or a bit smaller. It's completely up to you. The one thing we do need to take into account is this part here. This little part here is quite a chunky part, and it is actually part of the dome. So we just need to make sure that we've got a nice flat bit coming down from there. Alright, so I'm going to move that part over and what I'm going to do to create the dome is then, I want to keep this cylinder. So if you look just one more time on the reference, you can see that we've got these parts going over here, which is following these parts down here, which means the dome is essentially also an octagon. So what I'm going to do or hexagon, I think it's a hexagon with eight sides. So what I'm going to do is I'm going to come in. I'm going to press Shift D to duplicate the top face up here, and then I'm just going to pull it up very slightly. I'm going to press E then and pull it up like so. Now what I want to do is I want to split it off from here because this is the part that I want to actually create the dome. So I'm going to press L to grab all of the faces, P, selection, and there we go. Now, the next thing I want to do before I actually use my bevel is I want to reset all the transforms because if I come in and grab this part, so let's grab this part, bring it down. You can see that it goes to here and actually goes over, and we don't really want that. We want it to come up to a certain point. So there's two things that we need to do here. And the first one is to resell the transform. So if I press tab, controla or transforms right click origin geometry. And then what I want to do is I want to change the dimensions of this to make it a little bit bigger because then we're not going to get it colliding like that. So what I'm going to do is I'm going to come in 9.92 on both of these. And then what I'm going to do on the z, I'll put that four point, so four. 0.9, like so. Now if I come in, grab the top, press Control B, I should be able to come in and get it relatively, relatively looking pretty nice down to here. So you can see this is what we get. Now, you can see that it's not tall enough. So if we press S and E, we then can increase the size of this dome. Now, also, I'm not happy with, you know, I'm not happy with this how it is. I want it to be probably probably a little bit more rounded. So what I'm going to do is I'm just going to go back Control Z, and I'm going to come back in. I'm going to pull it up a little bit more, like so. And then what I'm going to do is I'm going to press Control B now and bring it in. And this is kind of the way that I want it. So something like this, to me, looks way, way better than what I had it before. Now, of course, we've got the problem of we're crossing over all of these points, and we don't particularly want those. And we've also got a top on here that we need to think about. So the easiest way, let's just come in, take off the edge length, and I'm going to grab this top here. Press Control plus, Control plus, Control plus again, and then just press delete and faces, and we'll end up with something like this, which I think is much, much better than what we had. Now, the next thing I want to do is bring this in a little bit because it's a little bit too big, so I'm simply going to press seven to go over the top Press the Sb. And as I bring that in, you will see then it goes over there. So I want to just bring it out, past these points here. And now you can see it's going to fit much better. And finally, then I just want to bring this part down. So again, this part here is what I'm looking at. Now, before I do that, let me just have a look and make sure I'm happy with the actual dome. Et's right click and shade Auto Smooth, so we've got a good idea of how that is. And then from here, you can kind of, if you want to press SSD to bring it up or Ss to bring it down and make it more like this sort of dome. Completely up to you how you want to do that. Alright, so think for me, I'm going to leave it as is. I'm going to come then to the bottom. And instead of going Control, click on here, I'm going to press Alt Shift and click, and that then is going to bring it all the way around. And then I'm going to press the E button and bring it down into place. So now we've got a nice flat bed that's going to go on there. And from there then, I'm actually going to bring this out as well just to show this is where it's going to go. So Alt Shift, click facing towards here because then it will grab them going all the way around. If you face it, let's say, towards this middle part, Alt Shift click will go all the way up. So I want it going all the way across here. So Alt Shift click, you can see it just grab these, and then I'm going to pull these out. So I'm going to press E, Enter. And basically what we've done here now is we've got an extrusion there. Now, if I press S, I can pull these out. But I don't really want to press S because S is the worst thing you can do because when you pull them out with S, you will see that we end up with slightly, slightly going up on a tilt like this, and we don't want that. So instead of pressing S, just press Alts, pull it out, holding the shift button, and then it will pull it out based on that angle, which means it'll be nice and flat on the top and the bottom. So that's just Alts. And now you can see we've got a pretty nice dome up there. We've got a pretty nice top on there. And the other thing I'll do is put the top on. So we'll put the top on just to get an idea where that's going to be. So I'll Alt ship click. And then what we're going to do is just press F to fill that face in. We're going to come then to face select. I'm going to grab that top face and press E, like so I'm then going to bring it in. So I, bring it in a little bit, and then E. Now, do not worry at all. About how it looks at the moment. This is not going to be nowhere near finished yet. We simply want that on there to get an idea of scale and how everything's going to look. And we don't want to go in there, you know, putting hundreds of things in there as a grey box. We just want the general outline and silhouette. We can go one step further with this as well to help us even more. So if I come in, I press the I button, bring it in a little bit, I press the E button to bring it up. And then what I'm going to do is I'm going to press Control B, and I'm going to bevel that top off, so let's bring it all the way down a little bit, like so. And finally, then, let's come to this middle face. I'm going to press E, bring it up, press the S but to bring it in. And there we go. Now, you can see that we've got our top on there and you can see just how good now that actually looks and what kind of, you know, silhouette we've actually got from just that point here. Now, remember, when we build this out, we're going to have, a bit poking out here, you know, roof tiles, doors, windows. We're going to have a big chunky bit in here as well. But for now, this is giving us a great idea for our silhouette. So what I'm going to do now is go to File. I'm going to save it out. So, guys, now, let's actually bring in some basic lighting, and let's actually talk about lighting. So first of all, if we put this on to Renve, let it load up, you will see that this is on cycles at the ums. Just make sure yours on cycles, and if not, put it on EV, but it might interact a little bit different. We'll actually check that out, but let's put it on cycles for now because we haven't got a lot in our scene. So for most of you, it should actually work. And let's actually look at lighting. Now, there's many ways of doing lighting from three point lighting to sunlight to all kinds of different other ways. But basically, if you come down to light, you will see, let's bring in a point light, pull it out. Pull it up over here, and there we go. We've got some basic lighting in there. We can also come over to the right hand side and actually turn up the power of the lighting. We turn up the color. We can turn up pretty much anything we want over this side. You can also see with the light being there, we've got some basic shadows in here and all that good stuff. Now, we also have if you come over to light, we also have a spotlight and an area light. So if we bring in an area light, let's just bring that in. Rotate it round. So we'll rotate it around here. We'll make it a little bit bigger, and you can see now with this type of lighting, we've got much, much softer shadows on there. We can actually increase the shadows a little bit, like so so increase the brightness, but you will see it's relatively soft. Now, I recommend when we're doing buildings, there's a couple of ways of doing it. And we're going to be bringing in both a HDRI, which is real time lighting, which I'll talk about when we actually bring that in and a sky texture. But I do recommend when you're creating a great box, don't just bring in a sun. The best way to do this is actually to bring in something called sky texture. So what I'm going to do is I'm going to go over to my shading panel because that's where you're going to find this build. So this is where we create all of our shaded nodes. And if we come over to here and we go down, we can actually put it onto Wild. Now, at the moment, you will see we've just got our material preview on, so we want to put this on rendered view, and at the moment, you can see that we've just got a background lighting in. If we turn this up, you see, we can actually make it brighter, and you can see already this is looking a little bit different from what we had, but not as nice as what we can make it. So first of all, as well, the other thing is, when I'm working in the shaded panel, generally, I'm not going to want this on. So this part or this part, I'm not going to need on. So generally, leads actually come in, grab the bottom left hand side here and pull it out, and then we'll do the same thing on this one. So the top part here, left click and pull it over like so. And now that's that's not the right one. So let's actually You know what? We've actually got it above here. So what I'm going to do is I'm going to go left, pull it down, and there we go. That is our when you're to set it out. If you're struggling, by the way, you can pull it this way and bring in another one. You can also see at the moment, we've got Shader Editor. So if you lose which one it is, it is on Shader Editor. So let's pull that over like so. Alright. So now what we want to do is we want to delete the background. So you will notice it all goes dark because we've set it on world. And what we want to do now is per shift day search and let's go for sky texture. So sky texture is this one here, and all I want you to do is just plug it in. So plug it into the surface, and there we go. We've got some pretty nice lighting, if not a little bit bright. But for what we're doing right now, it works perfectly. Now if we go back into modeling, you will also see on the right hand side that we've got this little tab here now, which says world, and this is our sky texture within there. And from there, we can actually alter, you know, how bright it is. So, for instance, if we bring it round here, we can make it brighter. So let's just put that back to one. Now a little bit further on in the course, we will be going through these because in the resource pipe, we do have, as I said, a sky texture setup and HDRI. So all of these things can be altered and actually does make it much, much better once we start playing around with these. But for simply building out gray boxes, I recommend bring in just a sky texture. One thing I do want to do before we actually finish is I do want to bring in a plane. So I want to bring in a plane for this all to sit on because I find, at least for me, when I'm looking at buildings, it's much better if we get some light bounces off of the actual plane where the buildings going to be sit on rather than just staring through into thin air. So let's just press Shift day. And what we'll do is we'll bring in a plane. And I'm going to make this plane much, much bigger, like so. And there we go. Let's pull it back a little bit. And there we go. You can see now that's looking pretty nice. And the other thing I like to do is I like to just come over to where the world is, and I'm going to change the sun rotation. So at the moment, you can see we're kind of square on, I hear when it's like that. So what I'm going to do is I'm Jas going to turn it around, like so. So Jas bring in some nice lighting in there, and then I'll just bring down this to something like not 0.2 maybe. Maybe 0.3 something like that. Now, don't worry if this seems a little bit bright because on the next lesson, I'm going to show you how you can create a proper gray box and have it set up. Alright, everyone, so I hope you learn in this one, and I'll see you on the next one. Thanks a lot. Bye bye. 15. Setting Up Ambient Occlusion for Visualizing Greybox Forms: Welcome back everyone to blend the building master class from concept to final render, and this is where we left you off. Now, I'm going to save out my work just so I don't lose anything, so save. And then what we want to do is now, I always find when you're building that gray boxes, the best thing you can do is bring in something called ambient Occlusion. Ambien occlusion basically gives you all of those little shadows in here, these contact shadows. You know, the shadows were the actual ground meets the steps, for instance, so this part here right in between here meets this part here, all the wall or things like that. Actually gives you an idea of what the structure's going to look like, and that for me is what, you know, I intend for a gray box. So what I'm going to do is I'm going to go back to shaded mode, and we're going to go onto instead of Will, we're going to go to object. And this is the place where we're going to be building all of our shaders. Or we're going to be bringing them in from our resource pack and looking at them within here. So let's first of all, create our first shader I'm going to click No. I'm going to rename it, so name it ambience occlusion. Like so. Press the antibonne and there we go. Now over the right hand side, you will see that we've got ambient occlusion. I also put it onto my plane. It doesn't matter which part of this you've got it on at the moment. It won't make any difference in the long run, trust me. So what I'm going to do now is come in. I'm going to take this sir principled, and I'm going to drag it over here because we do want the principled for this white part here. Next of all, what I'm going to do is I'm going to press Shift day to open up my node search, do a search, and the one we want is ambient occlusion. Bring that and drop that in there. And this, by the way, is the simplest way you can get ambient occlusion cell. There's way more complex ways to do this. You can bring in, you know, your own what they call grunge maps. You can bring those in way, way more complex ways of doing it. But I'm going to show you the easiest way and especially the best way when you're working with gray boxes. So Shift day, let's go for search. Let's go to color ramp. Let's drop this in here. And finally, then we'll bring in a mixed shader. So search, mix, shader and we're going to drop that here. Now, the mixed shader wants to be dropped right on here, and then all we want to do is just bring this down to the bottom. And now we're going to do is plug in the color into the fact of here, and then we're going to go with the color here and drop that into here. And now, you'll see that if I bring this up, you can see now we've got contact shadows. Now, one of the things is this needs bringing up a little bit. So because we're in Shader, you know, our shader tab. We need to press shift space bar to bring back our move tool. And then what we can do is we can bring this up very slightly and have better contact shadows. So you can see, as, well, these are a little bit higher up than these, but you can see already this is looking pretty nice. Now, before we go any further, what we want to do is we want to put this shader on everything else, and then we'll discuss these parts here that we've plugged in. So to do that, what we want to do is if I grab this and I grab my plane where my ambient occlusion is on, so I grab this second, so shift select, and then I press Control P. Sorry, control and L. And what I want to do is come down to Link materials, and there we go. Double tap the A, and there is our shader on there as well. Now, the other thing is because we've tied this one and this one together with the same material, whenever I come in and let's say change this material to red, you will see that it has an effect on both of these parts. Let's put it back, though to white. And then what I'm going to do is just turn it down very slightly because I feel like when I'm looking at a gray box, it is a gray box, not a white box. I feel like this looks way, way better like this. So now I can really see the details of what I'm actually building. Now, before we go any further, let's first of all grab the rest of these. Like, so grab the plane last. Control L, link materials, double tap the A, and there you go. You can see exactly why we've done that. Let's grab this part. Well, control L, link materials, double tap the A, and there we go. Now, what I also tend to do with my little guy is, I will come in and click No, and this is so I don't actually lose him, so it's easier to see. So what I'll do is I'll click No and I'll just call it to Human material, like so, and then all I'll do is put this on a bright red, like so. Let's pull him out a little bit. And now I can actually see him much, much easier than what I could before. Let's also, I think, let's turn up the metallic a little bit. And then we can make this a little bit tiny bit brighter. So, and then we can see him much, much better. Now he really actually stands out. Alright, so we've got our lighting in. We've got our ambient occlusion in. Now we can see that our gray box is looking much, much better. Now, if we go back to the material, we can, of course, control how far this is in. So how dark is this part? We can bring it back a little bit if we want. But I think for me, this is about right. We can also obviously control this. Now, let's just go through a few of these parts. So before we carry on, let's look at this one here. So this one is the main blender shader, principleed BSDF and it's a universal shader used in cycles and EV render engines. And it was designed to simplify the process of creating realistic materials by combining multiple shaders into one. And it is based on the Disney principled shader model. So expect that kind of look. So many, many shaders have been put in making it really easy, not like in the old days where we had to put tons and tons of shaders together. This has been put together, so it's easy to use. And this is the main shader within blender, especially cycles. Now, the next one we'll want to look at then is the ***. What is the fac? So the FAC or factor is a control system. And basically, if I unplug this, you can see it's halfway between the principled and nothing, basically. If I pull it all the way down, you'll see nothing there. All the way up, that is fully on the principled. But we're not actually using it that way. What we're doing is we're letting it be controlled by actually ambient occlusion and then via our color ramp. So that's what it is when you're plugging that in. So a lot of the time when you're using factor, you will be putting it on zero, no 0.5 or one, or you'll be letting the other nodes actually control. Alright, so that's enough of all that. Let's actually now go back and I'll just show you quickly before we carry on. If you're on EV, so let's put it on EV, you will see that it's nowhere near as good as cycles. And that's what I was trying to tell you you can get something, you can mess around with these, but it's not going to be at the same level as cycles, and that is why, especially when I'm building gray boxes, I really do like to work with cycles because for me, it's much quicker. I've getting an idea of what something's going to look like. Alright, so, lastly, then, let's go back to modeling now. And what we're going to do is we're not going to be always working in cycles. We don't want to build in cycles because that will make the viewport extremely sluggish. But what I do want to do is I do want to grab this, right click and shade auto smooth. I don't want to grab this one, right, click, shade auto smooth. I don't want to grab this, right click and shade auto smooth. Just making sure that smoothed off a little bit because it does give me a better idea of what we're looking at. Alright, so the next part, then we're going to build out is going to be this part over here. So this flat wall over here with the roof will start to build down this side now, and then hopefully hopefully we're able to tie this all together. So let's before carrying on, come up to file and save work, and let's go back to object mode. And what I'm going to do now is bring in a cube. So I'm going to bring in a cube, so shift a cube. Let's bring one in. And just pull it up to the ground plane. So we want this part going across here and I'm going to be giving you some dimensions. And also, we're going to be working on this part here. So you can see 6.5 going up, 5.15 going up. So we've already got that. So let's do that first. So 6.6 0.5 on the z. So 6.5, so let's pull that up then into place. And then what I also want to do is I want to pull it to the right dimensions on the X, which is the red. So let's put this on five point on six, like so. Now, at the moment, we're just going to be doing the up part. We're not going to be actually extruding this out. So sometimes when I'm actually doing that, I do find it easier just to kind of delete both of these. So if I grab the bag, press Control plus, press delete and faces, and then end up with something like this. Now I want to do is I want this next part going up. So the next part going up, as we can see here, 5.15 meters. So let's do that next. So what I'm going to do is I'm simply going to press tab and then going to press Shift D. Bring this up to our second floor. So you can see this floor now lines up with this one. And then on this floor, then, what I want to do is I want to put this at 5.15, so 5.15 meters like so. Now, we do know that we've got a big chunk in here, so we're measuring kind of from here to here. And we also know that this part here, I'm not actually showing you that, so let me just pull it down and pull them over. So we do know that we've got them lined up here, as you can see, so they're lining up nice. We do know that the roof on this part needs to be a little bit smaller than this one, so it all fits together nicely. So what do I mean by that? Well, first of all, let's now bring this part up. So what I'm going to do again is I'm going to grab this part, shift, bring it up into place. And what I want for the roof is I want this to be round about 2.2 meters tall. So 2.2. Let's bring it down into place. And now, hopefully when I brought this in, it should fit into here very nicely. So you can see it's going to come into here and then go this way. Alright, so what I want to do now is bring this roof in. So I'm going to press tab, I'm going to come up to the top. And then what I'm going to do is press S and X, pull it over, nice and even to start with, like so, and with this particular roof, as well, I don't always want to make it straight. So what I'm going to do is just pull it at a little bit of an angle like so so that this slope towards the back is a little bit this front bit sharper than the back bit. So something like this, I think, looks very nice. And then finally, what I'm going to do now is join all these together. So Control J, join them all together. Press the tab button. And what we're going to do now is just grab all of the faces on here, and then we want to extrude them out. Now, I want to extrude them out around 8.6 meters, something like that. So if we extrude them out, like so, let's now go back and actually press tab. Can we pull them out along this X axis to 8.66 meters? No, that's the wrong one, so let's try this one. You know what? It's actually not going to pull them out like that. So I'm actually going to go in and instead of doing that, I can see what I've got it down here if I put on edge length, if I pull it out. And this is a little bit too long, I think. So what I'll do is I'll press tab and I'll put this on 8.66 like so. Alright, so that seems now round about the length. And then on the next one, what we'll do is we'll pull it into place properly. So I'm just gonna put it around here now. We'll pull it into place on the next one. And hopefully we should be able to get everything lined up correctly, ready for the next part. Alright, everyone, so you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 16. Refining Greybox Backside with Accurate Measurements: Welcome back, everyone to blend of building master class from concept to final render, and this is where we left it off. Alright, so let's go over the top, and let's pull this into place. So when I'm pulling this into place, I need to make sure that this is fully into here, first of all, and I need to make sure that the distance from here to here looks right. So I'm going to pull it into place into place. So it's actually in that part, maybe even a little bit more. And there we go. Now, you will see now that we made the roof, so it actually slants all the way down there. And you can see now that as we look at the front of it, it's actually pretty steep. And that's why we've actually done that to give this building a lot more character. Now what we need to do is we need to build out this part here. And once we've got this part built out here, so this is the first tier. So let me just show you first tier, second tier. This part here is basically this part, but shrink down. So if near enough, once we've built this part, we've got this side actually done. So let's put this over here once more. So for this part here, the best thing we can do is come into the part we've already made. We can grab both this one and this one, press Shift D, and then we can drag those over like so. Let's separate them out now from this one. So P selection. And you'll notice that the orientation is over here, exactly the same as the other one. So what I want to do is resell the transforms, we clicks at origin geometry. And then what I want to do now is put the Y. So this is this one, squishing it in onto 5.55. Now, the other thing that's different, if we look on here, we will see that from here to here is 6.15. So let's now make this part here 6.15. So I'm going to do that is I'm going to come in, grab the edge here, make sure that I've got edge length on. And as I pull this out, I should be able to pull it to 6.15, like so. Okay, so now we're on the roof. So what I'm going to do with this roof is, I'm just going to press E, and I'll pull it up along here. So making sure it's on the z axis, pull it up, so I'm going to want it around 3.3, holding shift but again, something like this. And then what I'm going to do is pull it in. So S and Y, let's pull it in to the center. Like so, and that is basically what I'm looking for. And now what we need to do is just pull it back the length that this is going to be. And the length I want this is around 5.2 meters. So let's grab this one and this one. And then what we're going to do is pull them out. Now as we pull them out, we should be able to get the bottom of it, so we can see here s and pulling this out round about here, 5.22 meters. There, perfectly. Okay, so now let's try putting this into place. So if I bring this over, I should be able to put it into place. In front of here. Now, remember, on our reference, we do have a little bit on the front of here, so you can see this bit. You can see there's a gap and there's enough room to where the actual this column actually comes down. So we need to make sure that we've got enough for that. So I'm going to pull it out a little bit more like so. And then I need to think about the back. Do I have enough room there? And I think what I'll do is I'll pull it out a little bit. So S and X, pull it out a little bit more, like so. But generally, this part here is going to be hidden by another part. So something like this, I think, looks pretty good. And then all we need to do, obviously, we need to pull it over a little bit, so I'm going to pull it over into place. And we should have enough room now for a pot going down here and the two windows either side. So you can see already now if I put it onto rendered view, if I grab both of these now, grab this last press Control L, and we're going to link materials, double tap the A. We can see now we've got a little bit of height difference between this one and this one, and we've definitely got a height difference there. So as we come round, it doesn't look boring. You can see we've already got depth, and that's exactly what we're looking for. And remember, once we've got this outcropping on here, we've got the steps down here. It's going to give us even more depth. But the idea is when you're building a gray box to really think about differences in height. It would look a lot more boring if these were all the same height, for instance. And as we go along, we can reiterate a little bit more. For instance, this might want to be just a tiny bit higher than what it is. So what I'm going to do is I'm going to rather than pull the roof up, I'm happy with the angle of the roof. So all I'm going to do is just grab this center part, press Control plus, and I'm just going to pick it up just a slight bit more, like so, just to make it a little bit more distinctive to that one. All right, so now we've got that. We need to grab this, put it here, grab this one, put it on the end. So let's do that now. So let's once again put it on object mode, come back to this pair. Always save out your work just so you don't lose anything. And then what we'll do is we'll just press Shift D. O, Shift D, bring it over. So drop this into place, making sure it's in the actual roof. And then what I want to do is bring this one over, so you're going to bring this over and put it right next to it. So shift D, let's bring this over and pull it over here. Now, the gap I want between here and here is going to be around 3.85 meters and again, and no, we can't see that on here, but the gap is relatively small, going to fit 1 meter in there. So what I'm going to do to actually measure that is I'll put it from here. So I'll grab my measuring tool, 3.85 or eight 3 meters around about there, something around there, which is already near, so I'll go back and pull it back in and then make sure my measuring tool is on there. Something like this will fit one window in. And I think, yeah, that's looking pretty good. We can have a window down here as well, and we have our trees down there. And they're the same height. And yeah, that's looking really, really nice. So now, if we look our reference once again, we can see now we've got all of this part built. We've got this side built, and now we're coming down to the backside. So this part here is this one here. So we can see that we've got a part that goes really, really far back. We've got a part that goes up there. We can just make out that from this image. I'm thinking, I got another image where we can show that? Not really. So we'll just focus on these parts now, getting these parts in, and then we can focus on the other side. I think from the other side, it might be easier. So when I'm looking at building this out, is it going to be easier to come straight to, you know, this bit here, so this bit going along here? I think it probably will be. So I think what we'll do is we'll make a start on this part here. It might seem a little bit topsy turvy. You know, we're going from this angle or where is it? This one here, and then we're going straight to the other side. But honestly, when I build, I tend to do the front, do one side, then do the other, and then do the back. I generally leave the back to the last because it's something that most people neglect. You know, you'll see it where they've just got an alley way down the back. Not a lot of thought gone into it. It's all kind of position on the front. But when you're building these buildings, I think it's very, very important to focus on the back. And you can see the back is just as intricate as the front. The sides are actually where it's a little bit boring, actually, but you can see the work that's gone in there. Alright, so let's actually move then to this other side. So I'm going to put this out of the way once more. I'm going to grab the reference on my side, making sure I've got it. Okay, so the way I'm going to approach is, I'm going to take this, and I want this to be exactly the other side, but then I'm going to pull it that way more. So what I'm going to do is I'm going to get the center of this so you can see the center of my dome. I'm going to press Shift desk and cursor to select it. Then what I'm going to do is I'm going to come to this part, and I'm going to right click Set Origin to three D cursor. And then what I'm going to do is bring in a mirror. So add modifier, add, generate a mirror. Then that, if we go over the top, is going to put it exactly in the same space as this one, which is exactly what I want because I want to make sure these things are pretty even. Now, we do have a kind of if I pull over this. Where is it? Let's have a look. We do have kind of this bit here that's stuck out, so we'll put that bit in, and then we have it kind of even here and even here, and then we have this big block. Now, I'm not going to put this bit in until we've put our big block in because once we've put this in, then we can work out where is the center of this piece. So let's actually do that first. First of all, though, let's pull it out roughly to where from here to here, and then the big block is going to be. So let's do that now. We also need to take off our mirror because we need to pull it out. So it's roughly going to be round about this point here, so it's going to be this length. So we'll bring it down to there, then we'll put that big block in. First of all, the let's actually learn how to apply our modifier. There's a few ways of doing it. You can either press Control A, hovering over it, or you can come up to it and press right, click and click Apply. There is another way if you've got many modifiers on it, where you can go to it and you go to modeling Object, and then what we're going to do is convert to mesh. That will also do the same thing, and that way is much better actually learning to use that way because then what you'll do is you'll apply all the modifiers at the same time. Okay, so now we've done that. We have one problem in that. These are joined together, and we don't really want that. So what I'm going to do is press tab, and I'm then going to come in, making sure I've got edge select on, grab them all, press P selection, and there we go. And then what I want to do now is come back to this one. So press tab, come back to this one. Control A, or transforms rightly. Set origin geometry. And now I want to do is I want to pull this out to where that actual big block is actually going to start. And then once I've got the big block in, I can pull it back further or inwards or whatever I want to do. So I'm just going to come in for now. I'm going to come in, grab this part, and then just pull it along round about to here. Doesn't need to be exact or anything like that, right now, we're just going to pull it round about there. And then, as I said, we're going to build this big block out. Then we're going to put this middle part in like so. Alright, so let's move on then look at the big block. But before we do that, let's come in. And what we'll do is file and save. And then what we'll do is we'll actually start. We'll delete these out of the way, actually. So I've got too many of these in. Let's delete these out of the way. Got another one over here, I can see. So delete them out of the way, clear out the scene, and then on the next one then we'll actually start our blocks, so I'll bring in a cube and start it from there. Alright, everyone, so I hope you enjoyed that. It might seem a little bit slow and tedious, creating gray boxes, but honestly, keep with the process, and you're going to see just how easy it becomes once you've actually built this out. Alright, everyone. See you on the next one. Thanks a lot. Bye bye. 17. Creating Stylized Tower Greyboxes for Architectural Detail: Welcome back everyone to blend the building master class from concept to final render, and this is where we left off. Now I want to do is this block, as I said. So what we're going to do is bring in a cube, first of all, bring in a cube. Now, it's a little bit different, and you can also see that my cube came in right up here because that's where we had our cursor. Let's press Shift Spacebar bring in the moveTol again. And then what we're going to do now is get the right dimensions. Now, the thing is, with this block, so we'll show you if you go to this here, you can see, here it is, that it goes up to. So this part here goes up to the same point as on here, so we know that the same measurement is correct, but then the other part goes all the way up to here. So, in total, it's 15 meters high, but it's still based on, I go to here, this part in here. So 6.5 and then up to 15 meters from here. So I think we should kind of stick with that. So we'll do the first part of it, 6.5 meters. We'll get that part. We'll get the right, you know, width and length and things like that, and then we can go all the way up to 15 meters. Now, then we've got this topion which I'll discuss in a minute, and we've also got this part, which comes a little bit down below here. So let's do that first bit. So we'll come in. And we'll come to the X and Y, and we'll put this on 5.85, not 8.85, 5.85 like so. And then what we'll do is we'll bring this up to 6.5 meters. So, 6.5 meters like so. Now I want to do is I want to come in. And what I want to do is I want to bring this part. So if I press three on the number pad to go to the side, I want to bring it down then. Do this part here. And then what I want to do is I want to pull it up now to 15 meters. So I'm going to go in, I'm going to press my face select, grab this face, and then I'm going to pull this up. Now, I'm hoping that it should go all the way up to round about here. Let's have a look. So 15.3 meters, you can see we're a little bit higher than what we should be. So let's bring it down slightly. And then we're on 15 meters. I don't know who did that, but I did that pretty well. So you can see now that this is way higher than these parts here. And now I want to do is put the roof on. So I'm going to grab the top again. I'm going to press Shift D I want to split the roof off, just a tiny bit, pull it up, just a little bit, like so. And then what I'm going to do now is pull this up. Now, I want this to be round about 5.2 meters. So as I start pulling it up, let's go over to this side. So I'm going to also split it off, I think. It'll make it a little bit easier for me. So L, P, split it off. Grab this one and you can see if I press Control A, all transforms right click. Origin geometry. We can see the Z is at 2.23. Let's put it at 5.2, like so, pull it up. Into place like so, and then finally, we want to bring this in together. Now, this roof, as you can see, it goes all in together with a little point on it. So we're not bringing it to one side or the other side. So let's do that now. So all I'm going to do is grab the top, press the S but to bring it in. And, of course, we need to leave enough room for the top on there. So we can see now let's put that top on there, actually. So all I'm going to do is press E, no S, bring it out, and then E pull it up and then the S to bring it in. Just a little top on it like that, just so we can get a feel for how this is actually going to look. Alright, so now we've done that. What we can do is we can join all of this together. So control J, join it all together, press Control lay transforms set origin to geometry. And now we want to do is we want to put it into this part here, and then we're going to build this little block on here. And then finally, we can start filling in this back space. Now, I would say, as well, looking at this, I think I'm a little bit out on this point here. I've not left quite enough gap there, so we'll fix that now. So what I'm going to do is I'm going to grab this side, this one, this one, and this one, and I'll go over the top. So I'm going to press seven, and I'm just going to then pull them in a little bit, giving her a little bit more gap like so, and then I'm going to do the same with this one as well. So I'm going to pull them in, giving them a little bit more gab from there to there. And then that will give us a little bit more length, what we can do down here. Alright, so now we want to do is we want to get measurement from here to here and then put this blog up to wherever we actually need it. So the way I'm going to do that is going over the top, and I'm going to measure from here to here, and we want it around 11 meters. So what I'm going to do is measure it from there to there, and we want to around about 11 meters, something. Something around 11 meter mark, like so. Now, let's grab our block, and then what we can do again is we can press the G but because we're over the top. And what we want to do is we want to set it right down round about here, like so, and how far do we set it in? I actually think that, you know, how far we've pushed this in is about right. I think that's about right where we've got it. And we know this is 11 meters, so we know the center of here is going to be 5.5 meters. So as long as we've got 5.5 meters, we can put it right in the center of there. So let's now make sure that we've got the center of this in place. And the way we're going to do that is I'm going to look at the overall length. I'm going to bring an edge loop in here and here. And then what I'm going to do is bring one more edge loop right in the center, and that should really, really help us out. Now, the way that you can bring an edge loop in isn't the easiest way is not to come in and press control law and bring an edge loop and pull it over. And the reason why I don't want to do that is because I have to put an edge loop all the way through these to get the right scale if I was doing it that way. So there is a better way of doing it to put an edge loop through all of these if you so want to. So I'll show you that because it'll be a good time to actually do that. So what I'm going to do is I've grabbed all this. If I press A, now you can see all this is selected. I'm going to just turn off my edge select just so you can see what I'm I'm going to go over the top then, and instead of doing that, I'm going to go to mesh. Come down to Bisectol and I'm now going to pull this across. You can also press the space bar to move this exactly where you want it. So I'm going to put it round about here, like so. And then what I want to make sure is that the X axis, so you can see the X axis here is set to zero because at the moment, this is slightly tilted. So what I'm going to do is just press zero on here, and then you can see it slightly moved out, and now this is set. Now, the other thing you can do is move this up and down. I'm not going to do that right now. Because it's actually in the perfect position of where I want. I will actually show you on the next one. So now I want to do is I want to come in. I want to press the Ab, and I'm going to do the same thing along here. So mesh, come down to where it says bisect, and I want to pull it over here like so I want to put it at a strange angle as well, just to show you. And then what I'm going to do now is you can see the X value is way, way all over the place. Let's set that to zero. That then we'll straighten it out, and then we can actually pull it out like so, so we can pull this ring out. Or we can move it down backwards and forward. So I can move it down, backwards and forwards. So you can also do with this. So let's again, set it to zero. And then what we'll do is we'll pull this down now, so I'm going to zoom in. Pull this down to where I want it. You can still hold the ship but, as well, exactly where I want it, and there we go. So now it's cut through all of those at the same time. So that's one great way of doing it. Now what I need to do is, I need to find the center over here. So if I press Control, left click, right click, we can be fairly sure that that is the center. And even if I come down to these now, left click, right, click. Control, left click, right, click. You can see now they're all centered. So rather than doing them one by one, trying to line them up, we did everything over the top with the actual bisect tor. It's incredibly valuable tool. Alright, so what we're going to do now is we're going to basically bring in our block. So let's just bring in a cube for now, so I'm going to press shifts, cuss to selected, Shift A, and then all we're going to do is bring in a cube, but I don't want to bring it in in edit mode, and I'm going to bring it in in object mode. So Shift A, bring in a cube like so, and this is exactly centered now. So now let's get to the right length. So what I'm going to do is just grab my cube, I'm going to put a tab to go into editing mode, and then going to come in, put edge length on. And then what I want to do now is pull it out. So I'm going to press S and Y. And I want it to be 3.12 meters. So holding it down 3.12 meters, like, so. And then what I'm going to do is I'm going to pull this all the way up right to the top. Of this here. And I'm also going to go over the top, and I'm just going to pull it back just so it's sticking out in the right place. And now we should have space for a window this side and a window this side. And then what we're going to do now is grab the bottom of it, in face leg, and pull it all the way down to the floor. So let's pull it all the way down to the floor, like so. Alright, so now let's press tab. And finally, what I want to do now is I just want to grab the whole thing, so grab not with that. Not with the measuring tool, let's delete it out of the way. Let's also come in and let this one, as well. They're out of the way. Unfortunately, it's not a way to delete them all at the same time. Trust me, I've looked. It doesn't exist. And what are we going to do now is just put it on the move tool, grab everything. So just **** left click, drag, grab everything. Grab the floor last, press Control L, and we're going to link materials. Double tap the A. Save out your weight before putting it on rendered view because that's the time when it's gonna crash generally, and then let's have a look on render view, and there we go. That is looking pretty cool. And we can see we've got a lot of different parts now, a lot of different sizes, a lot of depth to it already. And yeah, it should be looking something like that, and you should be very happy. If yours looks anything like this, or you might have gone away and built your own. I'll be very happy, actually, if you go and do that anyway. Alright, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 18. Introducing Vertical Variation in Greybox Structures: Welcome back, everyone to blending Building master class from concept to final render, and this is where we left it off. Now, let's drop back into object mode. And what I'm going to do is I'm going to take this part. So we're going to build this part here, and then we're going to get these kind of alcoves that are going to go in here. We're gonna have those on as well, because that then gives us more of a silhouette of what we're actually going to have. And that's important. Putting those little parts in. Don't get too fine details, but something like, let me just show you, these parts here are absolutely important. So you'll notice I've not put on these little details here. I've not put on these kind of parts that are coming out here nor any of the windows. The chimneys we will be pouring on for the grey box because that's also important. I've also put the spire on here because that gives the overall silhouette, but I've not even put on the steps or anything like that, because these parts here, they're kind of like you know, they do give it depth, but they kind of smaller parts. The main part we're focusing on is the actual building. So let's put this out of the way. And then what we're going to do is we're going to come into this now. We're going to press Shift D, and we're going to pull this out, and then we're going to press P selection, split it off, come back through it, press Control A or transforms right click set origin to geometry. Now, we want this to be the same height. So we've got it the same height as this because if you'll notice this part here, you can see comes around to this part. So everything along here pretty much lines up, and this part really does line up with that as well. This part goes up higher, of course, you know, to give it a variation, but this part actually lines up with it. So it's important to see that and think about that when you're actually building these things. You're not, for instance, going to have this part up here, this part over here up here. They all going to line up. If you look at, you know, real world references or even the references that you've got, you will see a lot of time they do line up. Alright, so let's put that over the side. And then what we're going to do now, we need an actual roof on here. So what I'm going to do is I'm going to come in. I'm going to grab the top of this with edge let. I'm going to press Control one because I want it around the back of here, of course, around the back of the building now. And then what we want to do is we want to pull this up 3.7 meters, something around there. So if I pull this up, 3.7 inch meters like so. And then what I can do now is pull this in. So S and X, let's pull it in. Like so. Now we need to do is we need to think when we're moving this? So where am I moving this, too? If I move this over here, as you can see in the reference, we do have a window around there. So that so you can be in line with my own gray box. Just make sure come into measurement, grab the edge from here, pull it over here, and you want to around 3.7 meters. So round about 3.7 meters is where I'm going to put mine. So round about there, if yours is round about there, I think I need to move it over just a little bit. So shift spacebar, move. Let's bring it over a little bit. And then if I press tab and come back to my measurement tool, you can see now roughly around there. Maybe we've gone a little bit too far. But I think, you know what? I think that's about right. I'll move it tiny, tiny, just a tiny bit over maybe even a little bit more over. And there we go, that will be perfect. Now we want is the actual length of this. I'll give you the dimensions for that. And it's going to be around 5.2 meters. So if I grab the whole thing, I can then start pulling this out 5 meters, so 5.22 meters, round about there. And then I want the gap from here to here. So this wall, basically, to be around 3.6 meters. So if I come in, press Control A or transforms, set origin to geometry and press Shift spacebar, bring in my move tool. And then what I want to do is go to the side view now so you can see here, this is the wrong side, so control three to go to that side, and then I'm just going to pull it in, like, so to where I actually want it. So it's probably going to be round about here, and then I want to measure this out to 3.3 meters something like that. So let's bring this out 3.6 meters, sorry, 3.6 meters. So it's a little bit out. So if I put this then around about 3.6 meters, I'll just then bring it in a little tiny bit more. So yours back a little bit more. Again, put on my measuring tool, and something like that should be fine. Because if we come out, we can see now we've got our window on here. We've got a bit of a greenery going around there, and then we've got a chimney on here as well, which we need to put in. Now, I don't know if I have an image which shows the back of it. I haven't got an image, but this part here is slightly past this part anyway, so it goes slightly into this part here. This is where it gets complicated, actually. Pulling everything together is the hardest part. So you can see here it's gone slightly back here. We're also going to need another building in here to actually block this out, and we're going to put that part in right now. So we'll put this building in here and then finally find that we can get these two parts in that are going to pull it all together. But now, let's first of all, delete these parts here. We're not going to need them, like so. And then what we'll do is we'll bring in another cube, so Shift A, bring in a cube. Let's put it on move, move it over. And then to start with, what we'll do is we'll put the X on 6.74, the Y on 5.17. Now, this way it gets interesting. The z needs to be on 11, and then we'll create the roof from there. So something like this looks about right. And you can see already, if I try and pull this into place around here, we should be able to, if we go over the top, pull it into place so that it's kind of. You've got the same gap here and same gap here. So pull into place like so. Make sure that it's on the floor because at the moment, we're not on the floor. So let's bring it all the way down till it's just off the top of the floor. And then what we want to do is now we want to put the roof on there, and then we should be able to once we've done that, put another roof coming off of this part. It should be quite intricate then and all fit together very nicely. So the roof on this one is going to be round about 3.5 meters. So if we come in with face leg, grab this, press E, and start pulling it up, we should be able to then pull this up 3.5 meters. Let's grab this here, making sure. It's a little bit out, I think, so I'm just going to pull it slightly, slightly under here, like so, because this is definitely not I don't even think this is 1 second control, and one. Let's go to the back of it. Let's just measure that out from here to here. There we go. Three. It's not measuring out properly. It should be around 3.5 meters so I think I've gone a little bit too high. I'm going to delete that off. And then what I'll do is I'll just pull it down very, very slightly because it's a little bit too high. Based on this part here, I want a little bit. We go a little bit of more gap here. And then what I'm going to do is I'm going to press S and Y and pull it in. And there is that roof. Now, we need one more block which is going to come up here and create this roof here, and we also need those little alcoves we spoke about here. I'm going to save that my work, so save. We need the little alcoves that are going to be in this part here. So let's simply bring in a block for this part. So shift day, bring in a cube. Let's bring it over, like so, and we want it come in on of here. So it's going to be just on here like so, and then we want it coming out. So S and X, let's pull it out a little bit. The other thing is we need to make sure this is centered. At the moment we've just pulled this into place. It's definitely not centered. So what we want to do is want to grab the bottom of here. So shifts, cursed to selected. That's the easiest way to do this. And then grab this part. Make sure the transforms are reset. Resell transforms, set origins geometry and then shifts and selection to cursor. That's going to put it then right banging the sends for us. Then we can lift it up now to where we actually want it. And you can see now it should be should be. Even. So now if I pull up this top, if I just process it, that'll make it a bit easier. Pull it up to where I actually want it. Maybe even higher than that. So Wes said, let's pull it up a little bit more. And then what we want to do is round off these edges now, and this is obviously going to have another window in place. And we want it to be fairly tight around this part. So maybe even a little bit higher. I won't do that yet. What I'll do instead is, I'll put it into place so we can see at the moment, we're pretty far out. So let's come in, grab these two, press the tab but, and again, resell your transforms. And then what we're going to do is just bevel these up. So I'm going to press Control B. I'm going to turn up my bevel so I can scroll my mouse wheel up to turn up my bevels, like so. Let's turn them up. Left click, and there we go. Now, the best thing about having this open this little mini menu for the bevel, is that I can now just come in and actually increase that if I want to. I can also increase the segments if I want to, as well, which just makes things really, really handy, so I can bring it in to where I want it as long as I'm not breaking that. Now, one of the things you can do to stop breaking it is you can put an edge loop down here, and that will stop that happening. But for me, building this I think, actually, I don't need to do that right now. So I think I'm just going to leave it at that. I think it's out enough. And I also think it just gives us a very good silhouette of what it's going to look like. So let's right click, shade Ato smooth. And then what I want to do is I want to put this over to this side. So the way that I'm going to do that is I'm going to come to the center, grab the center with a select, shift this, cursed to selected, come back to this part, and we're just going to use a simple mirror. So Control A, all transforms, right click Set origin this time to three D cursor adding a modifier, and we're going to bring in a mirror. We're going to put it on the Y. Make sure you turn off the X. If not, you're going to have overlapping pieces. So we're going to turn that off, and there we go, There is our silhouette now of that part of the building. So as we come round now, we can see it's coming round here. So next of all, we need three more buildings in basically. We need the smaller building here. We need a block here and a block here which kind of pulls everything together. So let's focus on this little part here. Now at the moment, we are running out of time. So what I'm going to do is I'm just going to grab everything. Again, I'll press Controller, once I've selected that bottom actual plane, double tap the A. I'm going to save out of work, and we're just going to bring in our rendered view again, and now we can see what that's actually going to look like. So we can see now visually it's very, very it's got a lot of depth to the building. It's looking very interesting. It's already looking pretty intricate, which is what we're looking for. The one thing I would say is that these buildings definitely definitely need pulling out further. You know what? I'm going to do that before carrying on. So what I'm going to do is I'm just going to grab all these, so all these down here and I'm going to pull them out so they go further than this part. Let's pull them out so that they go further than this part. And now you can see that is looking much, much better. I'm looking at the front, making sure we've still got that depth of the front. And yeah, I think this is looking really good. I can imagine our steps are going to be at the back here. So if I pull over my reference, we can see in here, we've got this part here. You can see now these are in front like we've just done. And if we zoom in now, we can see we've got a window and we've got some steps leading down. It's pretty tight down there. And I'm just making sure then. Hopefully we might need to move this over a little bit, but you know what? I think we can get everything in there. I think what it is, is this part is a little bit too far out, but if we have to move things over, then we'll do that. But I think for now, this is looking pretty nice. Alright, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 19. Modeling Greybox Extensions for Complex Structures: Welcome back, everyone to blend the Building master class from concept to final render. This where we left you off. Now, it's very important that we make sure that the dimensions of these back bits, you know, pulling it all together are correct. We might have to move a few things around a little bit just to make everything fit because it's important because we have a hedgerow going down here. We have some steps going down here. As you can see here, we've got these steps going down here to a beautiful gate, and everything kind of needs to fit into that. So what I'm going to do is I'm going to bring in a plane, measure this part, and make sure everything's going to fit in there. So let's press Shift day, bring in a plane. So we'll bring our plane over. To run about here, so I'm pressing G to go over the top, and the dimensions of the plane on the X need to be 6.9 meters like so. And what I want to do is I want to measure it from here. So this bit in here to this part here. This is how much room we actually need. What it means is we probably going to have to move these parts back a little bit. So just these parts back a little bit, and then actually move this part in a little bit as well to make sure that we can fit everything in. So how I'm going to do that is I'm going to first of all, come to all of these parts. So all of these parts here, I'm going to press the tab on. I've already got these one selected, I'm going to select these and these. And then what I'm going to do is just go over the top and pull them all back a little bit. Now you can see I haven't got the roof selected on here, so I'm actually going to go in and select those as well. So let's select the roof, the roof on here, press seven to go the top, and now when I pull it all back in, everything should come back, which it does. Now, I do want to be careful. I don't want to pull it past here, for instance, because I still want that little bit of a gap on there, so I'm just going to pull it this way, like so, very slightly. Now, what that means is now I can come in, go over the top, and I can also then how far did I pull it back? Let's have a look. Let's pull this round to there. Let's pull it down, and let's pull it out into place like so, and I might even need to come back. And pull these slightly slightly more. So I'm going to grab all these again, going over the top. Press the tab on. I'm going to pull them back slightly slightly more. Like so. Grab this part, pull it into place, like so. Now, let's pull this part back, so I'm going to grab these. To where it's going to go. So this one and this 17 to over the top, and it's going to be round about into here. Now, we can see we want a bit of a gap on here for the actual hedgerow. So probably a little bit more than that. So what I'm going to do is just pull this into a little bit further over, and I still need to make sure that I've got enough gap for my actual window on there. So I would say that this part here, so all of this part probably needs to come out just to tad more than what it is. So it's into there. I'm going to pull it out a little bit more, like so. And now I've got a little bit more room for that actual window there. And I'm looking at the front of here, wondering whether I want to pull this out as well. So this structure here, whether I want to pull it out a little bit more, let's actually have a look if we pull it out a little bit more because this over this side and this side doesn't need to be exactly the same. And I think maybe maybe I'm going to leave that and I'm just looking now at how far this part is out from here. I think instead, what I'll do is, I'll come in and I'll grab all of these, and I'll pull those in just a tad like so. I'm going to grab the roof, as well, like we did with the other one. So let's grab this one, this one, and this one, and then let's pull it all back into place. Kind of matching what we've grown on this side, so you can see, it's a little bit out. Let's pull it in. Kind of matching like here and here. Double tap the ay. And there we go. So now we've got our window in place. We've got this bit just in this part on here. It's going all the way over to there. I'm going to put it on to Render view to have a look. And this is actually the most important bit. So really fiddle around with this just making sure that you've got enough gap in there. Yeah, and I think that's gonna look it's going to look about right. I think I can still get my next block on here. And I'm just looking round and making sure that the gap here is right. Yeah, and this looks about right now. This is about right. And now to finish them, we'll put in this block here. So a little bit fiddly, I know. Now, putting this block in here is a little bit easier. So let's go to object mode. Let's get rid of this now. We're not going to need it. Let's bring in another cube, and we'll just do this one pretty much by eye because yours might be a little bit different to mine on these last parts. So what I want to do is I want to bring this, and this is going to be a chimney. So let's pull it out, and I want it come in just past this part and just up to this part here. So I'm going to press the s because I want it to be kind of square, and I'm going to lift it up. So I want it just slightly past here, so maybe a little bit smaller, lift it up. Something like this, we've got a little bit of a gap down there. And maybe maybe we need to pull this slightly slightly over, leaving a little bit of a bigger gap there. So, something like that, I think, let's press SCD then and pull it down into this part here. Now, how far does it come out? I don't want it coming out that far. I want it coming out round about this. And I know I'm saying round about this. We can measure things out, but I think with your eye, it's important as well that you also get used to doing that. And I think then what we'll do is we'll come to the top of it. On face select, and we're going to bring it up round about up to the halfway point, so up to there. And then what we're going to do is we're going to press E and bring it nearly up to the top. Now, it's important that it goes all the way back. So let's put on our X ray, and then we can grab this face and this face, and we can pull it all the way back into the actual roof, turn it off, and there we go. And then what we want to do is now we want to bring this in. So if I press S and X, I can bring it in. Like so. Alright, that's looking Round about how I wanted it. Maybe, maybe this has come a little bit too high, so I'm just going to grab all three of those, and I'm going to drop them down a little bit because I have to take into account that there will be something on top of here because we always put, you know, deep as in here, as you can see, we always put kind of things in the roof so we can mess around with the height once we got in, but we have got a window in there, as well as you can see. So we just have to take into account that we've also got a window in there. And now because we have got a window in there, I think I'll make it a little bit wider. So I'll come to it and I'll put it on Is this the X? Yes, it is. So I'll put this on 3.15. And then what I'll finally do finally, is just bring it over now. So it's fitting a little bit more into place, leaving a little bit of a gap down there. And then I just want to come to the underneath of it and just pull it down into place. Alright, that is looking the way that I want it. So you can see it's slightly slightly higher. Then this one here. It's near enough, away from it, as well. So given a lot more depth, a lot more it's a lot different to this part on here, so that looks great. So the final part now is getting in this front part on here. Once we've got this in, we can build the back part, and then after that, we can get the chimneys in. Alright, really happy with this. Okay, so let's get this new block in here. So shift D. Let's bring in a cube. And what we'll do is we'll pull this out, and we'll make it the right X and Y dimensions. We'll have to, let's put it 11.5 on the Y. So 11.5 and let's put the X. I think I've actually done those the wrong way around. Yes, I have. So let's put it 11.5 at the top. And then at the bottom let's put it at 6.22 like so. Alright. Now, the height, let's put it at 6.9 or 7 meters, something like that. So 7 meters we'll do it at that. And then what we're going to do now is just slot this into this part here. First of all, we'll make sure we're actually on the ground plane, let's just drop it in, holding shift bump, pulling it back up, seven to go over the top. And then what I'm going to do now is I'm going to press G, and I'm going to pull it all the way over. So I want it all the way over, lining up with this. And then what I want to do is just pull it back a little bit like so. Now, the one thing is when you're doing things like this, you want to make sure that you're not, you know, pushing it too far into the wall. So in other words, this one is way way in there, because what that means is using a lot more texture space than you actually need to. So what I want to do which we'll talk about in the future, but you'll see exactly what I mean. So what I want to do is just pull that back a little bit just so we've got a little bit of a gap down there. We've got a gap down here, and now we actually want to put our roof on. So where does the actual roof want to come up to? Well, first of all, we've got a window that's going to be in here. I mean, I'm looking at thinking there's a window going to be in so we need to actually measure how far this is overall to our height. So I'm going to say this roof on here needs to be around 2.1 meters, something like that. So if we come in, we can actually pull it up, like so and I know already that it's going to be a little bit out on this measurement here. So let's come in and measure it properly. So control one. Let's come in and see how far we've got from here to here, it's a little bit high. We want it a little bit smaller than that. You know what, first of all, though, we'll actually bring it in. So S and Y, let's bring it in. Like so. And then we've got our window on here, and it's a little bit high. So what I'm going to do is I'm just going to grab the top of it. Shift spacebar, bring in my move, and I'm going to bring it down a little bit like so. And I'm gonna zoom out, press Control one just so I have an idea of the height, and I think it needs coming down a little bit. Roundabout to there. And now if I go over all, you can see, it's a 9.3 something around there for the overall Z axis. So that looks about right because we're also going to have another window under here. Now, we can see now we've got enough room in this bank for the hedgerow that's going to go round, for our stairs that are going to come here and here. And that'll be one of the things we'll work on, you know, and I'll show you how to put all of that together. But I think for now, that is looking round about right. And on the next lesson, then all we need to do pretty much for our main part of our gray box is putting this block here. I think though before we finish, we will pull these in. So I'm just going to go to Xray view. I'm going to grab this one and this one. And then what I'm going to do is just go over the top, and I just want to pull them back because I don't want all that wasted space that we're not using in there. I can't really do the same for this. I need to pull it back a little bit, but I can't really get away with pulling it back so much because we've got this part here. So if I pull it back to there, everything should be in there. So let's turn it off. Have a look. Everything's in there. Everything seems to be lining up. And I'm just looking at this bit, so this bit here will be where the last one comes down. And yeah, I think that looks pretty good. Alright, that's good enough. Let's go up. Let's see if that'll work. And I'll see her on the next one, everyone. Thanks a lot. Bye bye. 20. Adding Chimneys and Detailing Rooftop Greyboxes: Welcome Mahon to blending building Master Class from concept to final render, when we're nearly there with our great box. So first of all, let's come in and bring in another cube. So Shift A, mesh, bring in a cube. Now, dimensions for this cube. So let's put it 13.2. Let's put it at 6.46, and let's put it at 10.9, like so. And then we need a roof on here. So what I'm going to do is I'm just going to I think I'll bring this up and look at the height. So I'm going to press Shift DG bring this up. Like so. And the height on this then will be 2.23. So 2.23. Like so, let's bring it back down then just so it sits on top of there. Like so. And, of course, the walls and the roofs are all going to be split off anyway, so don't worry about that. So let's come in now, grab the center of here, press S and Y and bring the roof in. So it's a relatively flat roof, as you can see. Let's join it all together now, so control J. And then what we'll do now is pull it down to the ground plane, just so it stuck out, and hopefully hopefully this now should fit in there. Absolutely perfect. So let's now go over the top. I'm going to put it in. So press in G. Let's move it into place. It should be a little bit out from there, and you can see we can bring it in, as well. But what we want to do is make sure that we're hiding this part in here. So you can see this goes way past here. We also want to make sure that we're hiding any of the parts. So you can see here there's a little bit of a gap that's going down there. So we could pull it back a little bit more if we wanted to. But what we also need to make sure is that this part here is not touching it. So you can see you've got a little bit in there, and I think that's absolutely fine, actually. I don't think there's anything wrong with that. As long as this part lines up, this part goes down. And now I would say, all we need to do is pull it in a little bit because it's way too wide. So let's press S and X and pull it in a little bit. Now, if we go too far, we're going to go past where it actually insects into the roof. But we don't want that, so we can see now it's in the roof here. It's in the roof here. It's in this part here, and it's in this back bit here. Now, finally, let's come in, grab everything, grab the plane last, Control L link materials. Again, save out your work, double tap the A, and let's put it on and have a look. And yes, that is looking very, very nice. There's a gray box, a lot of room, put in stuff going round. You can see we've got a bit of a place where we can put our garden going around here, place around here, some benches and things and the main street on here. Yeah, this is really nice. Now what I think we should do is we should just add in our chimneys. And once we've got our chimneys in, basically, we've got a finished gray box, and from there then, we can actually go ahead back to our resource pack and we can look at things like the asset manager. Now, the other thing is, before we go on any further, in fact, you know what, we'll finish off our chimneys. And then what we'll do is we'll talk about collections. And once we've done collections, then we can go and look at the resource pack and discuss asset manager, which is one of the most fundamental things in blender, especially when you're building things like this, and I'm going to show you exactly how it works and why it is you need more than one blender file and why you should be using more than one blender file, but how to use them in a way that isn't using up all of your resources on your computer. Alright, everyone. So let's now go and build those chimneys. So let's first of all, go to object mode. We'll bring in a cube then. So we'll bring in a cube, and we want to make sure that they run about the right scale first of all. So we will have one square chimney, and the other ones will be just standard chimneys. So we'll bring this block over here, and the first chimney will be in line with this. So we can see this as that would be the first chimney. I will fit into this part into here. I'll make it tiny, tiny bit smaller, pull it out a little bit. And then what I'm going to do is just pull it into place. It's gonna drop into place like so. At the edge. Here, so it's just in there. And then what we'll do is we'll pull this up, so pull it up. And then all I'm going to do is I just want to pour top on it just to make it very simple. So all I'm going to do is just press E, pull it up, so to the height that I'll want it. Now, how high do I actually want it, I think something like this is perhaps a little bit too high. So I'll just Alt click, so I've grabbed the top. I'm just going to pull it down. And what I want to do is just make sure it's in line with this part here, something like this. I think it's a good height. And then what we'll do is now we'll just bring in we'll bring this part out. So we'll bring this part out. So alter shoull heat ter Alter Ness. Remember alter ness. Like so. And then what we'll do is we can use this now as another chimney. So if I press Shift D, I can bring it over. And then what I can do is I can make this a thin chimney. But before we do that, let's first of all, bring in the cylinder. So if I grab this, I'm going to press shifts, Custer selected. Shift A then, and then what I can do is I can bring in a cylinder. I'll put the cylinder on eight because we really don't need to have it rounded off or anything like that. So what I'm going to do is bring them down. I'm going to press seven to go over the top. And then what I'm going to do is just press G. Pull it over. And from here, then what I can do is I can right click Set Origins three D cursor, add in a modifier, we'll bring in a mirror, like so. We'll put it on the other side as well, so that then it'll bring us four, as you can see. And now we just make them either a little bit taller or a little bit smaller, whatever you want to do with them, basically. Let's make them a little bit thinner, first of all. So Alt Shift click going all the way around. Let's turn off our edges, by the way, we're not going to need those. So edge length, Alt and S, we can bring them more limb, and then S and Ed and we can make them taller and then just stick them into place like so. Probably a little bit out these, so I'll just finally just bring them in a little bit more. So to do that, all I want to do is just move them in. Like so. And there we go. Now what we want to do is we want to make the other chimney. So this one here. So all I'll do is I'll grab these. I'll press Shift D, and I'll bring them over just to this point here. And then for this one, all I'll do is I'll just turn off the X, and then finally I can come in, grab this point here. So I want to grab this one, this one, all the way down, and this one. And then what I can do is pull them in. Now, I'm doing it like that just so I don't, um you know, ruin the actual shape of it. So you can see now it's still the same distance going all the way around, and that is why I've done that. Now, let's supply or modifier. So again, hover over the mirror, Control A, hover over the mirror, J, and join these up. So Control J. Join these two up. Control J. Now, we've got the main chimney in place. So where do we want these other ones? So I'm going to just zoom out. I'm going to spin this one round. So Z, 90, seven, to go over the top. And the place where I'm going to put this chimney is going to be right around here. So I'm going to press Control A, when I've grabbed it, troll or transforms a origin geometry, G, and let's put this chimney round about here. And then I'm going to make two more chimneys. One's going to go over here, and one is going to go around here. So let's do Shift D and then sad 90, and then G, let's put this one over here, and then Shift D, pull this one, and we'll put it right at the edge of here, I think. So somewhere around there. And it wants to be in the roof, so let's just come around. Yep, it's in the roof, so that's looking pretty good except I need to pull it up. Like so or do I? Is it a little bit too big, this chimney? I think it's a little bit too high, so let's pull it down a little bit. Yeah, something like that, just so the tops of them come out. Now, this one here, I think Perhaps needs to be a little bit lower places like so. Then we've got this one, of course, which needs to be just above our roof that we've actually created and double tap the A. And finally, then, we've got all of our chimneys in place. Now obviously, they're going to be refined a little bit. But what we're going to do now is grab all of this contro LL link materials and then file, save now, what we're going to do is when we bring in the materials, obviously, a lot of these parts, we're going to be using to build the side of them. But the main parts underneath. So these roofs and things like that are actually important because we will be using textures to use these kind of planes that we've created. So underneath the roof, so you don't get any gaps and things like that, we'll be using a wood texture. And on the walls, of course, we've also got a texture on there as well. So it's very important that we've actually built this gray box out not just for how it looks, but to actually lay down the foundation of our building, as well. So let's have one final look at it. See what it looks like, and I'm very, very happy with that. The only thing that we don't have right now is we don't have a gap in this one, so we don't really know, you know, where it's going to come up to. We can see we've got gaps on here. So I think though the gap along here will be this part here. So I'm not really going to both with that, actually. I'm going to leave it, but I think the rest of it it's looking pretty nice. So on the next lesson, we will be going into collections, so we'll be discussing collections, and then after that, we'll be going into our resource pack, and we'll be going through the asset manager. So once again, I'm going to say about my work. And hopefully, guys, you got to this point. I really hope you did because now is where the fun starts, and I'll see you on the next one. Thanks a lot. Bye bye. 21. Organizing Blender Projects with Collections and Layers: Welcome back everyone to blend of Building master class, from concept to final render, and this is where we left you off. Now, what we're going to do now is we're going to go over collections. What are they? How do they work? How do we use them, all that good stuff. It's very important that you're using these. It's very important from the absolute beginning that you really are trying to put things in their own collections. So what we're gonna do is we're going to I'm going to show you a video now all of our collections, and then from there, we're going to be putting them in their own collection. It won't be that hard because we've only got a gray box at the moment. But once we actually start getting a lot of things in, really important that they go in collections. Alright, everyone, so I'm going to play that for you now. Hopefully, you'll enjoy that. And when we come back, we'll put these in their own collections. And then then guys, we'll be going over to the resource Pip. Alright, everyone. See you on the next one. Thanks a lot. Bye bye. Welcome everyone to our collections guide. And you'll notice over the right hand side in Blender, you will have something that's called them collections over here, and this is Basley how the old blender used to actually handle layering. So with different layers, you would have different scenes or different objects in place. It's changed a little bit now, and in the new blender 2.8 onwards, we're now dealing with scenes and collections. First thing you'll notice is over here that we've got one that says collection. Let's call this collection plane. And then what we'll do is we'll actually put plane into that collection. Now, at the moment, you can see within this collection, our plane is actually here, and we don't actually want the other three. We want them basically into a different collection. So what I'm going to do is I'm going to right click. I'm going to go and click New collection. And then what I can do is I can call this cube like so. And then what I can do is I can left click and drag and drop my cue into the new collection. And then what you can actually do is you can actually close these up and you can see how neat that is. Now, what we're going to do is I'm going to show you the other way of doing this now. So if we come to our actual sphere, what I'm going to do is I'm going to press the button. I'm going to then click New collection, and I'm going to click sphere like so, press Enter or hit the Okay button, and there we go. Now we've actually got a new collection with our sphere in there. The other thing is, you can also come, you can press the end button, and then what you can do from there is you can actually click on one of these. So let's say we wanted this cylinder in the cube, and it will automatically put this cylinder in the cube. Now, if you don't want that, you can press the end button again. New collection. And let's put cylinder like so, and then click Okay. And then we go. Now we've actually got a really nice collection sorted out really fast. Now, what about the objects in there, then? Well, what you can do as well is, let's say we want to change the name of this cube. We come on over to it. And instead of actually going in here and renaming it, what we can actually do then is press F two, and there you go, the object name comes up. And if we change this to cube 33, press Enter you will see now if we go to the right hand side, this cube is called 33. Now, it's important in large scenes to actually put things into collections because that way you can actually increase the performance of blender or you can hide certain things out of the way. Because what you can also do is you can grab multiple objects, press the button again, drop them in a new scene. So press new collection. And let's call this one objects like so, and there we go. We have our new one with all of the objects actually in there. Now, you can see, as well that because nothing is left in there, we've not got this little arrow there, so all of these are now empty, but it's quickly and easily able to just press M and put them in their own collections once more. The other reason why this is actually important is because many of the displacements or particle systems and lots of other things within blender or even geometry nodes, you can actually use collections to do certain things to a certain bunch of collections. Okay, so the next thing we're going to look at is over on the right hand side, we're also able then to hide any of the collections. So if we click the little on here, that will mean that this collection has been hidden away from the viewport view. Now, it's important to distinguish between viewport and came review. So the came review basically means that if I click this off, when I actually I'm to render this scene, everything within this collection will be hidden out of the way. It won't cast any shadows or anything like that. I will all be hidden out of the way. Now, the other one we've got is this little tick B. If I select this, you will see that it just turns both of them off, so it won't be visible in the viewpot nor in the render. Now, the other thing to look at is if we click this little down arrow, we also have a few interesting ones here. So we have one that says indirect only. We have one that says hold out. But the ones we're most interested in is actually this one here. So if I click this little arrow you can see now we get a new option, and if I come and click it on here, you will see now that if I come across, these will still be rendered in the viewpot, still rendered in the render, but I'm not able to actually click on them, which makes this really handy if you're trying to grab a load of actual assets or objects that you won't actually be actually selecting this collection on top of that. The other thing is, if I turn this on, I can also do a search here for, let's say, cube, so if I type in cube. So I'm able now to quickly and easily find it within my actual scene. The other thing is over on the right hand side as well, the double tap, the A button to deselect everything also actually works. So let's turn this off now. So now let's have a quick look at this in actual action in a real scene. So you can see here we have a scene here with many, many, many parts, which aren't named, and we need to basically put these into their own collection. You can imagine a scene like this with thousands of parts all in the same collection is obviously having an impact on the blender performance. So what I'm going to do is I'm just going to hide the floor, hide this part of the floor, hide maybe this core. And then what I'm going to do is I'm going to go over the top. And all I want to do now is just make sure that I'm not going to select anything else apart from this actual building here. And then all I'm going to do is I'm just going to press B and just try and select everything on that actual building like so. Just make sure I've not got my camera selected or anything like that. And then what I'm going to do is I'm going to press the N bourne new collection, and let's call it butchers Shop, and then press Enter and click Okay. And now what I'm able to do is I'm able to now come all the way to the top of here. So if I go all the way to the top and then start closing up, these collections like so. So we've got square building there. We've got bookshop and butchers, and now we've got the butcher shop, which is the one that we've just made. And now you can see just how quickly I can actually clean all that. I have come along and I double tap the A, so I've not got anything selected, I bring back my floor like so, I double tap the A again. And then what we're going to do is just close hide the butcher shop out of the way. And you can see this is the parts that I've actually missed. And then all I can do is I can select these three parts or four parts like so, press M, and let's drop them into our butchers shop. And then they'll be hidden out of the way, leaving the other parts that are left, which I actually missed. So butcher shop again, and there we go. So now we're able to hide the butcher's shop or we're able to bring it back into the scene. So from there, going a little bit more advanced now, what we're also able to do is hide all of our collections in one go. We just need our mouse in the viewport, and then all you need to press is number one, and what that'll do is hide all of these collections. From there, what you can actually do is you can press number two, and what that'll do is actually bring in the gray box or the second collection on there. Number three then brings in the third actual collection and so on and so on and so on. As you can see, up to a maximum, I think, either nine or zero. So you can see very, very easy once you've put them in collection to rename them to actually increase the performance within blender, to hide them in the actual viewport or hide them in the render. And then also once you've done that, to select them. I'd have to be a very, very big scene to have more than ten collections. Within the collections as well, you can also add inner collections. So if I put new here, and you'll see if I open that now, we've actually got a new butcher shop one. So within the collections, you can also have collections within themselves, and you can build a really, really large hierarchy from there. Alright, everyone, so I hope you enjoyed that. I hope you found it useful. Thanks, everyone. Cheers. 22. Asset Manager Fundamentals for Blender Workflow: Welcome back if you want to blend building master class from concept to final render. So I hope you enjoyed that all about collections. And now what we're going to do is we're just going to put this in its own collection. So what I like to do is I like to put this in three parts when I'm building the gray box because they don't really need to be broken down anymore until you start building walls and things like that. Once you create walls, then you will need to put them, you know, in a different collection. But for now, what we can do is we can pretty much get away with putting them in their own. We don't even need to name them when the gray box is either. Honestly, there's no point in doing that. I know we want tidy blendhles and stuff, but honestly, when it's a gray box, a lot of it will be deleted, and some of it will be changed dramatically, so I don't recommend that. So what I tend to do is I'll grab the whole thing. I'll press M, and we'll put it in a new collection, and we'll just call it gray box. Like so. Gray box. And there we go, we've got one in gray box. We've got a cube left. So also, you know, I didn't grab those, so I'm also going to put those in gray box. So, come on down to where it says gray box. Alright, so everything is in here now. Now, what I'm going to do where it says collection is I'm going to call it my human reference. Like so, and then I'm just going to go to my human. I'm going to press M and put them in Human reference. So now I've got something in there. Let's tidy that up. Finally, then I want one for the ground plan. So I'm going to press M, come down, new collection, and let's put ground. We'll just put it ground, actually, like so, and there we go. Now we've got three different collections. Alright, so as far as this is concerned, right now, we're pretty much finished with it. What we're gonna do is just save it out. And what we're going to do now is open up our resource pack. So here is the file. This is my blender course. Now we want this resource pack in its own file, and we also want to make a new blender file, which is going to be for our modular parts. So as I said, three parts. One being the build, which is this one that we've just been working on with the actual gray box, one being the resource pack, which has been supplied to you through the course. And the second one is going to be where we're building our modular pieces. So let's first of all, call this. Let's actually make a new one. So a new folder, and we will call it blender course resources. And it's important you do this before doing anything else, because when you come to your asset manager and set it up, you will need to know where these resources are. So all I want to do now is drag this one and drop it in there. From there, then, once it's in there, I'm going to open it up, and let's open up our resource pack and just wait for that to open up. And now I've opened it, but I can see there is one issue. So one of the issues you might have, which is important that we discuss is you can see that we've opened it up, and we've got this issue here. 4.3 0.2, it says pile saved by a new version of Blender. Now, there will be loss of data, and you might not notice it straight away. So the way that we can get around that is not directly just double clicking it because it might be the wrong version of Blender which you're opening up. So what I'm going to do is close that down. And instead of doing that, what I'm going to do is open up a new version of Blender 4.4. So you'll see here is the version where we save down the defaults. Then what I'm going to do is go to file, go to open find the resource pack that I just had, so you can see here, blend of course resources. It's in there. Double click this, and then you'll find that you don't get that issue there. Alright, so this is now all set up. This is our resource pack. And basically, now what I'm going to do is I'm going to play you the video that tells you all about asset manager. And then once we've done that, we're going to come in and actually add these to our own asset manager, and you'll see why we've actually put them in their own file. Now, before I go, though, let's actually close down the other one because we're not going to need it for a while, and it's using our resources, especially if it's in random mode. So what I'm going to do is just make sure that it's saved out. So save it close it down and then have your resource pack. And now I'm going to do is I'm going to actually play you the asset manager tutorial. Hopefully you enjoy that. Hopefully you'll get a lot of it. And from there then we're going to be creating our own asset manager for the resources. Alright, everyone. I hope you enjoy that. Speak to your next one. Thanks a lot. Bye bye. Welcome, everyone to the Blender Asset Manager guide. And basically what we're going to do in this one is just go through the asset manager, show you how it works. It does seem fairly complex when you first start this, but actually it's quite simple once you get your head around it. So here you can see, I've got a standard scene here and I've actually brought in some actual assets, and they're named. This is important, actually, that just make sure you name the assets before you actually put them into the asset manager. Now you will notice when you first come into Blender, whether that be Blender three or Blender four, at the top here, it doesn't actually say asset manager. So that's the first thing we want to do. So to do that, all we need to do is come to the little plus p. We're going to come across to where it says general, and then we're going to go down to where it says asset manager. And once you click that on, you'll actually be taken into the asset manager, and this is the easiest way to actually work with this. And the thing is now you'll see at the moment, we have our asset manager down here with all other files on the left hand side. And in this, we'll be populating all of our assets. Let's actually just pick this up a little bit, then. And then what we're going to do is you can see at the moment, we have current file and we have essentials, and under essentials is basically all of the assets that Blender has decided to put into the asset manager as default. What we want to do is we want it to be on current file. So now I'm going to do is I'm going to come to my first asset, which is going to be my tree. And now what we're going to do is we're going to add this into our current file asset manager. With this selected, if you come over to the right hand side, you can see here it says tree. If a right click, you'll see here, it says one that says mark as asset. The moment we actually mark as asset, you will see now that actually appears in this space down here. You will also see that if we put this onto material mode, and now if I come in and actually drag this out, you will see that it actually comes out with materials actually attached, which is really, really handy. Now let's delete this out of the way. And what I'm going to show you is now, if we focus on our actual car, let's press Shift and Spacebar just to move it over here. And then what I'm going to do is I'm going to come over, right click and a markets asset, and you'll see now our car appears there. Now, if I come up and right click and put clear asset, and then spin this round Z -90, like so, right click Mark as asset, you'll see it appears exactly the same way. So to actually change the rotation in the asset manager itself, what you need to do is you need to now reset all of the transforms. So what I'm going to do is I'm just going to clear the asset, and then I put Control A, all transformed, right click, set origin geometry, and then right click and when I come down, mark as asset. And now you'll see it's actually rotated that round for you. You'll also see, as well, now, if I pull this out, it comes in with all the material. Can actually do some other things as well. We can actually also save out materials. So what I'm going to do, first of all, though, is I'm going to come down and click the little plus button. And what I'm going to do is I'm going to call this Assets. Like, so I'm going to call the next one materials. Like so. Now I'm going to do is I'm just going to save out my work, and then I'm going to go to unassigned. And you'll see at the moment we have these two assets that we put in there. We can simply shift select them both or shift select them all, if you've got a lot and drop them then into our actual assets, and now they're going to appear in our assets. Now let's move on. And if we click on this bench, what we'll do is we'll come over to our material. And we can see we've got two materials in here. So let's right click this one, Mark as asset, the same thing. And then what we'll also do is come to this one, and we'll right click and mark as asset. Now, you will see when you've marked them as asset that we've got this little book here, the same as we've got up here. And now you'll see we haven't got any assets in there at the moment, so these two materials didn't go in there, and that is because they will be in unassigned. Now, let's grab both of these materials. Now drop them into our materials, and there we go, we've got materials, and we've got assets. Now, the best thing about asset manager, what you can also do is you can also use this for things like geometry notes. The only thing that you can't use it for at the moment is animations. But pretty much everything else you can use it with the asset manager. Now the next thing we want to look at is actually doing that then with an actual geometry node. So I'm going to do is press Control V, and here is a geometry node that I've actually created. You can see here that if I pull this up over on the right hand side, you can see it's actually a geometry node. And at the moment, if I press tab, you'll see it has actually no mesh or any kind of topology because it's obviously a geometry node. Now, what I want to do is, I want to come up, right click Markers asset and now you'll see that I've got something that says unassigned. So let's make one more now and what we'll call this is geometry or geode. Like so, and then I'm going to come to it on a sign and put it into my geometry node there. So you will see now if I bring this in, it actually comes in as a geometry node, which is really, really handy if you've got loads of geometry nodes and you want to bring them and drop them in your scene. Now, let's first of all, come up to file and save because this is all great in that. But actually, how do we use this in other files. So the way that we can do that is we can come up to a new blend file. So let's open up a new blendfle so here is our new blend file. And what I want to do, first of all, I want to come up and add in my asset manager. So plus asset manager. And at the moment, you'll see there's nothing in there. And what I want to do now is, I want to go up to Edit. I want to come to preferences. And within preferences, you will have one that says file path, and this is basically go to tell Blender where it needs to go to look for asset manager. So let's actually come in, and what we'll do is we'll click the plus, and then all I'm going to do now is find where I've actually saved out that previous file and I saved it in something called Blender Asset Manager, which is here. This is the one that I'm going to add it to. You'll see here that it doesn't show any blend files or anything like that, and then all you need to do is add asset library like so, and then we can actually close that down. Now what I can do is I can come down and you'll see that I've got one that says Blender asset manager, and here are all of those actual files that I actually put in there, as well as where it says assets, geodes and materials. So now I can simply come in, drag and drop my actual truck in there. I can actually turn on the materials. And now you can see, once again, it actually comes in with all the material. Now the best thing is, if I actually bring in a cube now and just drop that there, shift spacebar just to move it, and then what I can also do is I can come to where my materials are, drag and drop straight on to my actual cube, let the actual shader compile and load up, and there we go. Now we can actually drag and drop materials as well. Let's come to our geometry node then, and I'll show you that that also works. So now we can see we've got a geometry node that we can actually use, which is really, really handy. And now you can see just how useful the actual asset manager really is. Now, the other thing, if we go up to edit and go to preferences, you will see that we are able to to add many, many asset libraries. Just make sure that you save your blend file. So if I bring this over here just to show you, just make sure you make a file, and then within there, you're going to actually save your asset manager. Because the most important thing actually is when you're actually saving it in here, you will see that what else comes in is an actual text file. This text file gives Blender all of the data that it needs to actually set up these groups. So very important if you're moving your asset manager to a different file, make sure you move this text file as well. All right, everyone. So let's close that down. And lastly, before I finish, what I will show you is, if you come to current file where we don't have anything, you can also select all of the things in your scene. Right click, go down and mark as asset. And then you'll see that the get put into the asset manager. Alright, everyone, so I hope you enjoyed that, and I'll see you in the next one. Thanks a lot. Cheers. 23. HDRI Lighting Setup and Asset Library Integration: Welcome back, everyone to blend the Building master class from concept to final render and this is where we left it off with our actual resource pack. So I've got my resource pack behind there. We've actually viewed the asset manager now so we have an idea of what we're doing. And now I'm going to talk you through the whole process. One thing I actually do want to do is, I want to go into where my blend course resources are, and I'm going to actually make a new file. So I'm going to put a new file, and we'll call this resource Pack. Like so. And then what we'll do, we'll actually make another one, and we'll call this one modular pack. Modular. And I just want to split those up. And the reason I want to split those up is because now you know that when you actually creating an asset manager, there's a little TXT file that comes with it, and I don't want those things getting mixed up. So what I'm going to do now is drop my resource pack into there, like so, and there we go. Now, it still should go when I go to come up to save, so it's going to save out in the place it was. So I'm just going to go to SavRsRsource pack, double click here, and there we go, just to make sure there's no issues with my asset manager. Now, as I said, in the resource pack, you will notice that we've got HDRI setup and we've got a sky texture. So let's deal with those two first. So what I'm going to do is you can, first of all, see at the top of here, there is no asset manager. So let's go to plus. We're going to go to general. And what we're going to do is we're just going to bring in animation. This one I always like to work like this when I'm doing this. So animation, let's bring that in. And then all I want to do is come down to the left hand side and swap this over to Asset Browser like so. Now you'll notice as well, because we've already done the actual tutorial that we've got all of these in here. We don't really want those. So what we're going to do is go to Edit, go Dance preferences. We're going to go to File pass, and we're going to take off this user library. So let's just take that what we want to do now, this is going to be its own one. So we don't need to create a new one. We just need to take that off. So now let's come up and actually close that down. And then what I want to do is if I come now to current file, so come down to current file like so, and then let's just save everything out once more, like so. Alright, let's as well call this asset manager. So asset manager. So we know where everything's going to be. So manager, like so, and there we go. And now everything will go in here. Now, you can see at the moment, these are already put into asset manager. So you can see this is all we've got in here now. I don't really want those in there because I want to do it fresh. So just come up Shift click, vote for these, right click and what you're going to do is you're going to clear assets, so that will get rid of them, and it'll also mean then they're not actually classed as assets. So as I said, the first thing we want to do, now we're in this new view is coming over to the right hand side where the world is, and you can actually see the HGRI setup has this little tick on here. Very important if you've got two different skies, for instance, because when you open up the file, whichever sky is being used, that will be the one. The other one will just be deleted. So you need to make sure if you're doing sky, just make sure we've got this on. I basically means that this tick is on because we want to save it out even if it's not being used. All right, so the next thing we want to do then is we can right click. So right click in this space here, sky texture and Markers asset. And here we go, Here is our sky texture. Let's click the little down and we'll go to HDR, right, set up, right click, and then we're going to go to Markers asset. Alright, so there's those two in. Now we want to do is we want to create a new file in here. So what we can actually do is here, you can see that we've got unassign, we've got. We've got a save asset catalog and we've got a plus B. And what we want to do is click this little plus B, and we're going to call it Environment Lighting. This is so that when we bring it in, so we can see now environment lighting like that, and you can see it's got a little star on there. And what we need to do then is bring these ones here into unassign into environment lighting. Now what I've done is I've just moved this out of the way so you can see my Cornaks not in the way now, so everyone can see what I'm doing because I know that would get a little bit irritating while we actually deal with the asset manager. Now, you can see they're unassigned. So what I want to do is I want to grab them both, so shift click them both and drop them into environment lighting, and now you'll see we've got two of those in environment lighting. Now what we can do is we can go to file and we can go to Save. Now, to save you the trouble, I'm actually going to show you how this actually works. So what we're going to do is we're going to open up. Well, I'm going to open up my other blend file complete with the gray box. We are going to go back to that file, so it's up to you whether you do this now or whether you do that later. So let's quickly open that up now. So here is our actual gray box. And what I also want to do with this open now, probably better off actually opening your own because what we're gonna do is we're going to go to plus. We're going to go across do animation. We're going to rename this then to Asset Manager. Asset Manager, like so. And then what we're going to do is pull this aside over here. We're then going to come down and we're going to put it onto Asset Browser. And again, we want it to be in a file of the mod. You can see just current file essentials and things like that. We don't actually want that. So what we're going to do is go to Edit. We're going to go to preferences. We're going to go to file paths. We're going to minus off the user library. We're going to click the plus, and now we need to search for wherever this may be. So let's go up, and I know it's under where is it resources. I think it's under blend of course resources. Here we are. We've got resource pack, modular pack. They're the two packs we put, and the one we want is the resource pack, I'm going to double click that. You will see that nothing comes up here. I think there's a button where you can put blendfle like so and then actually see what's in here if you want to see if it's definitely in there. And then all you need to do is add Asset library. Now, let's close this down, and then what I'm going to do is I'm going to come down now, you can see the one we've got here is resource Pack. Now, when we've built our modular pack, you can have two of these here, so you can add in two files, but I'll show you that later on. But now let's come to resource pack, and this is what we've got. So we've got all we've got environment lighting. Now, how does this work, then? So the best thing is we can now come in. Let's put it onto our rendevew and we can see at the moment that we've got this here. So this is our world that we actually created, has no fake user on there. As you can see, it's the only one we've actually brought in, so it's saved it out as that. Now let's bring in our other lighting. So let's just drag, drop it in, and there is our other lighting all in place. We can turn up the strength here and there is our HDR lighting. You'll see it looks very, very different from the other one. I tend to remember, as well, when we created this shader, we created it for our actual texture that we brought in. So this might look a little bit dark, but what you can see if you come to this angle is the lighting is really, really nice and because it's based on HDR lighting. So let's talk a little bit about that now. So HDR lighting is a way to light up your scenes using a real photograph. So you can see here behind here is a real photograph. And imagine stand in the middle of a p taking a photo in every direction going around up down left, right, all the way around 360 degrees, and that's called a HDRI which stands for high dynamic range image, and it captures not just the colors, but also bright things like the sun, the sky, and how the actual shadows are. So now in Blender or another program, instead of using fake Lights, which is the one I'm going to show you, which is the sky texture after this, you can use real world lighting. It saves time. It looks realistic, and it makes your three D models look like it's really in that place. So depending on where you actually grab your HDRI, you can see here, we've got a beautiful kind of meadow, I would call it, actually looks like where I actually live, and you can see it's very, very sunny day. Now, depending on what you got, you could get a city, for instance, a dark night theme based in Japan or something, and that will actually have the correct lighting for in that place. So the thing is about HDRI, it simulates real world lighting conditions without manually placing any lights, and it provides natural looking reflections on shining materials and glass and things like that, as well. That's very important when you're actually bringing in shaders and you want them to look more realistic. And also, you can quickly change it. Now, in blender, the HDRI, it actually unlike JPEG's HRI store a wide range of brightness levels from very dark to intense sunlight, and it makes them ideal for things like this. Alright, so that's a quick detonation on HDRI. Now, let's come in, and what I want to do is I want to come in and actually click the little shield here. That basically means that when I save this out, then this HDRI will be saved out. Now let's come to our sky texture, exactly the same thing. Let's drag and drop it in, and there we are a completely different setup now, and you will be able to play with both of these. Now, you will notice, unlike the sky text that we created, some of these have actually been moved, and I recommend that you play around with these play around with them in your own sky texture. So create your own sky texture like you did before, play around with them, and then you'll be able to get wherever you want, because these make such a huge difference. Let's come, especially things like the sun elevation. If I put this on zero, you will see now completely, completely different. Let's pres Control's head and especially as well, the sun rotation. But the sun elevation means you can take it from, you know, dusk till evening to morning to midday quite easily just through sun elevation. Alright, so now we've done that. What I want to do, again, is click on Fake User. I'm going to go over then to File, and I'm going to save it out. And now then this is actually in here. So when I actually load up blender now, this file that we've opened, so in preferences, this file should stay in here, the resource pack. And as we put more things in the resource pack, this should actually update. So what I'm going to do is I'm going to close this down. I'm going to put this on Object Mode just so it's not taking up too many resources. And then what I'm going to do is come back to my file now. So on the next lesson, what we're going to do is we're going to actually make a start in the actual material. So all of these materials here, we're going to be prodding into the asset manager, jumping over to our own course, actual file, and then seeing if they actually come in there. Alright, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 24. Shader Library Setup and Asset Duplication Techniques: Welcome back, if you want to blend the building, master class from concept to final render, and this is where we left it off. Okay, so let's look at materials. You will also notice I've put my, um, overview up further up, so we can see what we're actually doing down here. Okay, so first of all, then let's come in and put it on material view. Your material view is probably going to take a little bit longer to build than mine. The reason is I've already built mine, basically. But it's just like when you boot up a game in Unreal Engine, you will see that it takes a long time to build the shade. It's one of the main things that takes the time. And that's because shaders take a long time to build. They're incredibly complex things. Next of all, then you can also put it on the rendered view. And the render view up here might say building kernels or something like this. And what that's doing is it's getting loads and loads of chunks of code, putting them all together to create the actual render. So kernels are basically just chunks of code that GPU CPU needs to create this actual render. So now we can see now we've done that. We've got all of these different shaders and materials in. So difference between a shader and material. So a material is a collection of settings that define how a surface looks. So color, reflectivity, textures, et cetera. And a shader is a piece of code or logic that tells the computer how to calculate the look of what we're looking at now. So the material is the container that holds the shaders, textures, and inputs, and the shader is the instructions inside the material. Define how it basically looks to light. So think of it more like this. Think of the material as like the recipe for a cake and think of the shader, like the individual steps that will show off the cake. That's basically how you want to think of it. So now we've got that down. Let's go back to material. I'm going to do is I'm going to show you how to bring in materials into asset manager, the right way, not the wrong way. So first of all, let's come to this one. Let's go over to the right hand side. Now, click the little dot B, and this one says Stone Light. Let's also coming over to our material. And we can see here it's called Stone Light, as well. Every one of these is named out really, really nicely for you. If I come to this one, click the little dot B. You can see Light Street. So all named out nicely for very, very good. Alright, let's first of all, then bring in the cue. So shift a bring in a cue. Let's bring it over just to show you how this is going to work. So if I come to this stone Light, right click and come down to Mark as asset, you will see we have a little bit of a problem. In that, we actually end up with the sphere. Now, if I want to bring this sphere into my project or this shader into my project, I drop it in and it comes in like this. And then from there, I have to go around and find which one it is. So stone light, I've got to go through all of these to drop it on to my cube. There's a way way easier way than that. Let's delete this out of the way, so let's delete it. Let's come over to here, right click and what we're going to do is clear asset. And instead of doing it that way, we're going to come over. We're going to right click and we're going to mark as asset. And now we have stone light that looks like this. Now, don't worry, it will load up, so you'll be able to see exactly where it is. You can also come over here, this one here and make these a little bit bigger. So if you want to see them a little bit bigger so you can see exactly what you're looking like, do it this way. And from there, what we can do is we can drag and drop onto our cube, and there is our actual shader. Waysier to do that, especially when you're working with a lot of assets and things you want access to all of these materials and shaders and just drag and drop them on. It's incredibly powerful using it in this way. Alright, so now we've done that, what we want to do is coming over to where it says all, click the little plus button. And what I'm going to do is double click this, and I'm going to call it Materials. And shaders. So, okay, now what I want to do is I want to drag this over. So now we've worked that out, what we want to do is just change its name because that's wrong so materials and shaders. And then we can see in assign this is here. Now, what we need to do instead of going on the right hand side, we could have grabbed them all, and then right clicked, and you can mark as asset all in one go. But unfortunately, because we're doing it this way, we need to go into each one. So Markers asset, right click Markers asset. And it is a little bit tedious, but honestly, it should be you should be able to get it done in under a minute, which to be quite honest, in modeling terms, isn't that long. So let's just keep going down them. Mark that set. And this is, again, incredibly powerful once you've done this because you will have access to all of these materials and shaders within any blend file that you open up, as long as you've set the file to this actual blend file, you'll have access to when we've done it, the Human OBJ. You'll have access to all of the jumre nodes as well, I'm going to show you how to set those up. So it's not just about this course. These can be used as long as it's not commercial, right across any of your blender projects or builds, feel free to use them. And you will see a little bit later on because some of these shaders are pretty complex, and you will see a little bit later on just how complex they are, just how much work has actually gone in those. Let me make these a little bit smaller because for me, they're a little bit big. I would like to see them all on here, like so. Now you can see, it's taking a little bit of time to build them all up. So just let them build up. You can say, Vo, it won't do anything to them, but you can see now they're all pretty much built up. And then what I'm going to do now is grab each one of these, so grab all of them and drop them into my materials and shaders lights. Now, I'm going to go up to file, I'm going to go down to save, and there we go. Now, one other thing I want to discuss is, if I open up this file, so I come to here, you will see this is my resource pack. This is what I've been building. So I've been building out my, um, asset manager. And you can see within here we have our resource pack, and then we have ATXT file. If I open up the TXT file, you will see in here. It does say environment lighting, environment lighting, material shaders and things like this. This basically is the blueprint for your asset manager. If you don't have this within the same file, you won't have any of this, which means all of that work where you've tied them up, sort them all out nice and neatly. If you don't have this, it ain't going to work. What you need to do is if you're sending this to a friend or you're sending it to another computer is make sure we just send both of these files through at the same time. And when we open them, make sure they're both in the same file. We need both of these together. This is another reason why I've split these up. So you'll notice that I've split up modular pack and resource pack, so they're two different blend files. So when we create the modular pack, we'll be saving it in here. And the reason I did that is because as far as I'm aware, Blend assets dot cats dot TXT has nothing to do with the naming of this. In other words, all of them are named this name. So I want to avoid any conflicts with the TXT files, and that's why I've done that. Alright, so now we've got that. Let's put that down. Let's then open up our other file. So's going to open up our other file, and here we are. Let's refresh that. And then what I'm going to do, by the way, all of that was done because I recorded a lesson, and then I found out the microphone wasn't plugged in, so I had to re record them all. So this is probably the third time I've recorded this. But anyway, here's all our materials and shades in there because I've refreshed it, and it means that I can just drag and drop them into my scene like so. So they're very easy now to drag and drop them into the scene. Now, the other thing is, we won't be using most of these within this gray box. We'll be using things like the bricks. They will be going on here once we've UV unwrapped. And, you know, the walls and things because these walls are already set out, so we may as well actually use this. But generally, all of these shaders will be being used within our actual modular pack. So basically, build a modular pot, we add in the shader, and then when we bring it into this file, it's already built. Everything's already built for us pretty much. Now, we will be using om gendes in here as well. But again, it will be a drag drop operation because most of the time you know, dragging dropping things from the asset manager means you're using an instance and not a duplication. So a duplicate of something uses a lot more GPU power than an instance of something because an instance of something can't change. If you change the main one, you're going to change them all, which means that if you update something in real time with an instance, all of the instances are going to change. If you do that with a duplication, that's not going to happen. So very important that you know the difference between duplicate and instances. And I'll just quickly show you now how that works. So if I press Shift A, we bring in a cube, and if I come to this cube and I press Shift, that basically is a duplication. Now, we don't want to do that. What we want to do is we want to press Alt D, and now this is an instance of this. So if I come in now and grab the top of this and move it up, it should change the other one like so. Now, if I come in and grab this one and press Shift D, and I come in and I mess around with this one. Nothing happens to this one. So a bit of an example there in real time of what we're talking about. And let's delete these out of the way, and there we go. So what we're going to do now is drop back to our resource pack. And on the next one, what we're going to do is we're going to first of all, delete this. We're going to deal with our human reference because we want a human reference that we can use every single time that we've got a project, and then what we're going to discuss is geometry nodes a little bit more complex when it comes to asset manager. Alright, everyone, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 25. Overview of Procedural Assets in Geometry Node Library: Welcome back everyone to Blender building master class from concept to final render, and this is where we left it off. Alright, so let's come to our human reference. And what we're gonna do is click the plus B where it says, and I'm going to call it Human reference. Right, so I'm also going to go to where it says, Oh, can I actually change that? You can see here as well, for some reason, it's put a calogu in there. I really don't want that. What I'm going to do is just delete that calog. Materials and shaders are all in there, unassigned. We don't have anything in there, which is perfect. And now what I want to do. Unlike the shaders, we basically can come over to the right hand side, and we can right click and mark him as an asset. He's in unassigned the moment. Let's dropping in to our human reference, and finally let's click Save. So things like this, the same as our modular parts will be in here as full you know, actual um objects or props or whatever it is. And again, this is now or should be an instance of this. Now, let's say, for instance, you want to update this, as well. You can actually do that. So you can see at the moment, if I bring this out. If I update this, let's say I pull him out like so, and then I bring out another one, you will see there you go, it's actually updated. So now let's put him back to the size he was. We don't want a guy like a bodybuilder or anything like that. And then what I'm going to do is I'm just going to delete both of these. We don't want those. This is the one that we want, which is this one here. Okay, so moving on to more complex things. Now we're on to geometry nodes, and we see that this ain't a good geometry node because all it is is a curve. If I press tab, we can see it's just a curve. The reason it looks like that is because I've come over to here and turned it off. And the reason I turn it off is because this curve uses virtually no GPU. To render it out. If I have all of these turned on, you know, if I've got 100 trees in here, that is going to use a lot of GPU to render them and things like this. But you can see that you can just turn them on and off with this little box here. You can even, you know, turn them off when you come out to rendering, but that's something we'll be discussing in a little bit. You can also turn this one on and off. It says here, Look, if you hover over it, it displays in edit mode. Let's turn it off for now. And then what you can see is, as well, if I come to render, you'll see everything pops up really nice, and then what we can do is turn them on like this. And this is probably going to make it a little bit quicker for your actual viewpoint rendering. Alright, so now we understand what that is. Now, there's two ways to actually save out Jumptre nodes, and they're both actually really important. There's the roll way, which is just the Jumptre node. None of these have been altered or anything like that. And these are called the perimeters of the geomete node, and a little bit later on in the course, we will be going through these. When we talk about in geometry node terms of exposing perimeters, this is what we're talking about. We basically have these to change things within the geometyde itself. Ometendes are pretty complex, so we will be going through how to change, you know, the trees and things like that. I'll also be showing you within the geometry node itself, which is pretty complex stuff, how they're built. And if you really want to get into those, I highly recommend, you know, trying to starting off very slow. We do have a lot of courses on geometry nodes as well, so you might want to check those out. But for now, let's actually close that down. What we're going to do then is coming over to where it says, Oh, we're going to click the plus button, new catalog, and we're going to call this Geometry nodes. And then we're going to click the Plus button, and we're going to call this one Geometry nodes. And we're going to call it raw, like so. Alright, let's save out this. And basically, we've got two here. And the reason we've got two is I'm going to save it out twice just to show you how it works and also to put it into these. So first of all, let's come to the Jumptonod. Go over to the right hand side, and you will see that this one is called Oak tree. So let's right click and you might just be called Tree. If it's not, call it oak tree. So double click it and call it oak. I'm not sure if I rename mine or not. And then right click, and all you're going to do is mark as asset. Come down to unassigned. There is the oak tree. Now, the other way is going over to the actual modifies tab, where you'll find the actual Jumpton node, right click in and Mark as asset. Now, you can see they both look very different. This one is the raw one. This one is the untouched Jomgoe which I'll explain to you in just 1 second, and this one is the finished Jumptre node. So let's drag this in, put it into aw. Let's drag this one, and we'll put this into Jomgre node. Then let's go up to file and save everything out. And then let's open up our resource pack. So here's our resource pack. Nothing there at the moment. Let's click Refresh. And here we go. Jomgon nodes and Jumg Nodesaw. So let's bring in our Jumaje notes. So if we bring this one in, you will notice as soon as we brought it in all of the leaves, all of the bark, everything comes into place, as you can see. All of these parts is what is going to need it to actually create this jumjioe. So this is the plus of bringing Jumigoes in that you've already created because it brings in all of these parts. If I come now and actually click this on, you will also see my actual tree comes in exactly the way that I wanted it. So it's up to you which way you go with this because now I'm going to show you the other way. So the raw files. So if I press Control's head, just take this off. Imagine I didn't bring it in. Let's go to Junction nodes raw, and we're going to drop this in. Now, you'll see that it turns my plane into this tree. That's not what we want. This is because this actual junction node is based on a curve. So shift day, let's bring in a curve. So just bring in a simple bezier curve. Move it over, and let's drop this onto my curve, and there you go. There is my actual trick. Now you'll notice no leaves are brought in. You can see the bottom material is not there. This is the basic version of this jumge node. It's basically like starting again. So with the trees, I recommend bringing them in not as raw as a completed jumge node. And with something like, for instance, the columns or maybe the roof tiles, it's perhaps actually better off bringing them in as raw versions. Either way, though, you want both of them. Sometimes the oak tree it's not going to be what you want. And going in and trying to change it all back to something is way, way harder than just coming in and just bringing in the raw version and starting again. Alright, so now we've discussed both the versions. Let's actually get rid of this tree. So Controls head and then I'll get rid of this curve, delete it. And now we'll actually go back. Now we understand the difference between them and actually sort out the junction node. So we've got this one. We've got the actual columns here. So you can see this is a stone path, but we're going to use this for columns. And again, we're going to go through all of these options when we actually come to actually using them. So don't worry about, you know, anything right now. All you want to do is actually bring in the raw version and the actual finished version. So I'm going to right click. I'm going to come down to Mark Asset. I'm going to right click, come down to Markers asset. Alright, so I'm going to leave them in a sign because I'm gonna drag and drop them in. They're very, very easy to see. Now, you can see here. This one, in fact, there's another one there as well. I'm going to turn this one on just so you don't miss it because you can't see it unless I think you're in Object mode, let's put it on object mode. Now you can see it. Let's turn it on, and then we can see exactly what this is. So this is basically grass. It's a type of grass, and this one basically goes around all of the crevices. So this one's more like weeds, and this one is going to go if I quickly show you the difference between them. So if I bring this over, this one is going to go down here. Probably can't see it from this, so let's fine I got a better version. It's going to go in here. I think these renders actually weren't taken. You can just see the grass in there. That's where this one's going to go. And then you can see all of these little kind of weeds and things going around the outside. That is the other one. That is why we used two geometry notes for this to make it live, you know, as alive as possible. Alright, so now we've got that. First of all, let's turn this off. And then what I'll do is I will come. I'll right click my grass on Mark as asset, right click my grass again, Mark as asset, and now we'll come to our weeds. And again, I'll go in and probably turn this off 'cause it'll be easier once we bring it in. Right, click my meadow, press the little dot but right, click my meadow, on mark as asset, and there we go. Now, let's come to our roof, and again, exactly the same thing. Now, it's up to you whether you want to turn this off or not. I don't recommend with this one, it's it's not like grass or something we're using, you know, tons and tons and tons of topology and things like this. So I recommend just right clicking Maker's asset. They're nowhere near the right size, as you can see in scale, but it's easy to see. So we can make it smaller as we come in. This is one of the more simple actual geometry notes. Let's press the dot B right click and where is it Maker's asset? And then we'll come to this one. We can see this is a bosch and, um, this one's easy. It's a rooftle. This one's a bosch, but we can't see anything. If we click it on though, and there's our bosch. If we go to rendered view, we'll see, actually. It's a very, very nice butch as you can see. So yes, we've even put these in here. They're going to make life really, really easy when you're doing things. So what I'm gonna do is I'm going to turn that off, though. I'm going to come right, click Marks asset. I'm going to press the dot board. I'm going to click on it first. Press the dot board, right click and where is it? Mark as Asset. And then what I'm going to do now is this last one. So this is our hedge. Again, just looks like a square block, a beautiful geometry node, very, very easy to use. If I click this on now, double tap the A. There is your hedgerow. You're gonna love how this works because you're basically just bringing a cube. Put this on there, and you're going to end up with something like this. Amazing geometry node. Let's turn it off, though. Let's grab it. Let's right click. Here, Mark as asset. You will see as well this is called Bush Ooh two. And the reason is because this is the same geometry nodes as this. This one's just done a little bit different. So the thing is with geometry node they're so pliable. You can make something from, you know, a complete bush like we've got over here. So you can make something like this all the way to a hedgerow or using the same jutre nodes, as you can see, 'cause it's the same leaves. It's just the way that we've laid it out. Alright, for now, then, let's make sure we've got everything. I might have lost track of getting everything. Let's grab this one. Press the dot bo right click and mark as asset. Before I actually do that, you know, what I'm going to call it hedge. Like so. And then what I'm going to do is right click and Mark as asset. Alright, so we've got most of these. We've got bush, we've got hedge stone paths, and they look like they're named correctly. So that's the main thing. Now we're going to do is we're just going to grab each of these, so I control clicking a shift clicking won't click with all these, drag and drop them into raw, and then I'm going to grab all of these. I can share, click, all of these, drag and drop them into Jump genodes like so. Alright, so that's that part of the asset manager done. Now, you might be asking what about these parts on here? These parts actually will come in when we drag most of the juncture notes. The only ones that won't come in are these ones here. And on the next lesson, we'll be just sorting these out. So sorting out some rocks. I'll make a new one for rocks, and then we can actually get on and make a start on our actual modular pit. Alright, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 26. Creating Stylized Support Beams Using Reference Images: Welcome back everyone to blend of building, master class from concept to final render, and this is where we left you off. So let's make a new one, and we'll call it rocks. We'll call it stylized rocks because these rocks are pretty stylized. Rocks. Like so. And then what we'll do is now we'll come to these rocks. So let's grab all of them. And then if you go over to the right side, press a little dot on, you'll see they're all in the same place. It doesn't matter if they're all, you know, below each other or not. As long as you've got m selected, right click, and then what you're going to do is mark as asset, and then you'll find, if you go to a sign that all of these have actually been put there at the same time, unlike when you do materials. So now I can simply grab them all and drop them into my stylized rocks like so. There we go. We can save that out. So file, save and this file now, we don't need to touch. The only reason we would need to touch this is to add something to it or make a change within the master file because this is basically the master file. So now I can basically close that down, go back to my actual build, and now we'll see if we update this, everything is updated. So we've got our geometry notes in, we've got stylized rocks in, human reference in. Everything is there now to use. Now, as I said, most of the time, as we're going to be building out, we're not going to be using this gray box initially. What we're going to be doing is they're going to be building everything out in a new file, which will be called our modular pack file. So for now, let's right click the Blenhle. So right click Blend, and what you want to do is open up a new blend file. So open up a new blenfle. It will open up with your guy in there because we saved it out as default. And now we want to do is want to go to file, and we want to go to Save As. And then what we want to do is now we want to come, and you can see we've got a blender course file here. We want to go too, or where is it Blender course here. This one here where it says modular pack. So we have our resource pack that we've talked about, and we have our modular pack, which is this one here. So what we're going to do is save it out as course modular pack. Like so. Then what I'm going to do is I'm going to just save us. And now that's all saved me. First of all, before we go anywhere, let's go up to put it down as animation again. Let's come over and put this on Asset browser. Let's drag and move this over, like so over there, and there we go. Now, let's come up and instead of it being on file. So the file path, we don't want anything on there, so you can see at the moment this is ticked off. So now let's click this on. We'll put it on the current file only. And here we are. We're nearly nearly set up now, ready to rock and roll. And you will notice at the moment and we've just got our human OBJ in there. We don't really need to put him in here. But now what we can do I will show you actually so you know how this works. So if I come up, right click and Mark as asset, I'll leave him in unassigned, and you can see, as well. I we'll discuss that. He's coming in like this, and we don't really want that. So let's clear the asset because it's important to know that for when you're actually building modular pieces. One can do nice Control A, all transforms, right clicks Origins Geometry, right click now and Mark as asset, and you will see now he comes in perfectly aligned. Now, we're going to we'll put him in his own. So what we'll do is we'll click the plus, and I'll call him Human reference. I know we're gonna have two, but I'll just show you how it works. So if a drag and drop now, put him in there, God to file, and safe. Now we're gonna do is we're going to go back to our gray box, and I know it's a lot of jump in between, but we're not going to jumping in between that much. And then what we want to do now at the moment, you can see we've got resource pack. And the only one we've got is resource pack. So we need to add in the other pack. So what we're going to do is go to edit. Preferences, file paths, plus, and the one I'm looking for now, let's search Show Hidden again. So blend files, let's show those. Let's click this little Ub, modular pack, double click the modular pack, like so, so click it and then click Add to Asset Library. And now, if I move this over, you've got your resource pack and your modular pack in there. Close that down. And now you can jump between them. So resource pack modular pack. Human references in there. So, again, I want to go to my resource pack, jump between them. Very, very easy. In fact, we can bring in the guy from or resource pack, and we can also bring in the guy from or modular pack. And there you go. We can do it like that. What this means is then now the modular pack is going to have all of our assets in there. So all of the modular parts like the windows, the doors, things like that that we build. This is where it's going to be found. We can simply drag and drop them as instances then. And then we've got also the resource pick. We're just going to have some of the shaders that we want to put for the walls, some of the geomogy nodes, because we don't need to put these geomogy nodes, you know, in with the assets we're building. So you can see now two master files completely somewhere else, everything we bring in from them, is an instance and will run much more smoothly, and this is the reason we're doing that. Alright, so now we can just put this up a minute. We can put this onto object mode, because what we're going to do now is make a start on our actual resources. So on our modular pack, what I want you to do is I want you to drag over a pure rev, like I've got, so you can see you've got a pure rev here. And then what I want you to do is I want you to come in, open up your court setup. So what we're doing is court setup here. Within there, you're going to have a load of references. This is the one I want to use. So you can see here we've got all of these in. Now, the one thing I don't want in there because I've already got them is these buildings, and what you want. You can either, you know, do it this way, I'm doing it, which I find way, way easier, especially if you've got a second screen, or you can bring them in, as I showed you a few lessons ago. What I'm going to do, though, I'm going to grab all of these I'm going to grab, where is it from this one, this one, this one, this one, this one. And finally, this one. I'm going to make it a little bit smaller, and then I'm going to move this over, and I'm going to drag these into here. So 13 of them, and there we go. They're all dragged in now you can see, it's really easy. I like doing this because it's really easy to grab one of them. Grab this one, actually. This is the one with the supports. This is the one we're going to be working on first. Drag it out. And pull it up like so. Alright, so you can see just how easy that is. Now, the next thing that we want to do, then, if we're working on this one first, we want to make sure that we stick in to some kind of, you know, sizing or something like that to make everything slot together really, really nicely. What we don't want to do is just willy Nillly bringing cubes, so bringing in cubes and just creating them, you know, let's just create this big, for instance. We don't really want to be doing that. Let's actually open up this, as well, 5.88 meters. It's not 6 meters. It's not 5 meters. It's somewhere in the middle. Want to keep as close to actual scales as possible. And the reason is then when we come to fit them in, they will fit in easier. They won't fit in perfect because, of course, as you can see on this one, you've got this here, but then or this one here. But at the side of this, you've also got a column going up. So you've still got to fit them into place, but it's still better to stick to 1 meter, two meter, 3 meters or even 2.5 meters generally. Not all the time. So Windows, for instance, don't need to be set exactly a set size or something like that, but especially when we're bringing in things that, you know, kind of go together like these. Alright, so let's move that over to our second screen, and let's actually make a start on these actual assets. Okay, so the first part we're gonna build is going to be very, very simple part. If I come over, this is the part that we're going to build, and then what we'll do is we'll build this one and then this one. So I'll keep it pretty simple for the time being. So I'm gonna be working on this, as you can see, so we're going to go this one, this one, and this one. And so when I'm building, you'll have an idea of what we're actually building. Now we'll again come in and say, right, we're building this one. But from now on, pretty much, I'm going to show you what we're building, and then I'm going to be, you know, giving you some sort of scale and way to actually build that. Let's put it over to the right hand side, then. And what I want to do now is I want to come in. And the first thing I'm going to do is bring in a plane. So shift, let's bring in a plane. I would sooner work with planes rather than actual cubes a lot of the time because it does make things easier to pull them out rather than trying to work with a cube, which is three dimensional from the start. So let's first of all, spin this round. So we know this is the X axis. We can press RX and spin it round. So spin it around 90 degrees like so. The other thing is at the moment, I am in asset manager. Let's rename this to asset manager. Like so. And then what I want to do now is you can also reorder this. You can also put this to the front, so you can reorder to the front if you so wish, like so. And I think we'll do that on this one. And then what I'm going to do is I'm going to come now to modeling. So modeling press the tab on, and there we go, I'm going to save it out. So when I want to actually come in and save it out as my asset manager, it's going to be over here. But for modeling terms, we want it right in the center of here so we can see our entire viewport, giving us plenty of room to actually model with. Alright, what I'm going to do then is press the end button to open up this panel. And I can see here these are the dimensions. I want this Z axis to be a little bit further down there. You'll notice, Z axis is on zero at the moment. That's because first of all, let's reset all the transforms, set origin geometry and now, of course, the z axis is here. Let's put this on Nopoint two. So no 0.2 is going to be about the size that I actually want this first part. This is going to be a kind of very, very thin support, so it's going to be a thin support going along the wall. Next of all, then what I want to do is I want to bring in a bevel. And that might seem strange you know, on something like this, bringing in a bevel, let's press tab, contro law, Left click. And when you do left click, you will notice you have the ability to move it up or down. We don't want to do that. What what we want to do is right click and then set it right in the center and now for the bevel. So we want to make it. If you go over here, you can see it's got top and it's got a bottom. Let's pull it out there, and all we're going to do now is press Control B and pull it out. Like so. And now we have a top and the bomb. Now, we don't want to bring these two parts out right now because at the moment, it's still a two D plane. And if we bring them out, you will see that we end up with a flat bit there. We don't want that. We have to think about these three D objects and the fact that they're going into a wall. So the first thing I want you to do is just grab each of these faces. And then what I want you to do is pull them out. So press the EB, pull them out like so, making them quite chunky because we're going to be pushing them back into a wall and then grab the top and grab the bob, press the E born and pull them out like so. Like that. And there we go. Now you've got your first. Nearly finished part. Let's hit the save born and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 27. Bevel Modifier Basics and Edge Sharpening for Supports: Welcome back everyone to blend the building master class from concept to final render, and this is where we left you off. Alright, so what we want to do now, we've got this first bit. It's looking a little bit like it's got very, very sharp edges on it. You'll also see down here on the bott left hand side, active object as non uniform scale. This is because now we've actually created this. Let's reset all of the transforms. So reset transforms right. Clicks origin to geometry. As I said, normally, with any problems with these parts with blender, it's normally because of the fact that we've not reset all of the transforms. Next of all, then we want to look at the bevel. So why is this so sharp? Can we actually smooth this off? We are dealing with stylized parts, after all. So what we want to do is we want a way to put a non destructive bevel because we can come in to each of these parts. And don't worry, I'm only going to show you this once, and then Control B, and you can actually bevel them off. You can bevel them off, like so. But it's not very good. Takes a little bit of time to do that. So instead of doing that, once you've reset all of your transforms, add modifier, generate bevel, let's bring that over now, you can see, it's beveled it off in a very, very weird way. We don't actually want that. What we want to do is bring it down to not point, not three, something like that, and then you'll see you end up with a nice smooth bevel. And you can see this is actually already looking pretty nice. Now, the other thing at the moment is, I've got no wild in here or anything like that. Sorry, not no wild. I haven't got any lighting in here. I prefer to actually bring in the lighting from our other files. So what I'm going to do is I'm just going to save it out. I'm going to go to edit preferences. And then at the moment, I've got my resource pack in here, as you can see. I don't know if I showed you bring in resource pack, but anyway, I'm going to manage that off. And first of all, what we'll do is we'll bring in those parts now. So we've got our resource pack, double click it. Click Add asset Library. Let's close that down now. Let's go to Asset Manager, and then over here we'll go to Resource Pick. In the resource pack, we've got environment lighting. This is the one that I want to bring in. So what I'm going to do is I'm going to bring in my sky texture. And now, when I come to RenderVew, now you can see my sky lighting is in there and it's looking very, very nice. And you can see the difference now if I click on this to Bevel and not Bevel, you can see it looks way way better, way way smoother, and that's exactly what we want. Now the next thing is, we want to bring in our shader, so I want to drop our shader on there. But before doing that, what I really need to do is actually explain to you about seams and sharps and also textures and shaders you'll need to know those before actually going in and putting anything on. But the first thing we'll do is seams and sharps, and then I'll come back. I'll mark my seams and shops, and I'll show you an easy way to actually do that with the majority of actual um you know, pots. You will need to know both ways, because if you have problems with your seams, you'll need to know the proper way of doing it, and you'll also need to know the lazy way of doing it, because we're all artists around, we all like to get away with things. So I'm going to play your seams and chops now, and I'll see you on the next one everyone. Thanks a lot. Bye bye. Welcome everyone to the shut introduction to marking seams and Sharps part of the course. So before I give you examples of what I'm actually talking about, let me just briefly explain what they are. Seems you can think of like seams on a piece of clothing, like a shirt or pair of trousers. The main job of seams is to make sure the texture that you're trying to place on your mesh goes on correctly, but more importantly, gives you control of how that texture will look. Sharps are mot like seams, but serve an entirely different purpose. We use sharps to give us control of how sharp and soft angles are on or measures. This makes them look realistic. It is also important we do this not only for rendering and blender, but also sharps carry on through to other software or games engines we want to use like substance painter or unreal engine as an example. So with all that said, let's get started. So here we are in blender with our starting Queue. Now, if I click on my cube and go to my UV Editing, you'll see that the cube is basically unwrapped in this actual way. So basically, it unwraps like a present. Now, if I come across and I grab this circub and I press Shift D, and then we press Shift Spacebar to bring in our Gizmo, and we move it across. And now let's say I want to alter this cube a little bit. So what I'm going to do is I'm going to press the tab button, and I'm going to go into Face select, click the top face Shift Spacebar to bring in the move tool, bring it 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 going to do is we're going to press Controlle then come down to where it says Mx SMs. Now, it's important to remember that it's Controlle to mark Seams in facelet. But if, for instance, we're in EdgeSlt, if we come to this edge, if we press sear Controlle, you will get this option up as well, MokeMs. But you can also right click in Edge Sect and you can also see we can mark Sam this way as well. So for now, though, I'm not going to actually mark this scene, what I'm going to do is I'm going to grab the whole thing with L, like so, and now I'm going to press unwrap. And you can see it unwraps completely different. Now, let's bring in some textures so you can see what exactly I'm talking about. So if I press S tab, I'll come up to my materials panel up here and I'm going to give this material. So I'm going to come across to the right hand side, click on my material button. So let's now bring the material I've already prepared. So if I come across this little down arrow, come on down, you can see I've got one here called wood, and let's click that 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 UVunwrapped correctly. So how do we fix that? If we come up to Edge set, and we grab this edge, and now I'm going to do is I'm going to right click, come down to mark seams, and now grab the whole thing again. I'm going to press you, unwrap, and now you'll 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 round 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, I'm going to do, I'm going to come over to the left hand side, the view pot 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 or Z 90 and now go to this one where we can see, you can see that these line up perfectly. And the reason is because obviously, there's no seam there. The seam is here. So you need to take that into account on your own measures and objects that when you're playing textures and materials that try and put seams where you're not going to see them. So if it's on a door handle, for instance, try and put them on the inside where no one's actually going to see them. So always bear that in mind when you're actually marking your seams. So now let's discuss sharps. So if I bring in a new primitive, so if I press shift A, I'm going to go across the mesh, I'm going to bring in a cylinder. Now, you'll notice that this cylinder has all these little edges around there, and let's say you want to make a cup or something, the last thing that you want is all these hard edged faces in there. Now, there are things we can do to sort this out. So the first one we can do is we'll bring in another cylinder. So I'm just going to move this one out of the way. So shift Spacebar, bring in my gizmo, move it out of the way. Shift A, bring in another cylinder. And this time, I'm going to come down to where it says, add cylinder and turn up the vertices to 100. And now, you'll notice that we do have a round edge. But the problem is that we've brought in 100 vertices to actually achieve that. And that's not something we want. We want to use as few polygons as possible while still getting a really good looking mesh. So how do we achieve that? Well, there are a number of things we can. First of all, we can come across to this right hand side, and what we can do now is come to where it says normals and click on Autosoo. Then we can right click on the viewport and click Shades Move. Now you'll notice it's actually been smoothed off. But the problem with this is, if I turn up my autos move, you can see if I turn it up all the way, it goes really, really funky, and that is because at 107 degrees, Blender decides that these edges along here needs moving off. So it doesn't give us a lot of control. If we do this on the other one, so if 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 like the bottom. Press Controllee because we are in face leg and we'll come in and mark a shot. And now you'll notice if I press tab that now is got Hard edges on there. This gives us control. So this is why we actually use shops. No matter what I turn this up to 180 degrees, which is the highest it goes, it will not get rid of those shops that we mark. We can also mark shops around the edges as well, Server grab this one and this one. And now because we're in Edge select, we can right click. Come down mark a shop, press the tab button, and now you'll see you've got hard edges on there. So it's very important that you mark sharps, where you're going to actually want hard edges. It's also important that you get into the habit of marking shops when you're actually marking seams. And then what happens is, when you join two objects together and you turn up the auto smooth if needed, you're not going to end up with some measures like this. Okay, everyone, so I hope you enjoyed that introduction to marking scenes and shops and as they say, on with the show. 28. Introduction to Blender Shader Materials: Welcome back, everyone to Blender building master class from concept to final render, and this is where we left it off. Now, again, let's go back to modeling so we can actually see what we're doing. So you watch the seams and sharps. So what we want to do then is actually mark in some seams like so. So we're going to come round the side off here. You can click Control Click, and then that'll go all the way around, right click and mark a Seam. Then we'll come to the other side and we'll go all the way round coming all the way down like so all the way round. Even this one, right click and mark a seam. And then what we want to do is we want to put a seam on the back and a seam on the back, right click and mark a seam. Now, with things like this, you can delete the back. It's three polygons, as you can see, and it will definitely reduce file sizes overall. But whether you want to keep these or not is completely up to you. Either way I've marked a seam in there, and for me, I'm going to then come in, grab the back of it, press delete and faces, delete the back, and then it'll cut down all of those polygons and things like this. Now what I can do is I can actually come over to my UV Editing. And come back to this, so grab it press a little Db on. I can grab it all, press A, U, and I can unwrap. So unwrap angle based, and there we go. This is what we actually get. Now, there are other ways of doing this. There are, of course, lazy ways of doing this, but pretty much, if you ever need to you know, building things like this, it's a good idea probably to mark all your seams out. Now, if I wasn't doing that, I could just press Controlle. I can clear my seams, and then I can press and SmartUVPject. Click Okay, and you'll pretty much end up with the same thing. Now, the point is here, this will normally do a good job. But if it's something pretty complex, it can mess up in a bad way. So we just need to be aware that when we've unwrapped it, we check it over, making sure everything's looking okay. And if it's not, then we know how to fix it. And that was the idea of showing you seams and sharps and how to use them. Now I'm going to do is I'm going to play you another video which is called Textures and shaders. This will then go through the UVon wrapping part, and from there, we can actually come in and actually start unwrapping these things. All right, everyone, so I hope you enjoyed this introduction, and I'll see you on the next one. Thanks a lot. Bye bye. Welcome everyone to the blender shading and texturing introduction. And you can see here within my scene, I've actually brought in a few shaders just to kind of explain how they actually work. So first of all, what is an actual shader? A blender shader is a type of material that can be applied to three D models within blender. Shaders define the way surface of objects appear under various lighting conditions, simulating a wide range of materials and effects such as metals, glass, plastics, wood, and more. Essentially, shaders tell blender how to render the surface of an object based on its properties like color, transparency, shyness, texture, and reflection. So within blender, we use actually a node based system for creating and customizing shaders, particularly within its powerful rendering engines like cycles and the newer EV render engine. Now, it's important to note that the actual shaders within blender react differently to each of those shaders. So at the moment, you can see that I've actually got this on EV. But the moment I put this to cycles, these actual shaders, some of them at least, will react differently. So now you can see that our emission here that we had that was glowing doesn't glow anymore, and that's what happens typically in blender cycles. Also, the glass now we can actually see through the glass and see this is actually a glass shader. So it's important to know straight off the get go that some shaders will work in EV and some in cycles. Now, next of all, we need to look at the different types of shaders within blender. So some are created entirely in blender through node systems, which we're going to look at in just 1 minute, and the others are created through textures. Generally, these will be PBR textures. Now, a PBR texture is a physically based rendered texture it's a texture map designed to mimic the way light interacts with surfaces in the real world, based on physically accurate models. These textures ensure that materials rect to lighting conditions in a realistic manner, making them essential for creating lifelike three D models and environments within blender. So now, enough of all the backstory on textures, let's actually go up then, and first of all, we want to bring in an add on. Now, this add on is in built within Blender. In other words, it comes with blender. I wish they would actually turn this on a standard. So far, you have to actually enable it, but trust me, when I say it's one of the best add ons that blender ever produced. So let's go up to Edit, and what we're going to do is come to preferences. We're going to go over to add ons, and the add on we want is called the node wrangler. So type in node, make sure the node wrangler is turned on, and then all you need to do is just close this down. Next of all, we're going to go over to our shading panel, which is this one over here. And then what we're going to do, we're going to click on this cube, which at the moment, doesn't actually have a shader on it or any material. We know that because if you come over to the right hand side, where our material panel is here, you can see this is completely empty. Also in the shader panel, you can also see if I zoom out, this is also completely empty. If you do happen to have a shader in here, and then there's nothing in here, just zoom out as far as you can, and then you'll find all of the nodes. Now, what I'm going to do, first of all, is add in a new shader, and what we'll do is we'll double click it and we'll call it wood. Like so. And now you can see how it's actually set something up within blender, just a basic principle BSDF. Now, this basically is the super node. It's where all of the texture maps will plug into. This is the main node that you will be using. Alright, so now what I want to do is, I just want to click on this node. And what I'm going to do is I'm going to press Control, Shift and T. And what then that will enable me to do is open up my actual computer file, and from there, I just want to find my textures. So here are my textures that I'm going to use as an example. You can see here we've got wood grain, and you can also check out what these actually look like by coming over to the right hand side here and clicking this on. And now you have a good idea of what these are actually going to look like. We can also make them larger as well if we need to. So you can see here at the moment the size is 128, and we can just bring that up to actually make them bigger and see exactly what textures they are. Now to bring them in, all I need to do is select the first one, Shift select the last one, so we've got them all selected and click principal texture. And what blenders going to do from there is is actually going to bring them all in and set them up for us like so. So you can see now because of the node wrangler, everything is set up for us. Now, within our actual shading panel, you will see over the left hand side, we actually have a UV map here, and it's not actually showing anything at the moment. If we come on over and we select one of these actual textures like so, you will see if I zoom out, we've actually selected this actual metallic shader. I can also come down and select the roughness, for instance, I can select normal, or I can select the actual image texture like so. Just remember if it's on the wrong one, it's probably because you've got one of the textures or the wrong texture actually selected, and I generally want to have it on the base color. Now, with blender four comes a new principled BSDF, and now a lot of the options are actually hidden behind these little tabs here. So omission, for instance, is now hidden behind here, so I can turn this up, as you can see, bring it down, and change the color of it if I saw one. So just remember that some of them might actually be. Because this is a basics video, we're just going to go through a few of the actual options that we normally get within our actual textures. So a PBR setup normally consists of a base color, known as the albedo or cut just a color map, a metallic map, a roughness map, and a normal map. They're all more maps, but they take a little bit of work to actually set them up within blender, and this is a basics video, so we won't be going into those, but we will be going into those later on in the course. So the first one, which is the Albedo it just defines the basic color of the material without any lighting or shading effects. It represents how the material looks under natural lighting. If we go to the next one, we've got metallic, and this map defines which parts of the texture are metallic and which are not influencing how the material reflects light. Metals have a high reflectivity and distinct coloration in their reflections. Now, you will notice if I click on this one, it's completely black. Because this wood has absolutely no metallic. If this was completely white, all of this wood would be completely metallic. And if it has kind of graze in there, that then is defined the roughness of the actual metallic. In other words, those little spots that you see when you shine light on something. The next one is roughness, and this isn't to be confused with metallic because roughness is how shiny something is, and metallic is obviously how metallic something is. Generally, as well, with metallic, either something's metallic or it isn't don't really get in the real world half and half. Roughness map controls how rough or smooth the surface of the material appears, affecting how sharp or blurred the reflections are. A lower value results in a smoother surface with sharp reflections. While a higher value leads to rough surface with diffused reflections. Now, when I'm talking about values, I'm talking about these values here. So the more sharp this is or the more blurred this is or the more darker these little spots are, that will give you the result that you're actually looking for. And finally, we're going to go now to the normal map, perhaps one of the most important maps. And the normal map simulates small surface details and textures without actually changing the geometry of the three D model. It affects the way light bounces off the surface, creating the illusion of depth and detail. And this is used a lot in games to actually look as though there's more geometry than what there is. Now, let me show you how that works, then. So if I come down to this strength at the moment, you can see that we've got our wood here, and it's kind of defined. So if we look from here, it kind of looks like it's, you know, three D, and these little grooves are going in. But if we turn this all the way up now, you can see that's the effect we actually get. So you can see now it looks as though it's much more ripply along the edges. We can see big grooves going down there, and this is what the normal map actually does. Now, at the moment, with our actual QPA, you can see we've only got one actual material on there. And what about if you want to put multiple materials onto an actual object? I'm going to do is, I'm just going to click the plus button, I'm going to click the down arrow, and I'm going to choose one like glass. I want to click the plus button again. Click the down arrow, and this time, I'll choose one that says stone. Now, if I go into my cube and press the tab button in actual edit mode, come over, select one of these faces. It only works on faces. By the way, you can't select an edge and apply a material on there. You have to select a face or multiple faces. So what I'm going to do then is come down to glass. And finally, then I'll click a sign like soap. Then I'll come round to the other side. I'll click this face and this face. And what I'll do is I'll come down, click the stone and click a sign. And there we go. Now we've actually got stone, we've got wood, and we've got glass. And if we put this on our rendered view now, you can see exactly how that's going to look, and you can see how the light is interacting with all of these surface. I come over just to the right hand side quickly and turn around my sun rotation, we can get a clearer view of what we're talking about. If I come even further around and bring it to the front, so you can actually see that glass then is actually starting to be seen through, and you can also see that actual normal map working on the inside of this cube. Now, let's quickly go back to our wood. So to do that, what I'm going to do at the moment, you can see that we're probably on the stone in this one in this shade of view here. It says actually stone here. Actually come down and click on my wood, for instance, and then it will take me and put the wood on there as well. So that's another way to actually apply them. Instead of the stone, it's actually just put on wood instead, as you can see. Now, what I do want to do is I want to come in to my actual wood. So that's the one that we actually brought in, this one here and just show you, for instance, can actually interact with all of these texture maps. Now, there's thousands of nodes available in blender, and the way that you put them all together, it can become extremely complex with huge hundred node maps and shaders. So I'm just going to show you something of the basics just to get you started, and that will be an RGB curve. So an RGB curve, as those of you may know, who use Photoshop changes basically how the actual image is actually lit, darker spots, lighter spots, things like this. So if I come in and press Shift A, search RGB, and you can see, I've got an RGB curve here. Now, just before we do that, if you do press shift day, you can come down. You can just see get a flavor of how many nodes there are actually within blender, and you can see also how many shaders there are within blender. Let's discuss that after, but first of all, we're going to go with RGB curves, bring that in and drop that down like so, and from here now, you can see that I can actually affect the color of this actual wood on the fly in real time, like so. We can also put this onto the metallic, onto the roughness and even onto the normal to get different effects and different ways that the metallic or roughness actually work. Now the next thing is we want to discuss is just shaders. So as I said, this is the main shader within blender. This is like the one ring of shaders. And basically, this will be the main one that you actually use. But of course, there's plenty of shaders. So depending on what you want to do. If you come down, you can see, we've got diffuse, we've got emission shaders, we've got glass glossy, and a whole range of other shaders that you can actually try out and use. Now that we've discussed that, let's actually come over two are actual shaders that I've got set up here. Now, you can see with this glass one, it's just a very simple shader of glass and got some roughness on and, of course, an IOR value. Next of all, then we've got an emission shader, and you can see now this is using texture maps, and it's slightly more complex, and you can see how all of these things plug in. In other words, what I'm showing you is shaders can be very, very simple or get to be very complex. So the next one is the metal, and you can see this gets even more complex. The next 1 stone, and you can see, again, this is slightly more complex, and the final one is wood, and you can see things like this. So we can see that we've actually got some edgeware on this wood, and all of this is actually done within blender, again, with quite a big setup for the nodes. But it's unbelievable really what you can actually do with these shaders once you've actually got your head around how to set up the node system. Really are just scratching the surface in this blend of shaders and texturing introduction. And even on the right hand side here, you can see you've got all of these options as well to play around with, as well as the fact that you can actually put these into your asset manager as well. But this is just a basic introduction just to get you started. Alright, everyone, so I hope you learned a lot from that, and I'll see you on the next one. Thanks a lot, cheers. 29. Applying Shaders and UV Mapping Concrete Surfaces: Welcome back everyone to Blender building master class from concept to final render, and I hope you enjoyed that. Hope you got a lot out of it. Now we're going to do it. I'm just going to quickly show you them. We can come in. We can grab all of these. We can press the expo, make them smaller. We can rotate them, so we can press R Y, 90. Now remember, you're dealing with a two D plane here. So there isn't that kind of three dimensional. So you'll only be able to go, for instance, if I want to move this GY moving it up and down, and GX moving it left and right. There is no Z, for instance. You can't press because it doesn't go up. Now, let's put this back. We've got it something like this. Now, what about if we want to make this much bigger? Because we are using seamless textures pretty much throughout this course, we can get away with making this bigger than the actual UV map because those textures are actually tiled. If they weren't tiled, we wouldn't be able to do this because you would be able to see all the times where the texture is repeated. You'll be able to see a line it definitely be off. So just take that into account when you're building out things. There's also the other way, of course, of taking in substance painter and painting it on the actual UV map, which means, as well, everything needs to fit in there. Now, there are other ways of fitting in the UV. You can actually go to UV and you can go to Pack Islands. You can choose between if you want to keep the scale or the rotation. Now, the scale isn't the scale of this that we've just created it. It's the scale based on each of these parts. So yes, we want to keep the scale. Do we want to keep the rotation? Yes, we do. Let's pack the island and it pads it in few. Now, the other thing you can do, let's say you've grabbed just this part. Let's make this part much bigger. And then these parts now are not the same size, which means that the texture on here is going to be a lot smaller compared to these, for example. How do we get that back? We press A to grab the whole thing, UV, and we go to average Island scale. Then it will scale everything back based on the size of each of these parts, like so. And then we can simply go UV, pack islands. And pack the island like so. Now, so far so good. So we've got it unwrapped, and now we want to bring in our shaders. So what we're going to do is we're going to go now to Asset Manager. We're going to go down then to materials and shaders, and the one we want is going to be called Stone Light. So this one here, I want to drag and I'm going to drop it on there, and there we go. Alright, that's looking pretty good, except the fact it looks a little bit, um, too much like, you know, it's a little bit bitty. So what we're going to do is we're going to go back. This is because if I go back now to UV Editing, this is because if I put this on Render view, so pull this across, and you should be able to put it on rendered view, like so. If I go in then and make this much, much smaller, now you can see that it's starting to look much, much better. And you can also see, we're going to go into the shader in a minute. But you can also see now it's starting to look a lot more like stone. You can even come in and bring it to whatever you want. You can make it really small if you want to. And there we go, It's a little bit blurred out now. Does that look better? Let's make it a little bit bigger. Like so. And I think that's the best of both worlds that there. Finally, then, we need to discuss the shader because the shader is extremely important. How is this shader working? If we go over to our shader board. So let's open up our shader. This will take a little bit of time because as I said, shaders are pretty complex things. If we then open this up, you will see we've got two options here. We already discussed if we go on to Wild, so we know about the world. Now let's discuss going on to the object. So the object, as you can see here, if I press tab, in this view, it's a good idea to put this onto UV editor. So just this one, and then we can actually mess around with it and move it within the actual shader panel. I also like, because I don't need any of these to move this over just to the left hand side, so we've got a little bit more room there. Alright, so where is this shade? There's nothing even in there. What I need to do is I need to come into this screen here, zoom out, so pulling my mouse out, and I should. If it's on there, let's have a look. And I think it's because we really need, it's because it was so zoomed in, as you can see it. So just keep zooming out, and then you should be able to find your actual shader. Now, we can see this shader is pretty complex, and it's not as complex as you might think. It just takes a lot of work to get these shaders working the way that we actually want them. So I will break this down now for you. But again, it's not something you're just going to jump into and you're just going to start building shaders, you know, straight off the bat. Generally, when we're working with shaders, we want to make them simple and then go from there. But this shader, how it works then. First of all, we can see if we go into here, let's put it on Render view because we can't see it until that. We've got this part here, as you can see. This is controlled by these bevels here and the difference between them. So we can see if I move this down, we can see we get a difference in there. If we move this to black, let's say. So if I put this on extreme black, you can see, look, everything disappears, everything goes white, as you can see. What this does then, it creates kind of edgewar on our actual stone. From there, then we've got a concrete part, which is basically making this a little bit more bumpy and less actual flat. So it's kind of like a mask going over there, making it look a little bit more realistic. And finally, everything plugs in to, you know, these overlays and curves and things like that. That part of it, you don't need to worry about. You just need to understand how this part is set up. From there, then we have an actual texture, and you can see it's called concrete color texture, and it slots in to all of these parts down here. And again, for now, you don't need to actually know how these things worked. What you do need to know is that the reason this is sell like this is that we have two textures over the top of each other, and we have some noise breaking it all up. So it's not just a simple texture. This is how far you can actually push shaders. Now, when we bring in a new shader like the wood shader, we can go in there and see a much more simplified version of a shader. But this one here is pretty complex, and I've just tried to break it down as simply as it can. You can also see here for zooming have a noise texture, another noise texture, going into a curve, which makes us able to change that noise texture orever we really want it, and then finally, this is all going into another curve. And everything is being mixed up from the actual original texture. So it's basically like taking two textures, the same, but taking the second one, moving around, breaking it up, and then joining them back together, and this is what gives you something like that. Then on top of that, you're going to have the edgeware which is done with the bevels, which I've just talked about, joining everything back together, and this is what you actually get. This is what we've done with a lot of the shaders in here, and the reason we've done that is because generally in blender, you can bring in seamless textures like we've done here. But you can't make it look like something that's come out of, say, substance painter, where it's painted within substance painter, all the edgewas added within there, and then it's export out as a texture. We wanted a way to make something look nearly as good as substance painter as a shader that everyone can use within blender straight off the bat. And that's why we created these. So they might look complex, and they are pretty complex, but that's why we're actually using them. But when we've got some simple shaders, I will show you those as well. Alright, so moving on. We've got this now then. So this is our first actual support. And what we'll do now before doing anything else is we'll make a new collection. So what I'm going to do is I can press hover over here, press the Nborn new collection, and we'll call it supports. Like so, and we already know if we come back to modeling that this, if we go to item, press the tab on, this is 2 meters along the X. So we know it's a two meter support, and it's a small support because if we also pull over this part here, we can see that we've got all of these supports here. So this is the one that we've worked on. So I would call it in small support, 2 meters, something like that, something that's memorable. Well, not memorable, something that we can actually look at and understand what it means. So we'll call it small support. 2 meters and we'll call it in, like so. Okay, there's our support. Now we can put it into the asset manager now, but we're not actually finished because there's something else that we need to do. We've got it in our collections. Now. Now I want to do is I want to make it easy so I can actually just bring it in to my file and make it smaller or bigger, let's say. So what I want to do is, and probably, I've got a two meter one here. Let's create another one that's going to be 1 meter. So all I'm going to do is I'm going to press Shift. Bring it down and then put this to 1 meter. So I'm going to put this to 1 meter like so. And then what I'm going to do is I'm just going to change this, so delete this off, pump to the 1 meter, sorry, the two meter and just put it at 1 meter like so. Now, we're not going to do this for every single one, but some of them, it definitely makes it easier to actually do that. Now, the next thing I want to do is I just want to put it next to it. To show you what else we want to do, so I'm just going to put it just behind it, like so, because that one's the smaller one and then like this. Alright let's move our guy a little bit out of the way. Now, finally, before finishing this, so you'll notice now if I come to my rendered view, you will see that this one looks like this. And the reason it looks like this is because we've actually made it smaller. So what I want to do is I want to change the UV. Now, a bit later on, I'm going to show you how you can get away without doing this, but we need to basically unwrap it again. So I'm going to press the tab, I'm going to press U, smart UV project. I'm going to click. Okay. And then we've got something like this again. So let's go to our UV map. And what we want to do is match it pretty much with how this one is. So this is the long way of doing this. I'm going to make it smaller, make it smaller, make it smaller. And even then I'm going to make it even a bit more smaller, a bit more smaller, like so. Is that matching up? No, it's not. So let's make it. You know what I'm going to do? I'm also going to reset the transforms. Here we go right clicks at origin geometry, and now let's unwrap it. So Smart UV unwrap, like so. And now let's make it smaller. And let's rotate it. So R 90, make it smaller. And there we go. Now it's looking something like this one, maybe, maybe a little bit bigger. And there we go. That's looking like that one. They're looking the same now. I'm happy with those. And there we go. Now, there's one last thing that we need to do before finishing up these, and we'll do that on the next one because it's going to make it very, very easy then when you brought these into, you know, your own build, that you should always put these on, especially on parts like these, because then you've got the choice of taking it off or, you know, adding on creating more of them, for instance, and things like that. Alright, everyone, so I hope you enjoyed that, and I'll see you in the next one. Thanks a lot. Bye bye. 30. Building Support Variations and Organizing Mesh Sizes: Welcome back, everyone to Blender Building master class from concept to final render. Now, all the things I've gone through seem incredibly complex, I might seem like I'm going around the houses. But these are all things that you're going to need to know for in the future. So as we move on through the course, you will find it speeds up the pace. We build things much faster, the more you learn, but we want a slow gradual learning curve so that you're learning the right way. That's why we took our time to go through all of these things, you know, bevels. But when we come to the next part, dropping on the bevels shouldn't be too hard. Dropping on an array modifier, things like this should be much, much easier. So saying that, make sure your work saved out. Let's go back to modeling. And what I want to do is come to this one first. I'm going to go on over then and add in another modifier, and the one we're going to do is an array. And what that's going to do is it's going to put it on here like so. Now, with this, we want to save it out with the array on there. So I can turn this off now. And then when I bring this into, you know, my build, what I can do now is instead of it being 2 meters, I can make it 4 meters or 6 meters or 8 meters very, very easily. So what I'm going to do is I'm just going to turn it down to two, and I'm also then going to turn it off. Now, the thing is, it's got a modifier on it, so I want to make sure if it's not needed, I've got it off. I don't want it being rendered out. So I not want it rendered out and I don't want it to be, you know, on the screen on the in the view port either. So what I'm going to do now is come in to this one, do the same thing. Now, this one and this instead of, like, you know, copying this, for instance, and just putting on a new modifier, I might as well grab this one first. Always grab the second one what you want to copy. So shifts like this one, press Control L, and then what we'll do is we'll copy modifiers. Now, if I come to this one, you'll see I've got the bevel and I've got the array on. And again, with this now, we can make it. So we're creating new parts really, really easily like so. Really easy to do that. Alright, so let's drop this back to two. Let's turn this off, and now finally we're ready to put them in our asset manager. So now we're going to go over to asset manager. Making sure that we're in the current file, so we want to make sure they're in the current file. And then what we want to do is we want to click Plus on here. We're going to call it supports. Like so. And then what I'm going to do now is I'm going to come to this part and this part. So both of these parts right click and we're going to mark as assets. Then we're going to go to unassigned. And then what we're going to do is drop these into supports, like so, and we're going to go to file and save, and there we go. Now, before carrying on, I'm going to show you how this works then within the actual main blender file. And from there, then we'll come back to you and we're going to build out a few parts because there's no point just testing everyone out and just showing you how it actually works. So here we are once again in our main gray box. And what I want to do now is come down and I'm looking for the modular pack. As soon as I bring in the modular pack, we've got supports in there, as you can see. Let's save out a work before doing anything else. And what I want to do now is go to RenderView, and I'll just show you how easy it is to use these. So let's bring in the big support, like, so if I press the dot board now and zoom up to it, first of all, you can see that we've got the actual shader in. You can see all the bevels have come in. I can actually turn this on now, and there you go. Same with the other one. And same again, and same again. And really, really easy every single time you drag one of these out. You're actually then um this is where these parts are going to go. So, for instance, if I want to press A's head 90, I can bring that out then and put it into place, making it as long as I want it. So let's just bring it in. And this is just to show you an example, of course. Let's bring it up to here. Press the dot board, making sure it's against that wall, so push it into the wall, and it's not quite long enough. So what we're gonna do is we're just going to turn this up again, and up again. And there we go. Just make sure that it's rendered out because you want it to be rendered out, as well. And there you go. There's the actual first part in there. Simple as that. Really, really easy to use, as I said. And then what you want to do, then you can bring another part out if you want another part. And all you need to do is just stick it on the wall or Y -90. And there you go. You can just stick it on the wall like that. Because the other thing is, as well, when you're bringing these parts in, you'll notice how they glue themselves to the actual floor, making it really, really easy to bring in more parts. Alright, soapen out, let's get rid of that, get rid of this, get rid of this. Like so, like so, and there we go. Okay, save this out once more. And then what we're going to do now is go back to our modular pack, and let's build out our next part. Now, when I'm building out these parts as well, I like to put them on a plane because I don't like viewing them, especially in the viewport straight through, like that. So I'm just going to press Shift, bringing a plane, make it bigger, and then all I'm going to do is just move it to the side. So I'm just going to move this to the side, as well as moving these to the side. You know what I'm going to do as well. I'm just going to grab this one. I'm going to pull it back over here. I'm going to put it behind. Same for this one. Let's pull it over here. And then what we'll do is just grab both of them and pull them down. I do like things to be pretty neat when I'm actually working with them. Alright, so now we're going to do is we're going to work on the neck support, and this one's going to be pretty much exactly the same as this one, except it's going to be much, much thicker. So what we'll do is we'll bring in we'll go to object mode, first of all, and then what we'll do is we'll press shift D. We'll bring in a plane. We'll rotate it round. So X because you can see that's where it's rotating, 90, rotate it round. And then what we're going to do is then we're going to actually come over to the right hand side. Now before we do that, of course, let's resettle our transforms, right click Set origin to geometry. And then what we'll do is we'll come in and create this width here on the z 2.40 0.415, not point. Four. One, five. There we go. This thickness now, so it's nearly twice as thick as these ones. Now, again, we want it on 2 meters, so we've got a two meter one, so you can see, in fact, you know what? This is let's have a look. This is 1 meter. This one's two. So we'll have a 1 meter and a two meter exactly the same way. So we'll go 1 meter for now, 1 meter, like so. And then what we're going to do is exactly the same as what we did on the other one. So control R, left click, right click, Control B, bring in a bevel, quite thick, like so, and then grab the whole thing. So press L to grab the whole thing, press in the E button. Let's pull it out. And then what we'll do is grab both of these with face select. By the way, you can press on your keyboard, one, two, and three for each one of these. I've just got into the habit of clicking on them most of the time. But if you ever seen me swap these over without clicking on it, it's one, two, and three on the keyboard. Grab the top, grab the bottom. Press the E to pull them out, like so, and there we go. Alright, so now we've got something in place, though. It's actually very easy when we've done these now to actually build them out. Very easy. So all I'm going to do is Control A, A transforms right, clicks origin geometry, I'm then going to make another one. So shift D. This one, I'm going to put a little bit back like so. What I'm going to do then is put the X onto 2 meters. So there we go, 2 meters. And then finally, what we're going to do is we're going to grab both of these. Grab this one over here, press Control L. And we're going to copy modifiers, and we're also going to press Control L, and we're going to link materials. And you can see now if I come into there, they're not unwrapped properly, but what you can see, if I put it on object mode, we've got a beautiful bevel on there. We've also got array on here as well, which we know how that works. And so you can see how that process has been sped up dramatically. Now what we need to do is we need to kind of copy the UVs from one to the other. So what I'm going to do is I'm going to grab both of these. I'm going to then go to UV Editing. And what I'm going to do is I'm going to grab all of this and I'm going to press U smart UV project like so. Click Okay. And then going to press As and bring it down. Put it just over here. And then what I'm going to do is I'm going to come to this one, press in the b. And now you can see just how small that one is. So what I'm going to do is grab this one, 90, spin it round, make it a little bit smaller. And now I know this is going to be about the right size of the other one. So something like this is about the right size. And then all I'm going to do is the same for this one. So I'm going to grab this one A, small UV project, click Okay, A, spin it round. So, 90, make it a little bit smaller, like so. And then grab this one. So we're going to grab this one and this one, press the tab but. And now we can see that this needs to be a little bit smaller. So let's go to this one actually and see how big this one is this one's the chunkier one. So if I see it here, you can see this is what I've got. If I then come and grab this one at the same time, you can see now if I spin this round the other way, maybe I can get away without doing that, so I'm just going to grab it. Press the G board. Let's actually have a look what that looks like. You know what? I think they look. I think they look fine. I'm just looking at this one and wondering why, it's got a line down there. Is it from the shadow? Let's have a look. We'll put it on material view. And yes, it's from the shadow, I think of my guy. Let's have a look. So we'll grab him. And in object mode, there we go. Or it's from the angle of the sun, I think. Let me try and change this over just to make sure. So, A, G Go, that looks better already. I think this is just from the angle of the sun. This part here, though, the stone looked a little bit weird, so I just moved it over. No problem with the G bon. So again, just make sure you grab it, press the GB and then you can move it wherever you want. Alright, so let's get these in place, finally. So we're just going to press seven to go over the top. We're going to press G to go over there. I'm going to go back to modeling. And then what we want is to double click this, press Control C, just to copy it, and then we're going to come to the small one, which is this one here. We're going to double click it, press Control V, and I'm just going to put a large so large, like, so support inner, and then I'm just going to copy that so Control C, and then going to come to the next one, which is this one here, Control V. And there we go. This one, though, is 2 meters. So we're going to change this 2 meters, like so. And finally, finally, I just need to make sure that I'm lifting them onto the floor. Now, I've done all that work, got my rays in. Let's press Control A, reset all the transforms, making sure that when I bring them in to my own file, all the transforms are reset. Now, finally, then let's come to this one and this one, we're going to right click and we're going to mark as assets. Asset manager, drag and drop these in to my supports. Now, this is the same process that we've been using throughout these. Some of them are a little bit more complex, of course, you know, if you look on here, for instance, you can see some of these are a little bit more complex, but most of them are pretty simple. So this is what we're trying to replicate. You can also see down here these are a little bit different as well as in the actual shade of color, and we're also going to replicate that. So first of all, we're just going to finish building out all these. And from there, we'll probably go and build out just some columns because once you've got the columns and you've got the supports in, you put supports in, you can put columns in, and you pretty much can start building out the outer shell of your actual building, which makes it actually start feeling like it's starting to get somewhere and come together, 'cause you can see a lot of these parts like these ones here. These are, you know, for the roofs. These are for the stairs. These are adding all the details on, but the main components are these kind of columns here and definitely these parts here. So we're going to spend time now building those out. All right, so last of all, let's save out our work, and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 31. Designing Alternative Structural Supports: Welcome back, everyone to blend of building master class from concept to final render. Now, we're going to be creating these more simplified ones. Now you can see this one has a rounded part on it. So this is so long and then it's rounded on the edges. And what I want to do is, I just want to create this one and this one. Now, as far as putting on things like the shaders and things. We might as well do that all at the end from here, I've showed you how to work. I've showed you how to put them on. I've showed you how to do them in UV. But the thing is we're forever going to be keep going in and actually making them smaller, bigger and all of that stuff. And we don't really want to do that for these. So rather than do that, let's do them all at the same time, right at the end. It's going to make things much, much easier. So let's first of all, then come in and create this one. Again, what we'll do is we'll do pretty much the same thing. So we'll start. We'll start with a cube this time, so I can show you. So shift day, let's bring in a cube. Let's bring it over here. So you'll see straight away, it's a little bit harder with an actual cube. You can see it's, you know, much, much bigger to actually deal with. We've got to then pull it back. So you can see here we've got to pull it back. So S and Y, let's pull it back into place, like so. And then we've got to actually bring it down, as well. So let's bring it down to naught 0.156, like so. And only now, we've got something we can actually work with, so you can see now why I actually prefer to use a cube, use a plane rather than a cube. Now, the other thing is, these two here, we need to update these a little bit of thing, but once we've saved them out, they should update on here anyway. So at the moment, if I go into supports and I bring in, I think it's this support, let's bring in this one. This is the support. Now if I come in and actually make this a little bit wider, so let's just go to seven over the top, S, and Y, let's pull it out a little bit more. Let's see, then if I come up to file and save it out, let's see now if I bring this out, and there we go. It's the same size. So we know if we change that, we can actually use that in that way. Now, I'm wondering if I want to do it like that because at the moment, I think we just need to pull it back a little bit. And also, we've not got these backs taken off. So what I'm going to do, I'm going to make them a little bit thicker. So I'm just going to come in, and again, we'll be re unwrapping everything at the same time, so don't worry about that. And I'll also do them both at the same time. So you can actually shift select them both. Come in then grab both the backs of them like this. So shift, and click Shift space, barbing and the move tool, and then just pull them back like so. Now we're going into each of these at the same time, and all I'm going to do is delete the faces on the back. So shift select, control select, shift select, control select, delete, and we're only going to delete faces. So just this one here, like so. Alright, so now let's actually do this one. So we've got this one the right size. All I want to do then is just put a little bit of an edge on the front of there. So I'm going to come in, control law, left click, bring it up maybe a tiny bit, like so pull this out, so E, pull it out a little bit, like so, and it's just going to be very, very simple this. Now, you can see this one is this one here. You can see at the moment, it's 2 meters. So I've got one that's 2 meters and one that's 1 meter. So let's do the same thing on here. So what I'm going to do is I'm just going to put this one here. I'm going to press Shift D, bring it over. And what I should have also done, first of all, is grab them both now and I should have took off the face before duplicating it to make it a little bit easier myself, delete and faces. Now, let's grab them both at the same time. So Control A, all transforms, itiginT geometry, grab this one last, and we're going to press Control L, link materials, Control L, and we're going to copy modifiers. And there we go. Let's double tap the A then, and we'll see if we end up with something like this. You can see it's very, very, you know, kind of greening not really working properly. But for us at this point, that's what we actually need. Now, what we'll do now is we'll come in and rename them. So at the moment, we have supports. These supports here. So these two should be in this support here as well. I'm gonna come up and save my work because I know when I'm in viewport, higher chance of it crashing. And now I want to do is I want to name these. So I'm just going to come in, grab this one, Control C. And then what I'm going to do is I'm going to make this one a little bit thinner, so I'm going to go to 1 meter, and again, I'll resell the transforms, like so. And then I'll come now and rename this Control V, and we'll call it large support. I'll call it thin. Like so, and then I'm just gonna copy it. Control C. Come to this one. Control D. And then we're going to put 2 meters like so. Alright, both of those are done. Now can drop these into supports, like so. And then I can also tidy this up. So I want to come to my guide. Now, the other thing is you don't need to come over here to keep creating, you know, collections, I can just press the N button. New collection, and we'll call it human reference. And trust me, guys, keeping this nice and neat right from the start is going to help you a lot. Human reference, and then we've got ground plane. So I'll just rename this one, so I'll double click it. Call it ground plane. Like so. And there we go. Now my ground planes in there. Alright, so now moving on. We've got this part here. Now, this is just a block, so we can create that. And then we've got this one here, which is a little bit rounded on the sides here. Alright, so let's create those. These should be pretty easy to create. Okay. So let's first of all, because it is this one here is just a square block. So let's just bring in a square block. So what I'll do is I'll press Shift A, mesh, bring in a cube. And then all I'm going to do is come and put it 3 meters, and then we'll put this to no 0.72, and then finally this one at 0.275, like so. That is the square block that I want. Now, I'm just going to put this over here because I'm going to rename them, put the bevels on all at the same time, resell the transforms and things like this. Now we're on to this one here with a slight rounded edges on there. So what I'm going to do is I'm going to again probably bring in a plane. So let's bring in a plane first, so we'll press Shift A, bring in a plane. I'm going to rotate it round, so Rx 90. And then what I'm going to do is reset the transforms, all transforms rightly, set origin to geometry. Now, let's come in and actually, um, this is quite a big chunky piece. So we need to keep the same dimensions on this because this part here is actually going on this part here. So we need to keep exactly the same dimensions. So I'm going to give you those. And once you've got dimensions, it does make it incredibly easy to actually create. So it doesn't matter how far it comes out here. The point is we need the right dimensions on the actual height and the actual length of this. So what I'm going to do is I'm going to put the height on not 0.65. So that's the height. And then we'll put the width on 5.4 meters. And that's the wrong way round, so we'll put this one on 5.4 meters. Alright, so that's the size of it. Now we can come in, and what I can do is I can come, grab this part here, press the E button. We're gonna make it pretty chunky, like so. And then go to press Ctrolo bring in an edge loop. Left click, bring it up a little bit. And then what we're going to do is we're going to bring this part out. So I'm going to grab this, press the E button and pull it out, and then finally, we're going to bevel off these corners. So we're going to bevel off these corners now. All you need to do to bevel it off as we've discussed is press Control B. Now, you're going to get going like this, and you can see it looks kind of weird. It's not beveling off properly. Again, it's always down to resaing all your transforms, origin geometry, pressing Control B. And now we should be able to bevel that off quite nicely, like so. Now, all I want to do is just bevel it off enough. Where it's going round and if I right click, so if I put this on object mode, if I right click and shade smooth, so shade or to smooth, you can see that it shades them smooth around there. The other thing is, I really want to be working in modeling, and I want to put it on object mode. And now we've got this far. I actually want to show you something else. When you're actually setting up your modeling to work on things, it's not always the best idea to work just in object mode. It's also a good idea to come down and put on cavity. So put on cavity, you're going to get a much better idea of what you're actually doing. You can see already just how much that gives you an idea of the shape before this, so if I turn this off 1 second, turn this off, you can see much harder to see shapes. And that's why I do this. Once I bring this on now, we can see this is smoothed off very nicely, and this then is the right size of what we want to even though it's, you know, kind of big, but we're going to name them the right things. So everything now seems to be fine. And then what we'll do now is on the next lesson. So let's zoom out of here. Let's go down and look what else we're building next, so it's over here. We're going to start work then on probably these ones because they're a little bit more simple than these. So we want to have a nice, you know, transition between simple and hard, especially when we're dealing with the first things. This one's a little bit harder, as well as you can see, and then we've got this one. So I'm not sure whether these are hard or easier, but I think this one is definitely the easiest. So we'll start with that one on the next lesson. All right, everyone, sir. I hope you enjoyed that. I hope you're liking the way that we've tried to sell the course, we'll be going nice and smoothly, and then just ramping up the difficulty as we go forward. Alright, one. Thanks a lot. Bye bye. 32. Modeling Wall Panels with Inset and Extrusion Techniques: Welcome everyone to blend of building master class from concept to final render. Now, what I'm going to do with these parts because they are so chunky, I'm just going to put them further back on, move the actual floor as well, and we'll put that over there. And we'll also extend it out a little bit just to accommodate these two, as well, just so I can see what I'm doing. Okay, so what we're going to build now is, as I said, this one and this one here, and then we'll probably come to this one afterwards. So let's put that over there. So the first thing we want to do is want to bring in a plane. So shift D, bring in a plane, rotate it round, so x -90 or X 90, whichever one is the case. And then what we're going to do now at the moment, this is 2 meters by 2 meters. It's pretty big. We don't want it 1 meter either. And the reason for that is because if I go to these two, put it at 1 meter, it's too small, and I don't really want that. So what I'm going to do is I'm going to put these at 1.3 meter and there we go. That is what I wanted. So a little bit chunkier, as you can see, it's going to be kind of the supports, you know, where people walk past. If I lift this up, you can see now that's how chunky it's going to be. So I think I'm going to be happy with that. In other words, it's not going to fit in 1 meter. And basically, what I tend to do is make them smaller once they're in place. So once they're in place, I can actually bring them down slightly and get everything fitting in. Now, this one's quite easy to do. So all I'm going to do with this one is pull it out, first of all. Always pull it out a little bit further than what you think you need, because you are going to be slotting that back into the wall. It's better to have a little bit more distance than less. And the other thing is, like we haven't done with these yet, we should also come in and just make sure that we're removing the back of these before we actually come in and UV unwrap them. So delete faces, no one's ever going to see the inside of their delete faces. And it is overall, once we start bringing all these parts in, go to save us a lot of polygons and a lot of V space on top of that. We're always thinking ahead on how we can make this, you know, better than what we had. Alright, so well, more better performance because when you've got big scenes, big environments, big buildings, you really want to make sure that right from the offset, you're really refining down how optimize parts are. Okay, so let's come to this. And what we'll do is we'll press delete and faces, so delete that back face. And then what I'm going to do is I'm going to come in and I'm going to press insert. So that's the ebon. I'm going to insert this down. So because I want to make now this part here go round. So what I'm going to do is press Control B, and I should roll them back and create that while wanted. Now, from here, I can actually press Alts or I can press S on this one. So if I want to move this now, instead of pressing ltes, I want to press the S but, and then that will bring it into place without changing it, moving along here. If I press Altes, you will see if I press Alts, it starts to pull it out. That's not what we want. So I'm going to press the S but just making sure this is in place. L so. And I think I'm happy with how that looks. Now, it's easier, honestly. If you're not happy with the thickness or anything like that, if it's a little bit too thick, just go in and recreate it. Don't mess around you know, trying to mess around with this, just go in. It's so easy to do. Just press Control B again and just bevel it out and make it a little bit thinner and then press AlterS sorry, S and bring it out wherever you want it, something like this. Alright, so now I'm going to do now I've done that is press the EB and pull it out to make that actual, you know, kind of what would it be called ornamental design or something like that, you know, where it just pops out. Just make sure you're happy with it. And if you're not, you can actually go in and just push this part back so you can push this part in if you want to. Alright, so that's that part done. Now, again, these ones all need fixing, they all need naming all of that stuff. But now for now, let's work on the next one. So what we're going to do is come to the next one. So again, bring in a plane. So shift A. Let's bring in a plane, X 90. And then what we're going to do now is we're going to keep to these dimensions. So we're not bothered about the thickness here. What we bothered about is the X. So what is the X set at 1.65, like so. What is the z set up? Sorry, the Y set out, 1.1. Let's try that. And there we go, There is the dimensions. Now, if I bring this back, you can see it's way way thinner than the ones this one here, the square block, and that's exactly what we want. Again, with things like this, we don't want to always stick to the correct size. As well, you know, when you're going in the building, you can see over here, so we can see over here. It's going to be pretty hard if we're trying to keep this 5.15, you know? So that's going to be pretty hard to put things next to each other when we're dealing with things like this or things like this where there's lots of them on there. So when you can, try and stick to, you know, a certain size and then shrink them down. So everyone thinks when you're building modular packs like you should be sticking to 1 meter 1.5. Sometimes that's incredibly hard to do when we're dealing with things like this, use putting these next to each other when this isn't always going to be exactly the size when you've got posts and things like that also in there, not always the easiest. One good thing you have, though, is when you stick to things like one, two, 3 meters, is when you're snapping things together based on 1 meter. But you can snap things together just based on snapping next to a vertice or something like that. So now let's put this over the other side. Let me just go in and get what I'm actually building. And now I want to do is I want to bring this out. So I want to bring this part out, so I'm going to press E, pull it out to where I want it. And then what I'm going to do is press the I for insert again, so bringing this in, making sure it's a bit further than we wanted. Now, the other thing is, because I've not reset the transforms on this, when I come to insert it, it's not going to be square, so I need to press all transforms rightly. So origin geometry, press the tab bun, press the Ibn to bring it in. And now you can see it's way way better. Then I can press Control B and pull it out, like so maybe not that much, something like that. And again, if you want to pull it further, just press the S button to pull it out. But I think for me, I'm pretty happy with how that looks. And now I'm going to do is I'm going to insert the middle one. So I'm going to press I to insert. You can hold the shift button down to get it to where you want it. And then what we're going to do is we're going to press E and pull this bit out. Now, the problem is, before we do that, we need to make sure that this one is pulled out a little bit. So what we'll do is we'll pull this one out just a tad like so, grab the center one then and pull this out, like so, and then pull it out again. So E, pull it out again. And now I want to do is bring this in. Now, you could bring it in altogether like that, or you can bring in on just the X, for instance, so bring it on the X, bring it on the z, and then you have a little bit more control if you want to do it. So you can see now that it's going in further on the sides than the top, and I think that's how I actually want it. So you can see, as well. If we go over the top, you can see that we're a little bit further out on this part here. Now, of course, we can come in and fix that. So if you grab this face, press Control plus seven to go over the top, then what we can do is we can pull this back holding the shift and make sure they're pretty much in line with each other. But you will create a much, much thinner part on this part here. Alright, so that is that part, Bill. Now, I'm going to pull this into place with this one. Like so. And you can see now we're getting down these things pretty quickly. So now we're going to do is we're going to be building this one here. Now, this one's a little bit more intricate than the ones that we've been building. I recommend building this in probably two or three parts rather than trying to build this all in one. A lot of people think when you're building models, you know, you need to build them all in one part because, you know, it's more optimized. Simply doesn't come into it, really. Building models in one part makes things actually much, much harder. So don't do it like that, but actually look at where you can break this down. If you can build a model in one part, then do it, but don't go out your way to do that. Alright, so let's come in. Pull that to the side. And then what we'll do is bring in a plane. So shift a plane, spin it around. So RX 90, spin it round into place. And now let's get the right dimension. So what we'll do is we'll put the X on 1.54. We'll put the Y on or the Z. Let's try the Z 1.31. No, it's not the z, so we'll put this on 1.31. And then we go, There's the dimensions that we actually want it. I'm just going to pull that up to here and you can see round about the right scale as this, slightly bigger than this one over here. So let's pull it back. And then what we're going to do is, first of all, we don't want to it's probably easier if we don't extrude it out straightaway. It's probably better if we bring in an edge loop or two edge loops, first of all. So what I'm going to do is I'm going to press tab. I'm going to press Control law. Right in the center, left click, right click. This is one of those where you need to be thinking ahead. And then what I'm going to do is I'm going to press Control B and pull them out. And these will be those side points that are over there if you look on the reference, so pull them out to where you want them. And then Control on. Left click, right click, Control B, and then this will be the center one, which is slightly thicker than those ones there. Then what I'm going to do is I want to pull this out tiny, tiny bit. So I'm going to press A. I'm going to press E and pull them out just a tiny bit like that because the other parts will add the thickness. So in other words, these parts are going to add in that thickness. Now, the other thing is, I want an edge loop in the top and an edge loop in the bottom. So control, bring it up. So this will be the edge loop on here. And then this one down here is going to be slightly thicker. So control, bring it down to be thicker than that top piece there. Alright, so far so good. Now we want to do is we want to bring out all of these round here. So these want to be slightly slightly not as thick. As the top and the bomb. So how do we do that? So let's come in. We're going to grab all of these, all of these, all of these, pressing Control. Click. Click this one. And then what we're going to do is press E to pull them out like so. From there, then, we're going to now come in to the top, so I'm going to grab this one, this one, this one, this one, and I'm going to press E and pull these out further than those. So probably around two there, and then I'm going to grab the bottom one. And I'm going to pull that out even further, this is the bomb part of it, right? So this is going to be supporting it. And there we go. We've already got then the main point parts in here. Now, the other thing because we've done it like that, you can see now we can grab both of these, which makes it really, really easy to put this part in that we actually want to but that I'm going to show you on the next lesson. Alright, everyone. So let's save our work after every lesson. Make sure you save all your work, and I'll see you on the next one. Thanks a lot. Bye bye. 33. Advanced Panel Modeling Using Edge Loops and Selections: Welcome back, everyone to blend the building Mass class from concept to final render, and this is where we left it off. Now, why did we pull out little bit? Well, the reason we play our little bit is because we don't want this to be into the wall. In other words, we want probably this part here when I get rid of this, so you'll see I'll get rid of the bag because we're not going to need that. So going round, control clicking, delete and faces. You will see that this is pretty close to that. In other words, if I put this into the wall, we're going to lose this point here. It's going to actually disappear into the wall. So it's always a good idea when dealing with something like this, that we give it, you know, this isn't the flat part. So that's why we actually extrude it out and then extrude it out again. What I'm going to do now is I'll shift and click and pull that back a little bit like so. Alright, before I move on, then, let's press Control. I'll transform set origin to geometry. And now we want to do is we want to pull these parts and create kind of a band here and a band in the center. So let's do that now. So what I'm going to do is I'm going to grab both of these at the same time. I'm going to press the eye button to bring them in. And then what I'm going to do now is press Control B and bring them out. You can hold the shift bun down again to bring them out, like so. Now let's move to the center. And then all we're going to do is bring them in again. Like so. And now finally we can press Al Shift click right in the corner of here, Al Shift click, and bring those out because they're pretty much the same length coming out. And we're not beveling one of them off like the other one we did. I'll show you that in a minute. So just bring them out a little bit, like so. And there you go. Let's just make sure you had cavities on. And now, if I come to this one, this is what I mean by beveling it. So we brought it out, and then we beveled it. I didn't want to do that on these ones here. Up to you if you want to do that or not, but I think, for me, pretty happy with how this is now. And now I just want to make sure I'm happy with everything. So you can see this part just going over it comes out a little bit further than this top part here. You can see we did it with one mesh, but you don't have to do it like that. If you don't want to completely up to you. If you find it easier in the long run, doing it with multiple parts. Always do that if you want, and then let's bring it over to this side. So we've got all of these parts. Now, which ones are we doing now? So if I move this over, it's going to be not this one. We've done that one, we've done that, and we've done that one. So now we're going to start on these. So I think these are pretty much the same as you can see. One of them is just two, and one is one. I think one of them is actually slightly small and the other one, this one's a little bit longer. I will check that before we do so I'm looking on my other screen. One of them is 1.62 meters, and the other one is, one of them is much, much smaller, I think, than the other one. So we'll actually, I think we'll create, we'll create two of these. I'm just wondering if I want to shrink it down before doing that. We'll have a look at that as we create. First of all, though, let's create this one because this one's actually easier than this one. So we'll go straight into this one. Alright, so let's first of all, as we normally do, let's bring in a plane. So I'm just deleting them off me on the screen, so I know which ones we're actually on. So what we'll do is we'll bring in a plane. So shift, let's bring in a plane, rotate it around to RX 90. And instead of doing that, Walkins and just put this out on the side, and then I just don't have to bring it in. I just copy it. That might be easier to do. Alright, so Shift D, duplicate it, and there we go. It doesn't need to be in the center anyway. And then what we're gonna do is get it the right dimensions. So with this one, let's have a look 1.78. So let's call it 1.8. That will be fine. And then the Y axis will be not 0.5, something like that, not 0.5. I think they'll be the right length of 1.8 and not 0.5. Let's put it like that. And then what we'll do is the problem is, as well, when we duplicate these now, it might be better if we actually put this to two because, you know, when we duplicate them across, we can then shrink them in, but they'll actually go together much nicer. So what I'll do is I'll put this at two and have a look how big that is. So two, it's slightly slightly bigger, as you can see. And I think actually, we'll work off that. So let's come in then, and what we'll do is we'll press the dot but because sometimes what happens is, when let's say you click on this, I'm still rotating around this one, and I can move and rotate around this one, but it doesn't work too well. So what I tend to do is I'll grab this, press the dot bon, and then I'll rotate around the origin of here, which is much, much easier to get around. Okay, so what I'm going to do is I'm going to press tab, I'm going to press E then and pull it out quite far. This one is going to be quite chunky. And what we'll do first is we'll get the bottom and the actual topping first s. We're just going to press Control law. Left click, right, click. Control B, pull it out, like so. And then what I'm going to do is grab the top. And the bomb, like so. I'm going to press E, pull them out. Like so. Now we need to think about the center part of this. So again, look on your reference if you're sure. But what I'm going to do is I'm going to press Control R. I'm going to press left click, right click, and then I'm going to press Control B, and I'm going to pull it out to something like here. And what I'm going to do is I'm going to use that then to create this front bit. So I'm going to grab the front because then I know it's going to slot into there perfectly, and that's exactly what I want. So I'm going to press Shift D. I'm going to drag it out like so. And the other thing I'm going to do, if you remember, we've got rid of the backs of all of them, except this one here. So let's come in, grab the back of this, delete and faces. Let's then come round to here. Now, you will notice that now we've got some edge loops in there, which we simply don't need. These are adding a lot more polygons in here. So if you come down and you look at your faces, there's 47 faces. But if I come in, l, shift, click, lt shift, click, Dissolve. And what I want to do is dissolve edges, this one here, take them off, and now we've gone from 47 hoving it, basically. So that makes a lot of sense. Now, let's come back to this part. What I want to do, grab the whole thing. I'm going to pull it out a little bit, like so. And now you'll see if I grab the whole thing again with hell, I can pull it back into place, right on. The front of there. And now from here, I can actually build this out. You can see it squeezes in there really, really nicely. Now, of course, we want to bevel this on here, but we want to pull it out a little bit first because it's a lot, much, much further out than the other parts. So let's come in, and we're going to pull this out all the way over here. Now, I'm going to bevel this before doing anything else. But, of course, if you're beveling anything, just make sure you're resaing all these transforms like so. And then what we'll do is we'll come into this part here. So this part here and this part here, I'm going to press Control B, and I'm going to bevel them out like so, and you can see we've got nice roundness there. Now, if you don't want your bevel to go back so far, so you can see here it's going all the way into my wall, adding another edge loop. So control our left click and put it to where you want it to go. So I want it come just to the edge near enough in line with this one. And then you'll notice if I come in now and grab both of these, press Control B, the bevel will only go up to the point where I want it to. So now I can actually bring in that bevel and bring it up to the point where I want it to and change the entire look of how something looks, as you can see. Right click, Shade Smooth, like so, and there we go. Now the thing is, I think I want a few more bevels in there because we've got a little bit of a line issue on here. We can turn this up and get rid of it, but I don't want him to do that. So what I'm going to do instead is, I'm just going to press Control Z and just go back, and then I'm going to press Control B. Bring them up, left click, right click, shade at smooth, and there we go. That's looking much better. Now, the other thing is, when I did that, I'll just do it once more, so Control B, pull it out. Making sure that you come down here if you want to, and then you should be able to stretch them out or change the actual width coming out as you want to. And I think I want mine just like this. Alright, right click and shade Auto Smooth. And there we go. That's looking pretty nice. Now, of course, we need to put that center part in. If we go to our reference, we will see there's a center part in. Now we'll have a little bit of a problem with this. In that, we can't go this way around. So the thing is now we've done this, we can't actually put the edge loop in the top, as you can see here. So we need to actually find a way to fix that. So what I'm going to do, first of all, is I'm going to delete the bottom off here and the bomb off here. I'm just going to press Delete and faces. Now, that's okay, but we've also got another one in there. So what we're going to do is just hide this part of the way with the H button, and then we're going to grab this part and this part, then delete and faces. Don't worry, we're going to fix those a little bit later. Now we're going to do is we're going to press Control R, bring in that edge loop then, so left click, right, click. And now we should be able to bring this band into here. So what I'm going to do is press Control R. Left click, right, click, Control B, and I'm going to bring that bring all the way down. And what I'm looking for now is how big is this block going to be? So this block in the center. So when I do it like that first, then we'll press Control R. Control B, bring it out, like so, and then Control R again. Left click, right click. Now we've got the block in there. We're looking for this band going around. So you can see this block is this part here, and now we need this band. Control B, bring it out. Control B, bring it out. Like so. Alright, so now we want to bring everything out. So what I'm going to do is I'm going to grab all of this. So press Control's just to go back, grab this face. So shift's leg, shifts leg. And now we want to bring it out. So I'm going to press E, enter, old Tens, and I should be able to bring it out nice and even, like so. And then what I want to do is just grab all three of these. E to pull them out, and there you go. That's exactly how you're going to create that part. Now, of course, we've got the top and the bottom. So what we'll do is we'll fix that now. So I'm going to come in. Again, I'm going to press lth just to bring everything back. So to bring something back, it's the to hide something it's H. And then what we'll do is we'll grab this once more, hide it out way, and we need to fill this part in. So the easiest way to fill something in is just to grab this part and this part, and I'm going to press F. And then what I'm going to do is I'm going to press Old shift and click going all the way around there and press F. Now the thing is, we have got engons in here. In other words, we've got all of these edges up here, and that should be something that you don't actually have. Albeit only if you're animating something. Most people think you should never ever have engons, but trust me, guys, you can have engos if it's a flat like this, and there is going to be no issues with things like beveling, with things like shading. If there's no issues, guys, don't worry about whether or not I using engons or polygons or triangles. In fact, I think there's generally more issues with triangles than there is enguns or polygons. If you can, though, make sure your mess is polygons. So, you know, if it was easy just to create polygons, do that. But if N guns are fine to use, as long as it's not causing any issues, as long as you're not animating something, as long as it's not on a character or something, you know, where arms are moving and stuff. But if it's just a flat wall like this, it's fine to you. So right, click, Shad Auto smooth. Let's then come down to the bottom now. So I'm gonna press Tab once more. Exactly the same thing down here. G to grab this one and this one. Press the F button. Oh ****, click, press the F but, and there we go. Press TH in Edding mode just to bring everything back. Right, click Shade Auto Smooth, and there we go, that's that piece of wool all done. Okay, so now I can actually move that to the back. And on the next lesson, then what we're gonna do is we're going to attempt to do this one here. So these are the same parts. Basically, just one is stretched out mud than the other, but we'll actually create that next. Alright, if you want, so enjoy that. See you on the next one. Thanks a lot. Bye bye. 34. Refining Panels with Bevels and Smooth Angle Modifiers: Welcome back, everyone to blend the Building master class from concept to final render. Now, let's grab the plane we already did, so shift D, bring it over a little bit easier on the rotating every time. Let's put the X on 1.6, and let's put the Y on 0.414, something like this. And this is around about the right scale to what we're actually going to be working with on this first part. Now, the other one going to be a little bit thinner than this one, so just bear that in mind. Okay, so first of all, what we're going to do is we're going to come in. We're going to grab the whole thing here, and I'm going to pull it out. So I'm going to pull it out like this, and then we'll go into the wall. And then what we want is we want an edge loop on the top to pull the top part out. So I'm going to come in. And I'm going to bring in edge loop. So I'm going to bring in an edge loop in the center. Left click, right click. And then what I'll do is I'll bring this down a little bit. So just gonna drop it down a little bit like so, and then I'm going to press Control B, pull it out a little bit, like so. Alright, so now at the moment, we can pull this part and this part out, and then we've got a little bit of a gap in between there. So let's grab this part and this part, and let's pull them out a little bit. Like so. Okay, so we've got that gap down there. If we go back to our reference, this is where this gap is. We've got this part on here, and then we've got this part on the top. Okay, so let's pull it back. And now what we'll do is we'll bring in another edge loop for the top part of it. So just the part that comes out, and then we need one that's going to come out, this kind of bar going over there. So I think the easiest way to do this is we'll do the bar. The bars very, very simple. If I just press Control A, all transforms, set origin to geometry. So set origin to geometry, like so. Then I can actually create my bar. Now, it's important that we create the bar separately from the rest of it, because if not, what we'll do is we'll end up trying to put edge loops in. So if I bring an insert there, like so, we'll end up bringing edge loops in there, and I don't really want to do that. So instead of doing that, all I'm going to do is I'm just going to press shifty. I'm going to press the S button and bring it in like so. And you can see, we've got a problem here. When I bring it in, it's coming in in this way. Even if I press dS, I don't think that's going to work, as you can see. So what I'm going to do is I'm just going to bring it in to where I want it, and then I'm going to press SN s and bring it into where I want it. And finally, then, I'm just going to press E and pull it out to how I actually want it, and there we go. Now, the other thing is on this, we can see that we're going to have a back on here. We really don't need that, so let's fix that first of all. So what I'm going to do is press to grab it all, shift H just to hide everything else out of the way. Press the dot bomb, so I'm actually rotating around here. Grab the back of it, press delete and faces. Old H to bring back everything. Then I want to delete the back, so I'm just going to delete all of this back, gleat and faces. Now, let's come round then to the front. So this front is going to be a little bit different, as you can see. It comes out around here. So it's got another edge loop in there. It comes out, and then there's going to be a pot underneath that we're going to bevel, and then we're going to put this front bit on. So let's do that now. So what I'm going to do is I'm going to come in, bring another edge loop in, so control. Left click, bring it down a little bit. Like, so bring it out, so E, pull it out. And then we can have that bevel bit going under the underside. Now, before we do that, let's bring in an edge loop. So control, left click, right, click. Control B then. And we're going to bring this up to where we want our actual bevel to start going underneath because I'm going to pull this one bit down. So I'm going to come in now and pull this face down. So I'm going to press E to pull it down to where I want it. And then I want to bevel this off. So I'm going to again, resell my transforms. Control A, all transforms, Surrogen geometry, tab, and let's come in, grab this part. And this part C troll B. And let's turn up the bevels and bevel it off, however we want it, like so. Okay, so that bit's looking pretty nice. Now we've done that. We need to bring this part in. So you can see now we've got here if I pull it over. Oh, if I pull this over again. We've got this part here coming down here, rounded here, and now we've just got this part to bring in. So that's actually not that hard. So what we can do is we can come in. We can grab this one, this one, and this one. And then what I can do is I can press the ibn and bring it in, like so. Just be careful we don't get any overlapping or anything like that. And then what I can do is I can press when I'm doing this, I tend to not work so destructively. So instead of doing this, I will actually come back. I'll press Shift and I'll pull it out a little bit, and then I'll press the ibn to bring it in. So bring it in, bring it in. Like so. And this, then I feel, gives me a lot more It makes it a lot easier to actually create things like this, because all I'm going to do now is just press shifty. To duplicate it, come back to the part I've just messed around with. Press the albor, delete and vertices. And then what I'll do is with this one, come in, eat to pull it out, so I'll get rid of the bag. So these parts here, let's go round, get rid of the bag, delete faces, like so. And then what I'll do is grab the whole thing and pull it back into place. And the reason I've split that up is it makes it much easier for me then. Let's say I want to just pull this back up. So if I want to just pull this up a little bit, it's very easy to pull it up. Let's say I want to make this a little bit thicker. It's very easy to come in. And make it a little bit thicker, then. So thicker or thinner, whatever you want to do with it, it's much easier to work with. And that's why I've actually done that. And even though it looks exactly the same, it does make things easier. It's the way it's why I've split them up, and I say to you, Don't be scared of spitting things up. Okay, so the other thing as well is we could line these up more if we wanted to, not that I want to, but just because it's its own piece of mesh, it's easier. Just make sure you delete the bags of them because you're never going to need them. Right click and shade Autosmooth Control A, ultransons right click Set origin to geometry. Now, we've got this kind of thick one here. And what I need to do is now I need to create one more, which is going to be a little bit thinner. And what I'm going to do for that one is, I'm just going to press Shift D, bring it over. Like so. And I just want to see if I can put this on instead of being 1.6, 1.2, like so. And let's have a look at the difference that's made. So I'm just going to put it onto there, and we can see they look pretty much exactly the same. One's a little bit smaller than the other, so I'm just going to go with that. I could have thought about, you know, creating a whole new one, but you can see the difference between these parts here, it's barely noticeable. They do look like two different blocks, but just one's a little bit smaller. So I'm going to keep that, save myself from some work. I don't want to, you know, repeat loads of things. Alright, so now we've done that, let's go over there. And what I'm going to do is, again, I'm going to move these to the back. And, guys, we've pretty much finished with these parts. You'll see we've got this chunky part here. We've got this part, this part. We've done all of these, basically. So they are the wall supports near enough, all done. So they're all done as far as modeling goes. All we need to do now is just make sure that everything is named, so you can see these are actually named, they're put into the whole thing. These are named. These parts from here are not named. They've not got UVs on them or anything like that. So that's something that we need to sort out. So first of all, let's just make sure all of the backs are actually off these. You can see this one here. The back hasn't been taken off, so I need to fix that. So I'm going to come in, grab all of these, delete and faces. I'm going to make sure, as well that you can see if I grab this part here, has the bag been taken off, so press L, H to hide it, and all the backs taken off there, so that's okay. So now we've got all the bags off there. We know they're okay, so let's grab them. Like so. And then what we're going to do is press Control A, all transforms set origin to geometry of the M. Then what we're going to do now, I'm just going to hide my floor out of the way. I'm going to press H to hide my floor. I'm going to also hide my guy out of the way just for now. And then what I'm going to do is I'm going to grab all of these. I'm going to grab this one last. This one has my bevel, my array, and my material on there. So what I'm going to do then is press Control L. Copy modifiers. Control out, link materials. Right click, Shade Smooth and everything, and there we go. Now, these have the bevel. They have the array on. Everything basically has this on. Now, for something like this, we don't need any array on, so let's just take it off. Same for this one, we'll take the array off. Everything else, though can have the array on. So let's say we come to this one, we want to turn up the array. So we just turn it on, and then we can put it up as much as we want, and there we go. Really, really easy to actually put that on. Now, let's put this back to two, and let's turn this off. And when we're not using the array, we can just turn them off. So that's no problem. The other thing you're going to see is now everything is beveled off very, very nicely, as you can see. Now, you can see with this one. We might as well sort this out because you can see here it's a little bit flat on this one. No matter what I do, it's still going to end up in that way. So what I'm going to do instead is, I'll grab the front of it, press Control plus, and then right click and make sure that you're on faces, right click, shade flat. And there you go. Now that's been flattened out. That is a good idea to do that, because when you're bringing this into, you know, your main build, you don't want any issues like, you know, whether it's flat or not or anything like that. Okay, so now we've done that. What we'll do then on the next lesson is we'll bring in the materials for each of these because we can see if we go onto this, they've all got materials, but they're not unwrapped correctly, and we want to have them run about the same as this. So let's do that on the next lesson. Let's save our work, and I'll see her on the next one, everyone. Thanks a lot. Bye bye. 35. Creating Stone Panel Material Variations: Welcome back, everyone to Blender Building master class from concept to final render. And it should be Blender building, master class. Alright, so this is where we left off. If I come now to my rendered view, I will see that, although they look pretty good, they're not actually unwrapped correctly. So what I'm going to do is actually, I'm going to unwrap them all at the same time. So let's even get away with that. So what I'm going to do is grab all of the press the tab but, test eight to select the mole, and smart UV project. Click Okay. Now, generally on something like this, you will be able to get away with unwrapping them all at the same time like I've just done. I would say with these, as you can see, I would say these are a little bit too small on the texture map, which means now if I go into UV Editing, select the mole. So as you can see, I can select them all over this side, select them all over this side. Let's go into this one so we have a good view of what we're doing. So this one here. Then what I'm going to do is I'm actually but what we can do to make this a little bit easier is we can actually come to this one here and turn off bases, and then you'll have a little better view of what you're actually doing. Now what we can do is we can actually come to our UVs. I can press the S bun and scale them in all at the same time. So I press S, I can scale them in all at the same time. And now you'll see if I press the Tabb that these are looking pretty nice. And not only that, these are scaled, they're all basically the same. If I come in the average Island scale, it would all work out around about the same. Now the next thing we want to do then is these three here. We actually want to change them so they are a little bit lighter on the shader. Now before we do that, if we just press tab and go back into it and just turn on faces again, so we've actually got something that we can actually select. And then what we want to do is we want to grab these three, go into let's actually go to modeling first, so we'll go over to modeling. And what we'll do is we'll go to our material. So we've got our material here. Now, this might be better if we go and take one of these. So if we take one of these and go in, in fact, you know why I think, I think we'll just change one of the materials within here. So we'll just change one. So what we'll do is well at the plus button, click No, and we'll call it Stone lighter, like so. And then what we'll do is we'll come, click the little down arrow copy material, down arrow paste material, and now they're the same material. So now if I come in, grab all three of these. And come over to here and click Assign. We should have assigned that onto each of these. Now just have assigned it onto this one. Sometimes it happens. No, it's actually assigned it onto all three. Now all I'm going to do is just minus off this one. Like so. Stone lighter. Yeah, you can see it's actually done there. So what I'm going to do is I'm going to grab these two, grab this one last, click Control L. Link Mateals Stone Light, Stone light, Stone Light. That's not what we want. We're on Stone lighter. Let's put it on that one. Now we'll try that again. Grab these two, grab this one last. Control L link materials. Stoneighter, Stoneighter. Okay, they're all on Stoneighter. Now, let's go over then to our shading panel. Now, the last thing we want to do really is we don't want to mess around with anything else except really the color. So we need to go into let's say one of these. Now, the way that you want to do this really is it's all to do with these colors over here. So if I zoom in to let's say this one, press the db on, you can see this is the texture. So we've got concrete color. We've got the concrete roughness and concrete normal. So generally, what I tend to do is I will go straight to here. So where are these two being plugged in? So if we move over here, you can see it's being plugged in here and it's being plugged in over here, not even sure where that's going. So what I'm going to do is I'm going to try plugging in my let's first of all, try. We can either bring in a color ram and see if that works or we can bring in a curve. So before we bring in the RG per curve, if I come in and I look at where the color one is coming from, so it was the top one. It goes into here, all the way along here, down into here. And basically, what we want to do is whatever you're doing, you want to pull either the curve or the color ram or even a gamma actually Gamma might actually be the best one to use here, but you want to put it right at the end right before where it goes into Prince bud and the reason is is because all of the if I come in, Prinstan, I'll just give you an example. If I come in and alter these, you will see we can get it white, but we're losing the brick. And the reason we're losing the brick is because part of this noise is this part here, and the other part of the noise is this little white bit here, and the other one is the gray going around there. So we have to be very careful where we alter. Again, if we come to this one, you'll see what happens. If you bring that out, it makes it lighter, but only part of it. So only part of this is becoming light. We move this, you can see it becomes lighter. But then we end up with these swills and things like that. We don't really want that. So what we want to do is we want to come even this one seed will come in, and that will alter it. But let's if it will, let me. Here we go. You can see now it's lighter, but it has altered. Maybe maybe we could get away with it. You know what, instead, though? This would be a curve. I'm not going to use that one I'm going to use as a gamma. So three ways of making things lighter. Even by a curve which you see here, you can use a color ramp, which I'll show you. So color ramp, we can drop that in there, and then you can actually bring this down, as you can see, and you can play around with the darks and lights. So it actually gives you a little bit more, you know, play with that. Or if you want to take this out as well, let's come up, first of all, to edit preferences. And what we'll go is we'll go to add ons. And the one we want is no Wrangler. So come and put no Wrangler, make sure it's TikTo. Once you take that on, it allows you to do a lot more things within the actual shade of view port. For instance, we can come in now, hold Control, pull the color ramp, select the color ramp sorry, Alt it is. Hold Alt, select the color, and you can just pull it out of there like so. Now instead of using the color m, what I'm going to do is I'm going to come in and add in a gamma, like so, drop in a gamma there, and now you'll see that when I turn this up, it goes darker when I turn it down. I actually goes lighter while still keeping that kind of stone that we actually had. Now, unlike the curve or the colour Am, for instance, the colour Amp actually messes around with highs and lows in color. You can change them as well. You can change these darks to red and things like that. Very, very versatile. A RGB curve, you can even move it over here or over here. A Gamma actually main thing that he actually changes is the midtones, and that is what we want with something like this. So he can actually bring that down. He's changing the mid tones while still keeping that stone there, as you can see, and now these are looking like the stone, but much, much lighter. Now we could also come in and change the color. For instance, we could change the color overall if we so wished, but we're not going to mess around with anything more on that. What we're going to do is leave these as is because I think they're pretty good. Now the next thing we need to do then is we need to come back to asset manager. So let's come to our asset manager. At the moment, we've got everything named. So we've got large support, lodge support, lodge support. So these are these two here, I think. And I think we've got these names. Let's just have a look if you've got these names. So I've got these two named. We just haven't put them into our asset manager yet. So what I'm going to do is grab these two first. Right click, and we're going to mark as asset. And then what I'm going to do is come to this one. This one's just a square block. So what I'll do is I'll call it. And what size is it let's have a look? It's 3 meters. This is the w 3 meters long. So all we'll do is we'll come, and we'll call it. Let's have a let's go down. Where is it? Let's find it. So we'll call it large block Support. 3 meters. Now, it's not so important what you're actually calling them. It's just so you know what it actually is, and you can easily find it if you need to think about it. And the other thing is, they need to be called something different, and it's better to call them something rather than just cube three, for instance. So that's why I'm doing this. This next one then is 5.4 meters. So what we'll do is we won't name the meters. We'll just call it large rounded block or something like that. Large rounded block support. Let's try that so large. Rounded block support. And you know what? I will put 5 meters just so we've got something. Alright, something like that. Okay, the next one then is, these are similar to these, so what can we call them? If we go to dot and have a look, large support 2 meters. So this one can call them large decorative support, and it is 2 meters long. So we'll call it that, so we'll go down and large decorative support. And it is two metres, like so. All right. And then we're on to these small ones, so small, decorative support, so small, decorative. Support. And we'll call this. This is 1.6 meters, so we'll call it actually 1.6 meters. Control A, Control C, press the enter bun, and then I'll come to this one, double tap it. Contro V, and this one is 1.2 meters, we'll call it 1.2 meters. And then finally, we've got these three here. Now, these are going to be the bottom wall supports. So we'll call it bottom supports, and this one will be squared, this one will be rectangle, and this will be decorative. Let's call it something like that. So we'll call it bottom wall, support, square. So Control A, Control C, Enter. Then we'll do the same for this, Control B, and we'll call this rectangle. Like so, and then we'll come to the next one. And we'll call this square decorative. So contro vise square decorative decorative. And there we go. Alright, so now we've got all these. Now we should be able to put all of these into. So let me just see if they're all named. So we've got the plane, which is this one here. We don't really need that. So what I'm going to do is I'm going to grab these three, first of all, and then these three, these bunch, and I'm going to right click and we're going to mark them as assets like so. Then we're going to go to unassigned. We're gonna grab them all, and we're going to drop them into our supports and there we go. So now we go on to rendered view this is what we have. So these are looking pretty nice. Now, I think I've probably probably gone a little bit too far with how light these ones are. I think I need to pull it back a tiny, tiny bit. So what I'm going to do is just go to shading, and we know what this is. We know how we can change this. So all I'm going to do is just turn this up maybe to not 0.6, have a look at that. Yeah, and I think that looks much, much better than what it did. We've got a clear distinction between them. I think that's looking better as it is. Okay, so now we can do is we can just update these. So I just grab these three, and I think I can mark them as asset. He already says they are. So let's just see if we go to Asset Manager. If we now bring this one out, for instance, Yeah, the same material as you can see. So that's all updated now, and there we go. Alright, so on the next lesson, then we'll tidy all these up. These will be our support. We'll make a text for them saying supports, and then we'll be moving on them to our columns. We'll get our columns done. And then once we've done that, we can actually start bringing something in to our gray box and put the supports in and, you know, once we've got our actual columns in. So we can do the sides, we can do the middles and all that good stuff, you know, start working on that because it would be nice if you can jump off of this a little bit, you know, jumping off other things, keeping things interesting. Alright, everyone, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 36. Modeling Vertical Columns with Geometry Nodes: Welcome back, everyone to blend of Building master class from concept to final render. And this is where we left you off. Alright, so what I'm going to do now is we want to put all of these in, so all of these here want to go under support. So what I'm going to do is grab them all, press. So let's press the N born and put them then all into support, like so, and then we should be able to open this up, for instance. Now, let's tidy them up. So let's make sure they're all nice and neat. So what I'm gonna do to do that. And this is Batali so that when you come to this foul, everything is nice and neatly laid out so you can actually see exactly what you've got. I recommend doing this. It's up to you if you really want to do this. I make sure that I do this all the time. I'm going to do is hide out of the way, and then go to move these ones, seven, put them into place, like so, old age, and there we go. And then all I'm going to do it's pulled these into place. Now the other reason I do it is if you ever want to add to this, it's always a great idea if you can see exactly what you've got, so I'm going to go to file, save. And generally, a lot of the time, I'll actually put a text on there. Easy to do a text, press Shift day. Come down to where it says, text here. And then all you can do is you can spin it around. So rx -90 or 90, so RX 90. And I tend to just put it a bit of an angle. So we can see here 90. We can just tilt it down a little bit. Come over to your Tex M, which is over here on the right hand side, and then all you want to do is you want to go where it says geometry, and you want to bring out that extrude, just a little bit like so. From there, then you can just press tab and let's put in support. Like so. Press the tab button, and then we can make it a little bit bigger and move it into place, like so you can see we've done this on the actual resource pack so there you go supports you can also as well come in. And change the font so you can bring in any font that you want, if you click on this button here, should come up with all these fonts. Let's just click on that one. And there we go. It looks a little bit better then. Finally, is what you can also come in and change the material. So you can come in new material. Let's put it on a reddish color, like so. And then you've changed the material as well. So really, really easy to use. I'm going to make it a little bit darker, maybe even a little bit darker than that, so it will come to color. Pull it down a little bit more. We'll tap the A. And there we go. Now I'm going to do this for everyone because obviously this is for a course, and I'm just trying to show you how to do it. Maybe that's a little bit too dull, and things like that will start to irritate me, as well. So I don't really want to be messing around with, you know, making all of these because we've already built them, as well. But I recommend if you're doing it, you always build these es. Just go to add probably an hour onto the course, which we really don't need. So I've showed you how to lay them out now. Now we're going to move on to columns. So I'm going to leave those like that. I am going to put these two parts. So these two parts here into my supports, just so everything in there, and then I've got this planear to start work. Now, let's come in. And the third thing I want to do is I actually want to bring in a geometry ode to start with these. And I haven't grade here, I don't think. So current fw resource pack is here. So let's come down to ometreoes. I don't want the raw emitreoe when I want to do is bring in this ometureode like so. So there we go. Let's pull it into place. Now if I measure this, I can see it's 6.28 meters. And actually, that's about the right size. I also want it to be not 0.326 ish, something like that, so I can put this down. So what I'm going to do is I'm going to put this on not 0.336, and I can make it thinner like that. And then I'm going to put the Y on note 0.321. Like so now you can see it's pretty square. And now, because we've brought this in, what we can do is we can come back and put it onto current fowl, like so. Now, these are going to be the columns. And on top of these, if you go to your actual pureb where you've got this, let's actually put this one back to dum. So I'll just make it a little bit smaller, put it over here. And then the one we're looking at is this one here. Let's make it a bit bigger. And as you can see, these are the actual columns. So you can see this column that we've just created, this one here is going to be the thin columns here, and then we've got some thicker columns as well. So we're going to make the thick columns as well. And then what I'm going to do is I'm going to show you those in the actual over here in the geometry node. So if I pull that out of the way, you can see at the moment, if I come over here, we've actually got the geometry node here. I'm going to show you exactly how you use that from the raw form to create these. But first of all, before we do that, what I want to do now is I want to create another one. So I'm going to and you know what? I'll actually show you how that works in real time. So if I press Shift A and we come to curve, let's bring in a path. So we're just going to bring in a path. And what I'm going to do is go back to my resource pack, come to geometry node rolls, and the one I want to bring in is Stone Path. I'm going to drop that on there, and you'll end up with something like this. Now, the moment you can see there's live UV, and the one we want on this, so we do want the material to be the same stone as these ones over here. So what I'm going to do is I've got my ID here. I can come to stone light and put it on there. And if I put it on live, you'll be unwrapped, you will see the unwraps here at the same time. Now, okay, it's not brilliantly unwrapped or anything like that, but it actually tries to unwrap it. Now I'm going to do is I'm going to spin it round. So Y, 90, I'm going to press one. And what I'm going to do is just put it on the ground play like so. Now, at the moment, I want the ad on this one. Which is this one here to be 5.56. So what I'm going to do is now resell the ransoms, so control, eh, resell the transomsOigin, to geometry, and now we've got this on 3.99. And I want it on 5.56. So what I'm going to do is I'm going to press EnsEd and pull it out a little bit, and it's 5.27. So a little bit more ns very, very slightly, like, so 5.5 meter something like that, that will do. So I'm going to bring that up then into place. Now, these blocks on here, need to be quite chunky. So at the moment, we've got them on no 0.5 and not 0.2, so you can see they're very thin. They need to be more square. So the way that we're going to do that at the moment, you can see we've got a width, and we've got a length, and we've got a thickness of not 0.2 here. If we come in and put this on not 0.5, now they're all going to be square. The other thing is we've got many, many blocks based on length. So we need to change that as well. We've got a gap here that we can change so we can change the gap in between a randomness gap, for instance, so you can see here's the gap, so we can change a nice even gap between each one. What I'm going to do is I'm going to leave it on no 0.1, and we're going to do is go on these. So we can actually bevel it off, so we can really bevel those off. We're going to leave it on no 0.5. We can change the noise scale, and what does the noise sale do? You can see we can add a lot of bumps and things like that in there if we want to. Now, to make this work effectively, you would need to ramp up your subdivision, so the higher you put those up, you can see the more actual bump you get, you can also write plate and shade smooth. Or if that's not gonna work, just put on to smooth and then it's going to shade, then smooth anyway. Now, for me, we're not going to be doing anything like this, so I'm just going to set these to one, and not, in fact, you know what we'll set that tone. We'll put this back to one. And we're going to use it like that because once you start ramping up these subdivisions, it really, really brings a lot of polygons in because, of course, you're giving him more topology to make all of those bumps and things like that. So you've got to take that into account when you're actually doing this. Now, the next thing we want to do is the length. So the length is how long each one of these are. So the way that you would be able to make more or less blocks is by changing the actual length. Now, the good thing is on these, we've actually got a length, randomness as well. So if I bring this up, you'll see then it just lengthens some of them completely at random, and it's very, very handy then. Actually end up with something like this. And the other thing is, we've got a seed on here. So you can click on a seed and you can change them over. So now it's completely random, as you can see. So they're looking pretty nice. Now let's come to this one. We'll do the same on the ID, so we'll put it in as a stone light, like so. And so now, pretty much, we've got our blocks laid out. Now, what about the width and the lens? You can see they're slightly stuck out. This then is a width randomness. Now, if I turn this up, not on this one, sorry, on this one. You can see at the moment it's on zero. If I turn this up, though, you can see now we've got width randomness. Again, if we come to seed, we'll change which seed it is. So I'm going to put it, though not so high. I kind of want it around the same as here, so you can see Nut, point note four. Let's do that. Then let's go to naught point note four. Like so, and now it's a little bit random just as it would be. And we also want to do on the same so thickness random, which is the other way. So for the note point note for like so. We've also spoke about gaps and then you've got the gap randomness, which is self explanatory and this then is basically the stone path. So that is the perimeters on the geometry node. Now, if we go into the actual geometry node, I did say that we won't be looking into or going over much of this. But you can see how this has broke down. These are more. Honestly, if you're working with these, they're more about programming, it was a guy at university who's doing a science degree in programming or something like that, who actually created this for us. And you can see here it's Create Straight Line from Curve, randomized points. You've basically got to think everything out. And it's extremely complicated. And then to bring it all together, then you've got rid of the bugs and things like that, and then finally, you can actually plug it all in. And he press do, you've got all things like this. So the main things is that you want to look at when you're doing anything like this are the perimeters. You need to think about what perimeters. What are we actually going to be wanting to do with this drumming node? What don't we want to do with this rummage node? What is impossible to do with this geometry node? It's okay. Thinking up a geometry node. Is it actually possible, though, given the nodes that we've got? They are limited in some ways, and a lot of time as you'll find that you'll be testing something. They'll just break blender because, you know, we'll be using millions of polygons or the GPU to actually compute it will be way too high. We've been trying to find one, actually, which takes things like this and turns them into stone. So basically it turns into stone, makes it all cracked, makes little bumps come off in, everything like that. But at the moment, it's incredibly hard to do that. Not only is a very, very complex node, it's also very heavy on blender, so we're having to find other ways around that. So that's geometry nodes. In a nutshell. As I said, we're not really going to be going into any more of the Geomet nodes. We have got costs on jumps node, so ify interested, then go and check those out. Alright, then, so we've got two blocks now. These are the main blocks. So these are these blocks here. What we need to do now is we need to create these parts here, and then we need to create the top parts for each of these. These then we'll be going, if we zoom out into, as you can see, these come up here. Then we've got a block here, as you can see, or a block on the bottom. We've got another block on here mixed with a support. You can see pretty much we've built all of these parts. We've got this part here. So once we've built these supports, we've also got these here. All we then need to do is probably this part here. Once we've got that, we've pretty much got the main structure, the main skeleton of the building done and out of the way. Now, that's not to say the rest of it is piece of cake or anything. The rest of it is actually going to get harder because the other parts of the buildings like these windows or these railings and things like this are actually way, way harder to model. But as far as actually, when you're building your grey box, if you've got these nailed down, you start getting those in, then you can build off of that. Alright, everyone, so you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 37. Creating Smaller Column Variants for Scene Variety: Welcome, Macon to blending building master class from concept to final render. Now, one of the things that we have done here is we've left these as they are, we've left these as they are because when we come in, so we'll do a couple of things, first of all. We haven't put these yet into our asset manager or anything like that. What I want to do, first of all, though, is just delete these off. So you can see within the curve, I've got many, many points. Now, if I pull the curve up from here, so if it's press shift spacebar, pull it up, you will see it adds more of these on. But actually, I don't actually need these points in here. So what I'm going to do is just press delete, delete verts, and you'll see nothing happens. What that means is then now I can just pull this up, and it's just really, really easy to do that. I don't get mixed up with any other points. Now let's do the same thing for this one. This one, as you can see, I've already moved all of those points, so that one's great. When we bring these in, then we can move these up and down, and that is the best thing about jumps, they adapt in real time. So if I bring this all the way down to here, you can see same size blocks, same, you know, randomness on the width on the thickness, things like that. And let's press control so you can see a difference. And everything just basically procedurally is made. If I come in as well, and I want to grab the top of this, pull it over this side, pull it over here, I can actually do that. Really easily, and other bricks just follow along. Now, you will see that it's bend down here. Sometimes that happens, especially when I'm actually rotating it in a weird way, but pretty much if you keep this straight, so if I keep this straight from here, let's say I go to, let's go to three. And then what I'll do is I'll just press E and go this way, hopefully. Okay, I. It's broken a little bit on there. Generally, that happens because we haven't got any more points in, but either way, I'm not going to mess around with that. Trust me, guys, it's a good geometry node, so we'll go with that. Yeah, that's not to say things don't break things break all the time with geometry nodes, with shaders, all the time. So anyway, let's come in and actually create our first actual one, and what we're going to create if I move over here. We'll have this open. And you can see here that this one here is exactly pretty much the same as this one. They're a little bit different in the I think the thickness of this boton bit here is the only difference. This one here is a smaller version of this, and then we've got this one, which is the same as this one. It's just stuck on, you know, another part on here. So this is what we're going to replicate. The first part should be really, really easy. Alright, so let's come in. And what we'll do is we'll bring in a cube. So we're going to bring in a cube. And now I'll press Shift spacebar, bring in a move. I'll also put it on object mode. Shift spacebar again, put it on move while you're not working. Where is my move tool. And the reason, by the way, why my move tool is not there is because I press Space Bar by mistake, which starred the animation. So if you ever get that, make sure you press Space Bar, then you'll have your move too. Okay, so let's press the Spawn and then what I'll do is I'll bring it down to size now. So I won it 4.421, like so. And then the z to be 1.8 like so. This is about the right size that it's going to be. Now, as you can see, this actually will go on top of there. Fits perfectly on there. It's a little bit too small for this one. And this is why we have these blocks, and we have these parts here cause these partiers, you can see going these big blocks here, and then we've got the smaller ones which go in here and they fit kind of nicely on them. Alright, let's carry on them. So when we look at reference, you can see that we've got a split here and a split here. So let's put those in. So first of all, I'm going to do is I'm going to press Control R, bring in one edge loop, left click, right click to drop it right in the center. And then what I'm going to do is I'm going to press Control B to pull it out, bringing back all of the bevels. I'm going to pull it out round about here. And then what I'm going to do is I'm going to come down and grab this edge loop, so hold shift click, l shift click, press Control B, and bring it out. Something like this. Remember, then we've got a top and a bomb. Now, if you're not happy with, you know, how far or how square this is, now's the time to change it. So Ess and's head bring them together. Just make sure when you're doing that, you've got median point on. If you try doing this with individual origins on, it won't actually work. Now I want to do is I want to actually put individual origins on because I want to pull these from each other. So if I now press EssnsEd, you can see I can actually pull them away from each other. Now, finally, I want to bring these in. So I've got a choice. I can either pull these outwards, so I can grab, let's say, the face on these. I can extrude and then press Alterns and pull them out, like so. But if I do that, I'm going to lose the actual scale of this. So at the moment, 40.421, I'm going to lose that. So what do I want to do instead? Oh, shift, click, Al, shift click, E, Enter lns, and bring those in instead holding the shift boom to something like this. Alright, that is actually the first part done. Now we want to do is we've got two others, one top, one bomb. You know I'm looking at this one here. If I look at this one and this one, I think this one's stuck in the ground a little bit, so it's kind of deceiving. But I think let me just check that. So yeah, it is actually a little bit smaller is all. So it's got if I move this out of the way, it's just got a top on it, and then it's just a little bit smaller. So we're going to go with that. So first of all, then, we've got this part, and we need to put a top on it. So all I'm gonna do is I'm going to come in. And also, the other thing is yeah, this one's 1.8, which is what we've got, then we want to top on, and that'll make it. Yeah, okay, let's do that. So what I'm going to do is I'm going to grab the top of this. I'm going to press E, enter, S, pull it out to where I actually want it. And then what I'm going to do is press E and pull this up. Now, I want it to be round about 2 meters. So I'm going to pull it down a little bit more. Maybe a tad more, and it's on 2.03, maybe just a tad more. 2.02 meters. It doesn't matter if it's, you know, so far away. Then what we'll do is we'll press Control off on this top bit, left click, right click, and then Control B, pull it out, and then find we're gonna extrude it in. So eat, enter alternsEtrude it in, holding the Shift bum to where we actually want it. The other thing is, well, you know, if you're scaling it in with l test, you can also press Alt S again, hopefully. Let's try that. So S, yeah, ltest doesn't work again, so we can just press the S boar and it seems to work. So I can pull it in, like, so I'm just going to test that by pressing the door moving around it. Just don't want to make sure that I've bent these in. And it looks pretty straight to me, so I don't think I bend them in, but I do think it's got to the point where I actually want it, and there we go. So that's that part done. Now I can press Control A, A ensoms set origin geometry. Now what I want to do is I want to come to my other one. So what I want to do is shift D, duplicate this, spin it round, so R Y, 180, so spin it round, so it's on the other way round. Put it down to the ground plane. And then what I'm going to do is I'm going to come into this one. So this one, I've got some scaling on my other screen, and I can see that this one is 1.7 and nero 0.38. So I'm going to put this on naught 0.438. And then move on down to this, and we'll put this on 1.7. So it's slightly smaller. And there we go. That should be where it looks like. And because it was all square, just because we brought down the square, it's brought everything down. It's just slightly smaller now, so it should fit nicely on top of that. Alright, so the next one then, so we've got this one. We've got that one. We need a smaller version then. So what I'm going to do is I'm going to grab this one, Shift D. And then what I'm going to do is make the smaller version. So I'm going to come to here, not 0.266, and then 104. 1.04, like so, and there is our smaller version of that one. Right, so. So now if I bring this over, we've got the small version, we've got this version here, and we've got this bigger version here. And finally, we need this block on one of these. So I think this is like this block here. So this blocks on top of here. I think we've, you know, put one on each of these. So I think this block is just with this one with this bon pot. So we will create it, but I'm fairly sure it's this part here. And we'll actually do that in the next lesson because then it all starts fresh on the next one. Alright, everyone. So I hope you enjoyed that. Let's move this back over here. Let's make sure we saving out our work. There we go. That's what we're actually left with our columns. All right, every one, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 38. Iterating on Column Designs for Stylized Consistency: Welcome back von to blend the building master class from concept to final render, and this is where we left it off. Alright, so what I want to do now is I want to build this bit, so this bit down here, and then what we're going to start on is, we'll probably make one, which has got nothing on it, so just one on its own. We've got a small one there, and then we can make a start on these parts. Now, basically, this part and this part are the same. It's the same for all of them. This part is the same as this one. This part's a little bit bigger than this one. So all of these parts are relatively easy to create. Okay, let's put that over there, then. So what we'll do, first of all, is we'll grab this part here. I'm gonna press Shift D, I'm going to drag it over. And then what I'm going to do is, I'm just going to take the top off here. So I'm going to come over click the top of it. And if we press Control plus Control plus and just keep pressing Control Plus, you will see that we can actually go all the way round to there. You can also press Control minus and go the other way as well. But for now, I'm going to go there. I want to then press delete and faces. And then all I want to do is fill in this face. So we just come, come here and fill in the face. But I'm going to show you a better way of filling in faces. What you can actually do is, if I double tap the A, come up to mesh. Come down to cleanup. Fill holes, you'll see nothing happens because you just need to make sure that you're pressing eight over the whole thing. Mesh, come down, clean up. Fill holes, and there we go. It fills the holes in for you. That doesn't matter if you've got hundreds of holes on the same thing, it will fill them in for you. Alright, so that's that part done. Now, let's bring over this and then let's make a bottom for it. So we're going to bring this one over here. We're going to press Shift D. And then what I'm going to do is I'm going to make a bottom. I'm wondering whether to make the bottom separate, and I think it will. So what we'll do is we'll have this one here, and we lift it up a little bit. And then what I'll do is I'll press Shift A. We'll bring in a cube. We'll bring this cube over so I can use this to basically look at how big or small this is going to be. So I press S, and I want to line it up really with the bottom of here, making sure it's a little bit bigger than this. Now, at the moment, as you can see, it's a little bit out. So what I'm going to do is I'm going to grab this one. Shift Control A, all transformed, right, cliques origins geometry. That then's going to make sure that this origin is right in the center. Shift Ds, cursed selected, grab this one, shift Ds and selection to cursor. Now it's going to put it right bang in the center, and from there, I can bring it down a little bit and see how big this is going to be. Now, for me, it's still a little bit big, so I'm going to press the Sb Js to bring it down to something more manageable like that. And then what I'm going to do is I need a hole in this side, and I also want tops, but I want to keep the kind of cube on this. So what I'm going to do is, I'm just going to pull it down in a minute. I'm going to press the tab button, grab the top in face lick, so press three. Press E to bring it up, and then we just want to put a bar along here. So remember what I said, we don't ever go Control R and two. For instance, we don't bring in two ledger loops. Way easier just to go Control R one, left click, right click Control B, bring it out, and then E, enter lns. And that's the easiest way. And if AltnS isn't working for whatever reason, and I'm not sure why it's not working on this, I'm just going to press the S button and bring it out like so. Now, the one thing I do want to see is that these are flat. At the moment, you can see that they're bent in, so you can see it's bent in. I don't know why it didn't come out with Alts, so what I'm going to do is I'm actually going to check this just to make sure there's no doubles on there. If I press A, mesh, clean up again, come down to merge by distance, you will see that not vertica removed. If I turn this up one, you'll see still nut verte removes, which means we've got nothing over there. Now, I'll show you how that works in real time. If I put this down to Not point note one, and then I come in, let's say I've grabbed this top and I press E, enter, and I forget that I've actually extruded. If I want to check my meshes to make sure that they've got no overlaps or anything like that, if I come to mesh, clean up, merge by distance, not vertices removed. What you must make sure that you do before doing that is press the A button, mesh, clean up, merge by distance, four vertices removed because then these vertices here are extremely close to each other this distance here, which means it'll just remove them and clean that off now dealing with this part here, as you can see, this is not flat. You can see it bends in slightly. The easiest way to deal with anything like that is just to grab all of these, so Alt Shift click, grab them all, and then press S, Z and zero, and then we zero them out and basically reduce any slants that you've got. Same on this one. So Alt Shift click, going this way, and then S z zero. And then we go, now we know they're completely flat. So that's exactly what we want. And now what we want to do is we want to come in and create this bit here. This is another reason why when I came in, I wanted to actually have it as cue. So now I can come in. I can press the I button and bring it in and then press the E button and just drag it back like so, and there we go. That's exactly what I'm looking for. Alright, so now I'm going to do is I'm going to make sure that this first of all, is on the ground plane. So I I press one. I can pick this up, put it on the ground plane, like so. And then what I can do with this part is I can pull it up. Just onto there, like so, and that is that part done. Now the next thing I want to do is I want this part to be on its own, because if you look over here, you will see that we do have one part on its own because we're going to create these now. So we might as well use that. So what I'm going to do is, I'm just going to press Shift D, bring this over, like so, and then I'll join these two together. So grab both of them, contour J, join them together. Now, one thing we haven't done yet is set all of the origins, but we are going to do that once we've finished. The other thing we haven't done is talked about normals yet, and we're also going to check those, and I'm going to show you how those work in real time, as well. Alright, so what I want to do now is bring this over here. So we're just going to bring that over here. I probably still going to keep this. Let me have a look while I'm actually building because, you know, when we're building things like the doors, the walls, things like this, for instance, we've got some doors here. It's way easier to do it with a You know what? We'll actually just bring another one. It's just in the way there, isn't it? So we'll just let it out the way. Alright, so let's now look at the other parts that we need to build. So we've got these parts here, so we've got this one. We've already built this one. They're pretty simple, as you can see. Some of them are smaller, some of them are a little bit bigger. You can even use, you know, the blocks that you've actually got. So the columns you've got to actually build them out, and I think that's probably going to be the easier way. So let's start then. We'll go from this way because we've already got this one, and we'll go to this one over here. Now, you can see that this one here, for instance, should line up with this. So if I press one and I press Shift, let's line it up and see if it actually lines up pretty well. So you can see that they're near enough. Line up. If I pull this out, you can see, there we go. If I make it then just a little bit bigger, you can see now just how easy that is to put in there, so that's great. And that's basically what these do. Okay. Let's make another one. So what we want to do is we want to use a cube. So I'm going to press Shift A, I'm going to bring in a cube. And then what I'm going to do is I'm going to put it on top of here. So if I grab this, I'm going to press Shift Desk, cursed to selected, grab this one, shift Ds and selections cursor. Let's bring it up then, drop it on top, press the S but just so it goes down. And then what we're going to do is we're going to put it on top of there, making sure that it's just just a little bit bigger than what we're actually dealing with, and then we have the option to make it bigger or smaller as we wish. Now, this one isn't exactly a cube, but what I want to do is I want to keep this kind of shape. So I'm just going to press Shift D and move this over here. That then will be for the next. If you look on your reference, you will see that we've got three of them. So let's press your D, and we'll bring another one. So we'll put that one there. So let's do the small ones first is what I'm saying. Alright, so what we want to do on this one, then, is we want to bring this a little bit longer because as you see, again, this is the one we're dealing with. And you can also see that pretty much this one and this one are exactly the same. They're exactly the same, apart from the fact that this has got a top on it. So that's going to be easy. So what we want to do then is make it a little bit longer. So S said, make it a little bit longer, like so, put it on the top of there, press the tab on. And then what I want to do is I want two bands, basically. These two in here. So I'm going to do is press Control on. Left click, right, play, Control B, bring it out, and then these now going to be my bands. Now, is this, I think actually this will be okay. So let's circum in. Oh, shift, click, Oh shift, click, press Contour B, and there we go. These will be the bands. I think they need to come in closer together, actually. So again, I'll press S and E. If they're not coming in close, make sure we're on the medium point. S and E, then bring them together, and then I want to pull them out. So I'm going to put them on individual origins. S and Z pulled them out. Like so, and there we go. Now, I'm just wondering if now they need pulling out again. So medium point, S, and Z, let's pull them out a little bit. And yeah, I think I'm happy with those. Now what we want to do is bring them in. So all I'm going to do is I'm going to press E, enter altern. Let's bring them in holding the shift board, slow it down, like so. And finally, then the outside. So this one here, let's just grab it from the outside. Alt shift and click, and let's sur press Alterns and we should be able to pull that one out like so. Now, I'm worried about the slanting and worried if it is actually slanting. You can see this quite easily. If you come in and just put it on wireframe, so come in, put it on wireframe. You can see, let's say I bring this out further, is it actually creating any distortion in the two parts. What do I mean by that, you will see another band going down this way. So if I press the S but and pull it out, there you go. You can actually see it there. So you can see this is distortive and pressing S. But when I'm pressing TS, it seems to be fine. Alright, so let's put it back on object mode. Make sure that we've pulled them out so you can see that's pulled out a little bit. Do we want it out a little bit more? Maybe, so a little bit more lns. Like so, and there we go, that's looking fine. The other thing is, you might want to go in and just press Alt Shift click S Z and zero because that takes no time at all, and just make sure that part is flat. Alright, so that's that part. Now we need one more part which has got a top in it. So we did have two of these, but we might as well get rid of one. Why? Because we might as well use this to actually create that. So shift D. Let's bring it over. And then what I want to do now is just put a top on this part. So all I'm going to do is come in, grab the top of this, press the EB, press the S bun just to bring it down, and there we go, that's actually that top on there. Okay, so those are those two. So on the next lesson, then what we're gonna do is we're going to create this third one here. Now, this one actually comes out one way, and it also comes out this way as well. So it's like a kind of corner piece. Again, we'll use the cube we've already created, put that on top, and then I'll show you how to bring that out. Alright, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 39. Cleaning and Optimizing Column Assets: Welcome back if you want to blend the building master class from Concept two, final render. Alright, so we've got this pot here. So now we want to create the pot that I've just showed you. So all I'm gonna do is just pull it down into place. I'm gonna press EsnsEd then Js to pull it up a little bit. And then what I want to do is I want to actually pull it out now. It's important that we pull this out before doing anything else before putting that band on there, it's just going to make it so much easier. If I come up to the top, then, you will see that I can actually come to the top of this. So if I grab this top as I pull this over then, you will see down on the left hand side, it says the movement over here. Now, if I move round, it shouldn't actually disappear, which means I can pull that out to there. And then what I can do is I can click on it, press Control C, so enter, and then I can come to this side and this side, of course, is coming on the Y. So if I then pull this out a little tiny bit, come to the Y, press Control V, you will see it goes the wrong way. So it's going to go in that way. And that is because this was a minus and this one should be a plus. So come over here and all you want to do then is just get rid of this minus, press the enter button, and there you go. If I go over the top now, you can see these are perfectly lined up. So if I come round here, you can see, L, they're perfectly lined up with each other. So really, really easy way of doing that. Let's now press Control R. Left click, right, click Control B, then. Let's pull it out as we've done many times before, like so, and then we just want to put that band on there. So E, enter Alter Ns, and pull this out a little bit, like so. Now, again, we want to make sure that we're zeroing everything out. So we want to make sure that we're doing that. So Alt Shift click. Like, so let's go into it. You can see, look, it's a little bit bent. So S Z, zero, zero that out, and then do the same thing on here. So Alt click S Z zero, zero it out. And there we go now, everything is lined up perfectly. Now, you can see, as well, so far, the parts that we've built are very, very simple parts. They will get a lot more complicated and actually a lot more techniques as we go through the course, but we've tried to make it linear so that, you know, we're going from really easy all the way up to really, really difficult. So just take that in mind, if you're thinking, this is a bit tedious creating all these little parts because there's only one more left before moving on to the next things. Okay, so now let's come in on this one here. So what we'll do is we'll create We have two more to create, basically. We've got this one here. And we've got this one here. So these two parts now, and then we're pretty much done with the support tops. So what I'm going to do, I'll use this one first, 'cause we need a bigger one for this. So what I'm going to do, instead of doing that, I'll just grab this. In fact, you know what I can't grab that. So what I'll do is I'll just press shifts, cursor selected, so we've got the cursor there. Shift come on in, mesh, cube, bring it up, make it a little bit smaller jaw so it's just outside of there. Make sure it's a cube at the moment. And bring it up like so. Now, let's press Eons and pull it up a little bit. Let's go underneath, and we just see that it's actually fitting on there. And then what I want to do is a bevel off the top. But I also want to make sure that I've got a pot in here, so a line going down here, as you can see on the reference. So what I want to do, first of all, reset your transforms, set origin geometry, grab the front of this, press Control B, just to bevel it bring up the bevels with your mouse like so, so bevel it off. Like so, and there we go. Make sure you're happy with it. Press the tab on. Right, click, Shade auto smooth. Now I want to do is just add in that final part. So all I'm going to do, I've got it coming down to here already. And I want it coming from probably a little bit further back. On there. Yeah, probably from here to here is fine, actually. So I'll just press control that. Left click, right, click. Press Control B to make sure I've got my band the size that I want it. So maybe maybe something like this. And then all I'm going to do is I'm going to come in, grab this one, corn choslk that one. And then I'm going to press E to Altern and pull it out, and it should come out relatively even to each other. Now, you don't want it poking out like this or anything. You do want it poking out, you know, so it's just kind of a bump on there, like so. And there you go. You can see that part's actually done. All right, so now we're on to the last part. Now I should have probably kept that cube that I had there, but oh, well, I'll pull this out. And then what I'll do is I'll press Shift day and I'll bring in a cube. I'll pull it up, press the S but again, so it just go past there. I'll make them a little bit bigger. So n's head so. And then all I'm going to do is press Control on. Left click, right click, Control B, pull it out. And then I think that this is probably a little bit too far. So all I'm going to press is EnsEad, bring it in a little bit. Then there we go to think I'm happier with that. Alt Shift click Alt Shift click, heat enter alters, and pull it out. Now, these should pull out fairly evenly. So this should be zeroed out already, as you can see with the top. You can, of course, check this if I come in. Al shift, click, and see if it actually moves. So if I press S, Z, zero, you can see nothing happened there because they're already zeroed out. And there we go. That's the actual final part of these supports. So let's now put these supports in front of these. So all I'll do is I'll go seven over the top. In fact, you know what? I'll grab them all first. Seven to go over the top, move them forward, and then I'll press one. And what I'll do is I'll bring these ones down to the ground plane, and then I'll bring these three also down to the ground plane and now I can kind of straighten them all up. And then what I'm going to do, I'm going to move these over here. Now, there's a difference between these. One is columns, and one is support tops or tops and bottoms. So what I'll do is I'll probably keep these together because I think it makes it easier when you're bringing them in. You don't want to be jumping around between support tops and support bottoms. You don't really want to do that. But I will make sure the columns are separated. So what I'll do is, again, remember, if you want to, you know, put yours out like this, you know, with a plane on there and with the name of it, make sure you do. I would if it was me personally because I would want to keep it tidy. As I said, though we already have one of these. It's just going to take up time. So what I'm going to do is I'm going to move this over here. I'm going to call this columns. So I'm going to press the button, New collection, call it columns. We have to do this anyway, because it will make things much, much easier to, you know, work through as we're building the course. So columns, like so. And then what I'll do is I'll grab all these and I'll press M. I call them support, tops and bottoms. Like so, and there we go, press nth twice, and now they're all in there as well. Let's pull these over here, then. Now, let's come to our column. I know we need to do if we come over to here, press the dot but, you will see now it's in columns. If I pull this down a little bit, this is another reason I like doing that because it's really, really easy just to push everything up, so click on these, and then you can see everything's nice and neatly laid out. That's why I like doing that. Alright, so we've got this one here. We need to rename it. Now, it could come over here to rename it or it could just press F two, and what we'll call it is large pollen. Like, so and then I'll come to this one and F two, and we'll call it small Hollen. Like so. Now, with these, I can't really do anything to them because they are still a geometry node. You can see we've still got the geometry node on there. We could come in and come down and go to apply so you can see cannot constructed modifiers on curve, convert mesh in order. So you can see that we've got nothing there. There's no reason why we can't. So to convert these things, we have to go to object, convert, and mesh, like so, and now you'll see that we've got it actually converted to a mesh. Now the problem is here, now you can add on your modifier. So now you could add on your bedal modifier and also you can actually come in now and unwrap it. So, for instance, at the moment, you can see we've got this stone IV press A, U, smart UV project, click Okay, and now you can see it's looking a lot more like stone. Problem is there, though, is that we want to stretch these out or make them smaller depending what they are. So I recommend that you don't do that until you've actually brought them into the scene, and then you actually do it. The other thing is, of course, you would be beveling these and you can't bevel them until you've actually Well, you can bevel them because there is a bevel on the jump to note our press Controls, go back a minute, bring back this here. You can see that we have got a bevel on here, so we can bevel them. But the problem is it's not going to bevel too well unless you actually turn up the subdivisions. So it's only going to bevel better if you turn up these, and we don't really want to do that in the beginning. So let's just set this to 0.5. We'll leave those as is. What we want to do, though, is we actually want to bring them into our asset manager. So we've named them now. What we're going to do then is go over to our asset manager. And on the next lesson, I'm just going to put this on material just so I can see what I'm doing. On the next lesson, then what I'm going to do is I'm going to start bringing them into here. Just make sure, though, that we have got it on current file. So at the moment, you can see you've got supports, and then we've got human reference in there. So that's all these, and we need to make, you know, some others to go in. Alright, everyone. So, I hope you're enjoying it. I hope you're enjoying it so far. Once we've done this, we're gonna hop back in to our actual build, and we're actually going to start putting some of these parts in, and then you'll see just how well this works. Alright, everyone. Thanks a lot. Bye bye. 40. UV Mapping and Saving Columns to Asset Library: Welcome back, everyone to blend the building master class from concept to final render. Make sure you save out. By the way, guys, don't not save your workout. Alright, so now, let's think, first of all, let's make two more. So if I click the plus B, we will call them then columns, and we'll do the easy one first. So columns. And then we'll do plus, and we'll go supports tops and bottoms. So supports. Pots and bottoms. Like so. Alright, so we've got those two in. Now what we want to do is we'll do the columns first. So if I come over to the right hand side, what I want to do is I want to grab both of these, and I want to right click and I want to mark as asset. And then if I go over here, I should have both of these assets here. Now, it's important that we test these out before obviously using them because they have got a junction node on there. They should come in just like that, as you can see, and it comes in with the junction node. That is exactly what we want, and we will be testing it out in a few minutes, basically. So let's actually delete that out now. And what I want to do is drag these into my columns. And you'll notice you've got a little star there. Just make sure you save it. That little star will disappear. Okay, so now we've got our actual supports. So what we want to do first of all, is you can see none of these are actually unwrapped or anything like that, and we want to get them the same stone as these ones here. So to do that, all I'm going to do is, first of all, I'm going to grab them up. Control A, all transforms, right click, set origin to geometry. So we're going to set origin. You can see you haven't got a set origin, and the reason is because I need to click on one of them last, so I'm going to shift click this one. Right click Set origin to geometry. Okay, so now what we want to do is we actually want to bring in the same materials here and also have on. If I click on this one, for instance, we've still got the bevel on there. So what I'm going to do is I'm going to press Control L, making sure I've clicked on this one last, so Control L, and then we're going to link materials, and then we're going to press Control L, and we're also going to copy modifiers. And now, hopefully, if I zoom in to here, we should have those bevels on there, as you can see. So everything now should have a bevel on there. If I go to Object Mode, you'll see all of these now have a beautiful bevel on there, and everything should be working fine and looking a little bit smoother, you know, very stylized, and that's what we're going for. Okay, so now then we want to unwrap these all because they're all looking a little bit we want to keep them the same as these, basically. If I go to material view, you can see that we have a lot of problems in these. So I'm going to unwrap them all at the same time. Pressing the tab on A to select them all, and unwrap. So we're going to not unwrap, sorry. Smart UV project. Let's click that on. Click Okay, and there we go. Now, just make sure that you have any problems like with things like this. Sometimes smart UV unwrap doesn't always work so well on, you know, rounded parts and things like that. Sometimes you'll get some stretching. I already showed you how to do the scams, but if we do come across those, we will be working on those, so don't worry about that. Now, what we want to do is we want to make sure that they're the same as these here. So I think with these, they're a little bit spotted. So what I want to do is make them a little bit smaller. So I'm going to go into UVEit I'm going to then press the dot boon to highlight them all. Eight to select them all. And then what I'm going to do is, I'm just going to zoom into this one, this one here. I'm going to press the S bone and make them a little bit bigger, like so, and now you can see they look tons, tons better, and they're all basically the same size. Okay, so now the most tedious part of them now we've done that, is the naming. So we've got support bottoms, which are these basically back here, and then we've got support tops. Now, some of these can be used the other way round, of course. But I'm going to do is I'm going to call this support bottom large top and this one, support, bottom, large, top and bottom, something like that. And then support bottom medium and then support bottom medium with bottom once loads of things like this. So decorative top deck, top, deck, top and bottom. Let's name them like that. So what I'm going to do is I'll call it. So F two, support bottom. I'm just going to put bot deck top, like so. And then if I press Control A, Control C, I can rename that. I'm going to press H to hide that one out of the way. Then I'm going to come to this one, F two, Control V. So deck, top and bottom. Now, I'm normally very careful when I come to naming things that I'm not naming them with this, for instance, so where is it here? This sort of font, not font. It's character. Not using this character because a lot of places actually where you're trying to bring things in, this does cause problems because, you know, it's not part of the actual alphabet. So I'm always careful when I'm doing this. I'm actually putting Anne there, even though it makes it a little bit longer. So support, but deck top, bottom. There we go. Hide that out the way. Now, this one's medium. So F two, control V. So we're just going to call it support, bottom decorative. And we didn't actually put large, so I'm just going to call it mid. So support mid, bottom. So and there we go. So let's hide that one out the way, and then we'll do the same one here. So F two, C, troll V, and support mid and then we've got not kid, mid, like so, and then we've got bottom decorative and then we've got bottom on there as well. Okay, Hide that all the way. And then we'll press F two, and we'll go Control V, and then support small, and it's decorative top, like so. Okay, that's that one. Alright, so now we've got these ones. So I'm just wondering, so we'll call these supports and bottom. So bottom and top. So we've called these top because we haven't got them. We've called them all bottom, aren't we? So if I press F two, I'll go Control V and support bottom. This will say top. Top and then decorative middle, let's call it that mid, then press Control A, Control C, Enter, hide it out way, and then we'll go to this one F two, control V, and we'll call this support top, big. And then we'll call it no decks on that. No decorations like so, hide it out way. And then we'll call this one angle. So if I press F two, control V, support top, angle, Angle deck. And it's just basically coming up, as I said, some name that you're going to be able to at least understand something about them. Completely up to you what you call them. F two, CtroV. So sport top decorative point. Let's call it that. Like so. Hide it out of the way. And then this one, and we'll press F two, Control V. Support, top no deck. So we'll just call it support top, mid or big. We'll call it big because that one looks like it is. Eight to block support. Try force, rename it, support top big because it might have the same name. So if a press dot coming over here, you can see that we've already got one support top big, so we need to rename that. Alright, sport top, big, decorative. So let's put decorative, and there we go. Now, it's actually happy with that. Hide them out of the way. Now what we can do is we can come to this final one, and we'll put beveled. So we'll go Controv support top, decorative, bevel. Like so. And there we go. It's happy with all of those. Press voltage to bring back everything. Now, the other thing you can do with this is if I come over, we've sort these out into their collections, I can just come over and hide them out of the way. Now, if I come into here, I can press oltage and nothing happens because they're hid over here. Sometimes it's a real pain when you're trying to hide things. So, for instance, you hide these out of the way, and then you realize, like, you need to bring something back, you press altage and it brings back everything. It's just way easier sometimes to work over here. Now, then we've got all those. They're all looking good. So what I want to do now is grab them all. I want to come on over to here, so open this up. I want to right click then I'm going to mark as asset. Now if I come over then to my asset manager, I've got them all in here. I've got my support tops and bonds, so let's drag and drop them into place like so. All right, and there they all are. So we've got support tops and bombs. We've got all other supports we need, got a human reference, and we've got our columns. All right, so now what do you want to do is save it out? In the next lesson, then what we'll do is we'll start actually bringing some of these parts in, so I can show you actually working in real time within our own gray box that we've started to build out. Alright, everyone, so hopefully you enjoyed all this. Hopefully you're following along fine. Hopefully, it it's a linear curve on learning. Leave us a review if you can on how happy you are or what needs to fix in within the course, and I'll see you on the next one. Thanks a lot. Bye bye. 41. Applying Base Textures to Greybox Structures: Welcome back everyone to blend the building master class from concept to final render. And this is where we left it off. Now, we're in our grey box. I wouldn't recommend keeping it on rendered view because that's then go to use up a lot of resource that you don't want to use. I would, however, recommend, though coming down once you've got it on object and putting on cavity on there. It's just going to make it little bit easier to see what you're doing. Now, one of the things that I did forget is these tops and, you know, these walls, things like that actually are probably better off need splitting up. So what I'll do is I'll show you this one first. But what we first of all going to do is you can see this top here. You can see how they're a little bit, you know, broken over here. What I want to do is I just want to grab this top, press Shift H, and hide it out of the way. Now, you can see that it doesn't hide out of the way from the whole thing. So instead of doing that, what I want to do is press tab, press the little question mark on your keyboard, and then you'll isolate the whole thing out. And from there, what you can do is you can grab kind of this one and this. Now we already know that these parts here are actually in the other roof, so we're not going to see them. So what I tend to do then is I'm going to break this one, this one, and this one. I'm going to press Delete and faces, like so, and I'm also going to delete the bottom of here because I'm simply not going to need it. Delete and faces. Now, why I have I done that the roofs and the walls are going to be completely different textures. For instance, the roof here. Before that main roof goes on there, underneath here is going to be actually some wood, just in case there's any gaps or anything like that. I always do that because it's one plane. It's got a texture on there. And as we move on, I'll show you exactly what I mean. So first of all, though, let's actually come in then. So we've got a wall here. We want to put a base wall texture in here just so we have an idea of what we're actually doing. So what we're going to do is as we build out the walls, we will be bringing in the textures for them, getting them in place, and try and get everything lined up. Now, at the moment, we're not going to need this part here, as you can see. We're certainly not going to need the bomb, so we can delete both of those faces. We can come in there, delete this face, and we can delete this phase like so. Now, the one thing we've got with the wall is that once we bring that texture in, it's not actually going to go on there properly because we haven't got a seam in there or anything. So it's going to try and wrap around. It's probably going to put this one at a weird angle to this one, and I will show what I mean with that. First of all, though, let's make another couple of collections. And I'm going to call it let's call one inner roof and wall. So we'll grab both of these parts. I'm going to press P selection and separate those out from these ones here. Then what I'll do is I'll come into my roof now and I'll press M, and I'm going to call it new collection, and we'll call it roof inner. Like so, Enter, Enter. And then we'll call this one walls. So if I come in now and I press M, I'm going to call this one new collection walls. And again, when you're building a gray box, you know, when you're adding things to your gray box, it's important to keep your collections very clean, it'll make things easier for you in the future. Okay, so now I'll show you the roof, first of all. So if you come on down to instead of modular pack, you will see resources, and let's come in to materials and shaders. And this one down here is the one we want to use. This stylized wood. So what I want to do, first of all, is I just want to put it on to material view. Let it load up. Then what we want to do is resettle the transform. So all transforms right, plates at origin to geometry. And now I'm going to do is just drag and drop this on there. Let it load up. We obviously haven't unwrapped it yet, so all I'm going to do with the inside of the roof, I'm going to prove and press U and Smart, you can just click Unwrap like so. Alright, so these then are going the right way because wooden planks would go this way down. It's up to you though how small you want to make these. So let's just go over to UV. So I'm just going to go over to my UV. I'm going to put this or drag it across, put it onto material view, let that load up, press the dot one to zoom in. And then what I'm going to do is I'm going to press A to grab them all, press the S bone, and I'll make them bigger, actually, not smaller. So making them bigger, and there we go, now, they look more like planks of wood, and they are going to hide behind there. As you can see, these parts here, we didn't need the fronts on here, so we got rid of these. Now, the thing with the walls is we've actually got a texture on here, which is going to be able to and basically come in and use vertex painting on it. That is for later on in the course. But for now, what we're going to do is come in to our walls. I'm going to press the I'm actually going to put it on asset manager again. So let's come to asset manager. Here is our brick normal or brick grungy. Now, we can change these over whenever we want. So what I'll do for now is, I'm just going to put my brick normal because if we go to shading and we go to brick normal once I've put it on, I haven't got it on yet, so sorry, guys. Let's actually put it on first. So brick normal, drop that on there. Then let's go to shading. And you can see my brick normal, it's relatively simple one. It's got a little bit of, you know, grunge on it or something like this. But it's relatively simple. So that's the one we're gonna be using now because the other one is very, very complex. So let's come back to we'll go to UV editing, actually. I think I'll make it easier. Now, let's come in and actually isolate it out. So we're going to press that little question mark again, like so, and I'll show you what I mean, I I grab this now, press the button, press, unwrap. You'll see it unwraps like that. That's not what we want. Smart UV project, click Unwrap. And you can see now that it's put, you know, then going the wrong way round. And even if I change these rounds, so, 90, let's spin them round. You'll see it does actually not a bad job, but you can see they're not lined up. So you can see they're not lined up here, not lined up here, and it makes it a little bit harder to do. So what I tend to do instead of doing is I'll come in, grab this point here, right click, and I'll mark a seam in there. Then what I'll do is I can grab the whole thing, press U, and unwrap, and now it should unwrap absolutely fine. And now I can just spin it round. So I can press R, 90, spin it round. Now, of course, these bricks are way way too big on here, too small on here. It's not unwrapped it properly because it is based on angles. So what I want to do is I want to unwrap it even better than that. And so I'm kind of glad all of these things are happening in one go because it is showing you exactly what problems you might have. So, let's press Tab. Let's press Control A, A transforms, Satigent geometry, press the tab again, and U, and finally unwrap angle base, and there we go. Now, if I press 90, we can see all of the breaks line up. You can see even when they come to here where the seam is, they still line up. So you can see here they're still all line up, and you shouldn't have any problems in here. In fact, you can't even see which one the seam is at. It's that good. So that's the way that you should actually do it. So the seam is actually here, and I would have a guess that it would have been this but I'm saying, though, it's pretty good, guys. So what we want to do now, though, is replicate that over here. And so now we just want to do the bomb part. So I'm going to press put a seam in here. And if you notice, as well, if I press oltge or press the little question mark, you will see once that loads up, I've put a seam in a place where you're never going to see it. So my seam should be either in a wool or around the back. So just make sure when you're doing your wool, you kind of not print a seam here. You don't really want a seam here. Even though it's gonna be covered up, you want to get in the habit of always hiding your seam. So around the back up here would be a much better place, for instance, with your walls. Let's press the little question mark once more, and let's come to this bom part. So if I press then what I can do is press and I need to seem first stone tight, so let's bring that in. So I'm going to come in, right click and mock seam, grab this one, then, press L angle based, A, 90, spin it round, and now you can see they're exactly the same. Now, the one thing is, how big are my bricks? If I press the question mark, bring back everything, bring my little guy across, so I'm just going to press Shifts Base bar just to bring him over. And this is the easiest check I do. So if I pull him right next to my wall, press the little dot. How big are these bricks? Can he hold them in the hand? No, he can't. They're absolutely massive. So I'm just going to grab both of these, so I'm going to press A in edit mode. And what I'm going to do is you can see, also, one is bigger than the other. So I'm going to press L, S, and bring them together, or you can grab them both and press A, U V, and then average land scale. And it is because apparently one of these is bigger than the other. So just make sure of that. Average non scale, if you're going to shrink something down, just make sure they are the same size. And now I'm going to do is make them bigger, so I'm going to pull them out into the size that they should be. So again, I'm looking at my guy. How big is his hand? So if I pull this out, how big is this brick to his hand? Now, we have to be careful because these are quite thin bricks and they're quite long bricks. So let's say I bring them out so he can actually come in and let's say grab them. So, A, let's grab all of these. Press the bum, bring them out, bring them out. And there we go. Now, I think these bricks now are about the right size for what we need, even though they look a little bit dinky. So maybe, maybe a little bit the other way, something like this. Alright, I think they're looking good. And now we can actually pull him over to the other side. Now, I know this bit took quite a long time, but I think it needs a bit of explanation on how we're going to proceed with all of these routes. Now, if you notice, as well, if we go back to modeling, you will notice if I come to this, you'll see that this is the only one in walls, this is the only one in roof. And the reason I've done that is simply because then once I've done one, I can move on and I only move them in here once I've actually done them. All right, so that took a long time to actually explain. On the asset manager then, on the next one, what we're going to do is we're going to first of all, press a little question mark to bring back everything. We're actually going to start then bringing some things in. So we're going to bring in the bottom of here, for instance, we're going to bring in probably a post along here just to show you how everything's going to work. And then hopefully we should be able to build most of this part out. Now, on the tops on here, you will see if we go to our reference, so we will see here. We do have some tops that we've not actually created yet on here. Obviously, we've got roofs and things. But if we actually come back once we've put some of these parts in and create, you know, this part here, and we look at actually creating this part that's actually coming out here, then pretty much we can actually build quite a lot of it out, or you can build quite a lot of it out if you want to. All everyone. So what I'm going to do is I'm going to go back to my file, I'm going to save it out. And by the way, your other file, so you're actually one where you're actually putting the parts in, you don't need to keep that open. In fact, it's better off if I just put it on object mode as well. You don't need to keep this open. You can close it down, but you're all going to be going backwards and forwards because it is a course, so you're all building out the parts. What I'm saying is, you don't need to keep it open for the asset managers, so just bear that in mind. All right, everyone. So I hope you enjoyed that, and I'll see you in the next one. Thanks a lot. Bye bye. 42. Applying Supports and Panels to Building Structures: Welcome back if we want to blend the building master class from concept to final or render, and this is where we left it off. Now, what we want to do to start bringing those parts in is we actually want to come over. Instead, have the resource pack. We want to put it on the modular pack, and here we go. Now, let's just update it so make sure everything's updated. And here's all our parts. Well, all the parts we've built so far. So you should be able to see fairly easily what each of the parts are. Now, let's actually start building that out. I've actually got over my other side something to actually work on because it will make you way, way easier than actually just looking at the reference. For you, just so you know what we're building out. If you just open up your pure rev, you should see that we've got a lot of references in here, and this is the point that I want to actually start building out. So I want to build this pioneer going, going up to halfway point and then putting the column and things like that on top. Alright, so let's pull that over then to the left hand side. And what we'll do is well, first of all, come down to where it says support and it looks like the first support is going to be this point here. So if I bring this in, like so, wait for it to load up because it has to load up the shaders. Every single time it'll have to do that when we bring it a part. We can put it on object mode so we can just see it like this. It might be actually better doing that. Then what I'm going to do is I'm just going to press Z 90 and then pull it into place. Let's grab this and pull it into place, and it should be just about on that ground plane anyway. Let's pull it out and make sure that it's on the ground plane, so you can see it's right down on that ground plane, which is great. Now, I'm going to pull it slightly into the wall then, so slightly into the wall like, so. And then what we want to do now is we want to put in a pot, so one of the supports going over the top. So the support that I'm going to bring in is going to be one of the longer supports. So I'm thinking maybe this one, so let's just bring this one in. That one might be a little bit too thick. I'm going to try the smaller one, so let me come in and try. Let's try this one. Yeah, this one here. So we're going to bring in this one. It's called small support. I'll delete that one out the way. Spin this round round. As he 90, spin it round. Now, remember that with these, we've got on the array. So that is how we're going to put it going all the way across. We don't want to come in and start stretching these out or anything like that, because what you'll end up doing is messing around with the basically, you can't really stretch these out because then you'll end up with a duplicate and not an instance, so it's way way easier just to put it into place, like so, bring it down. And then all you want to do is increase this here, so the array on this one, turn it on, turn it on, and then just increase that. And you're going to get some little breaks in this quite normal for buildings anyway, so we haven't got to worry about that. All right, so that's going on top of there. Now we need a supporting here. So what I'm going to do is I'm going to come over to my support. So these ones here. The one that I want is probably going to be, let's see this one. I'm going to bring this one in. And this one is support. I over over it, it's SN bot December top. So I think that one is the actual small one. Let me bring this one in as well. And that one is the big one. So you can see that this one is probably going to be way too big, as you can see. So what we're going to do is bring this one in, pull it over, press a little dot board and I'm going to pull it out into place. And also, you can see that, you know, it's a little bit too small. So what I'm going to do is I can either stretch it so I can go SE. There's nothing wrong with stretching it, because then what we can do is lt D and bring it across. So what I'm going to do is jaws fix it under there, like so. I'm going to then pull this part into place. So pull it into place, making sure that everything is lining up. So you can see here it's a little bit too far in front, so I'm going to pull it back, pull it back, pull it back into place. And there we go. That's looking very, very nice already. Now what I can do is I can actually come in, turn this on. So we've got two of them. And then what I'm going to do is I'm going to come bring this over here. So I'm going to press Alt D. Make sure you press Alt D, not shift D, bring it all the way over to this side, like so, and stick it in there. And then what you're going to do is Alt D again, bring it all the way over here, put it in there, like so. And we can see here that probably needs to pull in this way a little bit, and then we go just so it fits in. And then what I want to do is grab both of these, and I'm going to press Alt D again, like so, and bring them over and making sure everything fits in. Now, we can see that these are not fitting in properly. This is one of the things you're going to come up again. So all I want to do is grab both of them, press S and Y, and just bring them back a little bit, and then we'll try and fit them in. So I'm going to pull this one over here, like so. I'm going to pull this one over here. Like so, and then I'm going to put this in the middle. Now, I need these to actually fit together, as you can see. So all I'm going to do is press S and Y again. I'm going to pull them out, and I'm going to move them over, again, move this one over. Like so you can see, I need to go Jas a tiny bit more. So just a tiny bit more, and then I can actually have them in place. So I'm going to grab them both again, S and Y. Let's pull them out. Tiny bit more, like so, and let's see if this one fits. And there we go. And let's see if this one fits. And then is it going to fit in there? You can see there's a little bit of a gap there. Let's pull it over a little bit more. Double tap the A, and there we go. Everything now is fitting in place. Let's save out all work, so we're going to go to save. And then what we want to do is we want to put this going up to where the windows are going to rest. So the windows are going to rest around here, here and here. So we want another one of these. So what I'm going to do is, I'm just going to grab this I'm going to move it more in line, as you can see, like so. And then what I'm going to do is I'm going to press Alt D, bring it up, and put it in place around there. And then we want a big chunky bit, so the big chunky one is going to go along here. So let's come back then two supports, and we've got this big chunky one that's here. I'm going to press RSE 90. I'm going to press three to go in side view, and then I'm just going to press G just to move it into place where I want it, which will be somewhere around here. And then what we'll do is we'll pull it back into place. Like so, pressing the dog bone zooming in. Now, remember, we're going to have the corners. So when you do a corner, we can rotate it round and then put something in here. We'll actually sort that out. But for now, let's just pull this into place. Now, we don't need to duplicate this or anything. What we need to do is just make sure that it's in the right place, so half and half, as you can see, so it fitting in there beautifully, and then we can just turn these on, like so, turn it up. And there we go. That is that part in. And now what you would do is you would come in and make sure you've got the center point. Now, the center point in here is going to be a little bit harder to actually get because we've got this side, so it's all over this side and all over this side. So what I think I'm also wondering, as well, do with the wall, are we going to need the front and back? I don't actually think so building this out. I'm just looking down there. And there is a little bit of wall just on this part here, but it's going to be covered up anyway by probably a block or something. So I'm thinking for this one here, let's just press the little question mark, and what I can do instead is I can just come in and keep the wall that we've unwrapped, but actually delete these because we're not going to need them, so delete faces, like, so press the tab but, press the question mark again, and there we go. Alright, so now we've got those in. You can see already. We can't actually see, you know, into the wall or anything. That's great. So now let's work on the actual center of here. So what I want to do is the supports, and the support I actually want is this one here. So I'm going to bring it in. I'm going to rotate it round, so's head 90. I'm going to rotate it round then by the X by 180. So RX 180. I'm going to press three. And what I want to do is I want to measure from here to here now. So if I come in and press the T button, then we'll open this menu over here. I can then come can delete this one out of the way, delete, delete come in then and grab it from here. To here. And it's around 6.9. So 6.9 is going to be 3.45. So I can actually move this to 3.45. So somewhere around there is going to be the center, which means then I can come and put this into place in the center around 3.45. Now, we can't actually see that anymore. So what I'm going to do is I'm going to come in and actually draw it on, as well. So if I come in, we can't do both actually. That's kind of irritating. I can see this is round about the center of there. So what I'm going to do is I'm just going to come back to my move tool. And actually put it in. Now, it's kind of irritating because you need to probably, can we draw on, we can probably draw on Edim, which means then IPA come in, and let's move it to there. I can probably then come in and bring in control law, bring in an edge loop. The problem with doing that, though, is when you move this across, ah, let's bring it in, and I'll show you what happens. So if I put this onto Shader mode, Shiftspasbr, you have to be very careful when you do it, because once you start moving it, you can see you're moving your bricks over there. The best way actually of doing it is coming in, pressing control. So let's just go back to object mode. Let's put it back onto measurement. Let's come in and press Control law. Left click and then move it over to where you actually want it. So somewhere like that. And now you should be able to come in. So, you should be able to grab this one and this one, press the tab but, grab just this one, press shift space bar. And finally, then you can actually see where you're supposed to be moving it to. So somewhere around there, it's long winded. Honestly, I wouldn't bother so much trying to get it perfectly accurate. I would just actually try and just put it in. You know, relatively where it's going to go. So now if I come in, I should be able to pull this into place, like so, and it should be able to stick in, like so. Now, on the next lesson, then what we'll do is you can see that's looking very, very nice. We'll bring in the column that's going to go up this part here. And then what we'll do is we'll actually look at this wall here. So we'll start looking at this wall here and how we're going to actually bring this part here, how are we going to bring that out a little bit? Because we need to get some measurements to take it into, you know, our modular pack to actually build these out because we don't actually want to keep building these parts all the time, and sometimes it just makes it a little bit easier. Alright, let's go to Film, go to save, and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 43. Creating Column Based House Supports: Welcome back, if you want to Blender Building master class from concept to final render, and this is where we left it off. Now, let's come to our columns, and the one we want is going to be the small column. I always, first of all, bring things out just so they start on top of you. Now, you can see with this one for some reason, it's not on top of there. I don't actually know why that is unless it's because it's actually a geometry note. What I want to do though is actually bring this then into place. And again, don't worry about it being exact. All we want to do is just put it somewhere around the middle. So just make sure it's as, you know, centered as you possibly can. Let's put it up to the top then so it's going to slot into there. Now, when I put the bomb piece in, I always want to make sure here if I press the top on to zoom into this, that the bottom is actually this part here. So, in other words, this bottom here, you can see, it's not going to be quite beveled there because it's stuck in. I want it flush, wave the top off here. So I'm just going to come in, hold my shift but and just make sure that there's a tiny, tiny, tiny, little gap there, as you can see, like this. The next thing is, I want to make sure that this is not going up this high, so I can actually come in, shift spacebar, move, grab this, and pull it down to roundabout here because on top of here, then we're going to have our roof supports on there. So I want to make sure those are in. Now I want to do is I want to bring in this first part here, and then I should be able to then work around going up this side. So to do that, I'm going to come in and we're going to go to supports again, support tops and bottoms. And we want the big chunky one. So let's see. So we've got support. This one, we've got support, this one, small one, big one. This is the one that we're going to use, I think, so we'll use this one here, so I'm going to come in, bring it in. And I'm going to put it right in this corner here. So again, I'm going to press the dot bond just to zoom in, put it right in the corner, like so, something like this. Now remember, if you look at your reference, you're going to see that there's some stairs here. We're not going to worry about those right now because we're going to get the stairs in in a bit. But for now, we're just kind of building this out a little bit. So what we want to do is press Alt D and bring it over this side. So Alt D, bring it over to this side light. And then what I'm going to do is then I want to have a base in here. So if I come then to my supports, I've got this one here. So if I bring this in, if I press R z and 90, this is what I want actually to come in. So I've got this and then my stairs going here. I'm going to pull this into place. Let's move it over to here, and then my stairs will be going in this part here. So if I pull this back just a little bit because I want to make sure that this is a little bit of a gap there, as you can see, like so, and then I'm going to press Ode again and bring it over to the other side. Like so. Let's press three, so I can see this one slide in here. This one slide in here, you can see this one's a tiny, tiny, little bit out, so I'm just going to pull it over, and there we go. So we've got our whole stairs coming in here. Let's make sure you can see they're not quite on the ground playing these parts. So I'm just I'm actually measuring them to see. This here is slightly below. So let's pull them down a little bit. So we'll pull them down a little bit like so, and they near enough then line up with the bottom off here. Alright, so let's now bring in the column again. So I'm going to grab this column again, alt D, and I'm going to pull it into place. So this is right in the corner, pull it down into place like so, and then I'm going to pull it out now. So I'm going to pull it out into that corner like so. And this is the smaller column we're using here. We're not using the big column yet or anything, and then pull it into place. And there we go into there. Now I just want to lift it up a little bit. And then what I want to do is I want to get the post on here. So I want that post on here, and then I can actually work my way around where the gap is in here. I want to fill this gap in here, this one here, and I can do that once I've actually got this post. So let's bring that post in. So the post is going to be the big post with the bomb on it. So if I come here, I've got a big post, this one here. This is the one that I want. I'm going to bring the big post in, like so, and we're going to have it facing this way, and we're going to put it right on top of here. So right on here, press three, and let's move it into place so it's centered. And then let's pull it into place, and then what we're going to do is we need the bottom on here. So I need to see, first of all, where is the bomb going to line up. So basically the bomb on here. So this bat going across here is going to be perhaps this small one or this big one. So let's see the difference in the size. So let's pull it back, first of all. And then what we'll do is we'll bring both of these in. So that's the big one. No, this one's the big one, this one's the small one. So what I'm going to do is, I'm just going to grab this one s, 90, three, bring it up into place. Like so, turn on the array, make sure you turn on the rends you won't end up with render out. Turn it up. And then what we want to do now is we want to put this on the other side. So I want to make sure, first of all, that this is going to go in place, so then we can see how close is it going to be to this? So you can see now we've got the round a bit coming from there. If I move it over a tad, then we've got a little bit of an edge there, and that's looking pretty good like that. It's in there. And now I want to do is I want to move this over to this side. So both of these, I can grab them both. In fact, you know what? Before doing that, let's just bring this down because it's actually stuck in there, want it right on the top of there. So it's underneath. So if I pull it up into there, and there we go. Alright, so now we can see though we need to pull it out a little bit, because we can see we've not got a lot of edging on here, so pull it out a little bit, and there we go. Does it look like it's supporting it? I think so. So now I can do is I can grab both of these. I can press Alt D. Now, of course, we're going to have them the wrong way round. What do I mean by that? A D, bring them over. You'll see once I put this part on there, you can see that this one, maybe, maybe is a little bit different from this one, so you can see we've got a little bit of a difference there. This one actually doesn't look so bad. So now I'm going to put it into here. Like so. And then what we'll do is we'll come over to this one here, I'm going to move these then very slightly just so they line up a little bit better. And then with this then, what I want to do is I want to pull it out. So S and Y, let's pull it out just a little bit, so they line up a little bit better so they're in there, and then S and Y a little bit more holding the shift bun and there we go. They line up now pretty nicely, and they line up just under these parts as well. So that is looking pretty good. Now, we have a balcony on here, which we're not actually going to put in yet, but what we need to do now is we need to bring this part up all the way up to here because we've got a block in this wall here. So I recommend, first of all, we'll bring in the block on the top. Just on here. And from there, then, as well, it'll give me an idea of where I can actually work out how long, you know, this is going to be. So let's do this bit that comes out of here. So where is it going to be to? Okay, so let's first of all, bring the block. So again, down to here, and the block that we want it's going to be this simple one here. So I'm going to bring this in and let this one out of the way, so I'm going to bring this in, press in three. And then what I'm going to do is press G and just drag it up. And we want it right on top of here. Now, at the moment, we're not quite sure where it's going to go exactly because we need to put the rooftop on. And we're not even sure if this is a little bit too big. I think it's a little bit too big. For now, I'm going to line it up just so it sits on top of there, making it a little bit smaller. Making sure that this bottom of here just lines up with this one on here. Then what I'm going to do is just make sure that it's pulled back enough, so it looks as though it's actually in there, like so. And now I want to bring up this column. Now, I might as well bring this one over first, so do them both at the same time, or I can do it the other way. I can bring up this column, then bring them both over. So let's do it that way. We're going to press Old D, bring it up. Put this one into place, so it's just on there, like we have done before. Grab the top of it, pull it down into place. Now you can see because we're pulling this down, this is actually changing all of the other ones. So you can see I don't really want to do that. You can see we've already changed this one as well. And why is that happening? That's because we've brought these in, and we've not changed them from geometry nodes to, you know, our stone. So let's actually fix that. So what I'm going to do is I'm going to come in to B for these. And what I'm going to do is, in fact, you know what? Do I actually want to do that? I should actually be duplicating it instead, because, you know, at the moment, we're changing it in the edit mode. Maybe it's better to come in. And instead of doing that, what we'll do is we'll delete this way because I don't think we can actually um yeah, we could press Shift D, and then the won't be linked. So we could do that. So instead, I'll just press Shift D, Enter. And then what I'll do is, I'll just hide that one out of the way. So Shift D, hide the one out of the way, delete this one, OH, bring the other one back. And now, if I pull this up, it shouldn't affect the others because I actually duplicate it instead. Again, with this one as well, I can come in Shift D. Now they are geometry nodes, so they're not going to cost too much anyway. As far as geometry goes until we've actually turned them, you know, into actual mesh. So what I'm going to do is, I'm just going to bring this here. And then now I should be able to pull this down. Why? Because it's a duplication and it's not an instance. Alright, so there we go. Now I can actually use the instance way, so t D, enter, bring them over, put them into place. There we go. That is looking pretty nice. Let's go over the top and just make sure then that both of these are in roundabout. So if I come to this one, you can see, if I come to this one, that spot is right next to here. This spot's a little bit out. What that means is then I can drag this over, so let's grab this one. Woops. And this 17 to go over the top. And now I'm just going to bring it in, bring it in, like so, and let's have a look at how that looks. I'm thinking that this is in the right place. So this one and this one now are in the right place. If I grab that, let's go over the top. Yeah, this looks to be in the right place. Now I'm looking at this one. This one, I'm wondering if they are a little bit out. And I think of a go around here and around this one. Yeah, they're a little bit out on here. So I can grab this, this, this, and then just pull them so that they more or less line up like this. It's a lot further over, so bring them over. So which means then I can come back to this and S and Y, pull it in, pull it over, double tap the A, and there we go. Now, let's come in and save our works or file and save this is looking pretty nice. Now before we end, let's actually have a look at what that looks like. So let's go to Render view. And there you go, guys. That's what you've got so far, and you can already see really, really starting to come together. Imagine when we've got roofs on there and windows and things like that. It's gonna really come together and look really, really beautiful. Alright, everyone. So, as I said, on the next one, then, what we're gonna do is we're going to create this outcrop in here. We're gonna actually create that, send it through to our modular pack one, and then we'll have a good idea of the sizing, and then we can just bring those parts in, put windows on and things like that. Alright, everyone, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 44. Continuing Texture Application on House Blockouts: Welcome back, everyone to blend the building master class from concept to final render. So let's get one of the difficult bits down. Let's go back to modeling because we're not going to need these parts in right now. And what we want to do then is we don't want to actually alter this. We don't want to bring in bricks to the mum. What we want to do is get that outcropping. So, in other words, we want to create these outcropping. These outcropping and all of these are pretty much the same, but we need to make sure that we line everything up so, you know, they line up perfectly. So the way that I'm going to do that is I'm going to, first of all, come in. And I'm thinking that I'll probably be better off duplicating just the front. So if I come in and grab just the front, so I'm going to press shifty, and then what I'm going to do is I'm just going to pull it out, so I'm going to press P and selection. So I've got this point here, and then what I want to do is really, I want to move this up and then cut it away. What I'm going to do is I'm going to press three, and I'm going to go to the X ray, go to object, go to X ray, and now you should be able to see if press control A all transforms set origin to geometry, I should be able to see once I start pulling this up, it actually rises above this one here, as you can see. So we need just a little bit of it rising to actually make it now. So if I turn this off, if I come in now and press tab, A, E, pull it out, you will see although it's not cut yet, you will see that it's just above that. So it's just above sticking above like so. And I think, actually, maybe, maybe it's a little bit too high. So what I'm going to do is I'm just going to in fact, you know what? We've got roofs on stuff as well. So I think I'm just wondering if it is a little bit too high if it is about the right height. You know what? I think I'm going to leave it like that. Now what we want to do is cut it away. Now, because I've just showed you, you know, extrusions, how it is, we need now to pull it out a little bit, and now I need to do is I need to cut it down here. Now, to do that, it's way easier if we get rid of these parts here. So, let's press Control plus, delete faces. Now we've pulled it up. And then what we want to do now we split this off, we can press the question mark and just work on this bit on its own because I'm going to give you some dimensions to actually work with. So now let's come in. And what I want to do is I want to get the center of here. So I'm going to press three. Shift S, cursor to selected. That's going to put it right in the center there. Okay, so what we're gonna do is we're going to bring in a cube. So, or a plane can do it. We'll bring the plane, actually, I'll make it a little bit easier. Bring your plane, spin it round, so R Y 90. Let's spin it around, like so and the size of the actual plane is going to be 3.55. I think it's on the y. So let's put it on here, 3.55 like so. So this is going to basically be the whip. So what we need to do now is we need to cut it from here so you can see from this part of here, going all the way down, and we're going to cut that way. So the best way of doing that. Well, first of all, the best way of doing it is by putting something right in the center. So in other words, put in a um what's it called an edge loop right in the center, and then we can actually mirror it from one side to the other. So the way we're going to do that is if we grab this one, this one, and this one, and what we can do is we can right click and subdivide. That then is going to put a division right down the center for us and make it really, really easy to cut each side. Now if we come in, we can actually come in and grab this side and this side, press delete and face and now we already know that the orientation is right in the mirror, so we can come back now and add in a mirror. So come in, generate a mirror. That then will go to the other side, turn off the X. And now when we come in, we can actually come in and cut this down. So how am I going to cut it? I'm going to cut it perhaps the easiest way which will be with a bisect. So all I'm going to do is come to mesh. I'm going to go down to where it says bisect. And then what I'm going to do is cut this away. Now, remember with the bisect, you can press the space part to move it a little bit if you want, or you can move it with this here. So I'm going to move it a little bit over with this here. The main thing is with the bisect is you want to straighten it up, so I'm going to pull round about there. And then I want to make sure that it's on zero. So this z, you can see is a little bit out. So let's zero out the z, and then I'll make sure that's perfectly straight. The next thing that I want to do is I want to come over and delete this part and this part, delete and faces. And there we go. That is what we've actually got. Now, let's come in now and delete this actual plane because we're not going to need it anymore. Now, the overall length of these, we want it to be on 8.45. But what we're gonna do is we want to lift it up from the bottom. If we just put this to 8.45, it's going to squish it all down, and we don't really want that because we want to keep the same kind of roof as what we've got all the way around. So what I'm gonna do instead of doing that is, I'm just going to come in and lift up this side slightly, press the tab but 9.21, lift it up 8.77, bit more, 8.45. There we go. I got lucky. I got lucky with that. But anyway, now what we want to do is we want to actually bring this out to have a width of round about half a meter. So if I come in and I press A and then E and pull this out, like so, we want it to be round about not 0.5. So not 0.5, quite chunky, and that then pretty much is ready to go on the top. Now, the one thing is, I want to make sure as well the top it's probably, you know what? I think I'm going to leave it like that. It may need to come in a little bit on the top of here. So I'm going to first of all, though, applma mirror, control A mirors sometimes cause a lot of problems. Now I want to do is I want to come in. I want to make sure all of this mesh is done correctly because you can see here at the moment, we've got one coming down the middle. We've got a piece coming down here, you know, and it's not done correctly, and that's going to cause us problems because we will be putting things like windows and things like that in. So what I'm going to do, you know, instead of doing it this way, I'm just going to take the front of it now. I'm going to press huck D. Like so, and what I'm going to do is I'm just going to bring these in a little bit more. So I'm going to grab both of these, not this one, this one, this one, and this one. And then I'm going to press S and Y and just bring them in just a little bit like so. Now what I'm going to do is instead of having this here because we can see that, you know, it's really a bit of a mess here where, you know, everything kind of doesn't go together. We've got a piece here. We've got a piece over here. Why is this piece even here? Doesn't make any sense. So let's press L P selection. First of all, Control A, hold transforms right click. Set origins geometry, tab now, grab the whole thing, and let's press delete and limited dissolve. That then is going to dissolve all of those edges for us, and now it's one plain mesh. When we've got one plain mesh, actually, it's easier to work with. It's easy to put a boolean in here. It's easy to do things with. So it's up to you whether you want to actually put just one edge loop going in there, because pretty much around the top, we're not really doing a lot with that. So I think one edge loop in here is going to make this extremely easy to work with. So let's do that now. So what I'm going to do is grab this one and this one. And then I'm going to press the JB, like so, and there we go. Alright, now we need to pull it out. So I'm going to press A, E, pull it out, set this then to 0.5, like so, and there is our part. Now, let's delete this one out the way. Let's bring this one in. Control A, or transform, set origin geometry, press the little question marks, bring back everything. And now you should be able to pull that back into place. And that is how it should actually look. So you can see that is now stuck out the right way. We can actually put this on here over here. As well as that, we've also got 55 degrees as well, so we know what this is, which means we can put this right in the center of there. We can do that all the way around on these things, so that then makes it really, really easy. Now, what we want to do now we want to take this part into our modular pack and build it out to make sure that it's looking exactly the same as this. It's exactly the same as this. Now, what I want to do is I want to take out the bricks. So I want to take the bricks, and I want to match them up with this. So all I'm going to do is I'm going to grab both of these, I'm going to press Control C. Then what I'm going to do is I'm going to go back now to my modular pack. So let's open up your modular pack if you're not going to open. So here is my modular pack, and then what I'm going to do is press Control V and bring it into here. Then finally, what I'm going to do is, I'm just going to grab both of these. As 90. Let's spin them around. That was the wrong way. So As 180, what am I talking? Z 90. A z -90. So z -90, spin them around like so. So now you should have it. If you click on the Shader, you should have the bricks there. You'll have this part here. And now we should be able to, you know, work on this part as well. Alright, so what I'm gonna do now is I'm just going to save out now I've brought these in. And then what I'm gonna do now is work on this on the next lesson. So we'll get working on this. We'll build out the columns and things like that, basically so we can just bring this in and slot it into place. Alright, everyone, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 45. Modeling Roof Support Structures: Welcome back, everyone to blended building master class from concept to final render, and this is where we left it off. Now, if you come over and bring over your resource or reference guide, this is the part that we're building out. So this part along here, this top on here, which we'll make separate as well, because we want them part of it and basically separated. So this is the part we're building out. And what we're also trying to build out, so we don't have to keep doing it is this part here. So we're going to build this part. We're going to build this part on top. We're going to build these points going down, and we're not actually going to put this in because the thing is, have they all got it in? You know what? Actually, they all look like they have it in. I'm not sure if like they have this pot in going all the way over, but I don't think so I think all we'll do is we'll build this part, and put this part on top. We might even get away with not putting this part on top as well. So you know what? We might just build out this part. Build this down, and then from there, we can actually stick our windows in. The thing is, you can see here, these windows pretty much look all the same. Let's look around the rest of it. If we're going to build the parts where they're actually coming out. Yeah, this one here looks exactly the same as well. I'm just wondering if I've actually put the windows in because that might make things easier if we actually put this hole in, which means that we would leave this for now because they're all basically pretty much the same, and it would make it a lot easier. I'm looking at this side you can see this is the part here, going all the way down. They've got different bombs on. But pretty much, they all look the same with the windows. And that was the one I'm looking at. Even around this side, it looks pretty much the same. So I'm wondering whether we should actually just create the whole thing. Now, of course, that brings with it its own problems. We actually have to build windows then at that point, and we do have three different types of windows. But then that's obviously taking it to another level of muddling. So I'm just wondering whether we actually do that. So I'm just going to come in and look at where so we have our doors here. We have our windows, which are around here because they're quite difficult to make windows, and we have all of these other pieces. So I think what we'll do, actually, is we'll create first of all this top. We'll put the columns in. Then we'll come and we'll create this part here. So this one here, because we haven't done that yet, this is for the top underneath the actual roofs and things like that. And then finally, what we'll do is we'll actually probably move on to creating our windows. And then once we've got those in, we can finish that part on the outside. So I think from now, we should actually do a little bit more work in our actual modular pack, so in here. So I'm going to save out this. I'm going to save out this a little bit. And then what I'm going to do is I'm going to go back to my gray box, which is over here. I'm going to go to file, save that out. And then what I do, you can close that down for a bit if you want to. I'm just going to leave mine open, but I'm going to do some work on here, I'm going to do some work on the windows and this topic going along here. We have to get round to eventually anyway, so let's actually do that now. So first of all, then what we'll do is we'll come to those bits that I've said that are underneath, which are going to be if I pull up the reference guide again, they're going to be let me find them. So it's going to be this one here. So we're going to do it pretty much the same way as we've done with the support. Apart from these, we'll be roof support. So let's move that over to the left hand side. And then what we'll do is we'll just move both of these just over here just for now. Let's set our curs, then right to the center, so shift desk, cursor to world origin. Let's bring in a cube, then, so we're going to bring in a cube and the dimensions of this cube. I want this on naught 0.8. I want this one on naught 0.38, and then naught 0.76. Let's put it on something like that. Now, these dimensions here, if I press a little dot bu, these are the dimensions that are one for my under the roof support. So what I'm gonna do is just move that to the side. And I'm going to then bring in a plane. So shift A, let's bring in a plane. Let's spin it round. So RX -90 or Rx 90, so Rx 90, and then let's make sure it's the right side. So all I'm going to do is I'm just going to press S, bring it down to the right size. You know what? That's silly doing it that way. What we'll do is we'll just grab the back of this. Shift D. Grab the back of there, and there we go, right sizing. Okay, P, selection, grab this one, Control A, or transform set origin to geometry. Soap, and then we're gonna press tab. And then all I'm going to do is pull it out. So I'm gonna pull it out. You can see it's lined up with this. I'm going to pull it out to round about here. Like so, and then I want a top and a bomb. So what I want to do press control lay, left click and I'm just going to move that up somewhere like here, and then I'm going to press Control, left click and bring that one down somewhere like here. Now, I want some bricks in here, and I want these pulled out. So now what I need to do is grab this one, so this part and this part, and then go seven over the top, and then E pull them out to be roughly in line with this one here, like so, and you should end up with something like this. And now I want to do is. The other thing is when I've done this, am I accounting for the bottom of the thing. I don't think so, so I think I need to squish it in because I'm going to put a bottom on here. So if I put it on object mode, I should be able to then put it onto cavity. Cavity has gone off for some reason. Let's press three to go into one to go into front view. Let's make sure we're actually seeing through there so we can see we've got a line here. No actually seeing that, so you know what? I'm just going to turn that off. There we go, like so. And then let's press S and Z and squish it down just a little bit like so. Bring it back up then in line with this one. And then what I want to do is put a p under here. So I'm going to press Shift S, cursed or selected. Shift A, bring in a cube, make the cube march much smaller. Like, so bring it down to the bottom. ETNs Ed, bring it up. Like, so we know that now is right in the center. And then what I want to do is I want to put a bottom on here as well. So I'm going to pull it up a little bit, press EnsEd, pull it up a little bit more like so. And then what I'm going to do is I'm going to duplicate it, so shift D, bring it down into place, and then S and X, pull it in. Like so. Now, once it's something like that, I can still see that this is probably still a little bit out, so I'm going to press ssn's head, squish it down a little bit, pull it up, bring this part up and this part up more in line with this going along here. And I think now it's nearly there. So essens head put it into place, and there we go. Alright, that's a roundabout in line. Maybe maybe it needs coming down a little bit more. There we go. And then what I'll do is I'll come in now and bring this bottom part. So this bob section, I'm going to bring more in line just so it cuts into there like so. Alright, so let's see what we've got. So if you put it on object mode now, take off the transparency. I'll call it ghost, but it is transparency. And then what I'll do is I'll pull these out to the front. I'm going to press S and Y, squish them in, like so. And what I also want to do is make sure that this one is a little bit wider than the bomb one. So S and Y, pull it out. And there we go. And now we're going to do is pull them to the front. So pull them to the front like so. Now, it's up to you if you want to make these more intricate, you know, on your own, you know, more intricate than what these are completely up to you. Now, what I want to do now is bring in a cube. So shift a leads, bring in a cube. And what I'm going to do is press S. Like so, and then I'm going to pull it over to this side. And then what I'm going to do is press S and X. Bring it in. Add some Y. Pull it back because we want it just in here, like so. We don't want to waste any of the backs or the sides or anything like that. Now, there is something you should know about these. They might poke up a little bit over the top. So when you're deleting the backs of them, only delete the backs of these bottom two, because this one might poke up over, and we need to think about that when we're actually creating them. Now what I want to do is I want to bring this up, so Eons, bring it up into place, pull it back. Into place slightly, like so. And then what I want to do is control A or transforms right clicks origins geometry, tab, grab the front face, I to insert, like so, and then we'll pull that out. So E, pull it out. It place, like so. Now, we do want one each side of this, and the problem you're going to have is where is the center of this? So we need to work out so it's properly centered. So what we're going to do to do that is we'll press Control R. Left click, right, click Control, left click, right, click Control, left click, right, click. Now, we can see now that we've got one in the center, and then we've got these two here, but we don't really want these two like that. So all I'm going to do is pull them out. So S and X, pull them out to where you want them. And then what we'll do is we'll grab this part here and we're going to press Shift D. Like so, and then I'm going to come back to my line. So if I come back to this line here, I can press shifts, cursor selected, grab this one, press shifts and selection to cursor. You can do selection cursor, keep offset, or you can do selections cursor. And, you know, sometimes it changes the way that it actually goes in. But for me, I'm going to pull this into place, pull it down. Like so. And I'm just going to work out roughly where that's going to be. So this is the center of here. Now, if I use the mirror, I can go exactly over that side. Now, I don't really want to do that because I know this one's lined up perfectly, but this tells me this is where I can put it, and then we're going to get an even distance between them, and that is what I want. So all I'm going to do now is press Shift D. Come to this one. One to go into front view, and I'm going to pull it over right to where this one is this shift done. Hide it out of the way. Delete the other one then. So delete, tach, bring back the other one. And now what I want to do is I want to mirror it over the other side. So I'm just going to grab this one, shift desk, cursed and selected, grab this one, and right click Set Origin three D cursor. And now we can mirror it right over. So add modifier generate a mirror, press control, and there we go. Now they're all lined up perfectly. And now we can join them all together. Before we do that, however, though, we want to make sure that we're deleting the backs of things that we don't actually need. So these bags, though here, sometimes they might not stick in the wall, so we need to be careful we're not actually deleting those. These backs in each of these, though, we can actually delete. So if I grab all three of these, I can press tab, come in, and just delete those because they're in the wall anyway, delete and faces. Now, what about the tops and the bombs? We can also get away with deleting the tops and the bombs off here. So Xray on. Let's come in, grab the tops of all three of these. Come underneath. Bottoms of all three of these pretty delete and faces. And that then is going to save us a lot of polygons in the future. So now I can do is I can come in, I can join all of these together, so join all of this. Like, so press Control J, Control A or transforms set origin to geometry. Now on the next one, what we'll do is then we'll bring in the array. We'll also then get well, we'll delete this out of the way. We'll save that'll work. We'll bring in the array on the next one. We'll get the stone. So similar to this on here, and then this will be our roof support. From there, then we can actually start creating this part out, so we can start creating that part out, and then we can move on to our Windows. Alright, everyone, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 46. Enhancing Upper Floor and Roof Front Details: Welcome everyone to blend the building master class from concept to final render, and this is where we left you off. Alright, so what we'll do now is we'll actually unwrap this. So make sure you resell your transforms, press the tap button, A, U and SmartUVPject. Click. Okay. Now, I want to make sure that, of course, these and these look exactly the same. So we also want to make sure that we've got the bevels on here as well. So all I'm going to do is I'm just going to grab this one. Grab this one here, press Control L. We're going to copy modifiers. We're going to press Control L, and we're going to link materials. Now I want to make sure, as you can see, this one is very different to this one, so I really want to bring this out. So what I'm going to do, I'm going to grab this one, go over to my editing, and then I'm going to zoom in with the dot bon, press the Ab. I'm going to make this much much smaller, like so, press the tab bon, and just try and line it up with this. Even there is too big, so bring it down. Like so, and there we go, now it's looking very, very similar to how these look. Again, it's up to you how you want your brick and things like that to look completely up to you. All right, so now we've done that, we can go back to we can go to actually Asset Manager. That will be the easiest. And what I want to do now is add in the array. So if I turn this on, you can see the arrays working perfectly, which is great because we added that as a modifier. These as well, I got the array on. I don't know why we have the array on these, because I copied them over, it means that when they come through, they have got this modifier on. Luckily, though, the array actually isn't working because we've got it turned off on the render and we've got it turned off on there. Okay, so now I want to do is I want to come to this one, and I want to put it in support. So we've got support tops and bombs. Let's make one more, and we'll call it and then if you make any more roof supports, you can put that in there. So supports. And then we'll call it roof, like so, and then put that in there. And then what I'm going to do is I'm going to go over here, and I want to put it into support. So first of all we got sports tops and bombs. Let's make a new one then. So we'll call it same thing. So supports. Roof. So and then what I'll also do is name it, and we'll call it support. Decorative roof. Like so. And there we go, we've got everything in there now, and now all need to do, right click and Mark as asset. Come to unassigned, and then what we can do is, wait a minute, because I need to make sure that's okay. That doesn't look okay to me. So let me just clear the asset. And let me go to Control A, A transforms set origin to geometry. Let's try that again, right click, Mark as asset. And I think it's a shading issue, actually, that bit. I think it's just a shading. Sometimes blender, it really doesn't do that good of a job in actual taking the image. You know what you're doing. Sometimes you can turn it round, turn it back, and then you're not going to get that. But generally, it doesn't actually put on the stone, so it's a little bit harder to see than what it needs to be. You can, of course, come in here and create your own images in here. So you can say, where is it? There used to be a button where we can actually create our own images. Have a looks a look on here. There's a preview. You can see the preview here. I can change this for a preview of my choice. So it can load and custom preview, for instance, we can do that. But in all honesty, I'm never going to mess around doing that. Alright, so everything's in. Let's actually save that out. And with this, I'm just going to leave it with the rest of those. Okay, so now we've got roof support in. What I want to do now is actually come and get to work on this part. So on this part, I want to make sure that this has a full support going across here. So if we bring in our reference, let's bring in our reference over here. So you can see now we've done this part. Let's come in over them. And what we want to do then is we want to create this pot going up, and we want to create this pot separately and on top of this one because it's going to make it a little bit easier. So what I'm going to do is I'm going to I think, first of all, we'll create this part. I'll make it a little bit easier. So let's pull that over to that side. Now you know what you're creating. So the easiest way to do that is just come to object mode, grab this part here. So what are we going to do? Just press dot, making sure you're there. Let's go to Mullin because it is going to make it a lot easier to actual we've pressed the dot board again, go to Object mode. And now you can see very, very easy to work. The other thing is, of course, you don't need to see all these, you know, all the time. So because of the way that we've sorted out, you know, we can come in now and pretty much hide most of those, like so, hide them out of the way, and there you go. And now we can actually it's going to speed up the viewport if it's slowing it down a little bit. Alright, so how do we create that first part? So what I'm going to do is I'm going to come in. I'm going to grab this part here, I'm going to press Shift D. And then what I'm going to do is I'm going to just move it over a little bit. So I'm just going to move it over here. And now what I want to do is pull this part out. So I'm going to come in. I'm going to grab this bottom part. I'm going to pull it out based on whichever axis it is. So it's going to be for me, the X, so I'm going to pull it to something like here because I want a column going actually under there. All right, so that's the first stage. Now, what I want to do is split this off, so P selection, split it off, and then I'm just going to press Control A or transform set origin to geometry. Next of all, then, I'm going to bring in a new modifier. It's a very, very handy modifier. Never used it before, and it's called solidify. It basically turns something from two D into three D. So let's come add modify, generate, solidify. Press the dot board, and then what we're gonna do is bring it out, like so, make sure even thickness is on. It will make a difference. You can see it's slightly slanted, and there we go. Simple as that. Now, the other thing we want to do is we want to make sure that this is stuck out a little bit. So even though we've got solidifion, we can still come in, press the S Y and then bring it out a little bit like so. So we've got a little bit of a lip on the front and back. Now, we don't know if this is the right thickness at the moment. So let's bring in our column. Now, our column obviously is under here. So what I'm going to do is I'm going to grab this. I'm going to press Shift D because we don't want to have this as Old and then what I'm going to do is press three or one to go into front view. I'm going to press G and just slide that into plate because this is where we actually want it, and then we're going to pull it back into plate like so. Now, remember this is sliding into the wall. So this column isn't designed to go all the way through it. It's designed just to go onto the front of it. Like so. Now, if I pull this out, so pull, pull, pull, pull it out, I can see now I need to pull this bit further back. Is that big enough lip on there? I think maybe it is. I think this is not quite thick enough, and I also think that this needs to come further this way. So if I bring it, bring it all the way over, you can see here, I can get it just into there, like so. And then what I want to do is bring this lip out a little bit. So I can pull it out a little bit, keeping the solidify the libifle update. And then what I want to do is just make sure, then this back. So I'm going to grab this back and this back. Pull them back into place, giving me a little bit of a lip on the back, as well. And there we go. Okay, that's looking really nice. This is nearly right. I just need to bring this down probably to the bomb. I can keep this on there anyway, so I can keep the geometry node on there. Can I actually do that? Actually, I might not be able to do that. Yeah, I probably won't be able to do that because I'm just thinking, can I save them all out? The problem you've got is here. If you try and save all of these out, let's say we save all of these out as an asset, it doesn't do a good job at saving them all out. So we need to basically turn this into mesh before saving all out. So what I'll do is, I've got a bomb here, probably better off leaving the bricks a little bit higher up because we're always going to have some saw a bob on here, so some saw a post, it's just basically which post are we going to have. So what I'm going to do is I'm just going to grab it. I'm going to move it up a tiny bit, like so. Then what I'm going to do now, I want to mirror this over the other side. So I'm going to come into this main part. I'm gonna grab this, I'm going to press Shift desk, cursor selected just to put that right in the center. I'm also going to come and make sure that I'm happy with the thickness. I think I need this a tiny bit thicker, so I'm just going to bring it up, holding the shift bon down, like so and then what I'm going to do is I want to mirror these over the other side. So I'm going to press I could actually already add in mirrors. So SiginT Dcursor, add in a mirror. And we can pull that over the other side like so. Is that in the right place? Let's have a look? Yeah, it looks in the right place. Grab this one, add in a mirror. So generate a mirror over the other side. W mirror. There it is. Let's put it onto the Y, turn off the X. In fact, right clicks origins three D cursor. Taking off the Y, put on the X, and there you go. Now it's mirrored over the other side. Now, the problem here is, though, if we do it like that, we won't be able to press controle on it because we've got that Jumptinode on there. So that's a problem that we've actually got. So what I want to do, and I also want this to be a little bit different. Now, what I could do is I can just simply click this off, bring this over now, so I can actually press Z. So shift D Z 180. And spin it around like that. And it just means that I just need to move it back now. So I want to mirror it back the other way. So how am I going to do that? I can just come in now and go to object, mirror, and I'm mirroring it on the Y, and there we go, put it right into the same place as this one here. Hopefully you understood what I did there. Now what I want to do is I want to change the seed of this one to make it look different from this one on this side. So something like this, different seed on, and there we go. Now, we are pretty much done with the first part of it. Now, of course, we need to start our windows and put those in there. So we're going to leave this as is just for now. The only thing I would say is that on the next one, we should probably bring in the bricks, so we'll bring in the bricks. You know what? We won't do that, actually, and I'll tell you why. We're going to be using a boolean to put the window in here. So there's going to be a round window in here. So there's going to be a round window in here and a square window in here, and then it's going to be going across like so, and then you're going to have some sort of base on the bottom. Now, if you're using this, by the way, it's incredibly easy to use the grease pencil to show people exactly what they're doing. Now, if you like me, you try and press Control's to get rid of it. Don't do that. Just come up to where it says notes and just minus it off, and then they'll all disappear. Alright, so that's what we'll do. In fact, you know what? Before we do that, on the next lesson, we'll add in this top. We'll add in the top, and we'll also add in the bit that goes along the top of the roof. We'll also add that bit in, and then finally, we'll move on to our windows. Alright, everyone, so hope you enjoy that. I'll see you on the next one. Thanks a lot. Bye bye. 47. Designing Front Rooftop Decor for Stylized Buildings: Welcome back, everyone to blend the building master class from concept to final render. Now, let's bring in this top even. So shift day, let's bring in a cube. And the size of the cube, I'm going to put at not 0.742, not 0.707 and not 0.289. Something like that should be perfect for the top. And, yeah, that's the size I think we should go with. So if we put this in, actually, you know what? We might need to make it a little bit thinner for this part here, and this is why I didn't actually save it out yet, so we can press X and Y and bring it in a little bit. Pull this forward, and I want it fit in just on there. Like so you can see it's fitting pretty nicely. Alright, so now let's bring the top bit in. So what I'm going to do is I'm going to press Control or left click, right click. And then I want to bring this top bit in. So they select Alt Shift and click. And the problem you're going to have here is when you try and bring this in with Alts, you can see you'll bring the whole thing in. If I press the E button and then try and bring in with Alts, you can see we also end up with a lot of issues here, especially in the top. It's you can get away with doing this, but you just need to make sure that you are aware of those problems. When you come to the top, you need to press Control plus, press delete, and press faces. This only happens basically when you're bringing something in with extrude inwards. So just remember that if you bring it outwards, everything's normally okay. If you bring it inwards, you normally end up with a few issues. So what I'm going to do is just pull that up now. Put it on top of there, and let's have a look at how that looks. Like so. And then what I'll do is I'll put a top on this. So F, fill in, put a top on there. Alright, now let's press shifts, cursed to selected. And now I want to do is create this top. So I'm going to create this top here. So we're going to have cylinders, bringing it up, creating this lit ball on top of there. Okay, so the way I'm going to do that is I'm going to press Shift A. I'm going to bring in a cylinder. So mesh, bring in a cylinder, not on 32, of course. Let's put this on something like 20. So 20. Let's right click and shade Smoove just to make sure it's okay, and I think it is. Let's bring it down to where we want it. SNE and let's sit it right on top of that. Now, first of all, we're not going to need the bottom. So let's just press question mark. Come underneath. Delete this bottom. So face, delete faces, and then press tab and question mark again to bring everything back. Alright, so far so good. Now let's come in, lift it up a little bit more. Now let's come in and make this top part before going inward. So what I mean by that is we're going to press IF insert We're then going to press E to bring it up. We're then going to press I again to bring it in, holding the ship but like so. And then what we're going to do is press E to drop it down like so. Now, we might as well use this to create that spire going up. So what I'm going to do is I'm just going to press I again to bring it in. Like so. And then what I'm going to do is I'm going to create the spire, so I'm going to press E to bring it in, like so. Now, you will notice if I try and just bring this in now, so if I press the S butt and just bring it in like that, I'm kind of not looking for that shape. I want a different shape. So what you can do instead of doing now is if you can press Control, bring in a few edge loops, left click, right, click. And then what we can do is we can come to the top. Grab the top of it, and instead of just bringing in with the S bon, come over to this little bone here and it's called proportional editing, and it's going to help you get loads of different shapes. So you can see you've got sphere shape or smooth shape. Now if I just leave it smooth to start with, press the Sp, you'll see a big bar going across. Now if I zoom that bar in, you'll see it only affects wherever and bringing that bar out to, which is really, really nice. To create, you know, something like a spire or something like that. Now we can also put it on different ones, so we can have it as a shop. So again, we'll press the Sp and you can see now it creates a shop. We can also inverse it, so inverse square, and you can see now it's creating something like that. Actually, I like this one, so I think I'm going to stick with this one. Alright, so now we need to do is put a sphere on top of that. So shift day, let's bring in a UV sphere. Let's turn this down to something like 12. Let's turn down the rings to something like 12. And again, let's see how this actually shades smooth. So all I'm going to do is right click Shade Smooth, S to bring it down to the right size, and then bring it up, and I've lost my sire for some reason. Let's have a look what actually happened there. So, Boy brought that in, it was on here. Maybe it turned this into just a sphere. So what I'm going to do instead, shift D. Let's bring in a sphere on its own. It's a UV sphere. 12 and 12 is the way we want it. Right, click shade up to smooth. Press the S but, and there it is. Maybe it changed it into that for us, which I didn't really want. And let's bring this down to here, like so. All right. Let's have a look at what that looks like, and there you go. Now, it's up to you whether you want yours a little bit higher. So I'm just checking my height, so it's one, and with this one, let's join together. Control J, control A, or transons right click Set origin to geometry. Okay, so I think it needs to be maybe a little bit higher. What I'm going to do is I'll just pull this up without proportional, turn it and you can see it's actually I didn't even know it was joined to there. I don't actually know why it's joined to there. I didn't think I'd joined it there. So let me just come back, pull that back. Let's see if it's all joined. So it's not all joined. So we can see now, though, if I grab this, pull it up. There we go. I've not got proportional editing on, so that's okay. Now, if I come in now, these two are joined, but I just want to pull this up a little bit. So I want to pull it up a little bit, so I'm going to split this off. So I'm going to press L P, selection, split it off. And then what I'm going to do now is come to the top of here. I'm going to pull it up with proportional editing on, so I can just pull it up and it will kind of pull up the rest of it, keep in that actual shape what I want. Now I can join both of these press control J, and it's a little bit taller than what I want. Still not perfect. It's still not exactly what I want. I still want it probably a little bit, a little tiny bit higher. So I'm going to come if I grab all these, you can see they're joined together. I don't really need them joined together. So what I'm going to do is I'm just going to go, Oh, shift click Control plus, Control plus, Control plus, ContoPlus Control plus. So instead of pressing P, I just want to split them off. From the mesh. So I want to split it within its own mesh. So the way to do that is just press Y, and now you'll see that I can actually split this off without portion, I can split this off. So that's another way of splitting things why you're in edit mode rather than trying to make everything different objects. So let's now hide it out the way. And then what I'll do is I'll pull this down a little bit. So I'm going to grab this Alt Shift click, and I'm going to press E just to pull it down. Z to pull it down a little bit like so. And now, finally, I can lift this up. So if I press L and L, lift it all the way up, lt H, bring back the part, and then grab this part and this pull it down then into place. So it's just setting there, and then I can do this. And that is around the right height I actually want it now. Before it looked a little bit too low for the overall building. So yeah, I think I'm happy with that. Now, what we want to do is with this, is we actually want to have this as a separate piece. You know, you might want to put it on something else and to put it onto here. So I'm going to actually bring this over, so I'm going to grab this. I'm going to join it together. First of all, Control J, Control A or transform set origin to geometry. And then what I'm going to do is I'm going to press Shift D. Just bring it over here, like so. You know what I'm wondering if I press Alt D but then I'm going to be joining it all up together, so then I might end up with other problems. So I'll just press Shift D for now. I need stone on here, and so this is a spire. So we've got a few spires in. I'm going to first of all, put it down, so I'm going to put it down into the floor, like so. And then what I'm going to do is now, I'm going to you know why I'm just thinking if we'll paint it the same time as we're doing the windows. Probably so probably better off doing it in that way. I'm just wondering now if I go to this part here. So I've pretty much built this part out. I still need this part, so we'll build that part out next, and then I think we'll come to our windows. Alright, so let's put that over there. So we'll come to this part here that I've just showed you. So let me just go back and show you. This is this part here, so this goes on top of our roofs. We also need this part in here as well. But the thing is, I don't know what size of that is yet. We need it on the backs, as well, because on the backs, you know, it's different. We have to pull it all the way up, things like this, and we have to cut it. So generally when we're doing this part, it might be better just getting the overall shape and then just, you know, kind of turning it and putting it into place. It might be better off doing that way. And I will show you how to do that because there's a little trick to all of this, as well. I'll show you that actually on the next lesson. So what we'll do for this one is we'll just finish with this. On the next one, then we'll get this part in, and then we'll start with our windows. Let's go to file, and let's save everything out, and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 48. Flipping Normals and Initiating Window Design: Welcome, M, everyone to blend the Building master class from concept to final render. Alright, so what I want to do now is I want to create this part going over there. So let me just get my scale on here. So let's bring in a cube, first of all. So Shift Day will bring in a cube, and I'm going to do it a little bit different to how I did my own, actually. So I'm going to come in, first of all, with a scale. So 5.43. This is where I want it to be round about 1 meter, but I'm going on the X O I actually want it the other way round, so on the Y 1 meter. So it's going mo meter that way, and then I can basically duplicate it going over. You know what? I think we'll put it at 1.5, I think, should we go away with two? Could we go away with two? You know what? We'll have 2 meters. Then what we'll do is we'll go to the next one, which is the X, and we'll have this on not 0.3, six, two, and then finally the Z, and we'll have this on naught 0.216, like so. Alright, so that is the kind of scale that we want. However, we don't want it to be chunky like this. We want it on top of the roof, and we want this part here to be going in. So the way that I'm going to do this, so you can see no 0.216. So let's press Shift D. And then what we'll do is we'll bring this part in. So S and X, bring it in. And there we go. We can see how that looks. And then what we want to do is we want to press tab, bring in a edge loop. So left click, bring it up a little bit, like so. And then what I'm going to do is I'm going to come in. Put on my X ray, go to face select, and I want to grab this face here and this face here, not the one unneath, the one on the sides. So both side faces, press E, enter S and X, and pull them out. Now, make sure when you pull them out you are on medium point, and there you go. Simple as that. Now what we can do is we can press Delete and take off our X ray, and there we go. Now we've got that part in easy as that. Now, again, this part wants going over with our spire. So we're just going to press G, drop it down onto the ground plane, and then I'm going to save out or work. Now, the next part, this is a step up for sure. This is the actual window. So if we bring over, first of all, this part here with the windows, let's go to our windows. These parts are done now. We can actually put those over there out of the way. Now we come to our windows. Let's make this bigger, and let's have a look at what we've got to create here. Now, it might seem counterintuitive that this one is probably the most complex one, but the thing is all the skills you're going to learn in this one, you can then replicate to the others. So it's probably worth building this one out first. And I think the way that we will do it is we will create a plane to give us the right dimensions, and then from there, we can start building it out. Now, there are a few things that I want to go through before we actually start these windows. If we come back, and you don't need to do this because I'm just going to show you something. If we come back to our gray box, there are two ways of building things like this out. First of all, the gray box absolutely necessary. You need to build that out. But the other way then of doing it is once you build your gray box out, you can actually start building these parts, so all of these parts within the gray box itself. So you build them all in there. And then what you do is you save them out as part of a modular pack. That is the way that I like to work. The reason we're working on it this way is because I'm trying to show you how you can have a modular pack, a gray box, and a resource pack all at the same time. And now you can get a really, really nice flow between all of those blender files. If we came and we just started building within this part itself, we're going to end up with lots of duplications. For instance. We're going to end up in a little bit of a mess because when we finished, we have to send all of these out to their own modular pack to split it up. But generally, that's how I work, so just be aware of that if you think this is a little bit of a weird way of creating it. It makes the course flow better. It makes it so we can choose what's easier to actually create and it's then easy to show you how we can bring them in, put them in, duplicate or instance things, much much easier to work in that way. All right, so now I'm going to do though is put this down. And what I'm going to do now is talk about something else. So we're going to talk about normals now. What I want to do is just click all of these on. Like so. And normals, what are they? Okay, so at the moment, you can see we've built all of these things out. It's something we should have checked before creating all of these things. We should have gone over it. So what I'm going to do is click this little down arrow. And you'll notice right down to the bottom is something called face orientation. Click that on, and what you'll end up with showing is all of the normals that are the wrong way round. So you can see these are all the wrong way round, so I need to actually fix these parts. So what I'm going to do is I'm going to come into you. And I'm going to tell you what it is. So why is it red? It basically means that this is inside out. And it's important if we're sending these through, especially to something like substance painter or if we send it through to something like Unreal Engine, for instance, because generally, to save on GPU or processing, we only show one side of the mesh. So we only basically render like the inside or the outside with the shader. If we're talking about something like leaves in unreal engine, then you will render out it would be a two sided shader, for instance, and it will render out the front and the bike. But generally, to cut all of that down, we only rendering the outside, which is most of the time, if not all of the time, and the inner never gets rendered. If it is the wrong way round, it's red like this, it means that when you bring in substance, it'll be invisible. You won't be able to see it because it's rendering the outside and the outside is not the one turn round. If you send in some really have the same problem unless it's a double sided Shader. So when we're actually creating these, we need to make sure that we've got them the right way round, because if not, we're going to cause ourselves a lot of problems. Now, I don't think I brought any of these in now. Let's go back to our build and actually see. I'm hoping the update. So if I come in, put it onto face orientation, you can see that all these all of these blocks are the wrong way around. And we actually need to fix that. We should fix this before moving on. So I know I said don't open up your grey box, but remember it for later on, but let's go in and fix these problems that we've got. So I'm going to put in object mode, I'm gonna then go in press tab on, grab each of these where there is a problem. So each of these, each of these, each of these. Press the tab on, press A, press Shift N, and what I'll do is turn most of them around. You in still end up with some problem ones like this. It always happens like that, and I'll show you the other way. So we'll come to this one now, Baslect. We'll press Shift N. And instead of it's spinning round, we'll just click on inside, and that'll turn it round for us. And then we'll come to this one here. We'll do exactly the same thing. So grab this, shift N, spin it round, and there we go. Let's now come to this part here, tab A, shift N, spin it round, and there we go. So everything now spin round, and you can see exactly what I'm saying. Underneath here, this is red, because that is the inside, and over the top, the one we see is the normal color because that is the outside. Alright, so all of that has been turned round now. The normals are facing the correct way, and now we can actually go back and turn these around. So I'm going to come press tab, shift in, spin them around. Come to this part, press tab, shift, spin them around. And now everything is facing the right way. Now, we can see these are also the wrong way, so we might as well spin these around as well. A, shift in, spin them around. This one here. We're not going to be able to spin them around because if I press shift in, you'll just turn around this one. So we'll come to this one, shift in inside, and now they're all spun around. And we check that we need to do before actually, you know, continuing. So when we've created things, we should be checking the normals. It's pretty important. If we bring in, so just to reiterate on this, how does it happen? That's one of the things that we need to know. So I will show you how it happens. So curse to world origin, bring in a plane, so shift D, bring in a plane, spin the plane round, so R X -90. And straightaway, you've got it facing the wrong way as you can see. So it's about rotation. And then what happens is, if I come in now and extrude this out, so E extrude it out, and there you can see exactly how that happens. Extrusion is a way that actually, you know, messes it up a lot of the time. Alright, so let's leave the way. Now we've got that. And what we're going to do is now now we've gone through all that, we're going to first of all, save out our work. We're then going to come to our asset manager. And what I want to do is just make sure now that this is the right way round If I zoom into this, come on to face orientation, and there we go. We can see that's actually corrected itself because it's updated it in real time. Finally, then we can go back to modeling. And what I want to do now in preparation for I'm just going to move these over. So I'm going to move these all over there. We haven't put these in. I don't think yet. So I just need to make sure that these three are not done quite yet. This one might be. I'm not 100% sure. But what I want to do, first of all, is bring in a plane. So I'm going to bring in a plane, and this plane is going to give us the dimensions for our first window, which will be the square one. So X minus, not x 90. There we go. And then what I'm going to do is come over here. I'm going to put the X on 1.77, and we're gonna put the Y on 0.566. And then that is definitely not right, so I need to fix that, actually. Let's press Control A because I didn't actually turn it round. Set origin geometry. Let's try that again. 1.77, no 0.566 and 2.04. There we go. Now, that should be the right scale. So I'm just going to bring my guy over. I'm going to pull this up as well and put it on the ground plane. There we go. And now you can see this is about the right size for the window. Now, one thing I don't want to do is I want to put it in the center, so I don't want to move out there. What I want to do is move my guy over to the side, like so. And now we can start working on this window on the next lesson. So, you know, when you're building your own windows, it's a little bit easier because you haven't actually got a plan in mind. You've got a reference, kind of, but on this, I want to stick as close as we can to the actual reference. So this reference is the square one. So this one here, I want to stick as close as I can to this one. So when we're doing things like that, we need to make sure that we're, you know, creating in a certain way. Normally when I create these, I'll create the glass probably first. Then I'll build around the outside, but we're going to do it the other way around. So don't worry if you're thinking, This is a bit we're building it this way. Yeah, it's because I'm trying to stick to the reference. Alright, everyone, so I hope you enjoyed that, and I'll see you in the next one. Thanks a lot. Bye bye. 49. Modeling a Basic Window Structure: Welcome back, everyone to Blender Building master class from concept to final render, and this is where we left off. Alright, so the first thing we should discuss is when we're creating these round archers for the windows. That's one of the key things that you want to get right. So what I'm going to do is I'm going to press Shift A. I'm going to bring in a plane. I want to rotate it round, so RX 90. I want to make it a little bit smaller. And then what I'm going to do is I'm just going to pull it into place. So I'm definitely definitely going to press S and X and bring it in. So like, something like this. I'm going to get it roughly to be the right side. I know it's not going to be exact because we can see that they've got a middle line here. We've got a lot of building that needs coming out here. So what I'm going to do is press S and X, bring it in a little bit more, and now I can kind of place it in the middle somewhere around here. Now, is it going down far enough? Probably want it coming down to here. And then what I'll do is, is that rotated a little bit weird? Yes, it is. I don't know how that happened, so let's actually come in and kind of fix my rotation on here. Noy sure why it rotated like that. So let's come to see if I can rotate it back the other way. Transform is on there. Not even Oh, that's why. This is rotated. Okay, so we rotated this a little bit weirdly. So if I come up, can I rotate this back on the z? That's the location, the rotation. Let's press tab and see. If anything, I can rotate it. I don't think I can. So you know what I'm going to do? I'm just going to press Shift D, bring in a new plane. I'm going to press R X 90, pressing one to go into front view. I'm going to bring it up then into place. I'm going to press S and X, like so, and then S and Z and bring it up. Now I'm going to do is, I'm just going to get the right scaling again because the scaling might be a little bit out. So let's see if it was actually out. So I'm just going to grab this scaling. So if I come to this now, I'll put in 1.77 or 1.782 0.04 and then I've not got any width in this, so I don't need to worry about that. So it's about the right scale now. Alright, let's leave that one out of the way. Now we fix that. Now, this one here, we need to obviously pull it up. And what we need to think about is you've got a top and you've got a bomb in here. So we need to make sure that we've got a top in there. We've got a bomb in there. And then we're going to put our windows in here. So if I press one, like so, and if I come to the center of here, so I'm going to press Control A or transforms set origin, two, three D cursor, and then we'll mirror this over the other side. So generate a mirror, put it over the other side. Now, we've got to now work out building around this because we want two windows in here. We need some kind of stonework going down here. So the first thing I want to do is bring in the tops of these, and then we can work on the bottoms of these. So let's do that first. So first of all, I'm going to press Shift A, I'm going to bring in a cube. I'm going to press the Sp to bring it down. And then what I'm going to do is I'm going to bring it up. And then I'm going to press S and X, bring it out all the way out to pretty much where our actual scaling is, and then going to bring it down because the scale wants to be all the way down to here. And then what I want to do is bring down the top. So if I grab the top, I can bring that down down to here, and then what I can do is I can press Control A, all transforms, set origins, geometry, tab, press the bone, and then it should come in nice and neatly, like so. Then finally, I want to bring this up. Now, one problem I have got when I brought this up is it's looking a little bit thin, as you can see, and I kind of want to stretch that out. Now if I come in and I just press and Y, we can stretch it out, but you'll end up with a bigger distance from here to here than here to here. So we don't really want to do that. We do, however, want to stretch this out to round about, let me just have a look. So on the Y, not 0.5, I think it's that way. Yes, it is. So what I'll do is I'll put this back. I'll press Shift. And then I'll come to this one here, and I'll put it on no 0.566. So 0.566, so this is the width I actually wanted. It seems actually pretty wide, but it's about the right width because this will be going into the wall. So then what I can do is I can now pull this back over here, and I can come into the front of it. Putting on my Xray and coming to the front of it now. So this one, this one here, and the front of it here, and then I can pull these out into place. And what that means is now, if I take this off, is that if I delete the other one out of the way, now we've got the same distance going all the way around, and now it's the kind of window that we actually want. I'm also going to pull these out. You see that flashing. Sometimes you'll see that in games. And basically that is because the faces are too close to the other face. That happens a lot in games I will happen in blender and things like that. All right, let's press Control A, A transforms, right, clicks origin to geometry, and there we go. 0.79, no 0.588, not 0.207. What is this actually? Why? Yeah, that's right. No 0.7 is absolutely right. We've got that net there. Now we can do is we can pull that back a little bit. So that goes into the wall. And now I need to build out these bricks going down the side. So we need a chunky brick here, a part going down, and a chunky bit down the bottom. So let's press Shift A. Let's bring in a cube. Let's press one. Let's press the S bone. And all I'm going to do is pull this over to this side, and I want to fit this underneath this part here. So press in the S born. Fit this underneath here, and you can see why I'm trying to get everything to scale. So we can see at the moment, the windows are probably going to have to come in a little bit because this is I'm just wondering if I've got this the right width, and I think it might need to be. I'm going to put this into where I want it. You know what? I'm going to grab this. I'm going to press shifty. And then what I'm going to do is I'm just going to pull it over here and see how it looks in this part here. And maybe, maybe we can get away with it being a little bit bigger. So if I press the S button, can I get away with it being a little bit bigger? Just wondering if that's a little bit too big. Now, let's look on our reference. So we're going to grab our reference, go to our window and see here this is kind of the gap that we've got. If I go back to here now, we can see this is kind of the gap. So it looks about right. The actual scale of it. Let's make it a little bit. Yeah, I think that scale, what we've got right here now is about right. So what I'll do is I'll grab this part last. And what I'm going to do is then I'll press. In fact, you know what? We'll come in. We'll delete this one out of the way. Then we'll come back to this one because we've just duplicated it, grab the whole thing. Make sure you grab the sense part last so this sense part last, shift Ds and then selection to cursor. Got that one. You see what happened there? Because they all have different orientations. When I press Shift desk, selections cursor, it will put them all in the middle based on their orientation. If we don't want that, though, you want to press Shift desk and selections cursor. And there we go. All right, so now we've got the right skill. Let's pull it up and we can actually work with this now. So what we want to do is grab each of these because they've got mir on, tab, A, S and X, pull them in a little bit. And I also want to pull them further over. So this needs coming now further over. Like, so how much gap do we want down there? Probably around that much gap. And the other thing is, all these things now in the center? This doesn't look in the center to me? This is the center. What is going on here? Let's see if we can actually put it in the center now shifts and selections cursor. Yeah, this is because our cursor is here, this is the one that we're actually selecting. Instead of doing that, what I'll do is I'm going to grab the whole thing. I'm going to press Control P, and I'm going to set the parent to object. Now, when I move this part now, all of the things should move at the same time. This part here is exactly in the sense. And if I press Shift Ds and selection to curse it, now it's right in the center like so. Because we pair it in them up, then we put it in the center. And what that means is now, I can come in and I can grab the whole thing, and I can press P instead, and I can clear the parent, like so, but I want to clear the parent while keeping the transform. So clear parent, keep the transform, and there we go, everything's staying in place. So what we did there, just to reiterate is we grab this one because the center of here is where we actually want to place something. Then we grabbed everything else. We grab this one last, and we press Control P because that then is going to set the parent to the object that we selected last. And finally, we move them over to the cursor brought them up and then O, which was clear the perron but keep the transformation. That is exactly what we did because then nothing's going to be moved around. Now we've got that. We can see exactly what we're working with. So we can see where we want these windows. We can also see this is probably a little bit too big, so we're just going to move it out. Now, the other thing is, I want it in, so I want it in a little bit. So Es and Ed, let's pull it down. Let's pull it in slightly. Like so. I'm going to grab this as well. I'm going to pull it in, so and jaws, pull it in just so I can see where I'm working. And then what I'm going to do is pull this up into place. So I want this slightly slightly, as you can see. This is all going back to the wall, and the thing is the windows are actually going back as well, so I've left a big gap in there. And what I also want to do now is make sure that the lip here is a tiny, tiny bit more. And this lip here maybe is just a tiny bit more like so. Alright, so that's looking good so far. Now, I want to put this at the bottom, as well. So I'm going to press Shift D. I'm going to bring it down to the bomb on here. And now we can start work on the next lesson on this side bit, mirror it over to the other side, put in the bomb bit, and then once we've done now we can actually start with the hardest part, which are the windows. Alright, everyone, so hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 50. Adding Detail and Cutting Mesh Holes with Booleans: Welcome back, everyone to Blending Building master class from concept to final render, and this is where we left you off. I don't like these ones here. I'm going to change them. No 0.279. There we go. I want them both like that, actually. So not 0.279. I want the M square basically is what I'm saying. So I'm going to pull them down now. I think it looks much, much better like that, so I'm going to pull this one down, so. And then what I'm going to do is I'm going to bring this even further in. So S next, bring it further in. And now I'm going to do is I'm going to grab this one. I'm going to press Shift D. And what I'm going to do is I'm going to bring it down. Make it smaller, so S, make it smaller. Put it right underneath you. So right underneath. This one like so come under, grab the face and pull that then all the way down to here. Then what I'm going to do this, I'm going to need three in here. So this will be one of the times when it's perhaps easier to just bring three edge loops in. So control, one, two, three, left click right click because it balances them out when there is three. Then what we're going to do is press Control B and bevel those out from there. Now the thing is about these is we don't want to pull them out like they are here. We want to pull them out from this part here and this part here. So if you look at the reference, you will see that they're pulled out. If I open this, I'll go back to my window. They pulled out kind of halfway and halfway on the other way. So we're going to try and replicate that. So what I'm going to do is I'm going to press Control R. Left click, right click. And I want to move it over, but if I move it over, I've got to make sure I move the other one over. So if I move it over like this, you can see that we've got this moved over on the X, which is this axis, and we can just copy it. Control C, let's copy it. Then we'll do Control R. Left click right click. Move it very slightly over with the Y, like so, and then come to the Y, press Control V, press Enter, and then I'll move that one over exactly the same distance as here. Now we want to pull these out, so I'm going to grab this one, this one, this one, this one, this one, this one, I'm going to press E, enter, lns, and let's pull them out. Now, you will see that when I pulled them out like that, we need to make sure that the offset is even on. So just click that on, and there we go, we've pulled them out, and there we go. They're looking pretty nice. Now, from here, we can actually join all these together. So control, Jay. Control A or transforms right click Set origin to geometry. Put the origin, then right in the center. So right, clicks origin, 23d cursor. Adding a modifier, bring in a mirror. And there we go. So we're actually getting somewhere now. We can see, actually this is coming along very, very nice. And now we want to do is we want to create the bottom bit. So the bottom bit on here, with the little ledge. So what I'm going to do is press Shift A, bring in a cube, and then I'm going to make this cube much smaller. I'm going to pull it out on the X, so S and X. And then what I'm going to do is pull it up a little bit to where I want it. So if I pull it up to round about here, that'll be where I actually want it, and then I want another bit that's going to actually come off here and have a little bit of a rounded part on it. Also, I'm wasting a lot of p, you know, this part in here and wasting it. So what I'm going to do is just press S&X and bring it back like so. Okay, from there, then, I'm going to come in. I'm going to press Control R. Left click, bring it up to where I want it. So the ledge will be something like here. I'm going to press Control R going this way. Left click, right click, put it right in the center. Control B, let's pull it out. So we're going to pull it out to round about here. And then what I'm going to do now is I'm going to come grab this part, and I'm going to pull this part out. So I'm going to press E, pull it out. Now, you might be looking at this thinking, Well, that doesn't look anything like the reference, because if you look on the reference, you will see that it's got kind of a lip there and all kinds of crazy things like that. Can do that really easily. Watch how we do this. So we'll come in here. We'll go to this part, or this part here, and this part. Before we begin, though, same as always. Control A, all transformed, SeiginT geometry. And then what we'll do is we'll come in, grab both of these, press Control B, and I'm not going to do anything else. Apart from Jaws, put it around here for something like this. And then what I'm going to do is go over the left hand side where the bevel options are, and when I come down, put it on custom. What I'm then going to do is turn this up, so turn this up, and now you can actually play around with bringing these in and out like soap. You can also save this out as well. You can see if we come here, we've got presets. You know what? I actually don't know how you save this out. We can put it to default. I'm sure what's this but here? What is this? I'm not sure if this is the Saban profile clipping on or not. I don't know how to save this out. I never have worked out how we actually save this. I've tried right clicking. I've tried going all over this. So at this point, I'm near enough certain that you can't save these out. Now, when you come to, as long as you don't close blender, it's fine. But the moment you open blender again, this will have disappeared, which is kind of a pain because sometimes I like to keep these curves, you know, I like to keep them, you know, and this is the curve that I won, you know, sometimes when I'm doing Gothic architecture, I wish there was a way to actually save these out. Anyway, let's actually have a look at this now. So let's right click and shade Auto Smooth. And there we go. Now you can see exactly how you get that. Now, I think with this part here, so just wave this part here. I think what I'll do is I'll pull it in a little bit, so esten it. Just pull in a little bit, make it a little bit more rounded like so. Okay, so so far so good. We can see now we've got our windows in there. What we need to do now is actually create the inner part of these so we can see where our windows going to go. If we come to this here, we want to make sure that this is rounded here. We want to make sure there's enough gap here because the windows, they're not just going to sit on top of the wall. That's not the way you should be doing them. You should be really thinking about how you can actually place them, you know, inside going inwards, because that's why we're giving this such a big gap at the back. Alright, so saying that, let's actually come in and create our windows. So we've got a mirror on here. If will come in, and the first thing we'll do is we'll create the actual boolean for our windows. So we can see if we do them from here, we've got enough room each side to make the boolean. So let's come in, grab the tops of these. So both of these vertices here, Control Shift and B and bring them in like so. Now, you will notice they've come in exactly the same as we did here, and that's why I'm saying, Let's put it on super clips instead. And then what we can do now is alter them like this. So we can alter them, make them, you know, as far as we wanted to, like so. We can change the number of segments that we've gone them, for instance, something like that. We can even make them a little bit more rounded. So we can make them more rounded. And I think on this one, something like this actually looks pretty nice. Alright, so that's looking pretty good. Now what I want to do is I want to actually make a boolean out of these so it can actually push them in there. So what I'm going to do is I'm going to press A, E, pull them out. Like, so let's press A, shift and N, spin them round so they're the right way. And then what I'm going to do now is pull this into place. So if I pull these into this plane that I've got here, we should be able to create an actual boolean in there, which means then we've got room to, you know, put our windows. What I'm going to do is just grab both of these. I'm going to grab my plane, grab my window, press Shift H. Now, a lot of the time when you're dealing with booleans, they don't like flat planes generally. So it's normally better if you give it a three D object. So we'll show you. So if we come to this, we'll make sure every cell transforms set origin to geometry, add modifier. And then what we're going to do is generate a Boolean. Now, the boolean is, of course, going to be these windows here. So we're going to click this little what's it called Pipet click on there, and there we go. You can see the Boolean in. If it doesn't work, though, just remember, make sure that you're doing this on a three D object, no two D if it's not working. Now, what I can do from here is I can apply my boolean then if I move these out of the way, you will see now we've cut a hole in those. Now, I tend to save my booleans for other, you know, projects and things like that. So save these out just in case I want to make more windows when I'm actually building this out. So I'll just have them in a special one called Boolean cutters or something. So you might actually want to do that. Now I've got this. I'm going to delete them out, though, for this one, because, you know, that's generally what I'm doing and recommending you might want to do that. But for me, I don't want it too cluttered. I'm showing it, of course, so let's actually delete those out of the way. Now we've got these in here. What we can do is we can come in, Oh ****, click. Make sure you grab the bomb. Oh ****, click, grab the bomb. And then what we're going to do is press E and Y and pull those out into place like so. And then we should end up with something like this. So something like this is what you should end up with. And from here, you can just press the F but and fill both of those in. Now, it's a good idea to work where you want to bring these. So when I'm doing windows, I will pull them up to here because if you look at a window, it's not just stone and then glass, it's stone, wood, so wooden outlay going around, and then an inner wooden outlay, as well. So you need to think about those things when you're actually creating these. So now I've got these on here. What I'm going to do is I'm just going to press the i button and I'll bring those in and then what I'm going to do is pull it back again. So now I'm going to press E and pull it back again. And there is now my outer piece of wood. And not only that, because if I press tab, press ultage, bring it back, you can see now just how much better that actually looks because we've set it back. It's not just stuck on the front of it. If you right, click now and Shade Smooth, you can see just how nice they actually look. Now what we've got to do is we've got to work on this inside. So, in other words, this is a little bit more complex. It's taking you up that little bit extra notch. We need to work on this inside now and create that window. So I'm going to do is I'm gonna go to File, I'm gonna save it out, and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 51. Creating Window Frames with Bevel and Edge Flow: Welcome back everyone to Blender Building Master class from concept to final render, and this is where we left you off. Now, the windows as well are probably going to take the longest amount of time, except things like the stairs and things like this. But they're quite complex things. I think even the doors are actually a little bit quicker than windows. Alright, so now I want to do is, I want to come in, and I actually want separate these off at the moment. So what I'm going to do is because it is going to make it easier to actually work with these parts without separating them off. So that's what we're actually going to do, and then we'll bring them in and make the wood and then put the glass in. And I'll explain as well, how the glass works when we bring that in as well. So for now, what I want to do is I want to press P selection, separate them off. And then what I'm going to do is I'm going to press Shift H, hide everything else out of the way, just so I can work on these parts. Now, again, we've got we haven't got any mirror on here. I thought we did have a mirror on here, one side than the other. I'm sure we had a mirror on here. Let me just go back and see if I actually did I take that mirror off?'s have a look? I actually think we didn't put a mirror on here. So what we're gonna do is we'll actually come in. And we'll get rid of this one. So we're going to delete and faces, and then we're going to come into this one P selection. We're going to resell the transforms first of all, all transforms. And then what we're going to do is we're going to add in a mirror modifier, so add in a mirror, and there we go. Now it's split off from this one, so that's okay. We can press Shift H now, and now we've got a mirror where we actually want to. Now, the first thing I want to do is I want to put a centerpiece going down here. Now, the easiest way to do that is just come to the center of here, come to the center of here, right click and put subdivide and then you're going to get that in there. Next of all, what we want to do is we want to join this one and this one. Now, joining them, there's many ways of doing it. The easiest way though to do it is not to press F or something like that, because what you'll find is that you won't have this center point. It won't actually be joined up. So the easiest way to do it instead of that, is press J. And now you've got that center point. Next of all, then we need to bring in some more edge loops because if you look on your reference, you will see we've got one, two, three, four. So we've got four window panes and a fifth one at the top. We want to kind of replicate that. So one, two, three, four. So four window planes, one, two, three, four, one at the top. Alright, now we want to do is I want to bring all of these in. So all of these, I want to bring in, but we're going to have a problem. First of all, if we grab them all and we press the ibn, they all come in very nicely, and this is what we want because we want actually this part in because we're going to create our wood from there. So everything is okay with this part so far. The problem's going to come now when I want to bring it in again, if I bring in, again, you'll see the start crossing over. If I press the Ibn again, so you press the I twice. So I press I, press it again, now you can see we're actually getting broken mesh like so, and that is something that we actually don't want. So let's just go back a minute with Control Z, and what we're going to do instead is we're going to come we're going to delete both of these off because these are the ones that are causing it. When I'm inserting it in, these are actually so close to this one that they're actually crossing over. So if I press delete, come down, and I'm going to dissolve vertices like so, and now we should be able to work with this. So when I'm going to do it, I'm going to come in, I'm going to grab them all. So just press L, press the IB, press the I button again, and then you should be able to bring them in like so. Now, if I press tab now, press LTH and bring them back. I should now be able to press tab, and this is what you've got. So you've got a um 1 stone here, you've then got the window, sorry, the window sill, I think it would be called on the outside. So this big chunky bit of wood or stone up to you. And then you've got the inside where these will be as well. And then finally, finally, you will have the glass in the center. Now, what I'm going to do is I'm going to at the moment, hide these out of the way. And then what I'm going to do is I'm going to mark some seams. Being as we've got the mirror on, it will save me a lot of work in the long run because the thing is, if we mark seams on these parts here, then what we can do is when we unwrap them, we can make sure the ward is going the right way. If we don't mark the scenes now, it's going to be way, way harder in the long run to actually put these seams in. So what I'm going to do is just show you quickly. So we're going to grab all of these. We're going to right click, and then what we're going to do is mark a scene. Now, I'm hoping if I press A and E and pull those out, you can see now we've got a seam going all the way around here, all the way around here, and all the way to the back, which is exactly what we want to. Now, if we didn't do that, we'd have to come in Alt, shift, click, all shift, click, all shift, click, at shift, click and mark them individually like that and make sure we get aml. So we're going to mark seams. If the press controls it, hopefully we'll go back. There we go. We're going to mark seams all the way around like this, including these because wood, we don't want it where we're unwrapping this and we've just got wood going the same direction. So, you know, wood grain going this way and then going this way, it doesn't look right like that because wood grain, when they put these together, wood grain goes this way. So let me just put on my drawing. So you've got wood grain going this way, like so. And then you've got wood grain going this way, because these two parts go together and stuck here or hammered in here. So the wood grain is always going this way and this way. What most people do when they unwrap it is they'll unwrap it, and it'll be going like this. It doesn't look right because that's not how they put winds together. So knowing that, let's clear this off. And also, can I actually show you on here? Yeah, it's a bit grainy a bit grainy on here. Um I would I'll pull up an image for you, so I'll grab you an image. So here is an image that I've pulled up for you. So you can see the wood grain is going along there, and then you can see the wood grain is going along there. So whichever way the piece of wood is going, you can see the wood grain is changing direction because they put these things together, especially in the corners. Now, these are a little bit more modern, you know, but generally, you can see this is the corner here, and you can see if you zoom in, the wood grain is going down this way, and it's going this way on here. That is why we're trying to replicate that because you can really, really tell if you're not doing that, something looks a little bit off. So always just spend the time in coming in and just going in before you do anything else because we've got the mirror on, so it'll do exactly the same over the other side, so you might as well come in. Wherever the wood is going to be kind of glued together, make sure that you put in your seams in here because it's going to make sure that it splits it all up. Now, going around here, you would end up with a piece going around here like this. So right click, and what we'll do is mark a seam. Now, I would say generally, these parts here are also all going to be spl up. In other words, going all the way down to here, you can just control click, right click Marcosin. Then what you can do is also do these ones because it's just going to make it look so much better if you do it and spend the time doing it, even though it takes a little bit of time right here. Right click Marcosm. Now, what you should be able to do is you should be able to press A, and you should be able to pull them out. So press E, pull them out like so. And there we go. You should end up with something like that where all the seams are actually marked. Now, it's a good job when we pull out that we've got no back on here because we really don't want to back on there anyway. And now, if I press Aldag, I can bring back those window panes. Now, the one thing about the window panes is I need to probably pull them out a little bit, so I'm just going to go in and spend that little bit extra time just pulling these out a little bit because they're probably a little bit too far in. Pull them out. A tied, like so, and there we go. Now, the final thing I want to do then is I want to put something on the end of here, some metal actually going on here. So what I'm going to do I can come in and easily, easily just come in and grab this here right in the center, press Control, Shift and B, and pull it out like so. Now, it's determined by your actual bevel. So pull scroll your mouse wheel all the way down, and you'll see that you can actually bring them in. Now, if I go back to this here, it's very, very hard to see, but we've got little knobbly bits on the inside of here. Now, what I'll do is I'll do these together. So I'm going to grab this one, this one, this one, this one. And yeah, that'll do. And then what I'll do is I'll press Control, Shift and B, pull them out all the same time, like so. And then what I'm going to do is I'm going to press the E button to pull them out. So pulling them out like so. And then what I want to do is I'm going to also yeah, I think you know what? I think I'm going to leave them like that. So just like that, maybe, maybe. I'll pull them out just a tad further. Now, we can see that for some reason, we've pulled them out like this. So all I'm gonna do is just go in. I'll have to delete both sides of them. Doesn't my it'll be pretty clean once I've done it. Delete faces, and we'll have to do that once more, I think. No, they're actually done now. I'm just looking this way. Making sure everything's clean. And then finally, the last thing I want to do this bit here, I'm just wondering is that yeah, I think, you know, well, these are going to be melts. I'm going to leave them. I could pull them out and pull them in and do some other things, making them a little bit more intricate. But you know what? I think I'm happy with all of this. I think this is going to work out really, really fine. Now, of course, the moment of truth is when we actually get all of the materials on there. So I think on the next lesson, let's actually do that. Let's get it all in, making sure that it's working out fine. And then finally what we can do is we can actually probably bring them up and stick one of the windows, at least in here. So we'll actually do that. Alright, everyone. So don't forget to save out your work. So file, save out your work. And as I said, on the next one, then we'll get devils in there. We'll get our materials in there. And before I go, you know what? I'm going to hide this. This is an issue. Let's fix this before we go. So let's pull this down. We want it. Let's pull it in to where we want it. So and X, pull it in, to there. And let's also make sure how high is this. I can pull this up a little bit, as well. And there we go. Now, this is stone, so that's okay. You know, we're just going to unwrab this. I brought this too too low. No, I've not. It's in there. Everything's in there, and have a good look round and make sure you're happy with everything. Make sure, for instance, that the glass on here is not going past this per because when you come to put this into the wall, the last thing you want is your glass disappearing as well. Just make sure that's okay. And if you want to, you can also come in, and this will be quick because we have got mirror on the other side. So if you want to, we can also come in and grab just this backport here and we can actually pull this out so there goes in the wall a little bit better. I think actually that's going to be very, very nice now. Alr, save our work and I will see her on the next one, everyone. Thanks a lot. Bye bye. 52. Customizing Glass Shader and Grid Patterns: Welcome back, everyone to blend the building master class from concept to final render, and this is where we left off. Alright, so let's first of all, take a look at our actual class. So what I'm going to do is come over to our asset manager. I'm going to basically unwrap all of this, so I'm going to press A, unwrap it all. So we can unwrap it all like this because we've actually got this with seams on. Let's see tie actually works though. Sometimes we might need to put a seam going round here in the inside. So let's just have a look, I UVE editing. You can see, actually, it's done a pretty good job of unwrapping this. We've got a few issues with here, which I'll show you how to straighten up in a little while. But first of all, let's see about that wood. So if I go back now to my shading, press the little dot on, let's put it onto our render view. And we'll also have to come over to Asset Manager and then put it on rendered view. And then what I'm going to do is just change the current file to go down to my resource pack, and I want materials and shaders. And the one I want is the cracked wood. So this wood cracked. Let's bring that in. Drop that on there. Now, of course, you can see that these parts around here, especially, these parts going down here are all going the wrong way. So let's actually come in there, put our glass in, and then we can fix those. So what I'm first of all going to do then is I'm going to come over to the right hand side here, wood cracked, click the plus B. Coming up, and then what I want to do is drop on the glass onto there. And now, basically, this has two materials on it. So what I'm going to do now is just grab each of these. So each one of these panels because these are going to be my glass, like so. And then what I'm going to do is come to my glass and click a sign. And there is my glass on there. From there, then what I can see if I go onto this one here, I can see now just which ones are going the wrong way. So I can see these are all going the wrong way. And like I said, you can really tell that these are going the wrong way on these parts. So we need to fix those. First of all, though, I would like to come into the glass, so let's go on to shading. We can see our glass here and make sure that it's selected, so make sure you got it selected over here. And then what you want to do is now you want to zoom in, so scroll the mouse wheel out first, pull this one up, and then you should, as you pull it further up, be able to see something. Now, this is called the noodle, and it's a very complicated noodle. But what I want you to do you can take a look at this outside of the course, if you want to and have a look at how it's all put together. Has some very, very complex things in. First of all, though, what I want to do is I want to come in and I want to find where it says, emissive. So over here, you can see emissive color A and B. So another thing is when you're looking at noodles, the more that you start looking at them, the more you'll actually understand what actually everything is doing. And what I want to do is come into this one, and I want to turn this to something like blue. And you'll see, as I turn that something like blue, we can actually change the color. Of our actual windows like so. You can see now we've changed the color. We've stuck all that grunge around the outside. Now the next thing I want to do then is also plug in this one over here. If I plug this one in through here, like so, you'll see now that something's happened. Something else has happened. Now, what I want to do is I want to come over now to where it says, metal pan, and I want to come down to this melt scale, and I want to turn this up or turn it down. Let me see if I can turn it the other way. Go, go, go. So and what I want to do is put this on something like naught 0.7. And then what I'm going to do is I'm going to come over and make sure that this is plugged in directly. So before, let's just go back so I can show you. Was plugged in like this, so I want to plug this in from here into this one. And the reason I want to do that is show you something else about this shader. So if you're coming now, put this on 0.7. You won't see anything happen yet, but if you come over here now, this part is the metal decor. And what I want to do is put this on white. So let's bring this to white. And as we bring that to white now, you can see that we've got these parts coming on to the shader now. So let's reiterate what we've actually done there. So if we come over to this side here, we've got the emission color. This is the one where we can change it to purple to blue to whatever color you want. So we're going to have it on this color here. Next of all that we did the is we just came over and we plug this straight in. So just grab it, plug it straight in. Next of all, then, what we did was we came over to the metal pattern, and I put this on no 0.7. Then what I did is, I came over to this here, which is the color ramp, and I put this one to white. If we bring this one down now, you'll see who makes it darker or makes it less refined, like so. And finally, then, the thing that you want to do to finish this off is coming over and bring this up or bring it down to where you want it. Again, you can hold the shift button. I think something like that looks very nice. And then the last thing you want to do is coming over to the emission. So what we need to do now is we found where we found the emission, which is non emissive. So we want the emission, which is over here, and we just want to turn up the emission strength which is this one here. And so now we can actually turn up the emission strength. And now we can actually set this to what we want. Now, I think that's a little bit high. If we put it on two, I think that's maybe a little bit higher, maybe something like that. And I think that looks very, very nice. Now, then let's come back then to our metal first. So we need to come in grab each of these. And what I want to do is I want to set them on a different material. So I'm going to grab each of these like so. I'm going to press Control Plus, and what I'm going to do is go back to my asset manager. I'm going to click the little plus button, and I want to bring in a different material just on these parties. So I'm going to press little dot, just to zoom in so I can rotate around these. And then what I'm going to do is I've got all of these. I've got metal building. I've got this mele mel polished. Let's try the Mel building, so I'm just going to drop that on there, click a sign. And now, once they're in, you should see this is what you get. Now, if I go on to RenderView this is what we've got. Now, the one thing I do want to do, as well, is if I come over to my wild, make sure you save out your word before doing this because if you've got low VRAM, when you rotate it round, you probably will crash, blender. If you've got a decent compution have any problems. So let's come in now and rotate this round. So the sun is shining pretty much directly on there and gives me a better view of what I'm doing. Now, if your blender does crash, they say, open it back up, try rotating it around, you'll find out that that works pretty well. I've got mindset 135. So now I want to do is I'm just checking out the metal. What does the meal look like on each of these? And you know what? I think it's looking pretty good from here. Alright, so now what we need to deal with is the wood. So I'm going to come now to these. I'm going to hide these out of the way. I'm going to come to each of these, as well. I'm going to hide those out of the way. So hide these out of the way, hide them out of the way. And now I'm going to do is I'm going to go to my UV Editing. And what I want to do is press the dot boon. So grab one of these, if we can. So if you can grab one. Press the little dot boon. Okay. Now I'm going to press the A button, and this is how these have unwrapped. Now, let's have a look at which ones are going the wrong way round, and I'll show you the easy way to actually do this. So if we come in and we grab this one, we can see it's going the right way round. We can see this one's going the right way round. So if I hide those out the way, then what I can do is come into each of the ones that are going the wrong way round. So all of these are going the wrong way round, including this one, this one, this one, this one. These ones down here are all going the right way. This one's going the wrong way, this one's this one and this one and I'll just keep working my way down this one, this one, this one, this one, and this one, and make a mental no because you will see the difference in these. And now we're going to do is come over to the left hand side, press the A bon, 90, rotate them all round, press the tan, and W a difference that actually makes. Can you see the difference in those? What a difference. Alright, so now the final thing I want to do is I want to straighten these up. So now we've got two problems, so this one and this one. And as you can see, if I go into here, you can see how the wood is on here. That's not right. So what we want to do is we basically want to come to both of these. So what I want to do is I want to select both of these. Let's go to this one here, select both of these. You can see I'm selecting them all. Don't really want that. What I want to do is I want to select all of this. So and he Shift H, and then I can add the rest of them out of the way. This will leave me with these. Now, there's two ways of doing this. One of them is through an add on called this. So if I just bring this over, you will see it's called UV squares. Now, this used to be free. I'm not sure if it's free anymore. It is really, really good. If you can get this for free, that is the one that you want, UV squares, but I am going to show you the other way of doing it just in case you can't get that. So let me show you that way first. So if a grab all of this, press the button coming over to edit preferences, put in UV. So I'm going to put in UV and you can see here UV squares. Once you've installed it, you can tick it on, and then all you need to do is just press Alt. Now, you won't see just how easy it is. All that is straightened out. Now, if you can't get your hands on that, let's do it the hard way. So all we'll do is we'll come, make sure you're on vertex select select this vertex and this vertex. And what you're going to do is you're going to go to UV, sorry, right click and Auto Align. It's going to line it there, and then you're going to grab these two, and you're going to right click a line Auto. These two, right click a line Auto and these two, right click a line Auto. Now what you want to do is you want to come. Select this face, so select this face. Shift select all the other faces, and then all you're going to do is you're going to press follow active quads. Click Okay. Now let's just spin it around. So 90, spin around, and there you go. Now you can see these are lined up perfectly. Now we need to do is just this one over here. Again, we can go Alt and turn them around much, much easier than actually doing here the way that we were doing it. Alright, so this window now is done. Now, the problem we have is at the moment, the windows look exactly the same, and they look if we go render view now, they look exactly the same because of the fact of the wood, you know, here and here is actually mirrored. So let's saw do next. So what I'm going to do is I'm just going to pull this over, go back to my mirror. And then what I'm going to do is I'm just gonna press Control A and apply that. And then what I'm going to do is I'm going to come in now press voltage to bring everything by. Press one to go into front view. And what I'm going to do then is just select all of these. So if I just click on one of these, press B, I should be able to select all of these, press Control plus just to make sure I've got everything and then A over the side. Because everything is seamless, this piece of wood is seamless, I can just simply press G and move it over, and now you'll see this window looks completely different from this window here. That is exactly what I want. By the way, the metal is just the lighting. It's not actually, the same or anything like that. All right, so let's go back to modeling. Let's double tap the A. Let's save out our work. And what we'll do finally is just put it on renovew and have a look at what we've got there. And, wow, does that not look good, guys? Okay, so what we'll do then on the next lesson is, we'll get in the stone here. You could have also, instead of using wood as well, you could have used metal quite easily in here. I just want to go with stone. But honestly, you know, you could easily swap over now this. So if you come over here, you could just drop it onto here any kind of metal and swap them over. And we'll look at that maybe a little bit further in the future, but swapping over materials is quite easy once you've got them on because one, they're all UV mapped, and two, they're already all the seams and everything like that are already done. Now, it might have took a long time to do this window, or it seemed a long time to do it. But that is because we're trying to go through all of the things they need to watch out for. In the future, though, it's going to be a lot faster for you. Now you've got the technique. And once you nail that technique down, really, really quick workflow. Alright, everyone, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 53. Finalizing Window Panels and Fixing Overlaps: Welcome back, if you want to blend the building master class from concept to final render. I do feel like saying good mine and everyone because it is a new morningll be here. Alright. So now let's carry on with this, then. So as I said, we're now going to go in, and what we're gonna do is we're going to grab this part here. So you can see, though, if I grab it, it's going to go all the way around there, and that's not quite what I want. If I come round here, you can see we've got this back on here as well, and I don't really want that in here. Either I don't think. So what I'm going to do is I'm going to come in. Grab this, so I'm going to press Alt Shift and click. I'm going to come to this one, Alt Shift click. I want to put it onto Object mode as well. And then what I'm going to do is it should go all the way around like this, right click and mark a seam. Now, if I come in with Edge Select, you will see that I'm not actually going to come in with Edge slicks. I'm going to come in with Face select. I'm going to press L just in here. Right, that's what I want to show you. If I come in with Edge selects and press L, you will see it goes through the whole thing. If if I come in with Facelk double tap the A and grab just this thing here, you can see it only goes up to where mark seems. That is exactly what I'm after. Now you can see that we've grabbed it going all the way around here all the way up to here. Basically, if you come in with Edge set, it will just discount the actual seams. If you come in with Face Leg, it'll only go up to where the seams are making it really, really handy, actually, if you want to grab a certain island and things like this. All right, what I'm going to do then it's Alt Shift click, Alt Shift click, Alt Shift click and Alt Shift click. And then what I'm going to do is down the bottom, Alt Shift click, Alt Shift click. Old shift click and is that Mul? Yes, it looks like ul. And then what I'm going to do is I'm going to minus off these. And the reason is these are going to be stone, so I don't really want these on. Stone can be you know, we can just unwrap it. There's no problem there. It's just things like wood where we're going to have a problem. Even metal is the same thing, as well. Alright, all of those minus off. Right, click, Mark seam. Now, let's come in, and what we'll do is we should be able to come in now and grab each of these islands. So if I come in and press the not the O, the L, L, L and L, and then we're going with L, L and L. And you see now why you can't just automatic unwrap. So you can't do smart unwrap and things like this. So U, and all we're going to do then is unwrap. Now, let's, uh come back now. So we'll just put it on material mode just so we can see what we're doing. And then what we're going to do now is we're going to come over. And you can see straightaway that we've got two materials on here. But when we join it together, then it will add the materials on. So what I'm going to do is I'm going to grab my windows, grab this part here, so grab windows and grab the stone. So all this, all this, and press Control J. Join it together, and we end up with this. Right, click, shade or toast move, and then it goes back. Okay, so what have we done there? Basically what we've done there is joined it all up. Now, if I press G just to move it, you'll see I've missed a part out. So all I'm going to do is just grab this one, I'm going to press Control J. So this one and shift select this one, Contoj, join it right click, shade A smooth. Now, you will notice that there is a color in here. So this top one, you might have this in here, which just means like it's this color. This is basically what it is. If you come in here, you will see it shows me it's this one. I I come and click on this one, you'll see it shows me it's wood. Now, you can only see that if you're clicking on it in Facelk so you notice them on FaceLkT one is metal, this one is glass. Alright, everyone. So that's looking good. Now, what I want to do is I want to just come in and actually grab these, and I want to give them that wood then, so I'm going to come in, grab all of these, like so, like so. And then the rest of it, I'm going to make stone. So these two here, let's come in. Wood cracked, click a sign, and there we go. Now, let's make sure these are all going the right way. Now, of course, the tops, we know that we can deal with those separate. Just make sure that these around the outside are going all the right way. You can see here, these look much better. If they were turn around, they wouldn't look the same. So they're looking really nice. It's just these tops. So let's come in, and we'll just grab both of these now, like so. We'll make sure works saved out. We'll go to UV Editing. And then what we're gonna do is we're going to straighten these up. Now, again, you know exactly how to straighten them. If you're using the add on, it's Alt E, but you can do them one at a time. Sometimes, if you grab them both, so if I go back and I grab them both, press Alt, you'll see that sometimes they end up a bit weird. So what I tend to do is always always Alt and then grab the second one, Alt and then I find that they work out much, much better. Okay, so now we've done that. Let's just make sure they're going the right way, and they are, as you can see, but they have, for some reason. What has happened to that? Let's have a look, make sure we've not messed up. There we go. Never seen that happen before. Let's go to I've never seen this happen before, so I think let me just have a look. I think I'm just going to go to modeling and see what's actually happened there. And yeah, I've not seen that might be from an actual add on. So that's the first time I've actually seen that. So I'm just going to check, first of all, to make sure that if I hide this out of the way, it looks like it's a duplication over there, and that's what's causing it. So we can see here that what has caused that is the actual mirror. So I've still got a mirror on there, basically. So what I'm going to do is I'm just going to take off the mirror, and there we go. There is what the issue is. Now, I should have applied and checked my my modifiers before actually doing that. I think, though, it's gone too far now, which means that I need to come in and put this over there. So we'll do it separate. So what I'm going to do is I'm going to come in and I'm going to show you how to fix this. So I'll grab all of this. I'm going to press P selection, and then Control A or transforms, set origin then, two, three D cursor because it's set right in the center of here, and then I'll come in now, grab this one. And what I'll do is add modifier, and we're going to bring in a mirror. So we're going to bring in a mirror, put it over the other side, apply a mirror, control A, join it back altogether, Control J, like, so, press the G bun just to make sure everything's put together. And now finally we've got that bag where we wanted it. So now I'm looking at this wood on top of here. You can see it's flowing really, really nice round. And yeah, made a bit of a mess there, guys. It's one thing I normally check, but this is the first time we're building something complex, so I entirely forgot, so sorry about that. And now let's come in and work on our stone. So our stone, we know it's going to be the two types of stone over here. So if I co to this one here, so you can see this one here is going to be stone lighter, so I can bring in a stone lighter and a stone, which is going to be this one, stone light. So stone lighter and stone light. Now, let's come in. And one thing I didn't do is put a stone lighter in my asset pack, so it wasn't in the asset pack. So what I'll do instead is, I'll just come in, click the down arrow, and the one I'm looking for is stone light, and there we go. And then I'll click the plus button, click the down arrow, and the one I'm looking for is stone lighter. There we go. And now I want to do is I'm thinking, I need to unwrap all of this part. So the easiest way to do that, actually, I want to select just the one with stone light. So if I come to just select one of come then to selection, and then what I'm going to do is want to go down to select similar and material. It means it won't select any of the glass or anything like that. And now we know from this we should be able to get away because it is stone. Smart UV project, click Okay, and there we go. Now we can also see on this one, if I bring this over, so if I just bring this over, so I'm just going to press Shift D because I'm going to delete it anyway, press the little dot one. Now, what I'm looking for is how close the stone is to each other. So do they look similar to each other? If I put this on here, would it look the same? And you know what I think it is. And the reason why it's actually gone like that is because it's a big block. So when I've unwrapped it, it's actually unwrapped, with these parts being much, much smaller in the UV map, and that's the reason why it's worked. Okay, so now let's come in and add in our stone lighter. So all I'm going to do is I'm going to come to these parts now. So the way I'm going to do this is I'm just going to shift, click the front of them, like so. Shift select the front of them. Like so, because they are part of that mesh. Control plus, and then come down Stoneight to click a sign, and there we go. Alright, something like that. Now, I think that we might also want to do the tops and bottoms of these completely up to you. Let's have a look what they're gonna look like. So if I grab each of these because they're not attached to this, click Stoneight to click a sign, and there's what we end up with. And I think actually, it makes it look a little bit better. Alright, everyone, so that is the first window done. So now let's open up our referencing guide, and let's actually come to that. Now, the other windows, as you can see, are not quite as complicated. In some ways, this one here is basically what we've created here. This one in here is basically a bigger version of this one, and this one here is a bit specialist. I'm going to go to that one last, and I'll show you how that one works. But, first of all, I think we should create this one. I'll get the right dimensions. We'll put the bevel on. But all of the skills we've learned from doing this one can now be transferred onto this one. It will be quicker because we've already got all the materials on there. We've already set up the way that we, you know, straighten UVs out or use the add on, and we've always got the glass which we've already set up. So everything's pretty much done for this one. So let's actually start that on the next lesson. Alright, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 54. Designing a New Stylized Window Variant: Welcome back everyone to blend the building master class from concept to final render, and this is where we left it off. Alright, so I've been building pretty much in rendered view, so you can see that it is possible to do that. But I think what I'll do is I'll put it back on object mode. And what we'll do is also reset all the transforms, set origin to geometry, because at the moment, it's right down the bottom. We don't want that, move it to the side, and we'll put it in with everything once we've actually done them because we've built quite a lot now we've not actually sort it out. And then what we'll do is save out or work. Now, let's bring in a plane, first of all, so shift day, bring in a plane, spin it round. So RX 90, reset all the transforms. Like so. And then coming over, and what we'll do is 1.34. Not 0.286, but that's the Y, so we don't need to change that. We'll just leave that on zero for now and then 2.8. Now, this, if I press one now and bring it up, should give us the right dimensions for our new window. Now, what I want to do, first of all, is, then I want to bevel off these points here to make that rounded part for the window. So let's do that first. So all I'm going to do come into Vertex. Let grab these two and then Control Shift and B and bend them over. Now you'll notice I need to bring them out a little bit, like so, and we want to make it nice and rounded on that part there. Now, at the moment, it's not quite far enough. So what I'm going to do is I'm going to bring them to where I want them. So something like this, and then I'm going to bring them probably closer together and then bring them out and get that right nice round effect that I'm actually looking for. Now, as well, at the moment, I don't actually like how this is. Even if I bring these down, you can see it doesn't really do anything. So what I'm going to do instead is, I'm just going to press controls, go back. I'm going to press control, and I'm going to control where that actual roundness comes up to. So I think something around there is where I want it, and then come back to it, press Control Shift B, and then we've got a lot more control over how that's going to look. So now what I can do is I can actually control how that looks, and you can see I can get a much more rounded look to this. Alright, so now we've done that. Let's then make the inner part. So we're building this in sections. So we've done, you know, we've created this round bit on top, and now what we need to do is create this inner part, so it goes into where the actual window is. So what we'll do is we'll grab both of these, and we're going to press the I button, and we're going to bring it in. Now at the moment, you can see the both coming in together, I think, so just press I again, and that's not working either. Sometimes that will be the case. If that is the case, just press E, enter, S, and bring it in like this. Let's see if we can bring it in like this. And you know what? That's not working, either. So I'm just going to press Control Z instead of using the E. And I'm going to actually come and delete this edge out the way. So delete and dissolve edges, and now we should end up with a flat piece. So it should be nice and flat for us. And now if I press I, I should be able to bring it in. Now the thing is, I need to reset all my transforms, so we'll do that first. So Control A, all transforms, right click, Setigin geometry, press the tab button, and now bring it in. I should come in, nice and neat for us, as you can see. Now, the other problem we've got is here. If you look on the reference, we've got one, two, three and then a big block. Let's see if and do that. So, one, two, three, and a big block, but it looks like when we've done it, we've actually got four on here. So maybe I've gone a little bit too far. So I'm going to actually go back before doing that because I want to keep to the reference a little bit more. So instead of going with what I've got here, so let's just go back. See if I can go back. Here we go. There we go. Control Shift B, bring it in to where I want it. And then what I'm going to do is just turn this down one, and there we go, that should be much, much better. We've got one, two, three, big block. That's exactly what want. Then we'll come in again, delete, so dissolve edges, and then reset the transforms, control layer transforms, right, click origin two geometry, press the tab button, and then come in and press the eye button, like so and bring it in to where you want it or where you want your actual bit block to actually come from, and then the window inside. Okay, so now we've got this part. Now, before we actually split it, let's take a look. If I press one, you can see that these parts here, they're going this way like this. Now, that's fine for wood. But honestly, when you're thinking about this, stone doesn't really go like that. So we need a way to come down and actually make, you know, kind of an edge coming straight down here. And we can't do it with pressing Control R. It's not going to work. You can bring it across, but you'll see what happens like that. You can press E to go the other way or E. You know, it's just simply not going to work. So what I want to do instead of doing that, press Control E is use our knife tool. So if you come in and press K, you will see that I've actually got a knife tool, which I can cut things out with, like, so and you'll see when suppress Enter. Now we've got to cut along there. We will be using this in the future on certain things. It's a very, very handy tool. But for us, we don't want to use it in that way. What we want to do is we want to come to this point and we want to drop it down here. Now, instead of trying to line it up like this, just press the A button, and then what it'll do is it'll line it up at a certain angle, as you can. Like so. And then what I can do is I can just click it again, press the Enter button, and there we go. Now what I can do is I can do the same thing, press A, drop it down, press Enter, as simple as that. Now finally, the last thing I want to do is I don't want these in here. So all I'm going to do is delete and dissolve edges. Can't do it that way. Sometimes, sometimes that will not work. So try deleting edges. That doesn't work. And the main reason why it probably doesn't work is it's probably still got these attached to it. So in other words, this part here is attached to these parts. So I will show you how we can actually clean that up as we go further on then. Just word for try. Alright, so what I'm going to do is I'm going to split these off. So these and these and this, I'm going to split off. And then what I'm going to do is split off these blocks. So split off these two here, and then finally split off this one here. I want them all split up. I don't want them touching each other or anything like that. So what I'm going to do now is just press the Y to actually split them off, press the H, and this is what I've got left. So now I can come in, split these off. Like so, press Y. Press Well, press H, and you should be left with just this. Now, when you press ltH and bring everything back, all of this now should be split off. Now for now, what I'm going to do is I'm just going to hide this part out of the way. So I'm going to separate it and then hide it out of the way. So I'm going to press P selection, and then going to press tab, hide it out of the way, and I'm left with just this. Now, if we come into these parts now, we shouldn't have any problem dissolving edges. So come in here, delete, dissolve edges. Okay, we've got a little bit of a problem. Let's see. Let's try dissolve edges. Like, so instead of that, yeah, it's here. Look, this is the issue. So what I'm going to do is I'm going to try and do limited dissolve. So I'll grab this one and this one, and I'll go to delete and limited disolve and then explain why that works. The reason that works is when I'm trying to delete these, I've still got this point. So if I just hide this one out of the way for now, you can see if I go to vertex, I've still got this point here. So when I'm trying to delete this edge, it's still leaving this point here, which is causing it to collapse in on itself. When I come in and I go L and L, and then I press delete and dissolve or limited dissolve, it deletes not only this point, but also these edges that are in there that blender sees a not needed. So that's the reason why that works. Okay, so now what we want to do is we want to actually bring these out. So we need to actually make them a certain thickness, and it's not 0.286 is around the big chunky part on here. So what we're going to do is we'll actually bring them out to naught 0.25, something like that. So let's actually try that. So I'll do is I'll come in. I'll press A, I'll press E, and I'll pull them out, like so. And then what we'll do is we'll actually press tab and you can see it's nearly there. So let's press Control A all transform, set origin to geometry, and let's then pull it out a little bit more. So we're going to pull it out to naught 0.20 0.257, something like this. So yeah, round about here. And then what we'll do is we'll make this part here a little bit chunkier. So if I come in, I should be able to press L on here, and then I'll press S and Y and pull this out a little bit more. Now, you can also see that with this one here, it's a little bit chunky going around here as well. So I'm just going to come in, face select, Alt Shift click, Alt Shift, click, O shift, click. And then what I'm going to do is press Alns and I'm going to pull it out a little bit more to give us that part in the actual center like so. Okay, so far so good. Now, last of all, we want to right click and shade Auto smooth. We want to also then come in, resettle the chansom, set origins geometry, and add in a modifier. So if you come in, add modify, we're going to generate a bevl. Let's put this on note point note, note three. Like so, and there you go. You've got your actual bevel on there. With these, by the way, when it comes to stone, I want to turn it up to maybe not point not not five, just a tad because I think it looks a little bit better than the other one. And then you can see now what I mean by this part as well, that looks actually great. Now, if I press Altag and bring back this, you can see now it's all the way back here. So we do need to pull this forward into place round about there. Alright, everyone. So now on the next one then, you already know that. We've already done a window like this. This is going to be pretty easy. But first of all, as I said, when we're building these, we don't just want stone and then a bit of glass. You always want to think you want stone. Then you want the kind of, you know, wood and trim going around here or support because that then supports all of this stone block. And then on the inside then, you want the actual window, which is made of metal or wood. Doesn't really matter. So the one that goes around the outside first is the support. The one on the inside is basically supporting the glass. That's how it actually works. Alright, everyone, so let's come in, save out our work. So file, save, and then I'll see you on the next one, everyone Thanks a lot. Bye bye. 55. Enhancing Window Textures with Detail Passes: Welcome back everyone to blend the building master class from concept to final render, and this is where we left off. Okay, so now let's come in and do the wood in here. So what I'm going to do? I'm going to come to Face Select, I'm going to press the i button to bring it in. So we've already reset all of those transforms, so how thick do you actually want it? I think something like this is relatively thick, and that should be fine. Again, what I'm going to do then is I'm going to split this off, so I'm going to press Y, hide it out of the way. And then what I'm going to do is now just mark in a couple of seams. So I'm going to mark a seam here, a seam here, a seam here and a seam here because it's made of wood. And then what I'm going to do is right click and mark a seam. Now, the other thing is, when we did these what else we did is we didn't actually break these. So in other words, we haven't actually got gaps in here. So if you come in, you will see let's come in and just put it onto rendered view. We haven't actually got breaks in these parts here. And sometimes it's actually better if you have breaks in here. Now, I'm going to show you on here what I mean by that. If I come in and grab, let's just hide this one, let's split it, actually. This is split. So let's press ALTH. Split out of the way. P selection. And now we've just got this part. Now, if I come in now and go, In fact, you know what? I'll save it out, and then I can reload it. So I'll go, L and L, split them off, press Y, and then press A, E, pull them out, like so. If I now join this to this and press Control J, you will see now that we've actually got those splits in there. And that sometimes actually adds a lot to how something is going to look. So you might want to think about doing that on these bigger ones. So you know what? I'm going to leave mine for this one. Like so I'm going to leave this in there. I'm going to go back to object mode. And now you can see exactly what I'm saying so you can see it looks like this. Now, the one problem with that is now we just need to make sure that the back of this, so the backup here is we haven't got the back on because we really don't need the back, so I'm just going to hit Control, I'm going to come into then these ones here when I unwrap it as well, it's going to be way, way easier. So delete and faces like so, and we should still be left with something like this. All right. So now let's pull this part forward and this then will be the inner piece of wood. Let's pull it a little bit further forward. And on this one, then, we need to create it basically like this. So the way that we're going to do it is let's press question mark just to isolate it out, and then what we'll do is we'll come in and we'll grab both of these, press in the J button. And then what we'll do is we'll split this part here and this part here. Now, we already know when we're doing this, it's easier to grab the top grabbing this bottom here, and then just right clicking and subdividing. Now, it can't subdivide at the moment, and the reason it can't subdivide is because we put this in first. If you do it that way, just come in, grab this one now and this one now and press the J button. And maybe next time not put this in first. First of all, you know, put this split this subdivision in, then put this one in. Alright, now we also know that if we don't do anything about these, we're going to end up when we insert it, it's going to cross over. So let's fix those. So I'm going to do is grab this this one, grab the center one, press the end button. And what I want to do is merge them at center. Now, if the Enbons not working, just right click, come down and you'll see merge vertices, merge them at the center, and there we go. We've got this now. Okay, so now let's come in. And what we'll do is we'll bring in some more edge loops going this way. So control. Let's bring in this many. So four, left click, right, click, like so. Press the A button, and then what I'm going to do is press the I button. Press the eye button again, and I should be able to then come in and split them off. Now, I've got mine relatively thick on my other window, but I think for me, this is going to be fine like this. Now, remember what I said once you've done this, make sure that you hide these out of the way. So I'm trying to hide these, but I can't hide them because I'm not in face leg. Now I can hide them out the way, and then I can come in with my edge slick. And what I can do is split all of these off. So all I want to do not split them off, sorry, Mark Mark the seams, not split off. We're not splitting anything off here. Okay, so just take a little bit of extra time because it's going to save you a long, long time in the future and marking all these seams. Now, you know what? I might as well actually come in, press A, right click and markers. Mark asm on everything except these parts going here. So where do I want to see them. So all the way up to there, all the way up to here, and then right click and we're going to clear seams. So let's have a look at that. Double tap the A, and there we go. Okay, TH, bring back this part. And then what I'm going to do is I want to actually, you know what, probably probably instead of doing TH, let's just press Sir Controls, A to grab it all, and then what we'll do is just extrude it out first. And when I extrude it out, then press ltH, bring back my glass. Like so. And I'm just looking now, so you know, that's gone absolutely perfect because we've got a wood there on these parts, and we haven't grew on the inside, as you can see. So on the back, I mean. Now, let's press tab, press question mark to bring everything back. And this is what we should be left with. And now I want to do is I want to squish this up. So I want to pull my glass forward. So first of all, though, let's pull this bag. Into place like so. And again, you can see because we've done this with this open bit, you'd probably be better off splitting all of these up as well. I'm not going to do that, but if you wanted to, you could just literally split them all up so you can split them all up. If you do that, though, you've got to remember that you've got to fill these gaps in, so I will quickly show you. So I'll quickly see that my work. I will come in. I'll press L on here and L on here. And there's going to be one on the inside. So let's come in and L on here. Then what you'd do is you'd split it up with Y, and then you need to actually come in. So let's go take this off. And then what we'll do is we'll grab this Shift H. You need to fill in these gaps. You need to actually put in a face on here and on here. And that's why I'm not actually going to bother with the inner part. I'm just going to leave the outer part. Now I'm going to do is quickly open it again. So course modular pack. Let's make sure course modular pack, don't save. And here we are back to where I was. Alright, so now we said we're not going to do that, so that's fine. What I want to do, though, is bring these windows forward. So if I come to all of these windows, I'm going to bring them forward. So I'm going to grab them all. Let's bring them forward into place, like so, and there we go. We're near enough, done. With the modeling of this one. And that didn't take long at all, and that looks really, really cool. Now what we want to do is want to join these altogether. So if I grab this one, we've got a bevel on here, grab this one, press Control J. Can I join it altogether? You know what? I'm just going to grab it like that. Grabbing this pot laughs because that's got my bevel on. Press in Control J, and there we go, double tapping the A, and now it looks fantastic. Now, the next thing I want to do is I want to grab this one, grab this one, press Control L, and I'm going to link materials. Now I want to go into material view, let it load up. Save out my work once this is loaded up, and that's looking really bad. But hey, ho, let's come in, first of all, grab all these soon as we've got them, come over to my materials, press, and we'll go with unwrap because they're just planes, and then come in glass, a sign, and there we go. And then I'll hide those out of the way. And then what I'll do now is I'll come into these parts here. So this stone, we'll come into that part next. Like so. And we've got no teams or anything like that, but we know it's stone, so all I can do is press U and smart UV projects. Click Okay. Now I can see these are going to have to be made a lot lot smaller. So I'm going to come to those in a minute. But first of all, I'm going to come to my wood here. So I'm going to press L, L, L. You know what? I'm just going to make all of this wood. So, A, you unwrap. Like, so bring him a wood, click a sign, and there we go. Now we can see we've got a lot of problems in here. So a lot of problems with the wood on the top. Only on the top, I think. I'm just looking at the wood, making sure it's all going the right way. It is. So it's just these wooden parts on top. Bun gon is L, L and L, and then going to go over to UV Editing. I'm going to grab this one first with L. I'm going to press Altne straighten all that out. Now, I want to make sure that this one is straightened out properly because you can see it looks a little weird. So I want to press tab, and I'm J looking now. You know what? That actually looks fine. It looks good. And then I could actually split this down the center, but you know what? I'm not going to do that. What am I going to do then it's come to these parts. So, L, Alt, L, Alt, and there we go. Alright, that's looking good. Now, let's come to the actual stone. So Alt H will come to this stone now, and we want it to be the same as our stone on our other one. So once I've grabbed it, and go over it, this is how I want it to look. So what that means is A and S, no, S this way. There we go. Let's make it a little bit smaller, and there we go. Now, let's look what that looks like on a rendered view. And there we go. That is looking. That's looking fantastic. I really, really like that. The only thing I would say is this wood on here. It's a little bit too big in comparison to these bits. So what I'll do is because it's made it obviously much more on these parts. So only on the front, I'm just going to grab the front, like so, and then I'm going to press A. And what I'm going to do is press S. And make it much, much smaller like so and now it fits into place, much, much better. Alright, so that's that window there. Now, if I move this, shift spacebar, bring the move tool, move it over to here, grab both of them, and move them over. You will see now they go with each other, two separate windows. You can see how easy it was to do that. Now we're going to do is on the next lesson is we're going to move on to our final big window. Now, this one is a little bit more intricate. The reason is because it's stone. It's kind of we will put wood in here because I think wood suits it better. But this part in here should be made of stone. You know, it's kind of more of a gothic feel to this window, and we're going to stick with that. The rest of it, though, is just the same as building this out, pretty much, so I'll show you how to do that next. Alright, everyone, so I hope you enjoyed that, and I'll see you in the next one. Thanks a lot. Bye bye. 56. Building a Large Arched Window for Structural Flair: Welcome back, everyone to blend the building master class from concept to final render, and this is the one we're going to work on now. Now, you should be able to now look at something special windows and break them down. So we can see break this down. We can see we've got this part going around here. We know how to do that. We've got a little piece of stone that's going to be going in here. This is clearly we're going to put that separate. We've got this little band going across here. Again, we can put that separate. We've got this part going around here, which we'll do separate, and then we can use the bevel to bring this in and make this kind of shape, which I'll show you about. Finally, then we've got the inner window, which we've got a edge loop going across here and a few edge loops coming down here, and this is a big open part. So then we know we can use the insert on here to get this actual kind of shape. We could end up doing the insert just on the top and then doing the bottom separate. That might be something that we actually have to think about because it's a little bit more complex than this one. This one's got, you know, four on each row, and this one only has two. So something to keep in mind. First of all, though, let's get the correct dimension. So we're going to go back to modeling. We're going to put it onto object mode, and what we're going to do is we're going to bring in another plane. So shift date, let's bring in a plane, RX 90. And then over here on the left hand side, we're going to point some dimensions. So Control A, all transforms set origin to geometry, just like last time. So let's go in and put it on 2.05, and let's put the Z axis because we can't do the Y axis yet on 3.44. So it's quite a big window this, quite a chunky window, and let's bring it up. Now, we should still have our bevel on here from what we had earlier. So let's see if that's actually going to work. Again, though, let's first of all, though, bring in our edge loop. Now our edge loop is probably going to be best off lined up with this window over here. So if we come and line it up just above this window, that should work fine. So I'm going to do is I'm going to press tab. Control off. Left click, right, click, press one. And then I'm just going to put it up a little bit further. We can see this line going across here, so it's a little bit further than that window there. Bring it down a little bit, and there we go. Now, let's come in, grab this one and this one. Control Shift B, bring it in. Let's bring it round, bring these together like so. Now, we can see here that we've got one, two, and then one and two, and then one on its n. Now, I think that we need to bring these in probably a little bit more because this is more of a Gothic style. So if I come in, I should be able to make it more of a Gothic style, like so just with doing that. Alright, that's looking pretty good. Now let's come in then. And think about creating that shape. So if I bring this over, we're going to create this shape first, then we're going to create this bottom part. So we'll do it all in one go though with this pot. So what I'll do is, first of all, I'll come in. I will get rid of this, so we're going to press delete and dissolve edges, like so, and then we're going to come in to the top of it, and I'm going to press the eye button to bring this in, like so. Now, you can see it's not coming in evenly, and we know that's down to generally, resetting all of our transforms. Then we can press tab, then press the eye button and everything's coming in very, very nice and neatly. So let's bring it in something like this. Maybe it's a little bit more chunky than these ones here, that is exactly what I want. Now the next thing we want to do, of course, is add in these streets. So we'll come in. We'll press K. We'll come in and then press A to go down like we did before, and then K and A to drop down. And there we go. Okay, so far so good. Now, let's separate this inner part off. So I'm going to grab just the inner part. I'm going to press P, like so, and selection. Okay, that's separated off. Now, let's come in and split these up. So what I'm going to do is I'm going to come in, I'm going to mark a seam on each of these, like so, and then I'm going to go one, two, and then one and two, and then leave the top part in there because that's how I want it. And then what I should be able to do is mark a seam. From there, then let's split them off, so I'm going to come to this one. So, L, L and L. You can see now once I press the Y button, all of these are split off, so that's great. So Y. And finally, I want to come to these ones, so L and L, press delete and limited dissolve, then we'll get rid of those. Now what we want to do is we want to pull these parts out. So we want to get some thickness actually on these. Now, the thickness is going to be not 0.554. It's quite thick. So I'll go with naught 0.53 oh because we've got a big chunk on here. So let's try that. So I'm going to do is I'm going to grab them all, I'm going to pull them out like so. And then when it come in, I'm going to check what this is. So on my Y, you can see if I press Control A, all transforms set origin geometry and put this on naught 0.52 oh. Let's try that. You can see that's probably probably a little bit too thick. So let's bring it back a little bit. I don't know why my measurements are a little bit. I'm gonna make it thicker, but not that thick. Okay, so now what I want to do is I want to come to this bottom pot. And because these are split, it means I can pull that back then into place. Like so, and there we go. Now we've got this side, this side and this side. Now, let's put on the bevel. So what I'm going to do is I'm going to grab this one. I'm going to press Control L, and I'm going to link or copy modifiers. And there we go. That is as easy as that. Let's right click and shade or smooth just to get rid of those little marks that are on there. And there's the first bit of this. Now I want to do is I want to bring in the inside, which is mainly the more complex part of this. So what I'm going to do is you can see that this in part, it comes in here, goes down there, comes in here, goes down there. How are we going to do that? Well, I'm going to show you. So first of all, let's come in and bring the eye tool in again. So if I press the eye, I should be able to bring this in, like so and you can see, these are nearly touching. At this point, we should make them touch, actually. It's going to be easier for when we do the kind of wooden bit in this part. So I do probably want to cross them over. So in other words, I probably want to bring it in a little bit more than what it is. So I'm just going to press Control's head. I'm going to press the eye bun and bring it in, bring it in, bring it in and have a nice bit that I can actually use. Like so. So this is looking good. And then what I'll do is I'll come in now. You can see the breaking here. So what I want to do is come to these two, grab both of these, like so, right click, merge. So we're going to merge at center, and there we go fix that issue. Now, with this part coming in, we again don't want this part on here. So we don't want you know, this stone coming in here. If you look on here, actually goes straight down to the point. So let's actually sub that out. So what I'm going to do is I'm going to press one, going into front you. I'm going to press K, knife tall, press the A bone straight down. Enter. Same on this side, okay. Press the Abn straight down. Like so. Okay, so now we've got that. Now, let's split off this one. So if we come, we'll split this and this, and let's press P. Selection and split it off. Now we should just be left with this part here. Now what we can do is we can actually pull this out onto here. So if I press tab, I should be able to press A and then E and pull it out onto this part round about here. All right, so now I want to do is I want to bevel this part now. So bevel all of this and kind of make it look like our actual reference. So you can see, we've got a part going inwards, pot in, part in, and part in and got that real gothic look. So let's see if we can actually do that. So the way that I'm going to do that is I want to come Corn troll going all the way around here. Now, we might have some issues with this top part, and this is probably why I've, you know, put this in. It's probably hidden away this part in here. So just there, remember that. There's also, you know, this bottom part as well that also might need fixing, as well. What I mean is, I might join these two together or join all of these. But let's see if we can actually get away with it first. So I'm going to press Alt Shift Click. And it also might be because I've joined the back of this. Let's just press Shift H minute and have a look at this. Now, what we're going to do is we're going to press Control B and see if I can actually get away with it. We've also got issues with these as well, but let's see. Control B, bring it down. You know what? We've actually got away with that, so that's looking pretty good. So before we actually go further, I'm going to actually delete this off, so I'm going to come in and dissolve the edge here. So let's press delete and dissolve edges, and there we go. Now you can see, we've got no verts in here, so I've took the vertices away. It's nice clean mesh. So now I should be able to come in. Oh, shift click. Oh, Shift click, press Control B. Pull it into where I actually want it. And then what I'm going to do now is put it on custom. Now, once I put it on custom, now I can get in whatever I want. You can see it comes down, goes back, comes in, comes back, like so. So now what I need to do is I can come in, first of all, and reset this curve. So if I come in, I can reset the curve. Then I can add in one here. I can pull it back, so I can pull this one back, so you can see, bends in, bends in. I can then come in with this one. And bend this one out, so I can make it that real real, as you can see, gothic look that I'm actually trying to go for. And you can add in more of these, so if you add in another one, you know, and then you can add in more points and things like this. But I think I'm pretty happy with how this looks, so it goes in, sharp and comes round. Yeah, I'm pretty happy with how that is. So if I press Tab now, right click and Shade Smooth. Now, the other thing is when I actually did this, you can see when I shaded it smooth. It doesn't actually look right. But if I go to shade flat, for instance, you can see now let's go to Shade Auto Smooth. There we go. Now it looks right. So there's the difference between them. Sometimes, when you're doing this, you might not want it to be round. If you don't want it to be round, just remember you always have the ability to come in old shift click, right click and mark a sharp, and there you go. You've got that sharp in there now. So you might actually want to do that. Sometimes I actually do that. Alright, so we've got that. Let's press Altage, bring back everything, and this is what we're actually left with. And you can see now that's looking really, really nice. What we'll do then on the next one is we'll bring in this window. So bring in the window. We'll put our little chunky part on here, and then we've nearly done with this window, as well. Alright, everyone, so I hope you enjoyed that. Let's save our work, and I'll see you on the next one. Thanks a lot. Bye bye. 57. Refining Large Window and Correcting UV Issues: Welcome back, everyone to Blend the Building, master class from concept to final render. Alright, so let's now we've got this in place. So what I'm going to do is I'm just gonna press shift. I'm going to drag it out. And the reason I've done that is I know then where roughly that's going to be put back to. So I've got this part here, and what I want to do is create the actual window. So if we look on our reference, let me just pull our reference up, you can see that we've got one, two, three, four parts here, and this big part in top. So it might be better probably splitting this up. That might make it a lot easier to actually work with. So let's actually look at that. So what I'm gonna do is I'm going to come in and I'll do the top part first. So let's come in. Let's come into this part here. And then what I want to do is I want to put a bar going across there or even under here. So let's do that one first. So if I come in, and what I'll do is I'll press J and drop that part in there, and then I'll come to this part then. And then what I'm going to do is press the i button to bring it in, like so. So bringing in that window. Who ran about that thickness. And then what I want to do is I want to bring this one in. You can see I've also got this part in the bomb, which is, I think, let's actually have a look. Is it that part there? So we'll go to this part. Yes, it is. So I can come in and delete that part of the way. So this part here, delete and dissolve edges. L so. Now, let's work on this part here. Is this thick enough? You can see maybe I've not made it thick enough. So you know what I'm going to do? I'm going to come in and I'm going to press the Sp and bring it in a little bit more. So I have it round about that thickness. Then what I'm going to do is I've got to think about the top part here. So you can see that this is round about the same thickness as this same thickness as this. So I've got to kind of replicate that. So I probably only need maybe one, two, three. I might even make it a little bit different. What I'm going to do is I'm going to put control. I'm just wondering the best way to do this. So let's first of all, come in, and what we'll do is one, two, three, three. And then what we'll do is four going this way. So Control one, two. Now, you can see I've still not split that off, so I'll just come in. Control select, split it all off with Y, and then Control law one, two, three, four, left click, right click, and there we go. Now, if I bring this in, so if I bring all of these in, press in the I button, I again, you can see now I can bring them in like so. And then you can see, though the thing is, we've got this really thick part on here. And I'm just wondering if I actually want that, because if I don't, what I can do is I can bring the window down to this part here if I wanted to. In other words, I can either keep it like this or you can keep it like this, or I can actually cut it down here and then keep this whole thing as a window. That's what I'm actually thinking about. Now, I think with these, I'm going to press the s button, or I'm going to try and press OTS. That's not working. So what I'll do is I'll make sure I'm on individual origins, then press the S button, just to bring them out a little bit, because they're a little bit too small, I think. And then what I'll do is I'll show you what I'm in with this. So if I come in, press K, grab this part, press A to go down, grab this one. On the A. And the other thing is here at the moment. These are getting confused now because we've got two of these in here and these edges aren't joined. So instead of doing that, we'll just come in, we'll press L, hide it out of the way. Then we'll come to this point here, press K, and then A, all the way down, press Enter, and there you go, we'll actually work. Same on this one. So, A, all the way down. And there we go. Now what you can do is you can get rid of this line here. So I can come in and I can go dissolve edges and get rid of it. And then if I press ltates you can see now this is what I'm talking about. So we've got this part in here like this where it's the four window, or you can have it more like so at the moment, we've graded like this, same thickness, same thickness. And then we'll have the same thickness going over. So it'll be sat on top of here or you can have it going in. Completely up to you how you want to do it. Now, the other thing is, at the moment, I'm just looking to make sure I think as well that on these points here, so if I grab this point here and this point here, I'm going to press S and X and just pull them out a little bit. They're a little bit too straight, and I think that actually looks better. Now, finally, let's come in and we'll just split off our windows. Like so, like so. And these will be made of metal because it's quite a big window to made of wood. And then what I'm going to do is just press H to hide those out of the way. Now what we want to think about is our seams. And seams if it's metal, the reason I want to put seams is I'm just wondering if I do want to put a seam in each of these. You know what? I don't think so. What I'm going to do is I'm just going to press A and then E and pull it out, like so, and there we go. Right, click, shade at smooth. You know what? I think that's gonna look pretty good. Now I'm going to do is I'm going to come wave my glass, so I'm going to press tag, grab each of these, and I'm going to pull these out now just a little bit further for the actual glass because they side a little bit too far back. So I'm going to grab them like that. Hold them out. Like so. Alright, so far so good. Now, let's grab this and pull it all the way back to where the other one was. Let's then hide out of the way, grab the other one, press delete and face press just delete. All tag, bring everything back, double tap the A, and there you go. That is this window done, as you can see, that's looking pretty nice. Now, let me just make sure I've got cavity on. So now we can see we've got the same thickness. In this one, in this one, I'm just looking. I have got the same thickness in there. It's a little bit thin on there. We can, though. We could come in and join, you see, it's double thickness in there. You know what I'm going to do. I'm actually going to come in, and I'm going to join this on here. So I'm going to press J to make that line there. And then what I want to do is make this into a piece. So the way I'm going to do that is I will come in and grab this one and this one. I'm going to press J. And then what I'll do is grab the wrong one, I think. Instead of pressing J, just press F because there's nothing there. And then what I'll do is I'll grab this, this, press in F. And now let's fill in this this. And you can see it's going all the way across there, which is going to cause some problems. So instead of doing that, I'll just grab this one and this one and press F. Like, so and then what I'll do is press out the way. And then all I want to do is delete this part off. So if I press delete and faces like so, press TH, bring back everything, spin these rounds, so I'll grab this one and this one, shift then, spin them around, and that is what you're left with now. And that probably is going to look better. So even if you win the other way, you can actually fix it just by doing what I did there. Now, if I come in now and grab this, you can see it's fitting in perfectly in there. If I press G, you can see it's all attached to it, so everything should be good. The only thing that's not attached is this top bit to this bobt, but because it's mele, we should be able to get away with that. Alright, so now let's think about creating the stone. So I'm going to break this into parts. So first of all, though, I want to grab this, this, this, and then press Control J, double tap the A, and we should be left with that. And we can also see that we do have some problems in the shading on this glass, on this bit in particular. And that's caused by we've got a load of actual edges, sorry, verts on here. So let's try and fix that. So what I'll do is I'll grab this and I'll triangulate it. So triangulate faces, press the tab, and there you go. Now you can see it's actually fixed. So what was causing that was the fact, you can see, as well the triangles. Actually, it's still not fixed, I would say. It's still not fixed. It's still having some issues. So let's try instead of that, let's go with tries to quads. And see if we fix that any better. I would say it's still not quite fixed. And what's causing it is because we've beveled it round this part here, so you can see this bevel here. That is what's causing the issues. If I press Y, you will see now that we haven't got any of those problems with it. But the problem is with pressing Y is it's not joined anymore. So all I can do is I can come in and press let and let it to dissolve. It's not joined anymore. It looks really nice, but it's not actually joined, which might cause issues when it comes to creating or glass. Well, it will cause issues, because if I drop glass on here, so what I'm going to do is I'm just going to go back before I actually split it up. So let's just go back. There we go. Now it's actually together. And instead of doing that, I'll just show you exactly what I mean. So if I come in, I'll grab this one here, I'll press Control L, and I'm going to link materials, and then I'm going to come into this top one, and I'm going to assign it the glass like so. Now, it's a sinned glass like so. If I grab now don't press Y, hide it out the way, you can see it changes slightly. Now, you know what? It's not changed enough where I'm thinking, you know, I shouldn't have done that. So let's just press the limit to dissolve. And you know what? That's looking pretty nice. Now, what I'm going to do is I'm going to try now grabbing all of these, so I'll grab all of these coming down. And we'll just see if I can get this glass right before anything else. And I'll click a sign. And then what I'll do is I'll press you and Unwrap. You know what? Let's put it onto rendered view. There we go. You know what? That's looking pretty good. Okay, let's come in and hide those out of the way, and then we'll grab each of these. So L and L, and I'll press you. Smart UV project, click wrap. Metal building, click a sign. And you can see we've also got looks like some issues on this part here. So what I'm going to do is I'm just gonna go in, right click and shade flat. And there we go. That's looking pretty good. Albeit, is this one as well causing the issue? So I'm going to go in, right click, Shade flat. No, it's just the light, as you can see. So it's yours, the light. I come down here. S the light coming in. You know what, though, I'm just wondering if these parts here, are they actually connected? Because I want to make sure it is connected. I'm just wondering if it's, like, not flat or if it's cause it's poking out or the light is a little bit different on here. And I'm just wondering what is actually causing that. So if I come in and pull it out, you can see it's a little bit darker than these parts here. Let's pull it back. Let's pull it back now. Let's right click and Shade Smooth. Right, click, shade flat. Let's press Delete and limit to dissolve. And no, that's still it. So I'm just wondering if it's because of where the light is bouncing from. Now, the one thing we have forgot, as well, of course, is this chunk on here, which I completely forgot about. But the more concerning point to me is fixing this issue with the light. So what I'll do on the next lesson? I'll try and figure out what's going on here, and then we should be able to get that fixed. Alright, everyone, so I hope you enjoyed that, and I'll see you in the next one. Thanks a lot. Bye bye. Oh 58. Completing Arched Window with Frame and Concrete Decor: Welcome back, everyone to blend the building master class from concept to final render, and this is where we left it off. Well, we didn't leave it off quite here. We left it off on this, where we've got this kind of problem here with the extra metal. And good news. After a lot of, you know, trial and error, I have actually found what the issue is. So what I'm gonna do, first of all, though, let's shade it flat because it doesn't look right like that. So I'm just gonna grab it all going around there, right click, and then what we're gonna do is tries to not tries to quad. Not tries to quad. We're gonna come down shade flat. There we go. Now it already looks better. Now I want to do is I want to come in to my glass. So let's sort the glass out first. And then I can show you exactly what the issue is on there. The other thing is, just make sure you can see here that this is glass. I don't really want that as glass. So what we'll do is we'll just come into these. And what I'm going to do is just unwrap them. So unwrap, like so. And now you can see they're roughly the same size as those, so they're great. So now I can do is I can grab all of this now. So all of these going all the way around, U, smart UV project, click Okay, and then they'll just make sure they're all the right size. Then what we'll do is we'll come now to these parts here. So I'm going to come into these parts here. If they're not showing up, just press L TH, and there we go. Now I can do is I can press, smart UV project, click Okay. And then what I can do is I'm coming over now, and we want this on maybe Stone lighter. So let's click a sign. And then let's come to this one here. So all of these, we're going to unwrap them, including this one here. I'm going to press U, Smart UV project, click Okay. And then what I'm going to do is stone Light, click a sign, and there we go. Now I can see that I've not actually unwrapped that one, so maybe I should come in and grab them all. Like this. I'm hoping that I've actually grabbed that one because I can see it doesn't look like I've grabbed it, so I'll have a look at that in a minute. Smart U Vp jerk. Click Okay. And we can see that this one for some reason, isn't being grabbed. So let's just press G. It looks like it's not part of all of this, the way that I've pulled it out. So instead of doing that, I'll just grab it come in here, grab it come in here, and then come in. Edge select. So L, on here, here, and here. And honestly, guys, it's not like you're never going to have problems unwrapping things because you always will. So kind of get used to it because this is the norm. So now we can see this is a little bit lighter on the inside. This is darker on the outside, and then we've got our metal in there, our glass in there. Everything is nearly fixed except we've not got that chunk in there. We'll do that in a minute. First of all, though I want to show you what's going on with this glass. The reason why it's like that is because this is a separate part to this, and it's based on normal. So you will see that if we go to shade we put it onto our rendered view. We make sure that we're on our metal, so metal. And we can see it's a fairly, fairly complex shader. And one of the things with shaders is the more complex complexity you add to it, the more problems you can actually have. So that's one of the things that we need to sort out here. Now, I'm not sure whether when I came in here, did I actually unwrap it let's have a look. Yours looking. Yeah, it is different, so that's okay. But if I come down, and put it here. If I come down to where it says normal. So base metal normal. This is actually set too high, so way way too high. So let's just turn it down. And you'll see, as I start turning that down, it all starts to come to the same color. So no 0.3. There's no reason why we'd need that on, you know, higher anyway. Now, of course, this will affect all of our metal, whatever we've got in here right across the board. You can still see there's a slight slight variation in there, but nothing like it was before. So only if you come up here, if I turn this down, let's say to not 0.1, and now you can see, there's hardly any difference if I go up or if I come down. And that's exactly what it. Alright, so we've still got that shine on there. We've got a little bit of normal on there from these kind of bands. Now, one thing I can see with this metal is, as well, while I'm here, I'll select one of them. So I'm going to face select, select one of them. And then what I'm going to do is I'm going to go to select, and I want to select similar based on material. What I'm going to do is I'm just going to either make it a little bit smaller. So if I make it a little bit smaller, like so, and now you can see that these scratches and bumps and things like that, they're not not so well, they are more profound, but they're not so repeating. Let's see if I bring it out, you'll see what I mean. If I bring out like that, you can see the repeating. Press control, put it back in. You'll see now they're not so repeating like there was. You've also got a lot of controls on here, which can bring down the actual metal chip strength, metal scratch strength. You can see all of these things here. So it can actually come in, turn all of these down, as you can see. So I don't need it quite so high. So if I want to bring this down just a little bit, and that's looking much, much better already. I think, yeah, we're going to go with that. Because we are going to be adding metal onto other things. It's not like we're going to be doing that. Okay, so now let's go back to modeling. And what we've got now we should have if I go back to object, I should have all of this put together. So I'm just wondering if all of this is one part, which it is. So now let's go to our reference quickly. So open up our reference. Here is the bit now want to do. So I want to create kind of this bit going into here, not quite to the male just into the top of there, I think. So what we'll do is we'll come in. Cursor is in the center, so shift a mesh, cube. That's a plane. So shift A, mesh, cube, bring it up. And it's funny that this is the last one, and we had all these problems with it, but it's honestly bed guys, if we have problems now, so I can actually show you the solutions to them. So S and X, rather than just going through a course where there's never any problems because it's just not realistic. And then what we'll do is we'll bevel off this part here. So what I'm going to do is I'm going to come in, grab this part, press Control B, bevel it off, bring it round, like so. And then I'm just going to go to my custom, like so. And the custom was already set from what we had before. And you know what? I already looks. I already like the way it looks, so I'm happy with that. The one thing is, it's a little bit too thick, so I'm just going to press Nx, bring it down, and maybe it's a little bit To blow. So, something like that, does that look good? And, yeah, I think it does. This is going to be stuck in the world. Maybe maybe it's a little bit too far, so we'll just pull it back a little bit, like so. And then what we'll do is we'll join it to this. So Control J, join it together. Then we've got our devil on. And finally, finally, let's just see what material it's got on there, 'cause I don't even know. So let's press L. Come down, and we'll minus this one off. Can't minus it off in edit mode, so we'll come up. We'll go for stone light. We'll click a sign. And then what I'll do is I'll press Tab. Come on down to this one here. This is basically a material that's not being used. So we'll just minus it off and keep everything tidy. And there we go. That is looking very, very nice. Now, the thing is, is this a little bit too much for this? You know, it's a little bit more stone, you can see in our rendered view, anyway, doesn't quite look like this one. So what I'm going to do is I'm just going to press U, smart UV project because I don't even think I unwrapped it. And then what I'm going to do is go to the UV map, press the Abn, bring it in. Go back to modeling, and I think that might be in Is that gonna be enough? Let's have a look? Yeah, it looks about right. Alright, finally, right click, shade or smooth. And then I just want to come in now because I've shaded smooth for this and just come in and finally shave flat on here. Now, shade, where is it? Shade flat? And there we go. Alright, wonderful. That is looking really, really nice. Just make sure, then that I've got all of these now. So I'm going to pull this over, zoom this out, pull it to the side, put my reference back, like so, Alright, so these are the three we've got, so we've got this one here. You can see pretty much they're for light. We've got this one here, a little bit tiny different. You can see just how easy it is to get, you know, these kind of details and things like that in now, you could change these quite easily to be whatever you want them to be. The only thing is, I would say, there's a big difference between the dark and the light. That's maybe something we want to think about in the future. We've got them both set up so that when we bring them in to Blender, we can actually easily make them dark or lighter. So what we're going to do now then on the next one is we're going to create this window here because, you know, we've already created these windows. We might as well create the last window. So let's actually create this window here, and then from there, all of our windows are done. And then from there, what we can do is, if I come back, we can come then to this part, stick our windows in where they're actually going to go, and then we can actually put all this together, you know, all of these parts we can put together, and we can go back in then and actually start building out a lot more parts. Alright, everyone, so I hope you enjoyed that, and I'll see you in the next one. Thanks a lot. Bye bye. 59. Modeling a Radial Symmetry Window for Stylized Designs: Welcome back, everyone to blend of building, master class from concept to final render, and this is where we left off. So, this is the one that we want to create now. There's many, many ways of creating this but I want to show you the easiest way of doing this. So again, we break this down. So we need this center bit, and then we need this outside bit along here. From there, then we're going to build this part along here and then find this outer rim on here. So let's actually have a go that now. First of all, then, let's actually move these out the way. Let's put it on object mode so we can actually see what I'm doing. Make sure your work is safe because you don't actually lose anything. Just go to put these windows back there. And then what I'm going to do is I'm going to go over the top. I'm going to move my guy over here. I'm going to press Shift A, and I want to bring in a let's go to curve, and we want to bring in a no, not curves. We want to actually bring in the mesh and the circle. Let's bring in a circle. And what we'll do is we'll put that onto 16 so and then what you want to do is you want to pull this up here and you want to rotate it. So you want to set the orientation to somewhere around here. So right click to the center, actually, set origin, two, three D cursor. Then what we want to do is we want to rotate this round because now we've got the orientation there. We can rotate it around here. So what I'm going to do is then going to press Shift D and then R Z 72, like so, and then Shift D. A Z, 72 and then shifty z 72, like so, and then shifty Z, 72. And we should end up with something like this. And you can see already we're starting now to get exactly what we wanted, so we're starting to, you know, get all these parts. So what I want to do now is join these two together. So I'm going to come in. I'm going to join these together now. So press Control J, join them all together. We're not worrying about scale. By the way, you can see this as massive of them. We're not worried about that right now. What we want to do now is coming in, 70 over the top. Come to my vertex select and grab these. And what I'm going to do is press M, and I want to join them at the center. So merge at the center. Come to these two. And rather than pressing M and merge at center, just press Shift R, and it's just going to repeat the last move that we did. Same again on this one. Just make sure, though, you're doing it from the inside. You could come all the way to here, but it makes no sense. So shift R, always on the inside. So the closest one to the outer part. So Shift R like so, and then we're going to do is these two, shift R, like so. Now I want to do is you want to actually delete all of these. So if I come in and I press C, you can see it's easier to select with C. Select one of these, press the C button, and all I'm going to do now is come all the way all down to here, all down to here, all down to here, like so. And with the C button, it's basically a circle select. You can move your mouse wheel out, and in like so, and to get it off, you just press clip. Just like that. Alright, and then what we can do is we can press delete and we're going to dissolve edges. Nope, let's try different one. So let's try instead of that. Let's dissolve ertzes No, because I don't want to leave this space here, so I'm just going to come in and dissolve or delete edges. There we go. Or let's try delete vertes see if that works better. And finally, there we go. So you can see now we've got the space that we want. Now, what I'm also going to do is I want to make sure this is a little bit more squared than what it is, because at the moment, it's a very sharp edge. I don't really want that. So what I'm going to do is I'm just going to grab all of these, and I'm going to press Control, Shift, and B, and I should then be able to bevel it off. Now I'm going to bring it back, so it bevels it off nice and straight for me, as you can see, so I've brought one in. I'm just going to bevel it off very slightly just so we've got a hard edge there because we don't want to end in a really, really hard edge. Now I want to do is I want to bring a circle that's going to go around the outside so I can join all of these up together. So what I'm going to do is, I'm just going to press Shift A, I'm going to bring in a circle. It's got 16 on it a moment. Maybe maybe I'm going to need a few more edges to actually get this shape that I actually want. So what I'm going to do is I'm going to put this on 30, and then I'm going to pull it out. So I'm going to pull it to where I want the actual rim to be. So maybe maybe something like this. Now let's see if we can actually get these joined up. So we're going to try and bridge all of these in some way. So what I'm going to do is I'm going to grab this one and this one. I'm hoping that if we come down now to bridge edge loops, is that going to work? And there we go. We've bridged the edge loops. Let's press Dot, go seven over the top, and there we go. Now we can see this is looking pretty nice. Now, the other thing from here, what I tend to do is I'll press delete, and I'm going to go down to Limited Dissolve. And you can also do it that way. Let's go back though and show you a different way instead of doing that. So what I'm going to do instead is I'm going to press te fill them in like so, you can do it that way, or you can go F and fill them in like that, and that is the worst way of doing it, because obviously it's not working. So what we'll do instead is, I'm just wondering the best way to do this is going to be probably old F. I'm going to fill it in like that. I think that's going to work much better. Shift in then because we can see they're the wrong way round, put it to the inside, and there we go. Alright, that is that part done, and you can see just how easy that was. Now, one thing I do want to do is I've got control right now of the outer and the inner. So while I've got the control of this, what I'm going to do is I'm going to grab this part all the way around here, I can press the S bone and bring it in like so. Then what I'm going to do is I'm going to press E, enter, S, and pull this one out. And then finally, what I'm going to do is just drop this down a little bit. So making a little bit of a rim like so, and that then, if I right click, shade smooth, makes it just that slight bit bent, and I like the actual look of that. Okay, again, we're not worrying about scale right now. We want to move our guy over let's make now the next actual pot. So if I go over the top, this part will be separated from this. So what I'm going to do is I'm just going to go over the top. I'm going to press Shift A and bring in another circle. And this time, we'll put this onto Let's actually have a look. So how many have we gone here? So you can see one, two, three, four, five, six, seven, eight, nine, ten, 11, 12. So 12 on the outside and on the inside, I think we'll put it slightly higher. So what we'll do on the inside is, we'll have this on 24. So 24 on the inside. So let's bring this out. So S, bring it out. And remember, we've got no thickness on here yet, so just remember that we need some thickness on here. And then what I want to do is I want to now come to this and bring it in to this part. So I'm going to press tab, and then I'm going to press E, enter S, and bring it in. Is that actually on there? I'm actually extruding on there. Let's have a look. So E, yes, I'm extruding on that part. So let's see if I can actually extrude E, to S. There we go. Now it's wigging. I have no idea why it didn't wear it before, so S, bring it in. Like so, and I think it's a little bit too white. I'm going to grab the outside. S, bring it in. So. And now we're on the final bit. So the final bit on the outside is going to be 12. So I'm going to press Shift A, bring in Shift A, bring in another circle. And on this one, we're going to put it on to 12. And then we're going to bring it out. So S, bring it out. And if you're not happy with it, just make sure you go a few more because I think maybe maybe this is not enough. So you know what I'm going to do? I'm going to put this on 16. And then I'm going to try bringing it out, and I think that's going to look much, much better from there. So I'm going to put it around about just on there look like so. And then what I'm going to do is I'm going to press tab, I'm going to press E, enter S, and pull it out to make that stone part that's going to go around there, like so. Then I'm going to press A, shift and N, spin it around. And there we go. Now, the last bids before, I don't want this flat. I don't just want it flat. So what I'm going to do is before doing anything else, I'm just going to come to the backup here. So I'm going to grab this side here going all the way around, and then I'm just going to pull it back like so. So now you can see, it's looking pretty nice. And now what we can do is we can actually work on actually solidifying this. So first of all, we'll come to this part here. We'll press Control A, all transform, set origin, two geometry, adding a modifier, and the modifier we're going to generate is going to be a solidify. Then what I'm going to do is I'm going to actually bring it out a little bit more. So bring it out a little bit more. To the thickness that we actually want it. So yeah, something like this. And then what I'm going to do is I'm going to grab this one, this one, and finally this one, peruse Control L. So Control L, and I'm going to copy modifiers like so. Now, you can see that we've got some problems in these. First of all, we'll come to this one Control A, all transforms, set origin to geometry, making sure even thickness is on, to this one, Control A, all transforms, set origin to geometry, making sure even thickness is on. And now you can see that's looking much, much better. Albeit, this one should be a little bit thicker, so I'm going to make this one a little bit thicker. And then what I'm going to do is now I'm going to pull both of these out. So I'm going to grab this on this, pull them out, like so, and then this, I'm going to pull out even more, like so, or I'm going to drop it back and pull it out to here. Maybe something like that looks better. You know what? I actually think that is looking better. And finally, then I'll just grab the whole thing, bring it up, rotate it round. So X, 90, rotate it round. And then now I want to have it, you know, gain the right skill. So basically, I want it to be about on this one from here to here. So it's still a big window. So if I grab this one, shifty, bring it over. It's still a big window, and you can also see I'm not happy with the actual back of you. You can see that when I've actually extruded it because of the angle, I need to now come in before doing anything else and bring these out. So I'm going to actually do that. I can also see, do I want I want this dropping back, actually. I want this dropping back because I'm not sure about that edge on there. So, you know what? I'm going to pull it back before doing that. Holding the shift bon, double tapping the eye, and there we go. Now, these stones are going to be split. I also need to pull this back a little bit into there. So. And then finally, we're going to grab all of them, right click and shade Auto smooth. Now, I can see we do have a problem in that it seems a little bit small, so you can see here. It's not quite in there. I press one, let's have a look. I press one on my number pad. This looks it doesn't look like it's in there properly. Let's have a look. Maybe it is maybe it's the angle I'm looking at. Is one of these a little bit out? I think one of these is a little bit out. So you know what? We'll sort that out on the next lesson. So sorry about that. I've done what I've done. I can see it's a little bit out from the top and the bottom. It's not centered properly. But you know what, we'll get all of that sorted. And again, mistakes happen. It's the best thing that can happen because it's only through the mistakes that you make we actually get any bear, we learn something. You're not gonna learn anything if you're just going along and everything just works out perfectly. You're never gonna learn anything. You're never gonna get any bear, so mistakes are the best thing that can happen. Alright, everyone, so I hope you enjoyed that. I'll see you in the next one. Thanks a lot. Bye bye. 60. Finalizing Radial Window and Unwrapping Roof Supports: Welcome back everyone to blend the building master class from concept to final render, and this is where we left you off. Alright, so what I'm going to do is I'm just going to grab everything, Control A, or transform, set origin to geometry. And now, basically I want to put them all in the center. So shift Des. Don't go selections cursor I line everything up. But if you go the other way, so shifts. Whoops. Let's go back, Shift S and selections cursor, keep offset. We don't want that because then it'll just put them to the center, but keep everything offset to the middle one. So we want to do selections cursor, and then you can see it's going to line everything up. Now, on this, now, what I want to do is sort these out. So first of all, I'm going to pull this and then second of all, do I want to pull this back a little bit, like so. Alright, so let's start now working on a little bit more on the inside. Let's come in first of all, and I'll show you how you can apply these solidify to all of these. So if I come to this one, this one, and this one, go to object, I can convert a mole to mesh at the same time. And as you can see, there's converted a mole. And then what I want to do now is work on this part first. So we can see if we go over here, all of these are actually split. So let's do that first. So what I'll do it. First of all, I can join them together at this point, no problem. So let's join them all together with Control J. And then what we'll do is add in a modifier, generate, and we'll generate a bevel. Control A or transforms right clicks origin to geometry. And what I want to do now is put this on Notepoinnn three. Let's try that. Or Note point, not not five. Let's try that. I think Notepoint not not five might be a little bit better for us. We've got no gaps in there at the moment. I can see, though, if I come to this, so let's actually have a look, put on our See through transparency. Yeah, they're easily in there, so that's no problem. Alright, so what I want to do now is pull these out because obviously, these aren't right. Press one. I should then be able to see through again, and I should be able to press S and pull them out, so they're slightly bigger than the outside. So they should look something like that, and I think that's looking much much better. And then what I want to do is split these up. We have a number of options splitting them up, but I find the easiest way. Al, shift, click, Alt Shift, click, Al, shift, click, go around, Alt Shift, click, every other one, like so, press the Y but, and then they're now split up. Now, the one problem we've got is we can see that they're split up, but they're not bevelled or anything. And the reason is because each of these, if I pull this out, you can see if I put it here, it's got a hole there. We don't really want that. If we put a hole on this, so let me just show you put fill that up with F. Now you can see it's actually beveled off looking much, much nicer. So how do we do that? Well, the easiest way of doing that is just to grab everything, come up to mesh, go up to cleanup, and all you're going to do is fill holes. Fill the holes, right click. So tab, right click and Shade Smooth, and there you go. That's how you get that sort of style that we've got on the window. Finally, then, you want to now put the inner part in, easiest part to do. So all I'm going to do is come in. Li click. You know what? A I'll do is I'll just add in an edge loop. So control lot, left click, pull it back, like so, press the F button, and there we go, that's that part in. So there's the actual glass in really, really easy to do. And also, what you can do is you can actually come in and pull it forward a little bit if you wanted to, because now you can just come in and grab that part, as you can see. So really, really easy to do this. And now I want to do is we want to bring in some materials and make it the right side. So I'm going to, um, bring this over. So if I bring this one over, so put it round about here, and then what I can do is I can line this up, press the S board and bring it all the way down. And the size that I want it is going to be maybe even a little bit smaller on that, so let's make it a little bit smaller. Or something like this, you can see, it's just fitting over this window roughly. So something like this size, I think is about right. Let's delete this one out of the way. And then all I'll do is now I'll bring in the materials separately because these have got a lot of materials on I don't want, like, loads of wood, loads of different stone, things like this. So what I'm going to do is I'm just going to come in. And I'm going to come into all of this part first. I'm going to press tab A, smart UV project, click Okay, and then I'm going to go to my materials, click the down one, and the one I want is stone light. I'm going to bring that in. And then finally, I'm going to come to this part here, and I'm going to put this on plus down arrow, and the one we want is glass green, click Assign. So I can see that's way too big. Unwrap. Now it's the right size, as you can see. And finally, finally, this one here, plus down arrow, stone lighter, click Assign. And there we go. That is, this part done. Now, the one thing I'm not happy with these stones, you can only just see them, and I'm not happy with those. So what I'm going to do is I'm just going to come in and grab each of these, and I just want to make them a little bit smaller just to give us a little bit more of a gap going round. So jaws gonna grab them, making sure then I'm on individual origins, pressing the S borne and I should be able to then bring them in. Now, the other thing is, I've got my bevel on. Is that actual bevel working on there? Not really, not so much. So what I'm going to do is, I'm just going to press Control A, A transform set origin to geometry. And now that bevel is working much, much better, as you can see. The bricks are now really standing out. We've got light and dark in there. And this, basically, guys, is the window done. So now I can pull this over there, and there we go. Finally, all of the windows done. Let's just line them up, like so. So what have we done then? So we've got the four windows down, we've got the roofs down, we've got all of these in. Let's actually sort these out. So this, of course, is going to be stone. We also need to put on here a array. So let's put the array on. Again, we'll go to object mode. Let's pull it over. So this will be the stone roof. So let's do that first. So Control A will transform set origin to geometry, and then what we'll do is we'll come add in a modifier and genera and an array. And we don't want to go in that way, of course, so we want to zero this out because this is on the X, and we want to put the z onto one. No, not the z, the Y onto one, and there we go. Now we've got that looking really, really nice. Now, the only problem with this is, as well, we've got no, um, modifiers on here, we've got a bevel on here. So what I'm going to do is I'm going to come to this one, this one, this one, and I've got a bevel and I've got an array on this one as well, which is fine. You know what I'm going to do? I'm just going to come in, add in a modify, generate a bevel, and I'll put it on note point no no three. If you come down, note point, not not three, there we go. And then we'll come to this one, do the same thing. So I'll add on a bevel and we'll put this one again on note point, not not three, and there we go a slight bevel on there. Okay, so on this one, then we can come in now, hide the array, hide it on the render. And now let's come in and actually see what needs unwrapping. So if I come onto here, let's have a look at what we've unwrapped because I'm not sure anymore. So we'll unwrap this one first. So A, U, smart UV project, unwrap. And then what we'll do is now we'll copy this material over here first. So we'll grab all three of these, actually, Control L, and we'll link materials. And then for this one here, we'll come in two materials plus down arrow, and the one we want is metal building. And then we're just going to on this part here. So on this part, we're going to click a sign like so, and then now we're going to move over to we'll do the same on this SR press. A U, smart UV project. Click Okay. Like so. Now we need to do is obviously, we need to grab both of these, so we need to grab this one and this one, grabbing this, this and this and go over to UVditing and making sure that if I zoom in, put it on material that they look something like this because at the moment, let's put it on rendered view. At the moment, they look a little bit too heavy as you can see. So all I'm going to do is A, S, bring them down, and then we go, Nah they're looking much, much better as you can see. Alright, there we go. And that metal looks really nice. It's going to look really nice on top of our building. So if I bring this over, you can see that what we've created now is we've created all of these parts here. We've created the window here, the window here, and we've created this part. Pretty much most of this part on here, we've created these top parts, we've created this part here. What we've got to create now is part of this. So we also need to create part of this, which we'll do we'll do next, actually, we'll grab that from our gray box. And then we'll bring that in. And then what we'll do is we'll work on this bit. So we'll need to put these windows in. So one of them is stuck on the outside, one of them the inside, and then that will help us then when we come to build everything out. Alright, everyone. So let's actually do that on the next lesson. So for now, I want you through, then we just go back to modeling. When you to save it out, so file, save. And on the next one, before moving into that, what we'll do is we'll actually save out these windows. In other words, we'll put them in the asset manager, we'll name them all of that good stuff. Then what we'll do is we'll open up our gray box once more. We'll grab the actual the wall where it goes up to the roof, and then we'll make those side bits that go on top of the roof. Alright, everyone, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 61. Brick Wall Detailing with Orientation Tools: Welcome back, if you want to blend the building master class from concept to final render, and this is where we left off. Alright, so this one is our roof support. So we've already put that one in place. I'm not sure. Is it? Yes, it is. It's already in our asset manager. This one is our Spire. We haven't got that one in, and we certainly have got this one in. So this one here we'll rename, we'll press F two, and we'll call it roof top. Like so, and then we'll actually make one for roofs. So we can have rooftop. We can have the roofs in there, things like that. So what we'll do is press M, New collection, and we'll call it roofs. Like so. Then what we'll do is we'll call it decorative parts, maybe, something like that. So we'll call this spire. So spire. And then we'll press M and decorative decorative parts. Like so. Alright, now we'll go to our windows. Then we'll put them into our asset manager. So we can see we've got all of these things here. A four, so let's go one, two. Where is the other one? Okay, so there are those ones over there, so no want to worry about those. Alright, so let's put this in square window, so first of all, we'll go new collection windows and then we'll come to this one and we'll put square because you might add more windows in here, so we'll call it square double pane window. Then we'll have round small window. So F two, round small arched window. I'm going to press Control A, Control C on this one. Press the enter bone. Then I'll come to this one F two, Control V, round large arched window, press the enter bone, and then we'll come to this one, and we'll call it a small round Gothic window. So control V. So round, small Gothic Gothic. Window. Like so. Now, let's grab all four of these, press the end button, come down and drop them in Windows, and there we go. Now what we can do is we can actually come in, so we've got roof, roof top. That's that one Spire and then these four. So let's actually fix those now. So we're gonna come over to Asset Manager. Let's come over to current file. Let's save our work before doing anything. And let's zoom into them. Now, one thing I did forget before we do that, yes, no, I have not. I've not forgot. We actually put some materials on them, so that's okay. So what we'll do now is we'll come in, grab all four of these. Press a little dub on, right click. Mark as asset, make a new one. We'll call it Windows. Like so, and we'll come in then and drop these into there. Now, this one's unassigned, so we'll drop these into Windows first. And then we've got this one here, which is the support roof. Haver got anything in there? No, I've not, so let's drop that in support roof. And then finally, we've got decorative pots, so we'll make one. Double click it decorative pots. Like so. And then we've got this one which is under roofs, so we can call we've got support roof, so we'll have one actually called roof, so we'll come in roofs. Like so. Now, let's see. So we've got this one in here. This one's already, as you can see, we've got a little icon there. This one hasn't, so we're going to right click Markers asset, and this one also has an right click Markers asset. Go down to unassigned, and then this one is going to be in roofs, and this one is going to be in decorative pots. Like, so let's come up then and save. So let's go to file and save it out. And now I want to do is I want to go over to my gray box, and I want to grab the other bit to the roof. So the bigger bit. Because we've already got these parts in. From there, what I can do is I can come in then and actually create these parts that are going to go down to the other part of the roof. And then what I can do is the window, get the window in this part, replace these, you know, this part here. We can even turn this already into mesh. Let's have a look. It's got the jumpon at the moment, turn it into mesh. Let me just check something on here. So if I bring that down, yes, I can do that. Okay, that's perfect. And then we can actually get our windows in and then have this big chunk as an actual part. That'll make things much, much easier. The only thing is, I would say is the wall, but we can actually change that over as we go along. So I'm just wondering with the materials, I just want to check, see what the material looks like. We should have two materials on here. So you know what I'm gonna do. I'm just going to go to resource pack, go to materials and just want to look at my brick. I want to look at what the brick looks like when I get on there. So this is the grungy brick. You can see we've got a lot of then we've got dirt. Look at that. Yeah, that one looks quite a bit different. And then, obviously, we've got our brick normal. I think what we'll do is we'll leave it for now, and then we'll come in and fix those bits way later on in the course if we want to because there are ways to fix those to make them look very, very nice. What am I going to do? Then I'm just going to save this out, so everything's saved out. I'm then go to hop back in. I'm gonna put it on too jet mode. Hop back into my other file, and the other file is the gray box here. And what I want to do is, this is the bit here. So you can see this bit and this bit. So this is going to kind of slot on there, and then you've got a bit that's going to come down and go into these parts. So what I'm going to do is I'm going to grab all of these. I'm going to make sure then if I press G, I've got all of the parts, except this front bit, so I'm going to grab all of these parts like so. And this is where I want to make this part going up here. So what I'm going to do is I'm just going to press Shift D, bring them over, press Control J, join them all together, and then I'm going to press Control C, go back to my other file. So this one here, and then I'm going to press Control V, bring it in, and then back to my other file, and then all I'm going to do is just delete this out of the way because I'm not going to need it anymore. Okay, so now I can actually save that, close it down if I want to. I'm not going to do that. All I'm going to do is open this up. Now, if I come in, I can press Control A or transforms set origin to geometry. I'm also now going to just move these out of the way a little bit more, like so. We don't need to know worry where we're putting in this course file. And then what I'm going to do is come back to this. So control layer transform set origin to geometry, so z -90, spin it round, and then let's bring it up to here. So just so we know what we're actually working with. So then if I press one, I can see this is what I'm actually working with. So this is going to be the front of here, so a little bit lower, as you can see. And then we've got the frontier coming down to here. And so what we need to do is we need a part that's going to come all the way up there. Alright, so let's do that part next. Now, we can't have it the same, obviously, it's just a little part. The thing is with those parses, you need to kind of move them up and down. So that's something we need to think of. Some of these might be longer, shorter. So this is where I can show you another thing that you can actually do, especially when it comes to UV editing. Now, what we'll do then is we'll come to this building and I want to grab this edge, first of all. So if I grab this edge, I should then be able to press Shift D and drag it out. So that's that edge there. And then what I'll do from there is I'll press Y and pull it over, like so. And now I'm going to do is I'm just going to because I've actually got it here, I'm going to split it off. So L, P, selection, grab it again, control A, all transform, set origin to geometry. Now, I'm not going to spin it round yet. I know it's going the wrong way. I am going to go to modeling though, because it is going to make it easier for me. So let's go back to modeling. Let's press the dot bone so it can zoom into it. So grab it here. Dot bon. And then what I'm going to do is I'm going to come over. I modify, and we're going to generate a solidify. So generate a solidify and let's bring it up. And now what I'm going to do is I'm going to bring this into place. So if I bring this into place, you know what, it's going to be easier because we've got this part on here. So I'm going to I'm going to leave it there for now. And what I'm going to do is I'm actually going to drag this part over. So I'm just going to grab all of this. I want to press shifty. I'm going to delete it after anyway, so don't worry. And I'm just going to put it in right in the center of this. So if I press one, let's make sure it's centered, so I can see here it's a bit out there. Let's make sure it's centered, like so. And then what I'll do is, I'll pull it back into place. So pull it back, pull it back. Let's put it on object mode, and there we go. Now, we can see that now with this, how it's going to fit in. So you can see that it needs probably a little bit thinner. So S and Y, let's make it a little bit thinner. And then what we can do is we can make sure if we come around this way, we need to make sure that it's out enough here. So you can see out enough here. Fitting in there. We don't want it going over there, though. Now, the other thing is, you can see at the moment it's sticking through here. That's to do with the thickness. So let's put it on even thickness. Let's pull it back down a little bit, and now you can see it's fitting in very, very nicely. Now, some of these roofs are going to be, you know, a lot thinner, some of them are a bit wider, things like that. So we just need to be aware of that. But what I'm going to do, I basically got it in place now where it's actually going into here, maybe maybe it's going into place a little bit too far. It is fitting under there, so maybe I just need to pull this up. So that's the perfect time to actually show you this next part. So what I'm going to do now, because I've duplicated that, put it over there, I'm just going to come in and delete this off. So delete this. Delete these, delete these, and maybe even Leave this one behind it, so delete in this off as well. Okay, this is the part then. So this is the part we're going to use. Now, the thing is, as I said, it's a little bit far that way, but first of all, let's unwrap it. And we'll also give it, obviously, apply the solidify. Control A, and then we'll go Control A or transforms set origin to geometry. Adding a modifier and the modifier we're going to generate is a bevel, not point, not three, so press the tab A U smart U V project, click Okay, and there we go. Bring in the material. So we want to bring in none of these. So we don't want any of these. Stone light, Oh, one, we don't want that. What we want is stone. Where is it Stone Light. So we've got Stone Light. Let's bring that in. Let's press Tab U and smart UV project. So smart UV project. Click Okay. And then what I'll do is, I'll actually go now and look at what this looks like. So let's press tab. You know what? That's looking pretty good as it is. Now, I'll show you what I mean then. So you can actually come over here and let me just find it. If I go in, grab this, if I go into it, you will see that you've got these on here. So this is mirroring. You've got this button here where it says, correct face attribute. Let's just turn that off a minute. It will be turned off probably by default. If I come in then to this face, and I want to bring this face down. So if I want to bring it down, you know, within my own, you know, my other blend, far a grey box and bring it down and make it work, the UVs are going to move. If I go to normal, you will see as I bring this down. That all of these UVs move along with it. They all get stretched out. We don't want that. So just coming up, clicking this on means now if I move this, up and down, it's actually not doing. What I want. It should actually move the UVs without actually making them small. It should just cut it away. I'm just looking if it actually is working or if it's just me, let's have a look yes, it's keeping the UVs on top. You can see here it's actually keeping them. What's happening is all it's moving underneath is the actual edge. So the edge is changing. But the actual UVs themselves, as you can see, these actual dart marks are actually staying the same. So it's actually working. So that's one little trick. It's probably easier to do or show you on the wall. So, you know what? Rather than show you here, I'll show you on the wall on the next lesson, and then you'll see exactly what I'm talking about, cause here it just looks like I'm talking about something that's not actually working, but it is. It's just hoods. Alright, everyone, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 62. Boolean Techniques for Wall Window Integration: Welcome back, everyone to Blender Building master class from concept to final render, and this is where we left you off. Now, as I said, let's then come to this part. Let's come then to this edge. And you'll see, as I move this edge, as long as I've got this ticked on, you'll see as I move it. There you go. Nothing gets squished up. If I tick this off, you will see then everything gets squished up. You can see just how small that is now and what this actually does. So it's incredibly handy when we're actually moving things around. It's going to be really, really handy when we're actually moving these edges around for the actual roof. So now what we're going to do is we've got on rooftops. This is where this one wants going. So let's actually put this straight into place. I'm going to press one. I'm going to press G, and I'm going to drop it around here, making sure it's towards the back, so again, if you want to put these in nice groups, then make sure you do so. And then what I'm going to do is I'm going to rename this and we'll call it roof, edging like, so and then what I'm going to do is I'm going to put it into where it says, roofs. Let's put it into roofs. And finally, let's right click and mark as asset. Let's go to our asset manager. Make sure run our current file, and then we're going to do is come down unassigned, and this one wants going into roofs, and then we're done with those. Okay, so now what? Now what we want to do is we want to come over to this part. So we're going to delete this part out of the way. We're going to come over to this part and actually put in our windows because you can see if we come to our reference guide, all of them, all of the fronts of these have these on. And they all are the same. So you can see here square window round window. On this side, it's also the same. So we can go to the other side, wherever this is square window, round window. So basically, it'd be really good if we actually built those out. Once we've got them built out, it's really easy then to actually come along and, you know, put them on the front of all of these. So let's actually do that. So what we're going to do is we're going to come to this part here, and what we want to do is grab one of our big windows. Let's put it in object mode so it can actually do something. And we want one of these and one of these. So let's grab this one, making sure that we can grab it all, grab this one, again, making sure we can grab it all. And what you're going to do is you're going to actually press Shift D because you're going to join this together anyway, so you might as well just press Shift D and bring them into place. So let's bring them into place. The reason we said why we didn't put this wall on yet is because once we start booying this then we're going to have a few problems. So first of all, though, let's get the center of here. So shifts, cursed to selected, and then we can go Shift, put this right in the sense. So shifts, selection to cursor. Now, let's pull it out where we actually want it. So we want it sticking out probably just before these pots. So you see these pots that we made just before those pots. So I can move out, move out, and then we've got a slight bit of a gap, giving a little bit more lighting on those. Now, one of the things that we want to be careful is if we put this on rendered view, we want to make sure that this here, you can see the glass here isn't buried in there, which it is. So we've got a choice. We pull it out, like so, just a little bit further. Up to you if you want to do that, or you make a boolean in here. Now, I recommend seeing as we're doing the boolean anyway. Let's just put it in place, and then what we'll do is we'll put it into the right place. So if I come in, let me just grab my other one so I can actually see where it's going to line up. If I come in, press one, I want to then line this up, so it's nearly up at the top of here, something around here. So something around here, maybe, yeah, something around there like that. Now let's grab the other one, shifts selection to cursor. And then what I'm going to do is pull that down into place. So I want to pull it, pull it, pull it down into place, like so. And then what I'm going to do is pull this out where I actually want it. So the way that I want this one Again, I'm going to look on my other screen just to see how close this is in. So the way that one, this one is probably going to be around here. So this close in, which means that this part down here is going to have a little bit, as you can see, a little bit of a lip, but it's going to be hidden this lip anyway, because we're going to put something else underneath it. So something like this now is the time where we need to move these around if we want to move them around. So first of all, looking at this, I think we'll go Shift Space bar, bringing the move tool. We'll bring this up a little bit, like so, just a tiny bit. And now the gap from here to here, I want around not 0.72, something like that. So if I come from this part here with my measuring tool, naught 0.72 or not point, maybe a little something around there. And then what I'll do is go to Move Tool. We'll move this up. Like so, and then we'll come back to this measuring tool. Yeah, it's got to move up a little bit further. You can also, instead of doing that, you can just go G and Z and then holding Shift B down. You can actually pull it up like so. Alright, now we want to do is I want to bring in the bottom of here. So the bottom of here, and I also want to bring in one that's going to go underneath here. Now, they are the thin parts that we've got over here. So if I come over this part here, let's look what we've got. Let's press dot on this one. So it's not that one. It's going to be just a thin part. So maybe even I think it's going to be this one. This one here is going to be it. So press dot. Yeah, this is going to be it. So what I'm going to do is I'm just going to press Shift D to duplicate that Shiftspasbr, bring in my move tool. And then what I'm going to do is press shifts and selections cursor. Press the dot but, and then what I can do is I can pull it out into place. Now, with this, we're going to have on array. I'm not too worried about that because I just want to pull it out, so I'm going to turn off the array on this because we don't need an array on when we've joined it together, especially. So now if I press one, what I can do is I can press S. In fact, instead of doing that, you know what? We'll try out that thing that I've just showed you. So we're going to pull this into place, so pulling it back into there, so Make sure it's in the right place, something like this. And then what we'll do is we'll come now, making sure correct face annotation is on, and we'll come, grab this face. And then all I'm going to do is just pull it out, like so, and we're going to keep everything that we had before. Okay, so now what we want, though is the bottom part of the window. Now, I would say that this is maybe, maybe a little bit too big. So what I'm going to do is I'm just going to think, make it a little bit smaller. So I'm just going to come in, make it a tiny, tiny bit smaller. And I think it's going to work better like so. And then what I want is this bom part underneath this one on here. So I'm going to press Shift D. And then what I'm going to do is bring it down under this part here. So it's actually sat on there, like so. Sat on there. And then what I'm going to do is grab both of these, and I'm going to pull them down. So we're going to pull both of these down just to the bottom of here, and there we go. Alright. Now, the one thing is just make sure that it is sat back, so you want to make sure it's sat back. And, yeah, I think that's looking pretty good. Now, the other thing is, then I need to now make sure that both of the windows can be seen because at the moment, we can't see anything through here. So how are we going to do that? First of all, let's do the square one because that is the easiest one. So we'll come to this shift desk to selected Shift A, we're going to bring in a cube, and we're going to make the cube then a little bit smaller, and all we want to do is lining up basically with our window. So if I pull it to there, I'm going to pull it up a little bit more so I'm going to grab this, pull it up a little bit more like so, and there we go there is our actual cube. And now I'm going to do is I'm going to change this into a boolean. So first of all, let's press Control A, all transforms, set origins geometry. Come to our wall. Control A, all transforms, set origins geometry. Now, grab this one and grab this one and press Control minus. If that doesn't work, the reason it's not working is because we have to actually enable an add on. And to get there, what I want you to do is, I want you to come over to extensions.org. So extensionsblender.org, and the one we're going to look for is called BL. So BL BLT. Let's actually look for it, so we'll do a search. And there we go. Here it is. This one here, it's a free add on. Once you click on it, you will see that if you come down here, it says, Get add on, dragon drop into Blender. So if we move this put it back over there, and then I'll drag and drop this into blender. Checking for extension updates, and there we go. Enable add on. Okay. Now, the add on should already be enabled. So if I go to preferences, Ball and there's Ball tool enabled, it is as simple as that, guys. Now I can do is if I grab this, grab this one, press Control minus, we actually there. We can actually have a Boolean, as you can see. Now, the thing is with this, the best thing about it is, I can now move this in real time. So you can actually see what you're doing. Unlike the original Ball tool, you know, the Boolean tool, we can move this in real time and really check what we're actually doing. Now I'm going to put this back into the center, like so, and you can see it's going all the way through there, which is really, really, exactly what we want. So now if we come to my wall, I can actually come just apply that. So I can press Control A and apply that. The other thing, of course, you can see is you can do a union. You can do an intersection, like so you can do basically what you could before. Now I recommend when we're doing this, you put it on fast. It generally works better than exact. And then all you want to do is press Control A, and there we go. Now the thing is getting this back how do we get this back? Because we've got our tool here, but we can't get it back. I used to This used to bother me before, but let's remove cutter, and there we go. Just as simple as that to get it back. Alright, so if you're struggling with that, that's the actual button to do it. Let's leave way because I don't need it myself personally. Okay, so what I'm gonna do now is we're gonna come to this part. We're gonna press Shift desk. Cursed to selected. We're gonna press Shift A, and we're gonna bring in another cube. So let's bring our cube down. Let's make it a little bit smaller into the places that we want to go. So just inside there, it's going to be intersecting. And then what I want to do is I want to bring it up all the way to the top of here. So all the way to the top if I press one, I can just bring this face up all the way up to here, like so. And then on the next lesson, we're going to bevel this off, and we're also going to put the boolean into here. And then we should once we've got this wall in, once we've replaced these few parts, we should then be able to have this part in, and we then should be able to go back to our great box and actually start building some more stuff out. That will be nice. Alright, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 63. Resolving Wall Geometry and Mesh Corrections: Welcome back everyone to blend the building master class from concept to final render, and this is where we left it off. Alright, so what I want to do now is come in. I'm going to go and grab both of these parts. I'm going to press one. And then what I'm going to do is press Control B and bevel them off. Turn up the bevel, like so. And then we want to make sure we've got a little bit of gap there. So I'm not going to turn it up too much because it is a boolean. And it's not you know, we're not going to see behind there, so we don't want to turn it up too much. But what we actually want to do is just make sure that we're bending it in the right way. So you can see now it's got a little bit more of a curve to it. Fits it a little bit better. And I think, yeah, that's going to much, much better. Now I want to do it, I want to do the same thing as what I did before. So grab this back wall, press Control plus, and there you go. You're going to get your Boolean in. Let's put it on difference, like so and there you go. We don't need to do anything else. As I said, it's a great way to actually use this. So all I'm going to do is just press Control A, come in now and delete out of the way. Now, what you will notice now is just how nice actual looks because we've took the time to not just stick them on the front to actually build the other thing in. Now what I want to do is I want to fix this wall. Shift H, get rid of everything, and here is what we've got. So again, it's end guns. The topology is a little bit of a mess. Now, we can use this, of course, but I would sooner actually just clean it up a little bit, probably. So let's just clean it up. So first of all, all I'm going to do is I'm going to come in, and I'll try limit to dissolve first, so let's just grab it so delete and let me to dissolve. That's not going to do anything. Can I come in and delete these? So dissolve edges. Can't dissolve edges. So what I'll do is I'll come in. I'll grab both of these and this one, and then I'm going to right click and I'm going to triangulate faces, and then we're going to right click and then tries to quads, and then we can clean that up a little bit. Now, have we got any edges in here? Probably not. So what I'm going to do is instead of it being like this now, because I've got everything on there, I just need to make it, you know, as far back as this, and then it should all be nice and clean topology for me to actually use. So I think what we'll do is Joe's looking at this, how this has actually broken up because we can see we've got some edges in here. Do we really need those in? So what I'll do is I'll just press Shift D, and I'll drag this out. And then all of these pods. So we've got some points in here. They're right. It's just these ones here. You can see we've got points in there for no reason. Can I actually come in and just delete those pods? So dissolve edges. Yes, I can. And now this is nice and clean. So you can see it's nice, clean topology, like so. And now I want to do is I want to pull this out. So I'm going to come in. I want to press L. I'm going to put it right up against here. But right against here, like so, and then we're going to press E X or Z. The reason why that is, by the way, is because it's normal. So let's just set it back to global. I already pressed E, so I should be able to pull this out now like. Then what I should be able to do is press Control plus Control plus. And there you are. Now you can see the whole thing, shift and then, spin it round, hide it out of the way. Come back to your other one then. So let's just put it on an object mode, come back to this one where the topology was rubbish as you can see. And then what we want to do is press L, delete, and ertzus. Alt H, bring back the other one, and there you go. Now you've got the one with the clean topology in there. Right, click Shade to Smoove if you want to. And finally, then what we can do is we can now come in and we can mark a seam. So what I'm going to do is I'm going to press Alt Shift and click Alt Shift click, Controllee and I'm going to mark a scene going all the way around here. So I'm just doing this just to show you. So now you've got a scene going all the way around here. Now, the problem you've got is you don't actually want these parts in here. You just want kind of one in here, maybe one in here. We're not going to see in there. But we don't want to have little parts all over there or anything like that. So what I'm going to do is just I'm just going to clean it up just so it's nice, basically. So I'm just going to come in and remove these. You really don't need to, but I prefer to. So right, click. Let's clear scene, and there we go. And now we want is a scene going all the way round the outside. So I'm just going to Control click, Control click. So Control click, ci, control, click here, right, click, Mark scene. I'm going to mark seam in here and here. So right, click, mark seam. I'm going to mark seam in here and here. Again, this is all covered up, so right, click, Markem. And finally, then I'm going to do the same thing going around the outside. So going around here, here. And here, right click and mark a seam. Alright, so the moments of Tu let's press the tab button. I'll tag, bring back everything. Let's put it onto Render Ve so it can see what we're doing. And what we want to do now is get the bricks looking exactly that way. So what I'm going to do is I'm going to press tab A, unwrap because I've marked all the seams out, and now I should be able to come in and add in that brick. So what I'm going to do is I'm just going to grab this one, grab this one, press Control L, and I'm going to link materials, and there we go. If I press one now, we can see not quite the same, but you can see the best thing you can see is that on the front and back, pretty much, they're all the same size, and that's because we took the time to unwrap them all. So what I'm going to do is going to press A, and I'm going to go over then to UV Editing. Let it load up, suppress the dot but. And then what I'm going to do is now grab them all with A, and I'm going to come in and match the sides up with these actual bricks. So if I press the S but, bring them in, and I should be able to pretty much match up the bricks. Like soap. And that is about the same. You would never know these are not the same bricks, even if there's a minute difference in them, and now you can see just how nice that actually looks. Now, let's think about the other parts of this because a lot of parts on this, for instance, like these geometry nodes, we don't actually need. So first of all, with the geometry nodes, I'm going to turn down these subdivisions because if I come in, go to object and convert to mesh, you will see we have a subdivision going all the way down there. We don't really want that. So what I'm going to do instead, turn down the subdivisions to zero. And then come to up to object, convert to mesh. Press the tabbid and now you can see we've got nowhere near as many subdivisions in there. You could probably come down here and get rid of these middle points as well. So let's now do the same with this one. So turn it down to one. Let's come up to object, convert and mesh. And then what we'll do is now we'll just go down each of these, and we're going to go Alt Ship click just in the middle of all of these. Can I actually do all shift click? Now, we've got another problem with these. If I come in, press the G, you can see they're all split. Let's fix that first. So what I'm going to do is just press A. In fact, you know what? We'll do on both of these. Control J, join them together, press tab, A to grab everything, shift N, spin them around. And the reason we're not spinning round properly is because these are not joined together. So this here, as you can see, is not joined. We need to actually fix that. So we're going to press A. We're going to go to mesh. We're going to go to cleanup, merge by distance, and there we go, 440 vertices joined. Now, the one thing we didn't want to do is we didn't want to make sure that these points and these points are joining each other. And the way we did that is by making sure it was on very, very low amount when we do it. So now you can see everything's joined, and now we can do is we can press Shift N, spin everything round, and it all actually work perfectly. Now finally, what we want to do is we want to we want to come into everything and see if we can just use limited dissolve. And there we go, limited dissolve got rid of all of those center points. And now these are looking pretty nice. Now I want to do is I want to press A, smart UV project. Click Okay. I want to then bring it the same material as this, so it's going to be my stone. So I'm going to go over to stone minus this one off and there's my stone on there. Stone light, is that the one that we want? Let's look, stone light, it is that one, so that's the right one. And then what I want to do now is bevel these off. So I'm going to add in a bevel, generate a bevel, and we're going to put it on not point note three, like so, and there we go. So now we've got pretty much all of these done except these two parts. These parts, they'll need wrapping. I need the spire on there. So let's come to aspire. Shift S, curs selected, and then we'll go to aspire over here, which is this one here. Shift D to duplicate it. Shift S, selections cursor, press the dot to zoom in, and it should be in there somewhere. It is here, if I move it out. I'm going to press H to hide it, grab this one, delete it out the way. OH to bring it back. And there we go. Now, we just need these two parts. So what have we got here? We've got a mirror, and we've got a solidifive. So let's fix those. Object, convert because we want to put on both of these modifiers or object, convert to mesh, tab A to grab everything, U, smart UV project, click, unwrap. And then what we're going to do is grab this one, Control L, and we're going to link materials. And there we go, that is that part done. Now, at this point, we can pretty much get rid of this wall here. In fact, you know what? I'm going to just keep the wall in just in case I have any other parts that I need to do with. Now, you can see now all the bricks done, they come all the way back to here, and pretty much this part. I'm just looking at it now, making sure if I double tap the age, just making sure there is a point on here that I can see. I'm just going to have a look at what that is. So if I go into here and press tab, I can see there seems to be an extra point. So let's have a look. I press G. There it is. I don't even know how that got there. Let's press delete and Voss. Why? How did that get there? Let's have a look now to make sure that's gone double tap the eh. And there we go. It's now in there. No idea how I duplicate that, but y, I saw it. Maybe you have the same thing and didn't notice it. Now, the one thing we need to check no point no no five. We can see no point, no, no three. This one doesn't seem to have a bevel on it for some reason. That's a bit strange why it hasn't got the bevelon still. Let's have a look at this one. This one has the bevelon. Let's come to this one and add in a modifier, so we'll generate a bevel. Now, what I need to do is I just need to, it's not got a bevlon we can see. So he didn't have his pavlon Let's put it on note point note note five. Like so. Now, let's put it on object mode. And there we go. This one's point no or five, no point no or three. Now, we're going to join all of this together. So these bevels, you know, they're going to be added on. So it's a good time to show you what happens when you actually add bevels on what it does to the mesh. But I'll show you that the next one. So now let's go to file, save, save out of the way. And then what we'll do on the next one is I'll show you how to join these together, why the bevels are important, making sure things like this are in the right place. So these here are in the right place. They might need popping up a little bit, just fixing general things on there, then saving out to our asset manager, and finally, then going back to our grey box and getting these parts. All right, everyone. I hope you enjoyed then. I'll see you on the next one. Thanks a lot. Bye bye. 64. Adjusting UVs for Wall Texture Consistency: Welcome back everyone to blend the building master class from concept to final render, and this is where we left it off. Alright, so the first thing we'll do is we'll come in and fix these parts here. So if I come in, I'm going to grab this part here and I'm going to just drag it up just making sure that's in place. The other thing is, just make sure that these are set back far enough. So if they need, you know, these parts, jaws pulling back a little bit further, make sure you do. Like so, making sure there's an edge there. Everything fits in still. So making sure these parts and these parts, you can see here. This is a little bit over now. We can pull this window back, tiny bit holding the shift bon, like so. We can then come in and pull this one back, tiny bit. Like so. And just making sure everything's in, and then we can come to this one here. And making sure like final checks before joining it together is better what I'm doing. So make sure we're pulling this up. Press the dot bon. Pull it in place, like so. Alright, pretty much everything is done. Now what happens when we join all of this together? So we should have, if we check this, a bevel. So what I'm going to do is the final checks. So a bevel, hide this out of the way. We've got a bevel and smooth. Smooth ins take it off, 'cause we're going to smooth it all out at the end anyway. So take that off. Same with this one, take it off. All you want on there is a bevel, the same as this one, a bevel, hide it out way, the same as this. If it doesn't have a bevel, it doesn't mat with this because we'll add in a bevel once we actually join it all together. So we'll take off the smoothness, though, hide it out way. Same on this, nothing on this one. Same on this. We'll leave the bevel on. Like so, hide it other way, and then the same on this. Hide the sorry, take the smoothness off and hide it other way. Altag bring back everything. Now I want to do is I want to apply all of these bevels, because, you know, we can either do it one or two ways. We can apply the bevels onto there, which means some will be on Not point naught three, some will be on outpoint naught not five. We can't join them together, though, and keep both of those bevels on different parts. It just can't work like that. You can see we don't actually have an option, you know, to pick the geometry where we're going to put that. Instead, what we're going to do is we're going to grab the whole thing, go to object, convert, and convert to mesh. Now you'll see that the bevels, if I press tab, have all been added on. So you can see bevels here. You can see bevels on my stone here. You can see bevels on here. In fact, does this have a bevel on? This one doesn't have a bevelon, so I need to actually look at that. This one has the bevel on there. So this is the only one that doesn't have a bevelon. So instead of doing that, I'll just grab both of these. I'll separate them out, so separate them, add in a bevel, so generate a bevel. We'll put it on not point, note three, so we'll press Control A over here, join it all together. Yeah, and everything now should have I go to this should have a bevel on here. Everything has a bevel on. Everything's looking nice. Finally, then. Now we've grow that. Join it together. So Control J, join it together. And then Control A, all transforms, right, clicks origin to geometry. And then right click shade Auto Smooth. And then tab A, shift and then spin everything round. And there you go. There is your part. Now, let's have a quick look at what that looks like. And there it is all done. Now, we have got a problem in this part here, as we can see. This needs spinning around. So Alt Shift and click, shift and, turn it on the inside, and there we go. And we can also see that we need to shade this smooth. So Alt Shift click going all the way around here, not shade smooth, so shaved flat, can still shade it flat, and there we go now that's looking beautiful. Alright, so that is that part done, and that is one of the most complex parts in the whole of the scene. So once you've got that part nailed down, pretty much, there's nothing in the scene that's gonna trouble you, pretty much, apart from, you know, some geometry nodes with hedges, some trees, some of, you know, the ground, things like that. But as far as modeling goes, if you've got this part done, you should be okay with everything else. Now, let's move this over to this side. And we'll call this. Let's just put it down to the ground plane. So I'm going to press G, drop it down. You know, who'll put it over this side. And we'll call this building modular we'll call it modular building something like this. So have to what do we call it. So out to building modular. Parts. So again, call it whatever you want my naming is not very good. And then we'll press the button. We'll go to new collection. You can see one we've got here is Boolean cutters, as well. I don't really want that. I'll saw that item in it. So now we'll call it modular parts. So and then we'll go down to this one here. There's nothing in here. Always, they'll have an arrow. So when it's closed up, you will see they'll always have an arrow if there's something in here, so you can just come in and delete them away. That's the other thing I like about the boll tool. It actually puts them, you know, boolean tools in their own part, which is really, really nice. Now, let's go to our asset manager. And then what I'm going to do is I'm going to call Modular parts. So plus Modular parts. Like so. And then what I'm going to do is now go to my pot. So here's my part, dot button, and then I'm going to go over to this side, right click and Mark as asset. Come down to unassigned. Here it is, and let's drop into modular parts. Save it out of the way. And there we go. Now, before we end, let's make sure saved it. Let's go now to our building. So we're going to have a look at our reference in once more. Let's come to our main reference. So we've got these parts here. We've got these parts here, we've got the spires on. We've got the tops of the roofs. We've got these parts here. These parts are coming down. We've made these parts here. We can pretty much build the entire thing. All the way around, except, you know, balconies, you know, some stairs, things like this. But apart from that, everything else, we can pretty much build out as long as it's, you know, the sides and things. We got all the windows in and stuff like that. So at this point now, what we should do is we should start, you know, putting some of these parts in, you know, especially the windows, getting in the walls on the gray box. But I'm thinking that the only thing that we're really missing to really build this out, you know, is the roofs. So I'm thinking that instead of jumping right into the grey box now, we should probably have a look at our roofs, make sure that we've got those, you know, in place. And then once we've done that, then we can actually come and, you know, the roofs basically are geometry notes, so we could use them straight from the resource pack. So straight from the resource pack and then bring them in there. That's also probably a good idea. But I'm saying if you want to, you could take your roofs in, design them in, you know, this modular pad that you're doing, and then bring them in. So let's actually have a look at the roofs then as we're in the grey box. So we will go into our gray box, just trying to explain, like, you could do it either this way or either or that way. Alright, let's put this over this side. And then what we'll do is we'll actually file, save, put that down, come back to our gray box. So here is our actual great box. We put it onto renovew. This is what it's actually looking like. So you can already see we've got some pots in there. I'm just going to check with the lighting. So we've got our sky texture and we've got our HDRI just want to see what it does because I think I think that actual this one here. So this material, stone lighter, it might be a little bit too light. We'll have to see when everything's in, but these might want darkening up and this one making a little bit light. We'll see when we've got everything in 'cause everything should be named. Stone lighter, stone light and things like this. Now, what we're gonna do at the moment is we're going to delete that out of the way. We've got our roofs in. As I said, let's bring in, let's bring in just this part, just to see what it actually looks like, because it does kind of make, you know, an impression once you've got that in. So what we'll do is we'll go over to our asset manager, so open it up. We'll reload this up, and there we go. So we've got modular parts in, as you can see. Then what I want to do is, I'm just going to grab this one here. I'm going to press Shift Desk cuss to selected. And then what I'm going to do is I'm going to bring in my modular parts. So I'm going to bring it in, so I'm going to then spin it round. So art Z 90. And what I'm then going to do is shift desk and selection to cursor. And there we go. And now we can bring it up. So bring it up into place. So it's over there like so, and then bring it out to where you want it so you can see that brick. And finally, then we want to make sure that we've got this part on here as well. So this part on here. And then once we've got that, we can just move it over to the other side. But you can see already, Wow, that's looking pretty cool. Okay, so let's come into roofs. We've got these parts here and these parts here. Let's bring in then this part. Let's spin it round towards head, 90. Let's press one so we can all three to go into the view that we need it. And let's press G and put it into place where we're actually going to want it. Press the dot but, and then we should be able to zoom in. And then what I'm going to do is put this into place where I want it. And you can see it's jaws poking out past there, so I'm going to drop it down into place, making sure then that it's at the right angle. So you can see here, is it at the right angle? So we can see if we pull it out you can see it's kind of in place. It's at the right angle because we can see the roof can go against that, which is what we want. What we want to do, though, is pick this up because it's a little bit too low, so I'm going to pick it up, pick it up, pick it up, put it into place, like so, and then I'm also probably going to move this over just so it's hidden under there. So it's hidden under there, like so, making sure it's not poking past there. So maybe maybe I've gone a little bit too far here. I'm also looking at how far back this goes, so you can see this is into here. We need some bricks on here as well. And then what I'll do is I think I'll just move it a little bit more this way. And it's important we get this right. And there we go. Now, that's looking good. It's not sticking out the back. Now, if you want to look behind, you can just turn your sun rotation round. That might be a good idea. What I'm going to do, though, is I want to mirror this over this side. So I'm just going to come in. I'm going to press Shift desk, cuss to selected, grab this one, right, click Set origin, two geometry, like so set origin. Sorry, it's 23d cursor, add in a modifier bring in a mirror. So we're going to bring in a mirror, and there it is on the other side. And there we go. Now I can do is I can actually apply that. So I'm going to grab both of these, and I'm going to go to controle like so. And then what I'm going to do is, I'm just going to grab both of these, and all I need to do now is press Alt and D because we want to instance them, like so. And then what I want to do is put them over this side. Now, I don't need to really line them up, you know, perfectly because I can pretty much do that just going over the top, using something like wire frame. So I can see here where is the center? So you can see if I pull it this way, we can see roughly that now we've got this kind of corner here and this kind of corner here, we can see that this is roughly in the center of there. If not roughly, it's nearly perfect. So if we now come out, we can see we've got pretty much one and two buildings Step up in our actual gray box. Let's put it on our rendered view, and there we are. Pretty nice, guys. Okay, so what we want to do then on the next one, as I said is, we'll start working on our roof, so we'll bring the roofs in, and then I can show you how we put the tops on here, and then we can start working our way around a little bit on this roof rather than just keep muddling something all the time. Alright, everyone, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 65. Procedural Roof Tiles with Geometry Nodes: Welcome back, everyone to blend the building master class from concept to final render, and this is where we left you off. Now, what I want to do at the moment is, I just want to grab all of this and just hide out of the way. Suppress H, hide out of the way. And then what I want to do is I'm just going to bring in a plane because I want to show you how the roof works before actually using it. So shift day, bring in a plane. We'll leave it there. And what we'll do is we're coming over. Instead of modular pack, we're gonna put it on resource pack, go to Jump nodes. Then what we're going to do is grab the roof. We're going to drag and drop that in and nothing happens. Let's go over to the right hand side, turn up the horizontal count, and there we go. We have a roof tile. So we have a vertical count, horizontal count, so we can see if we bring this up, we can then bring this up, and then we have some roof tiles. Now, from here, we have subdivisions. This will control the bend. So basically the bottom bending of the roof tiles will be controlled by the subdivisions. Less subdivisions, less bend you're going to get. So basically, if you've got that on ten, you can control then the actual bend on here, this one here, as you can see. We can also, as well, control from here the rotation. We rotate it this way. I tend to not use that, though. Then next, we've got the tile length, if we bring this over or back. If we bring the tile width over or back and bring it in wherever we want. Next of all, then we've got the random sizing, so we can actually change the actual random sizing. And what am I doing there? You can see on here, if I come in, random size, bring it down. We're changing it based on here. We can also change the tile length randomize, so we can change that as well. So I come back round here, see now it's a little bit changed. And of course, we can also change the thickness. So we can randomize the tile thickness, randomize the width. We can do all kinds of crazy things. We can even change the gaps in between each of these roof tiles. You can end up with something really, really nice. Very, very easily. We can also change, you know, the actual offset. So the gap offset, we can change the even offset, like so if we want to. And finally, we can change the roof angle. So what we can actually do with this is bend it, you know, this way, we can bend it from here and start bending it round, as you can see. We can also reset transforms. Does make it a little bit better if you're doing that so. Now we can actually change the where is it roof angle. So you can see now it's bending very nicely. We can also change the roof angle this way. In fact, you know what? Let me put this to zero. Let me show you from here then. This one's not zero. It should be on one, I think. There we go. We can actually bend it. So we can bend it from here. Not this way. I'm trying to bend it the other way. So bend it from here, or we can compress it as well. So we can bend it from here as you can see, like so. Now, of course, you don't want to be bending it crazy amounts. We can also come in and bend and compress these parts here, so we can bend it this way, bend it this way. Let's turn off bend, and we'll just bend it one way, like so, so we can compress it this way. And you can see just how versatile this thing is. Its a little bit of playing around with. You can also change the seed on making different roofs, and you can also bring in your own material and have it on, you know, material or material even. So you can have two different types of material on there as well. And finally, of course, then we can just increase this infinitely procedurally, and everything will be randomized and everything will be different. Incredibly powerful tool. Now, luckily, you guys, though, have actually gone ahead and already created one. So what I'm going to do is bring in my roof tool, bring in my roof. I'm just going to pull it over the side, press voltage, bring back our roof. And then what I'm going to do is I'm going to put this into place against this roof tile here. So what I'm going to do, first of all, is I'm going to come over to modeling just so I can see it's a little bit easier. And then what I'm going to do is I'm just going to show you how this works. So we can see, as well this is red. We don't really want that, so let's come down to face orientation. Let's turn that off. We're not really worried about that at the moment. And then what I want to do, we've got it at the right angle, right thickness. All I want to do is put it against this roof here. So I'm going to press S, first of all, to bring it round, and then rotate it around. So at 90, and then we'll put it into place. And get it to be the right size, and then from there, we can keep using this one. So if I now come in and rotate it, so and Y, rotate it round just so it's nearly into place. And then what I can do is I can put it against here. You can see that these roof tiles are a little bit big, so I'm going to make them a little bit smaller. And then what I'm going to do is grab this and this, press Shift H, and now I'm going to do is I want to come up to snapping. So there's a whole procedure with snapping where you can do. You can basically snap it in increments, so let's press it on. So to press it on, you can click this magnet, or you can press Shift tab. Click it on and on, like so. And now you'll notice as soon as I turn it on, this is moving in increments. You can also then come and see that it's moving in increments, but we don't really want that. You can also see the increments is down here. So you can move it, you know, the rotation increments. You can move that. You move out for it's moving away from each other, all kinds of things. Now, honestly, the snapping tool has so much to it. It could be its own complete course in one. So we're not going to go through every option. The one we want is the face project. So on the face project and we want it to rotate. So we want it to rotate our part with the face select. Now, if we move this now, bring it down, you can see it's lining up with this. So wherever I move it to, you can see it's lining up with this bon part over here. Now what I want to do is I want to just now I've got it lined up. What I can do is I can press R Y and just pull it up, and now you'll see it's basically on top of that. From here, what I can do is turn the snapping and now I can move it to my heart's desire, turn the snapping back on, and if I pull it down now, so if I pull it down into place where I want it, you can see now it's pretty much snapping to that. What I want to do is I want to pull it down a little bit further so that it's at the top and at the bottom, and there we go. Now let's turn it off. Let's put it into place. So right in to about here. And then what we want to do is we want to increase the amount of these. So you can see these are all set up. They're really nice and neatly actually set up. So all we want to do now is come in and increase the not the vertical count, the horizontal count. So just increase it, and it will come from the middle, which is a bit of a pain, but let's put it in the middle. Let's increase them like so. And then maybe one or two more. Let's press ultage, bring back everything, and there we go. You can see it's perfectly in place. Double tap the A. And that is exactly what we're looking for. Now, as far as the materials go, we want to make sure that when we've got this roof in place and we've got everything built around, then we bring in the materials because we can bring the materials right now, but the thing is, they're not going to look right. So, for instance, and the reason they're not going to look right is, of course, this is still a geometry node. So if I just show you let's go and put in a wood cracked. So you can see here, we haven't got any details on here or anything like that because they're just not unwrapped correctly. So I prefer to put my material on after. Now, the other thing is, when we're using this geometry node, we want a final render of this, so we need to make sure that everything's in place. And we can see here that pretty much this roof here we could use on this one, we could use it on this one going across here. And then we would have another roof, so another bulkier roof, which we could use on this one, this side, this side, this side, pretty much all the way along. We can also use it on this one, see. And then we've got a big roof which we've got here. So basically three different roofs. So we can really, really turn this jump node into our roof what I mean is we can set these roofs up, put them on, and then go in there, unwrap them all, get rid of the backs what we don't need, and basically do it that way because it's going to be way, way quicker for us. So all we need to do is grab this roof, create it a little bit longer so it can go onto this one. And then grab that roof, put it on this part here, making sure you've got a roof on here. And then from there, we can use this roof on pretty much all of the parts. So this roof and this roof and this roof, we can use it on all of the parts that we've got and making sure that it's very well optimized. So that is what we're going to do because that is quite a long process, actually. And I'll show you on this roof how we're going to do that. But before we do that, all I want to do is I want to grab this roof and I want to press Shift D because we've got this in the right side. So this one over here, you can see, it's going to be the right size. It's still got the Jumptnod on. We can still bend it to put it in this place and things like that. So that's the way we're going to do it, and I think that's going to be a much better way of dealing with these roofs, you know, once we unwrap them and things like this. Alright, so the other thing is these roofs, the backs of these roofs are never going to be seen. These roofs only come up to these edges here. So we're going to put these edges in, I'm going to put a top in here on the next lesson, and then you'll see we don't need the backs of the roofs. All we need is the fronts and the sides of the roofs, and that is it. Alright, everyone, so we're going to save our work, so we're going to go to file, save, and then on the next one, we'll deal with this roof first. Alright, everyone. Thanks a lot. Bye bye. 66. Converting Procedural Tiles to Mesh for Optimization: Welcome back, everyone to blend the Building master class from concept to final render, and this is where we left it off. We actually left it on our render view, but Ao. So now we want to do is we just want to bring in this part here. So I've placed this here, but I'm going to delete it just to show you what I'm actually going to do. So first of all, let's come in. Let's just save out or work because I haven't saved it out yet. And then what I'm going to do is I'm going to come to my asset library. So asset manager. I want to bring in this roof support, so I'm going to bring my roof support. And then what I want to do is pull it up or Z 90. I want to press three to go into the side view. And what I want to do is just press G and put it whereabouts. I'm going to have it. Now, if you remember, I told you when we put these in, they want to go into the roof and it also wants to go up high enough so that we can see this part here, like so. Now, I think at the moment that this is a little bit too wide. So what I want to do is press S and Y, like so. And I'm going to copy this over the rest of the building. So when I bring this out, I'm actually just going to copy it round because I found a bug in blender where I tried to update this in the other blend file. So in this file here, I actually tried to update. You can see no 0.224. You can see if I come over here, it's actually in roof support. If I bring it in, so it comes in no 0.224, you can see. And yet, if I bring this into blender, it comes in at 0.304. I have no idea why that is. I've played around with it. But if you ever get that, then you know it's a little bit of a bug. So if you want to get around it, change it within this blender file. And then what we can do is we can come in now and go to this part. So I've squeezed in a little bit, and let's actually increase this array here, so we'll increase the array going all the way over into there. Now, you can see it's not quite level and the other thing is, I want to use one of these, so I'm going to press Alt D, so Alt D. And then what I'm going to do is I'm going to rotate it round, so all dead, 55. I'm rotating it to 55 because that's what this is. You can see 55. And then what I'm going to do is I'm just going to turn off the array. I'm not gonna have an array on this. So it's gonna be looking something like this. And then what I'm going to do is just press G and I'm just going to put it there for now. Now, in the end, it might be a little bit different and the reason is because of the fact we're going to have our roof here, but for now, this will do. You can see we've got some flashing on here. Always best to jaws, pick it up just a little bit like so to get those into place. And then you need to think, how far back is this going to go? You can see these probably too far forward, so let's pull them back a little bit, they're all going into place like so. Let's do the same thing with this, make sure you're on normal, and then we can pull these back into place like so, and now you can see these kind of line up much, much better. Alright, so this is looking good. Now, if yours is poking out too far this part here, just pull it back into place. You know what? I think that's looking pretty nice. The one thing I would say is, you can see here that these aren't quite lined up, so let's bring it over. So bring it over a little bit more into place. And again, we can pull it on just to get rid of these two parts here if you want to, so you can press ENC and pull it out and then put it a little bit more into place. So we've got a gap either side, and maybe that's going to work a little bit better. And I'm just looking if I want it like that. You know what? I think we're gonna leave mine as is. I don't think it's such a big deal. One thing I would say is I will pull it over Jaws just to get this a bit more in center. So in the center pull it over. Like, so, double tap the A, and there we go. Now, let's have a look at what that looks like. And there we go. And we can see our roof comes down. We've got a little bit of a slant on there. So then we put one roof over here. Now, what did it mean with this roof then? Well, we've got our roof in. We just want to make sure that it's actually in the wall here. You want to make sure it's in the wall, this side as well. And what we want to do is based we don't want to waste a lot of resources. All underneath this roof is going to be resources that we're wasting. If I pull this over, you can see a lot as well are wasted in here. You can see all these roof tiles, if we look, are actually wasted, and we don't really need them. Also, the backs of this, you know, of this roof are also going to be wasted. So what we want to do is we want our Bay turn the subdivisions down because first of all, these, if we turn them down to two, so just make sure it's on two. Then once I actually apply this geometry node, you will see you'll just give us flat tiles there won't be any other subdivisions in there. So let's do that first of all. So what I'm going to do is I'm just going to save I'm work, just so I've got a place to come back to if I make a mistake. And the other thing is, I'm just going to make sure that I'm happy with these roof tiles are they going out. You might want them a little bit smaller because you can see here. If I bring them in, bring them in, and then I just pull them up a little bit. Now they're going in a little bit better. I've only brought them in a tiny bit. I'm going to pull this over. And then all I'm going to do is just pull it over S and X, pull it over, so the slot in place, double tap the A. And you can see underneath these why I've got that wooden bit on there as well. But I think the roof tiles coming up to here now is way better than where they were before, which means that I just need to delete this one out of the way. Come back to this one, press Shift D because now I'm going to have the same roof tiles on each of these when I get around to doing. So now what I want to do is I want to save out again before doing anything. And then what I'm going to do is I'm going to put roof the top on here just to make sure everything's fined. So if I come in to support or roof, let me just actually go back to this file here. This is the one that I want. So is this in there? So rooftop. Yeah, the rooftop is actually in there. Where is it under, though? That's the thing. So rooftop, here we are. Rooftop. So it is in there, so let me go back going on the roofs, and there it is. Okay, so let's put it down here first, and then let's bring it up. So we're going to bring it up. We might as well press Shift desk, cursor to select sorry, selection to cursor, and then I'll drop it right in the center. Now, how do we get that in the center? That's the question. Hide your roofs out of the way. Come to your wood, grab both of these edges here, shift desk, cursed to selected, and then you can move this into that center. All takes to bring back our roof. And finally, then I can actually lift this up to where I actually want it, and you want it so that it's just got a little bit of an edging going over your roof like so. Next of all, bring it over. Put it in place, turn up the array, so turn it on, on rendered mode, turn it up. And there you go. Simple as that together in place. Alright, so now this roof, we need to bring in the material. We need to make sure that it's fully optimized, all of that good stuff. So how do we do that? First of all, we're going to go up to object. We're going to go down to convert and convert to mesh. And now you'll see we've got all of these roof tiles. Now, let's press Shift H, and what we want to do now is grab some of these roof tiles and not others. And what I mean by that is we want to grab the front of them, but not the backs of them. So the way we're going to do this is first of all, we'll press Tab. We'll go into, you know what, we'll do the fronts and backs first. We'll do those first because that's the easiest way to do this. So what we're going to do is we're going to as well you can see, if I come in and grab these ones, you can see they're actually split off as well, which we need to sort out. So first of all, grab one side one and one top one. And then what you're going to do is you're just going to go to select. You're going to select similar, and you're going to select and buy the normals. And you should select all of these, all of the sides all the way through. Then what you can do is you can see, we've got another one here that's not quite right, and if we go anymore, we've got the bottom ones that also need selectin, and we've also probably got these ones as well that need selectin. And you know what? Instead of doing it that way, we'll do it a different way. We'll select the front of these ones. We'll go to select, and then we'll go to select similar, and we're going to select normals. And we can see we've got some missing. Only a few, though, missing, which we can simply select. So we've got all of these missing. And then what we can do is we can go around the back, and you can see we've got loads of them missing. Now, luckily for us, we want to delete all these back ones anyway. So we'll just actually come in and select them like so. And there we go, and it's a little bit tedious this. I know, and I wish there was a way to remove the bags of them. And I think we'll actually add that into the drummige node. But now, we're going to select them all like that. And then what we're going to do is we're just going to press P selection, and then I'm going to hide the side parts half the way. So you should end up with something like this. Now, if you look on wireframe, you'll see that's where you end up with. You shouldn't have any sides in here now. So if you go back to object mode, we shouldn't have any sides in here. And the cavity is not showing up because we haven't got any edges in here right now. So what I want to do now is if I go to sideview, which is one, I can't actually see anything until I put my wire frame on, and now I can see something. And what I want to delete is these bags. On each of these, I want to delete these bags. Now, the way I'm going to do that is if I come into it, press the tab but, press C, make sure I'm on faceleg. I should then be able to come into each of these and select the backs of each of these, like so. Now, once we've done one of them, it's going to get much, much easier to do the rest of them. But the backs of these roof tiles we are not going to need. And the other thing is, once we've done this one, inevitably is going to do like two or three roofs, as well. So now we can press delete and faces. Now we can press ultage, bring back everything. And if you're not coming back, just press Altage Now, bring back everything. Let's put it on an object mode. And what I want to do now is I want to just hide this out of the way. So I want to grab this and this, and I want to join them together. Control J, Shift H, and now we should end up with all of the sides on and just the backs actually missing, exactly what we wanted. Now, on the next lesson, what we're going to do then is, we're going to join all these together because at the moment, you can see, if I press G, we still actually they're not actually joined together or anything like that. So that makes it, you know, kind of hard. I'm also thinking, as well, yeah, we'll do it that way. I think it'll be the easiest way to do it where we just put on our material and shader once we've actually finished that. Alright, let's do it that way. So what we're gonna do now is we're gonna save our work. And this will be like the template going forward for the other two roofs, because we're going to need three in total. And yeah, I'll see you on the next and one. Thanks a lot. Bye bye. 67. Painting Grunge Masks on Roof Tiles with Vertex Tools: Welcome back everyone to blend the building master class from concept to final render, and this is where we left it off. Alright, what we're going to do is press A. We're going to go to mesh. We're gonna go to cleanup and we're gonna go to merge by distance. 4,000 vertices. There we go, guys, 4,000 vertices. Now, let's right click Shade Ato smooth. And finally, let's put it on rendered view. And what we want to do now is just grab everything. Let's put this on globe because it's getting a bit irritating. And let's actually unwrap them. So unwrap smart UV project. This is when you'll be really glad you've got that. And then let's go over and what we want to do. Is go to our resource pack. We want to go to materials and shaders, and we want to look for our roof, which is this one here. And what we want to do is we want to drop it on there, like so, and make an absolute mess like this. Now, don't worry, guys. It's gonna be okay. So don't worry. If you put this on, you're thinking, Whoa, I don't like my roof like that. Don't worry on. Let's go over to shade and I'll show you why it looks like that. Let's zoom into it. Let's put it onto rendered view. Let it load up. And then what we want to do is we want to come into the actual shader. And the part we're looking for is going to be let me just find it because it's a little bit hidden away, I think, Yes, here it is. So it's this part over here. We've basically put on top a kind of grunge map on top of there because we think that would be looking very nice. What do we need to do we need to go its scale, grab all three, so left click and drop, put it on two, and there you go. You'll see already looks better. Now, the other thing you can do it's coming over now to object mode and come and put it on vertex paint. The moment you put it on vertex paint, this will get activated. So we're going to go Object mode, vertex pain, and there we go. Now, you can actually come on now and draw on your actual roof wherever you want, this vertex paint. So what I recommend doing is just pressing Controls he, and all I want you to do is just come in and see how you like it. So if I come in and draw this, you can also see that I can also pull this up and bring it back a little bit as well. So if I'm just going to pull that back, and then you can also see if I draw on again, let me just go back a minute because I think I've changed something, and there. Okay, object mode, vertex pane. There we go. Now we can draw on it. Now, if I turn this down, I can change the way that it's actually distributed out. If I then turn this down, you can see I can drop it all the way back or bring it forward. Now, for me, I'm not actually bother about putting a load of, you know, bits on there or anything like that. I'm not bothered about doing that. But if you want to do that, you can see here that I can put a little bit on there. So if you want to do that, it's actually ready and enabled for you to actually use it in that way. There's lots of other things as well you can play around in here. But I think if I go back to modeling, I'll ever go back to modeling, press the tab on, press Altag to bring back everything. So let everything load up. There we go. Double tap the A. Put it on rendered mode. And there you go, I think I'm actually happy with my roof tiles like that, but it is enabled if you want to do that. Okay, so that's looking pretty nice. Now, the one thing I would say at this point is, it might be worth actually going in and looking at this stone light. So this stone light, it might be a little bit too light. I think it's a bit too light compared to everything else. It needs to be a little bit darker. So what I'm going to do is go to shading. And I'm actually going to zoom out. So, let's zoom out. Where is my stone? So let's bring this. There we go, bring this down. Here is my stone. And now we're going to actually make this a little bit darker. And then this lighter version, we can actually bring that up as well and make that a little bit darker, as well. Then what we're going to do is we're going to come over here and we want to bring this one. So, this one is the one. So this color ramp here, which is coming from the color over here. So this one here, here is the one that's going to change the color. So if I come in, let's say to this, and I make this part darker, you will see it makes the whole thing darker like so. Now, of course, we don't want it that dark, and there are all the things that we want to do as well. What I also want to do is I also want to come over to here. So, like we did with the other one where we brought it in, I want to press Shift day, and I want to bring in a gamma. So I want to have a bit of control over this. But instead of making it light, I want to make it a little bit darker so I can go the other way look like so and make it just that little bit darker. Now, if you look where it came from, so it came from this. And now we're going to this. So control shifts there we go. Control Z. And now we're going to do is we're going to go over to this part here. Now, we have got control over all of it, so you can see we can make it all darker or lighter, but I don't want to use that. What I want to use is this one here. So what I'm going to do is just come to this one here and I'm going to come in and make it slightly slightly darker. Come to this one. The most are going to make this part slightly, slightly darker as well, like so. Now, that to me is looking way, way better. The only thing is that this white on here, the edgewaar on here, I'm not actually 100% happy with, so I need to come over to my edgeware, which is this one here. So click on this. And then what we'll do is bring this down, and there we go. It doesn't have to be as white as what it was. And now that's looking much, much better than what it was before. Now, of course, the problem we've got now is now we've made it darker. This white in here is way too dark. So what we're going to do is pretty much the same thing. So you can see, the more you alter this and this is why we're going through it, the more you'll actually realize what the things are doing. This is the bevel, so this is this edgeware that you see here. This is the color ramp for it. So if we put this on bright white, you will see a lot more edgeware on there. And then these parts are coming from the color over here, and we're altering basically the overall feel of these two actual noises that are overlaid over each other. So you can see one of them, if I go here, one of them, this side, controls this kind of inner part, and the other one controls the outer part. Alright, now we've done that, then, let's come to this part here, and we can see that if we click on here and come on over here, we've got one that says Stone light, and if you scroll down, stone lighter. This is the one where we want to make it a little bit darker. Now, you can see I need to bring it down, bring it down. I'm struggling to make it a little bit darker. And the reason is because we know we already put in a gamma over here. So let's come in and turn that gamma up, not down. Let's turn it up like so. And now you can see that's looking really nice. You can see now it's really fitting in, even though it's a little bit whiter here, you can maybe even go one more, but you can see now you can see the variations in the wall. That is what we actually want. We don't want them to be too close. We want it to kind of blending with everything. We don't want extremes of colors or anything like that. Alright, so now I'm going to do now we've done that, we've got our roof on. We can start building this out a little bit more. And then what we can do is we can put our roof on the other side, move our roof over here, but really start to just build this out a little bit with the windows and things like that. Alright, everyone, so I hope you enjoyed that. I'm going to save out my work. And you know what, I'm going to save it again because what I'm going to do is I'm just going to go to modeling. I'm going to press the tab on, and then I'm going to save out my work from here so I can carry on from here. Alright, everyone, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 68. Beginning Roof Tile Placement on Stylized Structures: Come back if you want to blend the building master class from concept to final render, and this is where we left it off. So what we intend to do now is we intend to build these parts out, so this one and this one and probably this one. And the reason is because this one has an actual well, it has a balcony here, same as this one, it has a balcony under here. But this one has a stairs, which we haven't actually created yet. These ones here don't have anything like that, so we can pretty much build these out and see how exactly it's going to look. So let's do that first. So what we'll do first of all, though, is we'll grab our roof. We'll press I'm thinking if we press Alt D, we won't be able to alter it, but it will be better because of the fact we're not going to have I'm just wondering about that. Let me just put it onto Rendered view. And let's see if we can press Alt D, bring it over this side and put it into place. You can see it's way way over, and that's one of the issues that I've got, because if we press we can ltd it over the other side and we can probably ltd it over here. Let's see if we can get away with Al Ding it over this part as well, because it's round about the same, I think, on here. Might need stretching a little bit, but we'll see. So we'll do ltd. We'll bring it over, and this is just testing it out. And you can see that it's not quite level with this one. It's also going to be a little bit small, so I need to make it a little bit bigger, as you can see. And then what I'm going to do is now going to pull it away. I'm going to put my snapping back on, and hopefully then it should nap. Into place. It's actually not snapping. It's trying to snap on this bit, as you can see, so let's hide this out of the way. You know what? Let's just grab this and this ShiftH. Let's put it on object M so we can see what we're doing. And then what we'll do is now it should snap. There we go. Now we're snapping into place. Alright, so we can see now that's the size that we want it. We can see though it's going to be a little bit too small, I think. If I press snapping off, I press Altag, I'm gonna be able to get away with it. No, I'm not. So I'll probably need to create a new from this one that we've left here for this part here because it's a little bit too long. And then we've got this one over here where if I pull it up, I'm not just going to put it on. I'm just going to leave it there for now. And you can see we've got a lot of difference there. So pressing Alt D on these might not be the best thing to do because they're a little bit too big. Let's have a look at this one again. Yeah, they're a little bit too big. So what I'm going to do is I'm just going to delete that one out of the way. I'm going to press delete on this one. I'm going to come to this one. Instead of A D, I'm just going to press Shift D. We can do it that way. We can bring it over then. And what we want to check is what we want to check, is just to make sure that when we look at this one and this one, they don't actually look the same. So you can see here they don't look the same. For double tap the A, you can see you can't tell, you know, the similar in any way. Now, the other thing is, I really want to, you know, kind of cut this down. So the way that I'm going to do it, if I go over the top, like so, and then I can pull it all the way out just so this one fits in here and I can cut away this part then. So if I press tab and go into here, let's put it on wiping, and hopefully then we can see this here is where it's coming up to, I think, the L Nope not there, so it's coming to this one here. So this one here, if I grab it. I know I can basically come down then and grab all of these coming down like this, the leads and vertices. I can get rid of all of those. And then what I can do use box select, which is B drag, let go. Breast control plug just in case you've not gone through them on, you've not griten wireframe or something, press delete vertices. And now let's go back, and what we'll do is press object mode. Double tap the A, and there we go, we sure be able to get away with that. Now, let's bring this one over. So in this one, we can actually do Alt D. So we're going to press Alt D, bring it over into place, come over to our array, bring it down, maybe even two. Can I get away with two? I might even be able to just pull it out a little bit, which I think I can get away with actually, sorry if I press S, and why? Jas pull it out a little bit, pull it into place, and there we go. Now let's come to this part. We're going to do Alt D again, and I'm going to bring it over. Press the little db one, so I can see where I'm actually pulling it up to. So I'm going to put it into there, as you can see, and then I want to again bring down the array. So at the moment, we've got nine, that's bringing it down. And we need to bring it to count of this, and there we go, that's that part in. And there we go. It's as simple as that once you've got the parts in. Now, let me just move this over a little bit. And now what I want to do is you want to put this on the other side. So this one wants going over here. Now, we could mirror it over there. Or we could mirror it. I'm going to try and see if we can mirror it over there using object mirror. Let's try that. So instead of the orientation being here, what I'm going to do is I'm going to put the orientation in the sensor. I'm going to grab this part, shifts cursed or selected. It's going to put it over there, but it is in the center. Grab this one, right click and set origin, two, three D cursor. Then what we can do is we can try and press Alt D, so Alt D and then mirror. So object mirror, and it's going to be on the X. So mirror on the X. And it's not quite working as intended. And that is because, of course, this one is a long one. I did forget that we've made this one slightly longer. And the other thing is, you can see down here, Ama going to be able to get away with actually having it like that. I'm just looking at this one, as well. This one's also a little bit too long. You know what? On these ones, I think, because they're not straight, we have made a little bit of work for us, but I recommend that we use this and we put it in there like we did with this one. So let's actually do I'm just wondering whether we do that first. It's a little bit tedious to go straight onto there, but I think it's probably going to be the best thing we can do. So what I'm going to do is I'm going to grab this one, this one, and this. I'm going to press Shift H to hide everything else out of the way, and we should end up with this. And then what we'll do is we'll press Shift D on this because we don't want to press old D, it'll end up changing it. So shift D, bring it over. And then what we're going to do is we're going to just put it on the other side. So if I rotate this round, so Z 180, let's rotate it round. And then what I'm going to do is I'm going to put my snapping on, and we're hopefully going to snap it to this one here. So we're going to snap it there. We've got the right angle nearly. It's snapped to it. We just need to change the angle now. If I press one, we can see now it's snapped to this bit. We just need to alter the angle. So I'm going to do, click on my snapping and the reason, by the way is, this is the flat bit. It can't snap on this one and this one. So it's snapping to the origin. Now, if I press S R and Y, I can then bring it into place. It still makes it much, much easier to get this thing into place. Now what I can do come to normal, and I can actually lift it up into place where the other one is, make sure that it's going over this. And then what I can do is just turn these up. I'm just going to have a look. Now, I'm just going to press Alt and H again. So AltH. Let's have a look where we are. We might need to pull it out a little tiny bit because as you can see, if I put this on and Zoom out, you will see that we will be able to see probably probably some of the wood, as you can see there. So it's a little bit too far out, so I'm just going to pull it out a little bit. And then I'm just going to as well, make sure that like this one, so you can see this one's just got a little bit of crease under there. That is exactly what I want for this one. So I'm going to then pull it back this way. I'm going to pull it back this way then. And put it under. So it's js going under, like so. And now I know where I can increase it. So I can move it over and those two in adjusting to increase it going down the bottom. Now, I might have gone the wrong way, when I actually turn up the count. So this count here, let's see. Yeah, it's got it would be. Okay, so now we can pull it back down and pull it back into place, and there we go. Now, if I grab I just hide this out of the way and hide this one out of the way. If I grab both of these and the roof for a shift H, let's look now at how that's actually balancing out because we want to make sure and it's actually on there. Now, you can see it's a little bit bent in the center. As you can see, if I press one and then put it on wireframe. Here we go. Now we can see how close that is. So what am I going to do now? I'm just going to grab this. I'm gonna pull it into place, and I don't want it slotting through there. And something like that, I think is going to look absolutely fine. And again, you can see why I've put that wood underneath now. Now, if I press Saltag, bring back everything, this is what we should be left with. And I want to do the same thing now before actually coming in and altering any of these. So shift D. Let's bring it over into place. I'm going to pull it right up to about there, and then I'm going to go over the top. And now I know from around this point here, I can get rid of all of these going down. So upon my wireframe, I'm going to press the tab bone and it's this one here. So let's, you know, what we need to go into there. Why we're not able to select those? Let's actually have a look because I didn't grab them and I select them. Base Oh, that's why that's why I can't select them. I need to change it to geometry first. So before we do that, because we have a lot of things to do with the geometry, you know that we need to get rid of the backs of them. You know that we need to then bring in the roof actual texture. So before we do that, what we'll do on the next lesson is, we'll grab both of these, and we'll do them both at the same time, exactly like we did the front one. And then we'll get rid of all the back ones. Using our circle select. We'll 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. 69. Continuing Detailed Roof Tile Placement: Welcome back, everyone to blend the building master class from concept, final render. Now with this one, we could actually, as well, just turn it down. If we turn it down, look, we can then put it into place. We don't need to have it so high, we've still got a jump genodon, so I can just put it up to maybe one more. Like so. Is it going to fit like that? Let's have a look. It's sticking out the top. I don't actually know why it's sticking out the top on this one. We pulled it over here. I don't actually know why it's sticking out at the top, because it should be the same as this. So I'm going to do is just delete that one. I'm going to grab this one. I'm going to press shift, and I'm going to bring it over and see if it's stuck at the top. And no, it's not. So maybe when we turn this down, then, let's turn this down. No, it's not moving it. I don't know. But anyway, we've fixed it now, so all we can do is we can just pull this in, maybe get rid of even one more. Pull it into place, and there we go. Alright, so that's on there. Now, the next thing we want to do then is we want to make sure that we've got wood under here as well, because I'm not sure whether I, you know, copied this over. So what I'm gonna do is just hide this out of the way. Yeah, there's no wood on there. You can see there's wood under here. Let's split this off then. So what we'll do is we'll hide this part out. We'll come in. And what we'll do is we'll split this one off. At this point as well, we really should be thinking about our roof thinners, for instance. So if I click on there, you can see that's the roof thinner. I want this to be added to that, as well. So I'm just going to press P selection, split that off. And then what I'm going to do is I'm going to grab these and these. I'm going to press Control L, and I'm going to link materials. And then what I'm going to do is come back to these tab, A, U, and we'll do unwrap. And we'll unwrap them like that, and there we go. Now, we can see these are a little bit bigger, and I actually think that looks better looks a lot better than this one. So that means I can come back now, grab both of these, UVedit let's zoom in. And I think they've been made even smaller, like so. That's how they've done that. Yeah, and I think that looks actually better. Now, let's press SaltH and there we go. Let's go back to modeling, actually. And now let's work on both of these. So we need to get rid of the backs of all of these, and we need to also just keep the sides, and we brought it down. And we also need to put on the texture, of course. So Shift H, let's try and do them all at the same time because they should be in the same angle. So first of all, I could probably just looking. I could probably, I'm going to I'm thinking that the easiest way to do this is, first of all, to hide the sides like we did before. I do think that's the easiest way. Well, the easiest way is to turn them, first of all, into geometry. So I'm going to grab both of these. I'm going to go to object, convert, to mesh. And then what we're going to do is now we're going to try and s grab both of these. So I think we can probably go away with doing them all at the same time, because if I press one, you should be able to see like they're perfectly lined up, and we should be able to use that to our advantage. So we'll use that. So what we'll do is we'll come in and we'll grab this one, not this one, this one. This top one, like so. We're also going to grab an inner one, as well. So we'll come around this side, and we'll try and grab this inner one. Then what we'll do is we'll come up to select, and we'll come down to select similar by normal. Alright, so we can see that we've got some normals here that are still on there. So all I want to do is hide these away. So hide them away. And then we've got these normals here. So we'll go to select, and we'll go to similar and normal, like so, and then hide those away. Now, have we got any more normals? Yes, we have. We've got some normals here as well. So select similar, normal, hide them out of the way. Now, let's have a look. What have we got here? Have we got any others? If I look through there, if I put it on Face Select, have I got any others on there? I don't actually think so. I think they're all clear now. And now I'm looking at this side. Are these the same? I've cleared them all. It looks like I've cleared them all that side as well. So now what we can do is we can press one to go into side view, and now we can have a good view, and we can see there is no normals on here, and what we need to clear now is all of these faces going up. So all of these faces, as you can see, there is nothing in there, so that's great. So now I'll do I'll come on to wireframe. And then what I'll do is I'll press the C button, and I'm clearing each of these going all the way along. So see. And you can see it's quick because we're actually doing two at the same time. So see, like so, like so, like so, and then see like so, like so, and like so. And then what I want to do is just press delete and faces. So delete faces. Tag, bring back the other parts. A to grab everything, mesh, come down to where it says, cleanup and the one we're looking for is merged by distance, 8,360 vertices removed. Let's then put it on the object mode. And what I'm hoping is, I've got rid of these. I'm going to right click then Shade Auto Smooth. And then we've got rid of all the backs on those. On all of those, as you can see. Now, the way to check this as well as you can come up to here and go to face orientation, you can see now all of them are faced round this way. Now, if I grab them all, press tab, shift N, I can spin them all round, and then I can see that they're all on the back, except this one here. So what is wrong with this one? Let's have a look. So we can see that this one here is the only one I've missed, I think. So if I press tab, I should be able to come into the backup here, delete and faces. I just a bit of an outlier, same as this one. So if I come to this one, delete and faces, and there we go. So the rest of them are absolutely fine. Now when I do it, I want to go and press ALTH. And what I'm going to do is I'm better going to unwrap them all, so I'll unwrap them separately, though. I'll press A smart UV project, click Okay, and then go to this one, tab A, smart UV project. Click Okay. Now, being as we're here, we might as well grab both of these. Press tab, A, and shift N, spin them round. So they're facing the right way, like so. And then what we might as well do is put this on to material view. Grab each of these, grab this last press Control LL, link materials. And then finally, what we might as well do is just come to this one, go to vertex paint, and then take it off. And I'm just looking if they're gonna look the same. So let's actually have a look now. Let's go to Renard view. Let's take off our face orientation. We don't need the on anymore. Double tap the A. And there we go. You would never, ever be able to see that these are the same worsever. And it was very, actually very quick to put those into place. Now, while we're here with that, we might as well do this one because then it means I can do this one across. So I'm going to again, come in Shift D. I'm going to also save out my work, so I'm going to go to Global on here. I'm going to come in file, save out my work. And you can see it's really speeding up now, which is great for us. I'm going to press R z -90, like so. I'm going to grab this one and this one. I'm going to press Shift H to hide everything else that's out of the way. Put it on object mode. And then what we'll do is we need it right near the top. Now, first of all, let's pull it out. Put on our snapping tool. So this one here. Let's then grab it and then pull it over to where it needs to go. We can see the angle of this is a little bit out. So what I'm going to do is press R and X, rotate it round just to get that angle right. I'm going to press three to go inside view, and you can see, now that's lining up very, very nicely with this. So now if I bring this over, though, even with snapping on, you can see it's lining up perfectly. Like so. Now, we already know it needs to come from the bottom because it will snap to going up. So I'm going to put it right down at the bottom, like so, and expend it out a little bit. And then what I'm going to do is increase this amount. So keep going up to the top, and there we go. Now, if it goes over a little bit too far, that might be a little bit too far. We'll have a look in a minute. And what I also need to do is make sure that this is the right scale. Now remember, we've got the front and back, so we will have the front and back of the roofs, you know, hiding some of the tiles. So I can actually freely get away with bringing this down. Like so let's see if I've gone too far, and that is that should be about right. So now if I press tag, bring back everything. We can see it's nearly hidden. It's nearly nearly hidden. You can see it's just slightly out. So what I'm going to do is I'm going to come in. I'm going to go to normal. And then what I'm going to do is just pull it back into place, turn snapping off, pull it back into place, holding the shift a little bit, like so. Now, this is what I don't want. I don't actually want it. Come in through there. You can see the wood coming through there, which means I need to change the angle a little bit. So I'm going to press R and X, change the angle just slightly so it's all the same. So you can see now it's all the same and then pull it back into place. And hopefully we should be able to get this right. So if we double tap the A now, we don't want any tel stuck through like this. That's what I'm basically saying. We could, as well. I'm going to leave this actually because I don't want these tiles stuck in like that, so what I'm going to do is I'm going to press I'm going to bring this part in, I think, once I've done this. So I'm going to get this lined up perfectly till I want it. So I'm going to press R and X, rotate it back a little bit, like so. Double tap the A, and now I'm happy with how that's in. So what it means is, I need to then come into this bit. So these are the parts that we've unwrapped. We make sure that's the case. Did they unwrap those or is it those? Let me have a look. Which one did I sort out? Did I only put wood on that et's have a look. Oh, it was this one, wasn't it? We haven't done these yet. Okay. So we'll come to these. We'll grab this one as well, and then we'll press P selection, and then we'll come to this one, grab this one, press P selection, like so. And then what we'll do is we'll resell the transforms, right clicks origin to geometry. And then what we'll do is we'll just hide this one out of the way and we'll do this quickly. So what we'll do is we'll grab this one, this one, this one last, press Control L, link materials, and then we'll grab these both at the same time. Press A, U, and unwrap. And then what we'll do is going into UVE diting A are 90. Put them into place, make sure that we're happy with them. And yes, we are. Then we'll press Altage, bring back our roof. And now what we need to do is we need to bring these in a little bit. In other words, these pieces of wood because we can bring them in. So I'm gonna come to this one first, A and then S and Y and bring it in a little bit, and then we won't have that problem with the roof. But we'll still be able to see inside there if there's a little gap or anything like that. Alright, let's go to modeling. Let's go to file and save everything out. Alright, everyone, so on the next one, then, we'll finish this roof. We'll get it onto the other side, and then from there, um I'm just wondering from there, we will then be able to probably once we've got this roof on, put the top of this on and then start with probably the actual windows going down there. I think that'll probably be the best way to do it, because what I'm trying to do is I'm trying to get this part, you know, figured out and not make it too boring. Where all we're doing is just building, building, building. We don't actually want to do that. Alright, everyone, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 70. Creating Roof Corners and Decorative Frames: Welcome back if you want to blend the building master class from concept to final render. Now, while we've got these, we might as well put these into the roof inner. So we might as well do that. So I'm going to grab both of these. I'll press the M, and I'll come down to roof inner, like so. I want to hide the roof out of the way then, and I should when I come down to this, be able to hide these out of the way. Now, you can see, for some reason, I've got this one here, as well. That one needs going in the roof inner, so roof inner and there we go. Now, if we bring these on, there we go. Now everything is working. It's just that I didn't hide that. So now if I do this, there we go. Alright, so now we've got our roofs. Now, if I press oltage, bring back my roofs. I should also be able to put these into the roof. So have got one that says roofs that says, Look. I've got one that says walls. Let's make one that says roofs, so I'm going to press M, and we'll call it roofs. And trust me, guys, it's really worth no matter if you're building it for the court or not putting them into collections like so. Now, I can come in and work on my roof here. So this roof here, we know that it's going to be a back on this part, which is this part here. So what we deem to do, first of all, is we need to drag this over to that other side. So I'm going to press Alt D, and I can bring that over then to the other side, like so. We can see that this top bit is a little bit out. So what I need to do is I need to pull them apart. So I'll do that first. First of all, uh I'll just make sure that I'm happy with how four that goes out. Now, we will have a little bit of something on the back of there, so you do need a little bit of a lip. And then what I'll do is, I'll come in now. I'll grab both of these top pots. And all I want to do is just pull them one way and then the other way. So it might you can either do it one of two ways. If it's a very small amount, you can press S and X and pull them out this way. So we'll put it onto medium T is on medium point. Sometimes you can get away with pulling them out like that, as you can see, but on this occasion, probably not worth it. So what I'm going to do instead is, I will put it onto normal, and then what I'll do is I'll pull it up into place like so. So I'm going to pull it up into place, like so. Now, as I'm pulling that up, you can see I've not gone quite far enough there. You can see, though, this X, this is what I'm interested in. So if I press Controls, just go back, pull it up, pull it up, pull it up, and then I can see this X is this, so control C. Like so. Now, if we do the same for this one, so I can pull it up, pull it up, pull it up and come into the X. Now you'll notice that it's plus, it's not minus. So just press Control V, and then take off the minus and then press the end button, and there we go. Now that then should be perfectly lined up with this one. Alright. So now let's deal with this roof because this roof should be able to come over to this roof, as well. We've got these pieces now, so let's come in, first of all, then, and grab this part, press Alt D. And then what we'll do is we'll spin it round. Now the other problem I've got is dad I press Did I press? That's another problem I've got. Did I press Shift D? Let's have a look. I'm wondering, let me see if I alter this. Let me come back to this one. Yeah, that's the problem. I messed up. That's the difference. Shifty and D. So let's go back. Let's just put these back 1 second because I messed up there. Let's put the other one back. All right. I need to get rid of these and I need to bring in this here instead of old, I need to press Shift D. And the reason is just on these, if I press Old D, you can see that once the stads are in the mesh, it's going to mess these up, so I need to be very careful about that. Okay, so now we can come to this one, and I can do exactly the same. So I've still actually got the amount. So if I pull it up to here, I just go in, control, Enter, and then I can come to this one, pull it out, and then I can Control V, minus it off, and enter. And then I'm just going to go around making sure that lip's okay and that looks fine, and then just want to top now. Now with the top, of course, I can go Old D. I can pull it up. I can spin it around then. So Rz 90. I can press I can bring it right into the center, actually. So all I'll do is I'll just grab the center, Shift S, cursed to selected, grab this one, shifts and selection to cursor. Now, I'm going to look to see if that's actually right in the center, which it is. I'm then going to pull it into this part here, and I'm also going to minus off the array. So let's minus it down. And I think that will do in there like so, and then all I need to do is just pull it up into place. Now, of course, the back it needs hanging over a little bit. So this part on here needs hanging over. So I'm going to pull it out, pull it out. And I've also, I think, have a look. Ah, my a little bit too ball with this. You can see on this part because it's not got the roof in. That looks fine there. This bit here is going into there, so that looks fine on there. The one thing I'm looking at is if these it needs coming down, I think a little bit further. So if I bring this down to here, and then Jas pull it out a little bit. So if I press S and Y, holding the shift, pull it out a little bit, yeah, that's going to look much, much better. If I double tap the A now, save out my work, let's have a look at that. And there we go, Yeah, that's looking fine. Now, just making sure nothing's sticking out. Now, we've got this roof. So it means once we've done this, we can actually bring it over to the other side. So basically, what I want to do now is want to press Alt D and move it over to here. So moving this part over to here, these two parts, and especially this roof. So what I'll do is I'll grab them all at the same time, grabbing my roof at the same time, and then I'm going to move everything over here cause this should be the right size. Now, where do we base the center of here on? So first of all, let's put it on Global. And then what I'll do is I'll press Alt D because I'm not planning to change well, I'm planning to do this roof, which means when I change this roof, this roof is also going to change. So that's the best thing that I want. So what I'm going to do is I'm going to come over. I'm just wondering if I press Alt D on this one. Yeah, I should be able to mirror it over the other side. I'll show you that in a minute. I'm just trying to work this out for myself. Now, we've got all of these. We want to though put them in the center of here. So I'm just wondering the best way to do this is probably if I grab one of these and then center it by coming in and putting it right in the center of here. So if I press shifts, cursor or selected, that then is going to put it right in the center. Now, we want one that is right in the center. So if I grab all these three, grabbing this one last, press in shifts, and selections cursor not like that. Sorry shifts, selections curse keep offset. Yeah, it's grabbing that one for some reason. That's not what I want. So I'm just wondering if I can actually just grab these grab this one, grab this one, press Control P, and then set parent and keep transform, like so. Now, when I move this one, everything should move, which it does. And now if I press Shift desk selections cursor, there we go. Keep offset. And now I should be able to pull these in to be exactly the same. And just wondering if it's even going to be what I intend. We can see that's there. We can see down here, is fitting nice. So why isn't this fitting so nice? Let's have a look. Might even be needs rotating or something. This roof, I mean. So what I'm gonna do we can rotate it. We just can't alter the mesh, as we know. So instead of that, what'd is, I'll just press on these two. I'll press at P, so clear parent. And then what I'll do is I'll move these two into place first. So if I go over the top, I should then be able to do this manually. So jaws go to bring these in and look at where they are over here so you can see here, cane boll them to get them into the place. Like so. I've got enough room, then I think on those. And then what I'll do is I'll bring this one over. Now, with this one, I should still be able to put it in the center. If I go over the top, I can see that that's right in the center, which means I should be able to press selection cursor keep offset and bring this into place, and that should work. And then all I've got to do is just bring it up. So if I bring it up, and then just make sure it's sat on that pot there. As it sat on that pot there. Let's bring it down a little bit. Holding chef bun, and there we go. And now with my roof, I should be able to bring this into place, making sure then that I pull it this way in in in and into my roof. Now, the one thing that we didn't do, of course, is we didn't bring this piece of wood in, so that's the next thing we want to do. So if I grab this, I should be able to press A, and then what I should be able to do is press S and Y and bring it in. That might be what the key here is. Okay, so we've got this one. We've got this one. Now what we want to do is want to put this roof over the other side. So to do that, you can see I can just grab my roof. I've got this right in the center, which means I should be able to right click and set origin to three D cursor. But it's going to move, and the reason it's going to move is because we've got that actual Jumptre node on. So what we want to do instead is, instead of doing that, we will actually fix both of these roofs, and then once we fix them, in other words, turn them from a Jumpton node into mesh, do all of the stuff when it comes to, you know, altering the textures and things like that. And then what we'll do is we'll duplicate them and put them over the other side. That is the way that we'll do it, then. Alright, ever so I'm going to do is I'm gonna save on my work, I'll save, and I'll see you on the next one. Thanks a lot. Bye bye. 71. Optimizing Roof Tile Normals and Backfaces: Welcome back if you want to blend the building master class from concept to final render. Okay, so let's get these into play. So I'm going to do is put it on object mode. I'm going to grab both of these then. I'll press Shift H, hide everything else out of the way. And then what we'll do is we'll try and do these pretty much herd the same time. So I'll come in. I'll change both of these, first of all, to mesh. So object, convert to mesh. And then what I'll do is I'll come to this one, and I'll come in and I'll grab the top if I press dot, I should be able to zoom into it, this one here, and then I'm going to go all the way around the other side because I'm looking for the normal. So we have one normal facing that way, one facing downwards, and so on and so forth. And then I should be able to go to select, come down select similar, select by normal, and I should be able to hide those out the way. Now, once I've done that, if I press three, I should be able to see that there's nothing in there whatsoever, and that's exactly what I'm looking for. My other one is over here. Then what I should be able to do now is come in with Faceelet, put it on wireframe, press the C button for the circle, and now by this point, you should be extremely used to doing this. So we should be able to speed this process up. Like so. It's just rinse and repeat. And I know it's a bit tedious doing roof after roof, but I think it's going to be easier for us once we've done these before putting in the windows and things like this. Now, I can see on this one, for instance, we still have, as you can see, faces there and faces there, and I'm hoping that I've not actually grabbed hold of those. So these faces here. So let's press Delete and faces, and there we go. Now, let's put it on object mode and see what we've got there. So we've still got all of these faces here, but you can see that I've not got faces along here, which is fine. Let's press Altag, bring back the rest of it, double tap the A. There we go. Now, we should be able to see now if we've got this correct. So we'll do that first. So we'll come on and we'll put it onto face orientation. And then what I'll do is I'll grab all of these faces. So A, shift and then, spin them round. Now, that's Sometimes that will happen, we really don't want that. So I'm looking, is it because we really don't want that to happen. So I'm going to press Tab, A, shift and N. And why are these spinning round like that? I really don't want that. And the reason this spinning round I remember now is because we need to join them all up first. So let's do that. So we'll go to mesh, clean up, and we'll go to Merge by distance 4,332. Right click, shade Auto smooth, and then we'll press A, shift and N. And then finally we can spin them round. Okay, one over here, look. You can see double tap the eight, one over here. And we can see if I come in. I don't know why there's just one over here, but let's have a look. Here's that face. Let's press delete and faces, and there we go. Alright, so all of those are fixed now, and we've got rid of thousands of polygons. Now, let's come to this one. Same thing again, right click shade or to Smooth, first of all, and then we'll press Dot to go into this one, and I'm going to come in. I'm going to grab these here. I'm going to grab this one here. I'm going to come around the other side, pretty much the same thing as what we just did. And then we're going to go to select. Select similar, and we're going to go to normal. There we go. And then what we should be able to do is hide, although it's out of the way. We can press three then. Where are the faces? Is it this one? You have a look at this. Which ones do we do as press tab? We'll zoom into these ones. This is the one we've already done. Let's zoom into these ones. Oh, I know why. I forgot something. What we didn't mention is these are joined together. So when we deleted this mesh, it's actually deleted this mesh. You know, remember, we shift Ds and put it in. Well, then we alt deed it, and we basically made an instance of it. So that actually made it way, way easier because they're exactly the same. Oh, wow, I forgot about that. Okay, now what we want to do then is bring in my material. So I'm going to do is I'm going to grab this one. I only need to grab this one. I can press U. Smart UV project. Click Okay. And then what I can do is now I can come in, bring in the material, which will be roof, bring in the roof material, like so, and there you go, now they're exactly the same. Now I can come to this one, go to Vertex paint, put that on, bring come out of it. And then what I can do is I can just come to this one and rotate it. So I can come to this, rotate it round the other way. And the way I'm going to do that is pressing Control A, all transforms, apply object, warning multiple objects, share the same data, make single use and then apply the transformations. No, we don't want to do that. So can we go set origin to geometry? Yes, we can, but it's going to move it other way, so we don't want to do that. So all I want to do then is come to this one object, and can I mirror it? So can I mirror it on the X? So the X is going this way, as you can see. So object, mirror on the X. Yes, I can. I just need to pull it back into place. So now if I press ltH, bring everything back, let it load up. There we go, and then just make sure that this one is in place, so not poking through any of those, double tap the A, and now let's finally finally take off base orientation. And then what we'll do is we'll save that'll work. And then we're just going to have a quick look on the rendered view and see what that actually looks like. So now you can see, because I rotated that round, these look different from each other. So you can see here they look different. You can't tell the same. It's just a simple trick of the eye, and it's actually worth doing that. Now, then what we want to do is I want to bring this one to this side and this one to this side. All I'm going to do really is grab both of these. I'm going to press Alt D, bring them over. I'm going to grab them individually then, so I'm going to grab this one and this one, and I want to spin them round. Z 180 spin them round. Now, we can see that if we pull these here, press the enter button and now pull them into place, hopefully they should both drop into place perfectly. Like so, double tap the A. Let's make sure this one's in, and there we go. No, I just want to make sure the wood's poking through a little bit too much on this one, so I'm going to grab this one, move it slightly, very slightly. Pat the A, and there we go. And then we'll come to this one and make sure that this one is also moved very slightly. So, double tap the A, and there we go. We've got our roofs on now. You'd never be able to tell these are the same roofs again because this over here, as you can see, is the same as this over here. So they're mirrored round, you can't tell that they're the same. That is what I mean. Okay, so now we can come in and grab all of these roofs, so all of them. So, and we can put them into one that we've made called roofs. So no roofs are there. Now, the best thing is now you can come in and just close that up. And you know, if it's a bit heavy on VRAM or something like that, you can simply just come and hide them out of the way. It's going to make it, you know, much, much faster on the actual viewport, you know, especially when you're in rendered mode like I am. Now, if I bring those back, though, put it on object mode, so this is what we're left with. Now, from here, I can see that these might need pulling out a little bit. If I'm going rounder, you can see everything is fine. But on these parts here, you can see the woods poking through a little bit. Always check that and make sure. And the reason for that is we haven't brought in these pots of wood. So if I come in just hide these two, I should then be able to grab both of these. I should be able to press tab A to grab them all, and then S and X and just pull them in just a little bit, like so. And then if I press tab Altag, bring back everything, double tap the eight, and now you can see it's disappeared, and those roof pots are fitting in perfectly. Alright, so that's that bit. Now, we can move on now to putting in these windows. And again, what we need is one that's called walls. If I turn off my walls, you'll see we've only got this one as walls. We've not got this as wall, for instance. I'm not even sure we actually unwrapped this Lo. We haven't unwrapped this one. We haven't unwrapped this one. We can see that we've got on here these parts. So this part, if I come in, if I grab this and hide it out of the way, where is this part? Oh, it's these corners here, which means that because I've selected this and I can see now these are some issues, I can actually come in and make this, first of all, a little bit smaller. So we'll do that first if I press S and Y. So we're not wasting all of that UV space because it will have a cost associated with it. Now, another thing is we don't need these top bits on top of here, so I can just simply press ShiftH, hide everything out of the way, and then I can just come in and delete all of these. I really don't need them, so I delete all of these delete faces. Now, the other thing I don't need is I don't need these either. None of these parts I'm going to need. All I need is the walls. I don't need this part, either, so delete and faces. And you should be left with walls like this. We want to cut down the amount of walls space. We're actually using as much as possible because the more space you're using for UV, the higher it's going to be on the performance and optimization. So we really want to do everything we can to bring that down. So saving ourself a load of use V space by doing it as we're building is going to be the best thing we can do. Now, if I press S tab old age, I should be able to bring that back in. And then what I'm going to do is look on this wall here. Again, we can see on this wall we've got these points up here, but the wall comes to here. So we just need to be careful on both of these. What we can do, though, is get rid of the flaws on these. So we're going to check that out now. So shift H. Let's come in. First of all, we can see we will need these walls here because these ones are coming. I just press Tab again, not H, if I show you, these are these in fact, yeah, this is this wall here, this is this wall here. So we will need these in some capacity. So probably better off keeping those rather than trying to mess around with them. So what we'll do again, is just press Control's head. So I'm going to keep those. What I'm going to get rid of, though, is these bottom parts here. I'm going to join them both together at the same time. Press tab, grab this one and this one, delete vases. Keep going through then. And faces, and then the bottom part, delete and faces, and there we go. We should be left with something like this. Now, what we probably should do, I'm just wondering if it'll be easier to unwrap these going straight down the center because we will need these parts. So what we'll do is we'll press ControlR left click, right, click. Control left click, right, click and just do the same. Going all the way through them, like so, and the same on the bottom, as well. So control, left click, right, click. Same on this one. Control, left, click, right, click. Control, left click, right, click. And now I want to do is go to each of these, grabbing each of these, and I'm just going to mark a scene, like so. And then we'll make sure that when we open these, they're open from here, so they'll open round, and it'll be very, very easy for us then to line everything up. And that's what we're going to do on the next one. Alright, everyone. So again, let's say about our work, and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 72. Inserting Windows and Cutting Wall Openings: Welcome back on to blend the building mass class form, concept two, final render, and this is where we left it off. So what we want to do now is want to grab all of these with A, U, and we can unwrap based on angle. Now, you can see we've got this problem here, and that is simply down to the fact that we need to reset all of our transform. So let's reset all of those, and let's try that again. And he pressed out, it works. So now if we go to UV map, we can see the unwrap exactly how it said. Albeit they're probably the wrong way round. And albeit, we've got, you know, one at the bomb and one at the bom, but it's still the best way of doing it. Now, if I come in, press the tab bo, press TH, bring back everything, like so. And then what I'm going to do now is I'm going to come to these parts. So these are the two parts that I had, and I want to basically grab this one last, press Control L, and we're going to link materials. And then what I'm going to do is grab both of these. First of all, we'll spin them round. So press tab. Make sure you've got them all with A, and then A and the UVMa or 90, spin them round, like so. Now we need to line them up with these ones here. So I'm not going to go in and just try and line everything up. What I'm going to do is I should be able to pretty much get them to be round about the same size. So if I press tab on all of these, you can see them. This is the size of this one down here, but it's way, way bigger, as you can see. So the bigger I'm making them, the better it's going to be. So what I'll do is I'll come now. You know what? I'll just do it the easy way. We're not going to mess around like that. Instead of doing that, you know what we're gonna do? We're just going to press Tab, A, and then we're just going to make them bigger. Make them bigger and just line them up. That'll be the easiest way. So if I zoom in here, press three on the number pad, I'm going to press the Sp, line them up, line them up, line them up, get them to be roughly the right size, and there we go. That will do. No one's ever gonna notice that, so we'll just do it that way. Okay, so we're on to this wall now. Now let's press Shift and have a look at this one, as it going anything on it? No, we've already done that. So all we need to do is A. In fact, we'll reset all the transforms first. So we'll transforms, set origin geometry, tab, U on the wrap, and there we go. And now let's press tab, Alt grab these, grab this one, Control L, Link materials, and these were nearly nearly perfect to what we need. So we're gonna leave those. They're very close anyway. Okay, so let's come back to modeling. Alright, so now what we need is we've got our walls on there. We have a balcony that's on this one. This one doesn't have a balcony. So we can pretty much do this wall. We can do all of this one, and we can pretty much do all of this one to the front of this. Yeah, that's what we'll do, I think. And then what we'll do is we'll probably start work on another part of this. I'm just wondering maybe we'll start work on some of the other parts like the stairs. We could start work on the stairs. I think that's probably going to be the thing, too. When it comes by the way to creating this dome and creating this round a bit, it's probably better off if we build them in here and then send them through to our resources and drop them in there. It's sometimes better doing that. It makes more sense because we've got this built out, and trying to build this round bit while we're not actually in here is going to be it's hard enough building this round bit. Trying to build it and trying to hamstring yourself is not a good idea, so we're not going to do that. So file save. Now what we want to do is let's bring in then those square windows. So luckily for us, as we know, we do have all of our windows. If we come over here and we put it to modular pack, let's go down to windows. And here are all of our windows. Let's bring our windows in. So we've got a couple of square windows. Let's pull it in, not there. We'll pull it down to grand plane to make sure it's straight. And then what we'll do is we'll press Arshad 90. We'll press three on the number pad, and what I so be able to do then is put these into some sort of place right in the center around there. Now, for now, I'm going to pull them back. I'm going to put it onto material view, and I'm going to pull them back just so that glass disappears. So keep going, keep going. And there we are. There's the glass disappearing. And we want to make sure, as I always say, that these bits here, there's just a little bit of a gap there. So if I pull them back I'll grab them, pull them back, pull them back, like so. And then what I'm going to do, it's up to you if you want to just stick them on the side, by the way, it does make a big difference. I think it makes them look better. So now I'm going to do is I'm going to press Old D, bring it over, put this one into place. Now, let's come with the bott windows, then. So these are the bottom windows. I'm gonna have three in them. I'm going to have them sat on here. So I'm going to bring in this window here or Z 90. I'm going to press three. And first of all, I'm going to line them up. So let's get them all lined up. So one. And then I want to bring in probably an array. So I'm going to add in an array. So let's generate an array. And what I'm going to do is split that up. So I'm gonna pull it out a little bit. I'm going to put in another one. And what I want to make sure now is I've got the same gap between them, which is great. And what I want to do is just make sure that I'm happy with the gap on this side. I think I want to bring this down just a tad, like so, and then I'll pull them out accordingly. And there we go, now we've got that even gap. Now, you might want it where you've got the same gap here as what's in the middle. We can do that for sure. So let's just bring it down, hold in the shift but. I'm moving them over and just playing around with them a little bit, and now you can see it's a little bit more even. And finally, then, that's just pull them back into place, into place. Now, for some reason, Yeah, that's why. This is on, I need to zero this out. There you go. That makes them more level now. And I'm going to pull them in. Maybe that's gone a little bit too far. Maybe in something like that. Alright, that's looking good. Now, the thing is, now what I need to do is I need to come in and obviously the boolean. This is where it probably would have been a good idea to save the boolean from before, but you know what I'm gonna do? I'm going to save it out in here now when I've done that. And we've also got the tool. So let's see if I've got the ball tool in here. So if I go to preferences, I go to ball, so I put in ball. There's my ball tool. So let's click that on. There we go. Then what I can do is I can press three, and I can, first of all, come to this one, shifts cursor to selected. I can also come in and just apply that array. So control A. Let's apply that array, like so. And now with this one, let's press Shift A, and we'll bring in a cube. So bring in a cube. I'm going to make it a little bit smaller, like so, and then go to press S and Z, bring it up a little bit, just so it's going to fit in place, like so. Alright, that's that one. And then what I can do is I can probably do all of these at the same time. But I do want to save, you know, this side. So what I'll do is I'll press Shift D, bring it over to this side here. Like so. And then what I'll do is I will press Shift D, bring it down. And what I want to do is put it right in the center of here. I'm going to press S and Y, bring it in, and then pull it down to where I want it, and then finally, I'll come round, just grab the top of it. I'm going to pull it up right up to round about there. So it's nearly at the top. And then what I'll do is I'll come to edge select, grab this edge, press three, and then I'm going to press Control B, bevel it off. Now we can see we do have a little bit of a problem in that it might need to be a little bit wider and come down a little bit, so I'll bring it down, and then I'll press A, S, and Y, pull it out a little bit. And there we go, that is the perfect size. Press the tab but, and now Shift D, bring it over, line it up with this one, and then shift D, bring it over. And finally lining up with this one. So there we go. We've got all of our booleans in, so if I grab this one, this one, this one, and this one, join them all together, and then what I'll do is I'll grab my wool. You know what? I'll just hide these out of the way for now just so you can see this working Hi, those that the way. Now, grab my wall last, press Control minus, and there we go. Simple as that to actually do that. You can see just how easy that is. Alright, so now I want to do is just hover over here, press Control A, press TH, to bring back everything. And now I want to actually put these cutters back. So I'm gonna come on over to my Edits, I think it is. Let's have a look. Boolean. There we go. Remove cutters. Okay, I want to pull these out, and I want to save these cutters now. So you will see that these cutters, HippaPress dot bon should be Has it made a cutter for me? Let's pull this down a minute. It doesn't look actually like it's made a file for this one. Unfortunately. So what they'll do is they'll just come in. I'll grab each of these. So L, L, L, delete vertices, split these off, so L P, selection. So these now are split off. Control A, both of them grabbed at the same time, all transforms, set origin to geometry, and now finally, we'll just put these in their own place. So into cutters. So for some reason as well, you can see that both I don't know why that is actually. I don't know why they're actually grade out. I'm just wondering if yeah, these are my boolean options. I'll just keep them like that. I'm not gonna worry about them because I'm just gonna put them over to the side. But at the moment, what is, I'll just put them in their own called booleans. Like so. And have we moved them, that's the question. Yes, we have. It looks like if I hide this. That's a little bit weird. I'm not sure why they're Oh, they're attached. You can see, look, they're attached. I see these little two dots lines. So I'm just gonna grab them both. Oh, P, and we'll just clear pair and keep transformation. And there we go. Now they're in the booleans. No idea what I attach them to. But anyway, let's move them over then to my roof. We'll move my roof over here a little bit. And then we go. Let's actually have a look then at what that looks like and if we are actually happy with that. So I'm going to put it on render view. And there you go, guys, that's what you should have. And that's looking pretty nice. I'm happy with that. Now we can see that our wall is going a bit funny when we actually move it, but don't worry because we're actually going to be working on this wall. So in other words, we're going to be bringing in another actual, what's it called? Another texture and shader. We're going to bring in another one. This is just to sit there. So we can change it over very quickly because they're all sharing the same one. And not only that, we've got all of our walls or we should have all of our walls in the same place. We'll put those in place now. So I'm going to grab all of my walls. I'm going to press M, and we'll put them into walls. And then we go, If I now come into my wall and close that and there we go. Except these parts, which, you know, they're not walls, these, these are the outcroppings or whatever we want to call them. Alright, everyone, let's say let's save about our work, and I'll see you on the next one. Thanks a lot. Bye bye. 73. Blocking Out Structural Supports with Array Modifiers: Welcome back to blending building master class fromm concept to fine or render, and this is where we left it off. Now, let's come in then. And what we'll do is we'll pull this pot out because it's stuck in our wall for some reason, we really don't want that. So let's hold ship, bring it out, bring it out, bring it out a little bit, making sure that we're not passing for double tap the A, we're not passing this point on there, so it's actually stuck out. Next of all, then, I'll grab this. I'm going to press Alt D. I'm going to pull this out then. And what I want to do is I want to actually drop it a little bit further down. So I want it basically to come under. So under roundabout there. Now, we're going to put some stairs in, so we're going to see exactly where this is going to go. But for now, I need to make sure that this is, you know, kind of level. So what I'm going to do is just turn down the count, and then I'll press S and Y, bring it in a little bit, and I should be able to put that into place like so without causing too much stretching on the UV. You shouldn't even be able to see anything really on that UV. Bring it back, bring it back. And hopefully it slots right in there. And there we go. That's looking pretty nice. Now, then, down on this one, we've basically done this wall here. So because we've done these, I might as well then come in and put these into supports. So all of these might as well go into supports, like so, and even this and even this part. Now, it's up to you how far you split all of this up. But for me, the supports like so, and then I can go and do I have one for supports? No, I don't. So new collection. Supports. Like so. And then what I can do is I can double tap the eight coming over to master ports, which'll be down near the bottom, hide them out of the way, and you can see I've missed these parts. So I'm just gonna come in, grab all of these, like so, pressing, putting them in supports. Now what I can do is I can close this up a little bit, making it a little bit easier for myself. And you can see we've got a lot of parts. In these windows. They're in human reference. We don't want those. So what we're going to do is we're going to grab all of these windows. Press M. New collection. Let's put them in Windows. Like so. And there we go. And now I can do is I can close that up. Now, these ones here, this is the next one that we want to do. So I'm thinking that we'll put these in their own. So we'll call them wall outcrops, something like that. So let's call them that. So, new collection wall outcrops. Like so. And again, you can call them whatever you need to call them, and then I'm going to hide those out of the way. Next of all, we've got this one, so we're putting wall outcrops. Now, all we're going to do is put these in the supports. So these are going to be part of the roof. So I think we've got roofs. We need roof supports, and these will be these parts here. So I'm going to come in. And grab all of these. And again, we'll put these into supports. And again, is it worth doing this? Absolutely. It's worth cleaning it up for sure. So supports, drop them in, hide them out of the way. Now we'll make one that's called a roof supports. I'm going to grab this one. I'm going to press the M button, and then I'll go to New collection, and then Roof supports. Like so, and then we can drop that in there. Now I'm going to move my roof supports under roof, like so, and then hide it out of the way. Now I can grab this and I can grab these two at the back, grab this one, and then I can put them in. Roof supports, of course, like so. Now we're left with this. This one is going to be roof supports. This one's roof supports, this one's roof supports, and these are the bag or also roof supports. There we go. Now, this one is going to go into supports, so M, put it into supports, and there we go. Finally, then, these are all in the roofs. If I close down my roofs, I should end up with something like this. If I go to this one, I've got roof inners, and if I close that down, should hide all those. And now if I come to my walls, which is this one here, I should be able to hide all those. So very easy, as you can see, to break the actual thing down. That's really important if you want to only work on something, it's causing you a lot of problems in your viewport, you can actually hide a lot of things out of the way, especially things like the roofs. At the moment you can see Um, 54,000 triangles. The moment I bring back my roofs, so bring back all my roofs, and now we're up to 81,000. So big, big difference. Now, what is causing that 51,000? I can't just be the grey box, of course. Well, it's probably this guy here. If I come to him, hide him out the way, you will see that we dropped down to 16,000. So you can see, even when we've got roofs in here now, sorry, 32,000. Even when we've got roofs in here now, it's only 32,000 polygons, which is pretty low, you know, for a building with actual topology as the roofs and things. So now, let's bring back our guy. So all takes. You can see only brings back our guy. Now we back up to 81,000. And then what we can do is we can bring in the roof in there and just drop down all of these parts like so, and there we go. Now, as far as at the top, we definitely want to have if I come into this, this is in human reference. Let's put this in Roof geometry nodes. So we'll put that in its own. So M, and we'll put new collection, roof Yo node, like so, enter, enter. And what I'm going to do is just move that right to the top to the top here. And then what I'm going to do is these are going to be my booleans, as you can see, and I'm going to move these right to the top, as well. And now what we've got in here is just our human. That is great. We've got the rest of our gray box in here, so we can hide that out of the way. And we've also got our ground plane, which is this one here, and we can hide that out of way. Finally, then, just hide these out of the way. We're not going to need those in the scene at the moment. Now, then, let's finally start working our way around. So what I want to do is pretty much I'm just going to look at my own and I've pretty much, I think, done with this part here. Now what we can do is we can look at working on this part in here. If I come in, I'm wondering whether I need a little small part, I'm just going to go to support and I think I have a little tiny part here. Yes, this one here. I'm thinking that I'm going to stick that in there and there and this other side as well because I think it's going to give it a little bit more support, and I'm also, that's the reason I've done that because it around here, under here. I've actually got another support in. So we've got two support, and we're going to leave that pot there for now. So just bring that pot in and leave it for there, leave it around there. And then what we'll do now is we'll grab this pot, and we'll press Old D, and we'll bring it over. And then what we'll do is we'll press a little dot born. Making sure that it's in place. You can see here it's not really in place, like so. And then what I'll do is I'll come in and drop this down. So if I come into my array, bring it down, bring it down, and then just make sure that that bit is also set in the wall like so. Now, we can see that we've got gaps in these parts here. So I'm thinking because we've got gaps near, we have a choice. We can either, you know, bring this down to the right place or we can just carry it on around. I think we'll do that. So what I'm going to do now is, first of all, we'll bring this part out. So I'm going to press Alt D. And then what I'll do is bring this part out over to here. And put it into place along here, press in the dot button. Now at the moment, I can't see how far it needs to go out, but I do know that I'll probably need one more array on there and then make it a little bit smaller. Now what I want to do is fix these bits. So if I come in, I can grab this one and put it into these parts here, where we've got this. So if I press Alt D, bring it down to so pull it out, first of all, bring the array down to one. Make it a little bit smaller. So S and Y, just make it a tiny, tiny bit smaller Z 90. And then what I should be able to do then is put this into place. Into here just to hide that bit out. So no, jaws pull it into place. Like so. Now, always, when you're doing this, if you will end up with a black pot just here, just make sure that you just pull it up very slightly and then that will go away. And then what we'll do is we'll do that on the other side now. So if I press shift D, drag it over. And then what I'm going to do is spin it around. So, 180. Press the little dot bon just so you can see what you're doing, and then put that one into place in there. And then we'll do this one over here. So just this one here. This one here we'll do a bit later on. So, did I press Alt D or Shift then? You know what? I'm going to just come back to it. I want to make sure that I'm pressing Alt D. So Alt D. And then RZ 180 Rs, 180. Press the little dot bon. And put that in place and then td once more, bring it over, and we're going to put this one in place here. Now at the moment, as I said, we've not done this support going up here, and I think probably on the next one, that is what we'll actually work on. So we'll do the support from here. We can take a lot of things we've already built over here, and then from there, we can actually start building this part up and then kind of work our way in. Alright, everyone, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 74. Modeling Vertical Beams for Decorative Supports: Welcome microphone to blend of building master class from concept to final render. Alright, so what I want to do now is grab this one here and I'm going to simply press Alt D. I'm gonna bring it over into this corner. And what I'm going to do is just put it round about here. So I'm gonna pull it out a little bit, like so. And then what I'm going to do is comb to the top. So just make sure you've got your top piece here. I'm just wondering, yeah, your top piece is going all the way up to there. And then I don't think I actually need to pull it out or anything, but what I want to do is just make it a different seed. So I'm just going to change the seed over, like so. Now I'm going to do is, I'm going to grab one of these I'm going to press Alt D, spin it round to z 90 or Oz -90, in this case. And then what we'll do is we'll just, bring it into place in here. So just so that center point is there, and then we'll pull it out, like so, and then we'll grab this one. We'll press Alt D and then s -90 to spin that round. And what I want to do with this is I'm going to cut down the amount of array down to one, press the dot bon, bring it into place, just in front of that one there. Now, if I need to pull this back a little bit, I should be able to pull that back and then pull this back into place, like so, pull it into place. And there we go, We don't even need to lift you up because that pot's there. Now we'll do the same thing, so I'll just press Alt D, bring it up to this one. Doesn't need to line up perfect, but it does want to be past this part here, so pull it back if you needed, and there we go. And then let's have a look at the next one up. So the next one up is going to be here, so we'll do the same thing. So D, let's bring it up. Like so. And you know what? This one's a little bit small. I don't think it should be that one. You know what? I'm going to delete that one out of the way. So delete. I'll grab this one D or Z -90, turn it down to one. So let's put this on one and then we'll come and drag this If I press the dot bond to zoom in, I should be able to pull this over into place, so making sure that it's not stuck through there. And there we go. And now we've got this one here. So again, old D, z -90, and then we'll turn this down to one. Let's even go away with one, actually. Press the dot bon, pull this into place. Pull it out, like so, and then in just in there, just so it fits, and we can see we've got a little bit of an issue there, so I'm just going to pull it up, tiny bit. Now, how much issue are we going to have here. Let's pull it out, first of all, but it's in place like so. It's just in the middle of each of those. Pull it out then. Let's keep going, keep going. Let's keep going out there. How far do we need to pull this out? Keep going, keep going. And there. What I'm going to do instead is with this one, I'm going to press S and Y and just squish it in, squish it in, squish it in. Double tap the eight, and now it's actually behind there, and we can still see these parts here, and that's exactly what we want. Now we need this part on here. So again, I'm going to grab this part, Alt D, R Z -90. And it might seem a little bit finicky, but honestly, it's definitely worth doing this because it's going to look so much better. So two. And being as you're spending all this work on this roof, sorry, on this building, anyway, we might as well get it right. So let's pull this into place into place. Right around there, and then let's pull it back just so it's poking past there. Like, so double tap the e. And you can see now the benefits of what I've been talking about. Once you have, like, a lot of the pots in place, it really, really does make things easy. Now, what I want to do now is I want to put these all over the other side. And I don't particularly want to do all that again. So what I'm going to do is I'm going to try and just grab all of these parts like so. This one here, let me just have a look at this one. Is this one? Yes, it is. Okay. So we'll grab this one, this one, this one, and just work our way up. We'll grab this one, and we'll grab. We might this one here, and then we'll grab this one here. And what I'm going to do is I'm going to press Alt and D and bring these over to this other side, like so. And basically, then I want to mirror them. I want to mirror them from one of them, I think, because if I mirroring them from here, I don't think they'll all fit in. So if I go to object mirror, and again, we're mirroring on the Y. So make sure you've got mirror on the Y, so mirror on the Y, like so, and let's see if these actually fit in. So can they all fit into play. So first of all, I can see that this is level there. This is the one where I can actually use. Now, there is a way. You know, I've got to zoom out to see where my actual cursor is. I don't really want to do that. So I'm going to do is shift right click, put my actual cursor there. Press the little sideways V then, the right one, and you'll actually be able to come to three D cursor. And now from there, I should be able to pull these back into place where I want them, like so. And then all I want to do is just check, see if my roof is on there. You can see it's a little bit out on this, I think, or is it about the same? You know what it's about the same? I think I think that's going to be okay, except we can see we've gone a little bit too far, so I'm just going to pull it out, pull it out, pull it out, pull it out. There. Maybe then it's just this one that needs pulling out a little bit. So again, I'll pull this out to there. Now my roof looks good. This looks good. I'm just going to have a look at this one round this side. I got about that much gap on it underneath, as we can see. This one needs a little bit more. So I'm going to pull these out a little bit more. So making sure it's still in there, which it is, and then work my way down. So I've got this part here. This part looks good. We've got this part here, we can see this is a little bit out now. So I'm going to pull this out a little bit. I'm going to shift right click and then I've got my cursor there now. I'm going to pull this out, pull it out, so now it's looking much better. I think it was this column that was the problem that was a little bit out than what it should be. It can probably go a little bit further as well. Let's pull it out a little bit further and see if you can still sit on this stone slab down here. Not that way. Let's pull it out on the green. Let's have a look this and this. These are still a little bit out, so you know what I'll do? I'll come here, Shift click, pull these out. So, now we've got the problem of them sticking through there. So is this sticking through there? Let's have a look. Doesn't seem to be. But this one. Oh, it's the column. It's the column that's sticking through there. As you can see, the columns sticking through there. You know what? I'll just grab both of these columns. Grab I can't do them both at the same time, so I'll do this one first. I'll press a little sideways V once more, and I'll just go to individual origins, and then I should be able to just pull it up like so. Oh, they're all Ds. That's why. They're all Ds of each other. So when I pull one out, it's going to pull the other one out. Right. So we've got that in now. Let's pull these out because these are a little bit not in the place. These two here, especially. So let's just pull them out a little bit, like so. And then what we'll do is pull this out. And then finally, what we'll do is pull this out. So if I come in now, I sure be able to just pull this out into place, double tap the A and I think now it's looking good from the front. And I know it seems like a lot of work again, but I think actually, it's really, really made everything that much better, looks that much nicer. I'm just looking at this, and I can see under here, this is this part here, as you can see, and I think we need to pull this up. So if I grab this, it should pull up the other one. And now we can see it's a little bit out, so you can see it's a little bit out in this corner. So what I'm going to do is grab both of these. And I should be able to just pull them back just a little bit. So if I pull them back a little bit, maybe even a little bit more. So let's pull them back a little bit more. I don't want to go too far. Let's have a look at that. Double tap the eight. Now, I'm just going to check down now and have a look. Do I want it coming down to here? That's the question. Yes, I think I do. So if I pull this one down, that is going into there, then that's the reason why because it's an D of this I just made sure I didn't pull it so far down. Yes, it is. It's poking through there. So with these, I think we need to right click and what we'll do is, I'm wondering if we can separate them so we can get rid of the linked instead or press Shift D and then it won't be that. So yes, we'll do that. I think what we'll do with these because I need to pull it up and these two are exactly the same because I've pressed Old D. What they'll do is I'll press Shift D. To duplicate it, hide it out of the way, and then with this one, I can press Delete. And then I can press ltge, bring it back. And when I come in now and pull this one up, I should be able to pull it up without altering the other one, which is the case there. Now I want to do is I want to do the same thing on this one. So I'm going to press Shift D, like so. Hide it out of the way. Come to this one, delete it out of the way, ltge, bring back this one, and then go into it, tab and then pull this one up, and now everything should be fine. Alright, that is the way that we can do that. Now, that's looking pretty nice. And what I need to do now is I need to kind of bring them over on this side, as well I want to actually have everything lined up. So along here, we've already got it. We'll need a chunky bit on here, so I think I can get away. I think what we'll do is first, we'll bring these parts in, so we'll bring these parts in, build out this part on the next one, and then from there, we can actually bring in the column that's gonna go here. Alright, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. Don't forget to say how you work, by the way, after every listen. Bye bye, everyone. 75. Refining Decorative Framing Around the Manor: Welcome back if we want to blend the building master class from concept to final render, and this is where we left it off. Now, what I want to do is I want to bring this part here, and I want to put one here and one here. So I'm going to press I'm just wondering, as well, being as, we will need these columns, probably better off using Shift D or Alt D because I will be altering these on the scale on here. I need to think about how I'm going to do this bit because you can see it poking out. Now, the column there's a smaller column in here and a smaller column in here. So, yeah, I think I'll do it that way. What I'll do then is I'll grab this. I can press Alt D on these because I know these are going to be the same size. I can bring it in then to that corner. And then what I can do is I can press Alt D again, bring it over to this corner, and then I can grab this part. And we know already we've got an array on there, so I can press Aldi on this one, bring it over, and it should fit in there very nicely, like so. And then what I can do is I can turn this up, so turn the count up, and wind it going. Oh, it's because it's hidden. There we go. And then what I can do is I can pull these out slightly. So if I press S and Y, I should be able to pull them out very slightly and get everything S and Y fit in, holding the shift into where I want it. So double tap the A. And there we go. Everything's fitting in there nicely. Now what I want to do is I want to grab this point here. So this one here, and I want to put this over this side. So I'm going to press t D, and I'm going to drag this over, pull it over two here, like so. I'm just wondering whether that is lined up correctly, so you can see it's a little bit out. I'm wondering whether I want to raise these up a little bit. I'm not sure if you know what? I'm going to leave that on there. I'm going to pull it over because we're going to have a column in there and bring it back one and then make it smaller. S and Y, bring it down there like so, and then we'll bring in this column. So I'm going to press Shift D with the column, bring it over, put it into place, making sure that this is a little bit further back, so pull it a little bit further back, maybe even a little bit more. And on top of here, I want it level, and the reason is because I want to sit on the window on here, albeit it's a bigger window, but I want to sit it on there. Now, from here, let's think about the column going up here. So what I'm going to do is I'm going to come bring this down to perhaps there, like so. And then what I want to do is I want to bring this part over, so I can press Salt D on this one. Bring it over to here and drop that right in the center. So if I press three, we can see we can drop it right in the center. We can see it's poking out a little bit past here. Now, I think with this, we can pull it out a little bit. Js like that, like so. And I think just to make it a little bit different under here, we will go to our supports. Let's have a look at what supports we've got. So we've got all of these supports. I think we'll use this one here. This is the one that's got a bit of a diagonal angle on it. So if I bring that out, you will see if I bring it up, if I zoom into it, this is the angle. Now, if I press R z -90, we can spin it around that way. So what angle I'm looking at is I want it to. You can see this corner here, it's coming out, so R z -90. So basically, I can see now that it's coming out in this angle. That is what I want. So if I press three now, I should be able to put this up under here, right around there, and then put it in over my actual this part here, making sure that it's even. And yeah, that is exactly what I want, something like that. Now what I want to do is I want to come in and build this up from here. So I want to build this post. So again, I'm going to press Shift D, not l D, bring it up, and put it into place around here. And then what I need to do is make a post for the top of here. I want to put this in here. And then I'll put in one of these posts. So the post I'll put in is this one. I'm going to press tab. I'm going to bring this into here. So first of all, I'll bring it in. Drop it there. I'll grab this one, press Shift desk, cursed to selected, grab this one, Shiftsk and selection to cursor. And then what I can do is bring it up. Now, it's probably a little bit too big this part of the moment, so I'll just shrink it down, making sure it lines up more with that post. Now, again, I don't want it you know, I don't want this part poking through. So I've got a choice. I'll make it a little bit bigger. Like so, and then I need to think, right, is that a little bit too big? And I think it is, so I'll make it a little bit smaller, and instead of that, I'll just pull it forward. Making sure the back of it is there, like so. Now we need to just bring in this part here. So we'll do that next. So what I'll do is I'll press Alt D because I can press Alt D on here, R z -90. Bring it over, make sure it's in place. Again, if it's not in place, you can see it's squishing a little bit. We need it in front of there. So what I'll do is, first of all, make sure it's in the right place. So it's going to be here. Pull it into here, turn down the amount of count. So let's bring it down. Okay. And then we can pull this out if needed. But let's make sure, first of all, it's going to line up nicely. So, it should be lining up around there. I'm going to have to pull it back a tab. But instead of doing that, I'll just press SNY, and I'll pull it back that way instead. Let's look to make sure they've got a lip on there, which we have. And there we go. Double tap the A. And yeah, I think I'm happy with how that looks. Now, of course, we need to put another one in here because I think that's going to look better, like we've done in this one here. I think these look very, very nice. We've got the one that's coming down here. We need to think about then what we're actually going to do in this inner part, and I think I'm going to bring this over and put that in there. So we'll do that next. So what we'll do is we'll come in, first of all, we'll press old D or Z -90, turn it down, so turn down the count, pull it over. Zoom in. Pull it into place. And again, we're going to have to press S and Y and just squish it in, and then we can pull it back a little bit. Maybe I've gone a little bit too far there, so S and Y, pull it out a little bit, and then just pull it into place. Lift it up very slightly. I think on this one, you know, we'll lift it down. I think it looks better. Double tap the A. And there we go. I might even just make sure it's more centered. Okay, so that's that part. Now we've got this part in. Now let's deal with this part here. So we've got a bit going round there, a bit going round here, which is this part here. So let's put that part in first. You know, I'm not even sure if that is a top on there, so we can have that going round as well, 'cause this part on here. Okay, so let's go in, O D. So do you remember three. Let's pull this into place, wherever it's going to go. Let's bring it down, like so. And we can see that this might need either stretching out or adding another one on. If we add another one on and then stretch it in, what is that gonna look like? So let's give that try. So S and Y to where we want it. Perhaps around there, as you can see, they're a little bit thinner. Let's bring them into place then. Let's press the dot bond just so we can actually see. So, left and right, we can see this is what we've got. Now, are they pulled back far enough? I don't think so, so let's bring them back. Like so. And then what we'll do now is we can grab this part. We can press Alt D Z 90. No, Z -90, bring it forward, so it goes in front of it like so. Bring it out, put it in place, turn those up. It's gone the other way, so I need to pull it over look, there we go. Now we can see that we're still a little bit out on this, so I'm going to pull it over. I'm going to pull it out. So S and Y let's pull it out. There we go. That is looking pretty nice. And now we'll use this one. So I'm going to press Old D, bring it over, spin it completely around, so's head, 180, and then just drop that one into place in there. And then we need this one here. So just this one here. So old D, spin it around. S head, 180, and drop this one right in there making sure it's not going through the wall. So bring it out, bring it out. Double tap the A. All right, so this is looking good. Now we need this bar in here. So again, old D, three bring it over. Let's bring it down. We can either shrink this down or the other way. And I think if I bring this down, I'm going to be pretty close. So I'll make it just slightly bigger, so S and Y, pull it out a little bit. And then what we'll do is put that in place, so drop it in place. So it goes past this. We don't want it coming out past that. I like that. There we go. And then we can use this one because we know this one's the right height. Where does this one go up to? It goes all the way up to this, so we can actually use Old D on this one. So Alt D, bring it over and make sure then it fits into place. So we can see we've got kind of this much gap on this one, and on this one, we've got a lot more gap. So let's pull it out a little bit. And again, our things all the way down here. Let's pull it out. Now, they don't have to ever be exact. You can see they've got a little bit of black male. They don't ever have to be exact, perfectly placed. That's not how it would I mean, it would be like that, but you're never going to notice that small increment. So just take that into account. Finally, then, I think we've just got this one, so D, bring it round. Z 180 and drop it over there and then press the little dot just to go round. Obviously, this one needs pulling back, pulling back, and pulling in. Now, let's see up to here, up to here, up to here, and all of that looks very nice. Now, what we want to do then on the next one is we want to bring in another one of these windows. We want to bring in then one of the small windows into here, and then we want to bring in one of these big windows into here. So I think before we do that, though, what we'll do is we'll just finish this off so you can see this once going over this side, that we'll finish the front of that off. And from there, then, we've also got this pot to finish off, so we can finish that off as well. And we should on the next lesson, get pretty much most of this done. Then that will leave us then onto the actual door and the archers. And I think what we'll do then is we'll jump back into our modular pack file, and we'll build those out there a building doors and things is easy to build out there. Building arches, as long as you've got the right size, again, is easy to build out there. The one thing that is a little bit harder is when you come to build the steps out. But as long as you've, you know, got your door in there and you've got your arch in there, you can kind of build around them. So we'll probably end up building the steps in here. Now, let's go and save that our work, and I'll see you on the next one everyone. Thanks a lot. Bye bye. 76. Adding Structural Integrity to Second Floor Supports: Welcome back, everyone to Blend the Building master class from concept to final render. Now, first of all, let's open up our actual reference, and let's go to this reference here. So we can see pretty much what we've built here. We can see that on this part, for instance, we have got a few parts which we haven't made yet. We can actually make these, you know, these parts here I'm talking about. So these I don't think we've actually made these parts. We can make these and these underneath within this f. Send them through and I'll show you with smaller parts, how you can actually do that to make them, you know, fit whatever you're trying to fit, and then save them out the same way. Alright, so what I'm going to do is, I'm just going to put this over on this side, and then what we'll do is we'll come in first of all, and bring in this square one. So I'm going to bring in this square one, I'm going to drop it in here, and then going to spin it round. So Z 90. I'm going to zoom in just to make sure it's the right way and you can see it is. And then what we're going to do is just bring it in. And the reason, by the way, I'm not using snapping on this is because I'm not actually sure myself how far I want it pulled out. So sometimes you can pull it out a little bit too far. So let's pull it out, and as you can see, there we go. And what I want this to do is to come up and sit right on there. And so it looks like we've actually got that square bit on here. This then is going to really determine like this part here. So what I'm going to do then is then grab this part, I'm going to press Alt D. I'm going to bring it up then. I'm going to pull it out into place. And then what I'm going to do is just drop it down one. So let's come in one and drop it into place, like so. And then what I'm going to do is just pull it back because at the moment, it's stuck through there, we don't really want that. Like so. And there we go. So we've got a little bit of a gap of a wall there. I'm just wondering then we'll put the bottom on here. So we'll put the bottom and it'll go against there. So I'll go to support. The bottom we're looking for is going to be this one here. So I'll go and grab this, I'll press shift desk, cursed or selected, bring this out. And then what I'll do is I'll press shift desk and selections cursor and then we'll drop that in for me round about the place that I want it. So if I press three then, what I can do then is bring it all the way up there and then pull it out to there, and it should still be set in the wall. So I should be able to bring it back a little making sure it's stood in the wool, and that then is looking pretty nice. Now, we do have a bit underneath here. We could use this part, for instance, and drop that in. We'll actually look at that bean as we've got this pot. So I'll spin it round, first of all, so R Y, 180, spin it round, then Rs 90. And then what I'll do is I'll press shifts and selections cursor just once more. And then what I'll do is I'll pull it in and down. We can see it's way way too big, so let's shrink it down. Pull it more centered, and then drop it back into the place where we want it. And then double tap the A, double tap the A, there we go, Yes, that's looking pretty good. Now, we also know that we've got a pot in here and a part in here. But first of all, let's make sure because we can see that this post here is a little bit out. So what I'm going to do is I'm going to stretch this a little bit, S and X, pull it out a little bit. Like so. There we go, now it's fitting a little bit better. Now we'll actually pull this one out, and I'll also press S and X on this and pull this one out a little bit as well. Yeah, I think now that's looking tons, tons better. Now I want to do is put this over this side. So I want to grab this one, this one, and this one. I want to press OTD to bring them over. And then what I want to do is just mirror them. So I'm going to go to Object and come down to where it says Mirror. And we're mirroring on the Y. We can see over there were mirroring on the Y, and it's not mirroring now I want it. So instead of that, let's try mirroring Y on the local. That's not going to work either. So we're not gonna have that. So what I'm going to do is I'm just gonna pull it out and try putting in place. Sometimes it works, sometimes it doesn't. We can see. It's quite far over. Now, let's put this part in. So all of these pots, let's get those over because then it's gonna make it way way easier for us. So if I grab this one, this one, this one, and even this one going all the way up, I can then press Alt D and then pull them over to where I want them. To where they're actually going to be. We can see this one is a mile out. Let's see how far over they need to go, though, because they need to be stuck out they're white. So something like this, it still sat on there. This bit here we can see is a mile out. So what we'll do is we'll press S and Y and bring that all the way in just so it's not stuck there. We can see now that these are in very nicely. And then this part here is also in very nicely. Okay, let's have our w before we lose that. Now, let's look at this part here. So this one here is really in the wool. We've got the square bit going up to there, and we've got the square bit going up to there. So they're perfectly aligned, so that's great. And now we want to do is we want to bring in, as I said, we need a part that's going to come in here. First of all, though, I'm just going to look at what actual parts I have if I can use any of those instead. And you know what? I think I'm going to create a new part in here. So what I'm going to do is I'm going to put it right next to this part here, and then this part in the middle. So what do I mean by that? Let's first of all, go back to here first. And the one that we want here for Zoom out is going to be this. Let's have a look and see how that's going in. That one's a little bit small. Let's try this one. That one looks. If I spin this round, R z 180, spin it round. Three, is it going to be this one? You know what? I don't even think these are facing the right way. So R Y -90, and then R X, 180, and there we go, Well, that is the way that it should be facing. And then I can simply bring this out. And put it into place here. Double tap the A, and there we go. Now, let's create those parts that were on about. So first of all, let's get a chunky part into this and then put something behind it. So I'll just press Shift A. You know, I'll grab the center off here first. So shifts cursed or selected. And then what we'll do is we'll press Shift A. So Shift A, we'll bring in a cube. We'll make the cube a little bit smaller. So it goes under here, so E and E, and let's pull it out. We want it sat right along here. So right along here is where we want it sat. So up here, and then we want to pull it back a little bit, like so. And then what we want to do is make sure that it's much, much thinner than this. I'll go face select, grab this face, pull it up, like so. And then what we'll do is we'll bevel off this. So we're coming now bevel it off. So Control B, bevel it off, like so, and there we go. And then I want a piece underneath this. So I'm going to press Shifts, cursor selected, bring in another cube, Shift A, cube, press the S bone, bring it down. And I want it sat under here, like so. Under this and then going down. Let's pull it down to let's say around there, and then what we'll do is we'll pull it down again. So E, pull it down. And I want it dropping right down to there. And then what I'm going to do is just pull this bit back, so pull it back, like so. And then finally, I want something behind here, which is covering up these two pots of the brick. So I want to press sir Shift A, bring in a cube, make it smaller. To here, as we can see. And then what we're going to do is just bring it down all the way down to the bom. So I'm going to grab this face on here, press in three, and grab the face, pull it all the way down into there. And then what we're going to do is pull it back into place. Like so. And finally, I just want to make sure that that part there is actually in there. I can see it's not quite so S and E, let's pull it up into place, like so, and there we go. And we can also see that it's not quite touching here. So let's press S and Y. Pull it so it's actually touching. And then what I want to do now is I want to bring in 3 bars, basically. So I'm going to press tab, Control R, one, two, and three, like so. And then with these, I'm going to press Control B to bevel them out. Something like this. And then finally, what I'm going to do is alt shift and click with the top Alt Shift click and the bottom, and I'm going to pull them apart from each other. So I want to make sure I'm on medium point, and then I can press S and E, kind of pull them apart, like so. Finally, I'll grab all of them. I'm going to press E, ter Alt and S, and we should be able to then pull them out, like so. Now the last thing I want to do is make sure that this is in front of the now we go, that is what I'm looking for. Alright, so now with this, we can join these up. Now, it's up to you if you're going to keep all of them together or not. I can press Control J then. And then what I can do now is press Control A or transforms right click at origin to geometry. And then what I can do is I can press Control C, and we're just going to take that into our resource pack now, drop it in there, and then bring it back in. So let's say that'll work, and we'll quickly do that. So we should be able to hop between them, always putting on object mode just so you don't lose out your work. And then what I'm going to do is now go into my resource pack, which is this one here, press Control V, to copy that in there and then shift and selection to curse keep offset, and here we are. Now what I'm going to do is, I'm just going to spin it around. So s -90. And then I've got it here, and this is what we've got. And we can see it's squashed back a little bit. So this part is not even with the other part for some reason. I actually don't know why that's happened. But I can should be able to fix that by just grabbing the front of it and kind of recreating it maybe. Yeah, we probably should be able to do that. So what I'm going to do is I'll just grab this one, this one, and this one, like so. And then what I'm going to do is press Shift D. Like so. And now I'm going to join these all up. So if I grab this one and this one, F, and you can see again, little tips like this really help because it really builds your problem solving skills. So once I've done that, I can press E now and pull it back to where I want it. I can press L on it, press Shift N, just to spin it round, making sure it's going the right way. And then finally what I can do now is press O shift, click, O shift, click Ok shift, click, press Enter lns, and then pull it out, and there we go. Now you can see it's much better. Now, from here, what I can do is I can grab this, bring it over to where I actually want it, so you can see just there. And then the other one I can press L and press Delete and faces. And there we go. Now we've got exactly the same thing, but everything's fixed, of course. Right, click, shade Auto smooth. Now, what I want to do now is save out my work again. So file, save. I'm going to grab this one. Now you can see because I've saved it shaved. Because I've shaded it smooth, let's bring in before we finish old shift click 'cause you can see, it's shaded this part smooth. So let's right click and mark a shop. And there we go. Now the shops back in there. That's looking a little bit nicer. Alright, everyone. So I hope you enjoyed that. On the next one, we'll get this finished off, and then we'll get it back into our main actual course built. Thanks a lot. Bye bye. 77. Expanding Decorative Elements on Smaller Walls: I'll come back her run to blend the building master class from concept to final render, and this is where we left off. Okay, so what we want to do now is come into the front of here. And what I'm going to do is press the i button to bring it in. Like so, and then I'm just going to press the E button and bring it out and just give it a little bit of something extra on there. I think that, you know, makes it look much, much better. Now we're going to do is we're going to grab this one, grab this one. Control L, and we're going to copy or link materials and then Control L, and we're also going to copy modifiers like so. I'm going to resell the transforms once more, set origin to geometry, and then going to press tab A U smart UV project. Click Okay. Let's make sure it's unwrapped. So now it'll do is go to UV Editing. We can definitely see here in here because it's rendered view. And what I want to do is just make sure that this and this kind of look the same. Now you can see, maybe this is a little bit too much. So what I'm going to do is AS, bring it in, like so, and now they look exactly the same. And there we go. That part then is pretty much done. So what I want to do now is called cube. Now, let's call it. Let's look what we've got. So we've got supports, tops and bottoms. If you know what, we'll go into asset manager first because then we're built to have a good idea. So supports, tops and botms, these are these ones. So if we go to this one, we've called this revolver over it, support, top deck devil. So if we call this, let's call it support, top, decorative, and then something else. That's what we'll call it. So if we go over here, we can press support. Top decorative. And then we'll call it rounded or something, something like this. Alright, we've got that. Now what we want to do is we want to come over to this side. We want to come over, right click and mark it as an asset. And then what we want to do is go to unassigned and drop that into support tops and bottoms. And finally, then we want to put that into our support. So we've got support roofs. We've got support tops and bobs. There we go. So let's put it in there. Let's move it over. We'll press M, support top and bottoms, and there we go. Alright, everything then should be done now so I can actually save it out. And then what I can do is I can go back over to my actual Build, and I want to replace this. So what I'm going to do, first of all, you can see in my supports tops and bombs, nothing's there. But if I come and refresh this, there it is. There's our actual pot. Now, if I bring this in, like, so, I should be able to then grab this part, shift Deseleci selected, grab this part, shift Ds and selections cursor O Z 90, spin it round, delete this other one on the front, so delete it out of the way, and we should then be left with one that we've just created. All I need to do now is pull it out into place, like so, and there we go. Simple as that, guys. Simple as that. Let's just put it into place. And that really does look nice. Now, come, put it back on render view. Here we go. That's what we've actually got. So now if I press old D, you'll be able to bring this over and put it into the place where I'm going to go on here, so you can see a little bit of a gap down there, little bit of a gap down there, double tap the A, and everything is fitting in very, very nicely. So now we've got that. What we need to do now, though, is fix probably this part coming here, so this top part here. So what I'll do is I need a thin part. So do I have a thin part? Yeah, we have a thin part on there. We don't have you see this one here. Probably want to put that on top of it because it doesn't quite look right at the moment. It just needs finishing off slightly. So I need a little thin pot. So if I come to not supports supports yet this one here. And then we're looking for a little thin pot that looks like that. And I think it's this one. Let's have a look. Let's bring this out. I think it's the soars head 90. Shifts, selection to cursor. Three yes, and that's exactly what I need. So, what I'm going to do is just drop that in there. You can see that we've got our count on two. There we go. No, that's not it. Let's leave that. Let's go to this. Let me just have a look. Oh, we need to show, there we go. Let's turn the count down to one. And then what I'll do is I'll press S and Y and bring it in just a little bit. And finally, I'll just drop it back past there and making sure it's on top. There or on there. Have a look. Like so. Then what we can do is we can grab this part, press Alt and D, and just drag it over. Into place. Like so. Alright, so you can see just how easy it was to build that out. So file, save out our work. Now, let's look at what else we've got to do. So we've got this part here, we've got it going all the way down to here. We need a window in this part. We need a window in this part, and we need a window in this part, but before we do that, just make sure that you've got all of your parts on everything is done. You might want to put one more part over here, you know, like we've done with this one. I think, for me, I'm absolutely fine with how it looks. And this one here, by the way, is going to be a balcony. So that's another part that we can actually build within here. So within this actual scene. Now, for now, though, let's actually do our Windows. We've got our booleans, as well. So if we come back to our booleans, we've got the square one for this. We've got this one for the little one. We didn't create one for the bigger one. So let's actually do that first. Let's go on to object mode. Let's look at what's going on with these because we can see we do have a problem with these. They're actually going over, so it looks to me like they're too far. So if I pull this down, pull it down, pull it down, it should be going all the way to there. And I think what's going on with that. I'm just looking to see if it's tied to another part. I don't think so. So what I'm going to do is just pull that down to there, and then I'm going to do the same thing with this one. I'm going to pull that down to there. Like so. Is that in there? Yes, it is. And now I can see we haven't got any flashing now, so that's okay. Right, so let's come to this one, this big window. Now at the moment, I just need to get scentered. So all I'm going to do is just grab this window here, shifts, cursed or selected, tab, shift A, and then what we'll do is just bring in a cube. First of all, then I'll press three just to get it to be the right size, S to come down, and then S and Z and pull it up. All the way to the top, as I said, you want to pull it up to round about here. So S and E, keep going, keep going, keep going. Round about here then. And now I can see that, you know, if I make a hole, I've got this if I just pull it up, you can see I've got this bit in here as well. So control E. And then what we'll do is we'll come to the side with edge slate, grabbing this side and this side, pressing Control and B, bringing it in, like so. Now, at the moment, let me just see if I need to reset all my transforms. And then try that again. Yeah, there we go. Now it's coming in a lot nicer, so now I can bring it down. Now, we really don't want it crossing over like that, but we do want it coming to here. So what I want to do is, I'm just going to bring it to there. And then what I'll do is I'll just shift each just to bring this part in, and I want to just join these all up. So I can come in there. Go on to vertex select, select both of these, M, and we want to put it in the center and then in the center, like so. Okay, so that then is my new boolean. So control A I transform set origins geometry. M, let's drop it into Booleans, and there we go. And then what we'll do is press Ot H, bring back everything. Now, before we bring those booleans in, let's just grab it, pull it over here, so then we should be able to hide it out of the way if needed. Now, we've got some other flashing points which are, as you can see, this part down here. Might be a little bit too close to wall. So let's just zoom into there and make sure that this can be pulled out a little bit more, so on the red, should be able to pull it out a little bit. And then that gets rid of that, as you can see. And then let's bring in our window. So if we go over to our windows, the only one we really want to bring in is going to be this big window here because these will be perfectly lined up with this. So let's come to this one first. Press Alt and D. Pull it over, and let's line it up. So if I press three, let's line it up roughly where it needs to be. You can center out perfectly, but you know what? I'm not going to do that. I'm just going to line it up like this. And then we'll come to these three Alt and D, bring them over and put this one. So let's turn down the amount of You know what? We'll have to get rid of these, actually. So I'm just going to pull them out. I'm going to press three. Tab, and then I'm going to put it on wireframe, put it in wireframe. Double tap the A because you've already got some selected there, like so, and then B, box select, grab them all, delete vertices like so. Then we'll go to object mode. And then we're going to pull this over and put it into place. Now we want the last window, which we haven't brought in before, so that's going to be this big one. So we'll bring that in Rs head 90, make sure that it's facing the right way, which it is, as you can see, three again. And what we want to do now is want to line it up right in the center of here, level with this because the thing is back in that time, a lot of the time, they did have supports holding them. You can also see we've been looking at this, this is too far forward, or these aren't far enough. So let's sort that out first. I would say we could pull that back a little bit, holding the shift but, pull it back a little bit into place like so. Now, let's deal with our window, so three, pull it up into place. We can get it roughly where it needs to be as well, because the other thing is, I've not brought that over, so it's a good job. I'm seeing all this. So D, let's bring that over. To here. And then what we'll do is we will mirror on the Y. So object, mirror on the Y, and there we go. Now I can put that into place. I'm just making sure I've not missed anything else. Everything else looks fine there. Yes, it does. And then what we can do is we can look to see, you know, what's the distance between here. Now, the problem we've got is, it should be the distance between this and this, not based on the center of this because this, you know, might not be quite aligned. So that's why normally, line them up in this way. Now, we can also see that this is a little bit out. So if I pull this over, now it's like half and half on there, and to me, that looks about right. The next thing I want to do, of course, is pull it back, so pull it back to where it's going to be. Now, if we come to this window here, we can see just how far back it is, and that's something we need to think about when we pull this back. So I'm going to pull it back roundabout to there, and I might even pull it back further because it should really be sat on here. It's okay to have a little bit of a lip. Let's see how far we'd have to pull it back to get it over there. So if I hold down shift, bring it out. Now it's sat on there, and we'd have to pull it back all that way. But you know what I think it's probably going to look better if we actually do that. We're going to do the same on this. Double tap the A. There we go. Ever look at these ones. And the thing is now because I went in and deleted those, you can see what happened because I pressed Old D. Always a problem. I went in there and deleted them because they weren't done with a modifier. So instead of doing that, I need to on the next lesson, come back to this one and use a modifier to put them in, and then it won't affect this one. Either way, though, we've got them in place now. Again, easy to make these mistakes. Always good if you're checking them all the time. Alright, everyone. So I hope you enjoyed that. I'm going to save on my work, and I'll see you on the next one. Thanks a lot. Bye bye. 78. Fixing Window Meshes and Planning Balcony Structures: Welcome back everyone to blend the Building master class from concept to final render. So you can see even someone like me, who is seen as a professional within the blender space makes mistakes a lot of the time when building these things. The point is, you're always going to make mistakes all the time, making mistakes, the best thing that can happen because then you learn from them. But the other thing is that knowing how to fix those mistakes and seeing those mistakes, that's something different entirely. And the more that you, use blender and the more experience you have, the easier it will be to fix mistakes and see them as well. Because they are two separate things. Seeing things and fixing things, you know, seeing what makes a building look good is entirely different from fixing mistakes. So don't expect them to come at the same time. When you're building things like this, generally, seeing how the building looks, that part takes way longer than actually the muddling part. So just bear that in mind whenever you're making mistakes. Okay, so what we're going to do now is come to this pot. We're going to press S three. And what I want to do is I want to array them over. Now, I should be able to put it on wireframe and see exactly where they are. So if they're coming now, go to add modify, generate where is it an array, This one here. Now, I'm hoping that it's not arrayed this one, which it has. Now what I want to do is I want to move this over, so come down, move your array over on the X, hold in the shift but, and get it right in the center of that place, which is round about there and array it once more, and everything should fit. Now, you can see we're a little bit out. You can see the gap between this and this is a lot further. What happens is the more you array, the more compounding it actually gets. So you need to make sure that on this one here, let's pull it back just a little bit. So the last one fitting in very nicely, as you can see now. Alright, so that's that bit done. You might as well leave the array on because it's not using then as much geometry because it is actually a modifier on that. Let's put it back on then, and there we go. That's what that looks like. And now we can come in and actually think about bringing in the booleans on these. So I'm going to come over unhide my booleans. I will grab this one first. I think this was the last one and this one. So I need just these two. What I'll do is then I'll grab this one, shift Dess, curse to selected, grab this then, shift Ds and selection cursor. And we can see if we zoom into that, press three. It's near enough in there. Is it perfect? Is that one perfect. These must be a little bit smaller. I think these are a little bit smaller than this one. You know what I'm going to do. I'm going to make this a little bit bigger because it should fit in perfectly. It's just a little bit smaller because it was based on that. Let's make it a little bit smaller, get it to be the right size. And then we've actually got it. I might even press SNY yours, pull it out tiny bit. Okay, so that's that one. Again, resell the transforms, and then make sure it's actually in there, which it is. And then I'm just gonna look and make sure I've got my walls on. Yes, I've got my walls on. So now I'll come to this one, and I'll drop it right in there. So Shift S, cursor selected. Shift S, selection to cura and there we go. Press three, making sure that one's in properly. Yes, it is. That one's in beautifully. And now what we can do is we can do this one first all grab this. Grab my wool, press Control minus, and there we go. That is that one done. And then can comb to my walls to make sure the wall's selected press Control A, and that's that one done. Now let's come to this one, grab my wool. And again, when you're doing anything like booleans, the more simple. So if we grab this wool, the more simple, the actual part it's going to go into. So this is a very, very simple piece of mesh, the easier it's going to be. So that's another reason why we actually break these down to make sure they're as simple as possible. Now, let's press Altag just to bring back everything. And what I also need to make sure you can see, I've got this one. So grab this, grab this. And then what I'm going to do is press Control and minus s. And there we go. Again, coming over, Control A, let's apply that. And then what I want to do now is grab both of these. Come on over, remove cutter, and then I can bring them over. And again, I can hide the booleans out of the way. And there we go. There is our parts in. Now, again, with this one, I think it's coming in. With a part that we need to update because it keeps coming in with this part on here, and I don't really want to if you come to Edge select, you will see if I grab this edge, I can pull it out, and it's like a separated edge on there, so delete vertices. So what I'm going to do instead of that keep happening because we don't want that happening and having to delete it all the time. I'm going to save out my work and drop back quickly into my resource pack. You've probably not got this problem, but I'm going to drop back into my resource pack and come to my window. And then that's safe. The problem is on here. So it's this part here. So Altlt shift click, bring it out, delete vertices, delete, vertices, like so. And then what I'll do is now I'll update it. So if I come in, it should be updated. So let's just see. If I come in, save out my work, so save it out. And then let's go back down to this part. Reload it. Bring out my window. So let's bring in this window, spin it round. So hoards 90, press the Db on, zoom in, and then let's come in and then holt shift and click and see if it pulls out. And there you go. You can see it's fixed now. So let's delete that out the way. Alright, so far so good. Now thing, what we want to do now is put in this balcony. And a lot of these buildings, as you will see, it's like they have the window there, and how do they actually get onto the balcony? Some of them just have fault balconies on. Some of them you can lift the window up or open them out. We're not gonna worry about that too much. What we want to look at, though, is creating a balcony on this one, because then it sets it out. Now, we can see. We still have a problem in this one. I thought it actually did actually, I didn't actually finish this one. You know what? Forget that, guys. Let's come back. And let's do this one first. First of all, though, let's bring these in. So op, clear pairing, keep transformation. Then what we'll do is we'll grab this window here. Let's fix that. So shift Des cursor selected. Grab this one. Shift Des and selections cursor keep offset. Let's zoom into it, making sure then that it's in line, so you can see it's in line there, and then grab this one and this one, press Control and minus, and there we go. Let's press Control A, and then we can grab our cutter. We can press remove cutter. And we can also, when we pull it out now, just remove this. So opp, clear pairing. There we go. Let's move that back in place. Really, really easy to fix that anyway. Okay, so now we're looking at this. It's looking very nice. And what we want to do now is bring in our balcony. Now, if you bring over your reference guide, you should end up with something like this. We have two balconies here or what looks to be two balconies. But they're actually two balconies. They are pretty much the same balcony as you can see here. It's just what's underneath holding them up. So these parts here, we already made pretty much. So we've already got something made to actually use on those. These parts here we haven't made. So what I would do in this case, is I would make the balcony with these two parts and then take them into my resource pack and split them off because you might want these to create another balcony or something like that. Completely up to you how you want to do it. Now, as you can see, if we zoom, this is this balcony here, so you can see the balcony here. You can also see a better version of it on here. So you can see on this, this part here comes all the way out to these columns here. You can see that if we put a guy on here, it should come up to where his belly button. Somewhere around there is when you're looking you don't want a balcony where, you know, you're hanging over it and, you know, it's up to your kneecap or something. It doesn't want to be like that. So we want to build this part out first, using what we've already got, and then finally, we can build this part out and actually drop these on top of these that we've already created. So we've already got the size in there. We're just going to make it very easy. Now, you can see that this balcony is used over here. So this is the same balcony. You can also see if I come around the other side. So this is that balcony there. We've got no other balconies on there, as you can see. If we go around the other side, this is the same one. If we come around the back bend, you can see we've got it here as well. So basically, we've got, I think, three balconies in here, and it basically breaks up the actual build, and that's why they put okay, so let's actually on the next lesson and then make a store nose. What I'll do then is I'll put this over to this side. I'll make sure, though. You know, that I'm using my reference. So you've got a reference to actually guide you on this. So if you zoom into here, this is the one that we're going to be using. We're going to be using these parts on here, so I'll be creating those. And then what we'll do is this is where we're actually creating it. So we want to bring our guy over first. So we'll do that first. Let's come in. We'll press Shift desk, cursed to selected. We'll grab our guy. We'll press Shift desk and selection to cursor. We'll spin him round. So a 90, and then we'll just bring him down into place. So if I press three, we'll bring him down into place to where we actually want our balcony. So our balcony realistically wants to come to let's have a look to the bottom of this part here. So to the bottom of here, if we put a balcony in there, that means then that, you know, the little pillars are gonna come from here. And then we build the other bit. So the bit that's going to support it under this part here, like we've done with this one. Alright, everyone. So we'll do that on the next one. Thanks a lot. Bye bye. 79. Building Balcony Pillars for Stylized Architecture: Welcome back everyone to blend the building master class from concept to final render, and this is where we left it off. Now, let's go into modeling because it is going to make it much, much easier to see things. So go into modeling, save out your work, and then we've got it. Let's also put it on object mode. Let's go in there and make sure this guy is on object mode, and let's actually pull him out a little bit. So we have a good idea of scope once we've actually brought him out. We want to do is then we want to make sure you save about your work. As I said, make sure that your cavity is on. Sometimes it clicks off. Don't know why that happens, but it does. And then what we want to do is now we want to build out from the bottom of here. So from the bottom of here, we're going to build it out. We have got a little bit of leeway to drop this down a little bit if needed. So we've got that in our back of our mind. But for now, let's build out the main block that's going to come out here. So what I'm going to do is I'm going to press shifts, cursor to selected, and then I'm going to press Shift A, and I'm going to bring in a plane. So if I bring down this plane, I can see that I'm probably going to want it here, which means I put my guy up to here, and then this will be the first chunk of my actual balcony. If I press S and X and bring it in a little bit, so let's bring it in. And then what we'll do is we'll pull it out. So S and Y, let's pull it out, and we want to going all the way past these parts here. So roundabout there's where we're going to pull it out to. Now, the other thing is, is this centered? And the best way to do that is, first of all, we centered it on our guy. He was centered to this, so just make sure that this is actually centered. So in other words, if you put on um wire frame, you can see that this here this here is from here to here, and it looks very much center to me, so I'm going to go with that. Next of all, then, now we've got it coming out as far as you want it. What we want to do then is make sure that once we've got the pillars on here, so if I put in, let's say a pillar. So let's bring in Shift A. We're just bringing a mesh just for now, bringing a cylinder, making it a little bit smaller to roughly the size our pillars are going to be. So they're gonna be round about that. If I put then my pillar round about here, maybe a little bit smaller, you can see that he's going to just walk up to there. We're not going to have enough room at the front. So what we're going to do is we're going to come in, pull it out a little bit more. Like so. And now we should have enough room to walk out there and actually come with a pillar. So you can also look at it from the side. How far is that actually going to come out? And you will see that they do poke out quite far these balconies because they've got very, very heavy support in the bottom of them. So if you want to pull it out a little bit more, you can do. So for now, let's get this in, and then what we'll do now is we'll put the actual top on here. So what we'll do is we'll grab this. We'll press Shift. And then what we'll do is we'll pull it back a little bit, so S and Y, pull it in a little bit, just so it's going to the sides of there. And then what we'll also do is we'll pull it back a tiny bit. So if I press tab, grab the front of here, can just pull it back like so, and then finally I can press L and press E and pull it up like so into place, just a little bit of a part that goes on top of the balcony like so. Now, we've done that, because what that means is now before doing anything else, we can actually bring this bit in and show where he's actually going to be stud. So what do I mean by that? If I come in, it's a face leg, I'm going to resell the transforms, first of all, and then we're going to press the I button, and I'm going to bring it in because this is going to be where the actual these parts here. So these pillars are going to be stood on. Then we're going to do is press E. So there's a little bit of a lip on there. And finally, then I can bring my guy up and put him on there. Now you can see, we've got a place where we can actually put you know, these pillars and things like that. Now, speaking of pillars, it might seem a bit of a weird way how we're actually creating this, but trust me, this is the best way to create it from, you know, creating the pillars around, then creating this bit after because it's going to give you a good idea of scope. Because once you put these pillars in in the balcony, then you're kind of screwed if you've already created all of this bit below it. So I tend to work like this, and then I get to see how much room it has if I need to make it a little bit bigger or anything like that. So what I'm going to do then is I'm going to create a pillar out of here. So I know if I press Eons head, so this is how I tend to do it, I'll bring this, you know, to roundabout. So it is to his belly button nearly. But then what I'll do is I'll come and I'll grab this part here. So I'm going to grab this part, this part and this part, and then I'm going to press Shift D and bring it up to here just to sit on top of here. Now, this part here, I want it to be slightly, slightly smaller than the bottom part because then it just looks better like that, rather than it being, you know, exactly the same copy from here to here. So what I'm going to do to do that is, I'll press Alt Shift click Alt Shift click, Alter nest then, and I should. If I can't bring it in, I'll just press the S bone to bring it in. And I'm not so sure, actually, if that's bringing it in. So you know I'm going I'm going to do it the other way. I'm going to bring it in, first of all, if I go seven to go over the top, I'm going to press S and Y and bring it in. So it's a little bit of a difference there, and then I'm going to grab the front of it. So I'm going to grab this from seven, and I'm going to bring it in here, like so, trying to keep the same distance going round. Now, it's up to you if you want to do it the other way, as well. I don't mind these parts lining up, but this part on here want it to be a little bit different. From there, then what we'll do is we'll press L, grab it, press E, and pull it up like so. So he's got a bit of a chunky part to actually grab. And then what we'll do is we'll come to this part, this part and this part. I'm going to press the I button and bring it in like so. Now, just make sure you've reset your transform, so it's nice and even each side as you can see. And finally, then we'll just press E and pull it up a little bit and just make a little bit of another part on there. Now, remember this is made of stone, not wood, so we can get away with that as well. Now what we need to make sure we're doing is that this fits under there. Now we can press S, make it smaller, and then S and Z and pull it into place and see exactly where we need it to. Now this is looking pretty nice now, as you can see. Now, what we need to do is we've got an underneath on there, so there'll be a square block under here and a square block under there, and we have to take those into account. So what I'm going to do is press shifts, Custer selected, Shift A, bring in a cube. I'm going to bring my cube down on this, so I'm not having to keep bringing cubes, and they're going to be massive. And then what I'm going to do is sens, bring it down into place for the bottom. Of this to sit on. There you go. You can see it's just sitting in there. Albeit though, it's still a little bit big because you can see it's actually hanging over this side. Now the problem is, we need to make it smaller because if not, it's not going to go around there either. So all we're going to do is make it smaller, smaller, smaller. Pull it into place, so there fits. There we go, this side and this side, pull it up, and then what I'm going to do is press sns just to make it a little bit chunkier. Now, when I'm doing this, I normally make the bottom one, a little bit thicker than the top one. So shift D. There you go, you can see now that we need to make this a little bit smaller, like so, even smaller, like so. We also want to center this. I'm going to center this roundabout here, and then I'm going to make this a little bit smaller again. And now we just need to make sure everything lines up. Because if we pull this over here, you can see it's not going to fit in the top and bottom, so we need to fix that. You know what I'm going to do instead of doing this. I'm going to leave it like that, and I'm going to go back to where I pulled this one. So you know I pulled this one over. There you go. Now that is centered. So what I want to do is I want to pull it up, son's, pull it out. Pull it into place like so. And then what I'm going to do now is come to this part, and I'm going to grab each of these. And hopefully, hopefully, I should be able to make it the same distance. So if I grab all of those, press lns, I can pull it back to where I actually need it, and there we go. Okay, so now we just want the top. So I'm going to grab this bomb, I'm going to press Shift D, bring it up. It's going to fit in, except it's going to be a little bit thick, obviously, for this, so I'm going to press the Span. Bring it in, just so it fits under there. And now we have a good idea. Of how big we want our actual pilar. And from here then, we can work on creating our beautiful pilar. The other thing is, of course, this is still a little bit too thick. So I generally start with something like this, and from there, then I can actually work out even thinner there, even thinner than that, sorry. So Eds and's Ed, pull it into place, like so. And we're not going to be using this anyway. And the reason we're not going to be using this is it's 32 on the verte count. We don't actually want that. So I'm going to do it before we finish, I'll press shift day, bring in a cylinder, and we'll put it on 24, which is much more manageable to work with. Bring it down to similar size. Delete this one out of the way, come back to this one, son's Ed, pull it up into place. Then what we're going to do is right click and shade, to smooth. All right. Now there are many ways of creating pillars. We'll just do the basic way of doing it right now. All right, everyone, so I hope you enjoyed that. I'll see you in the next one. Thanks a lot. Bye bye. 80. Detailing Balcony Pillars and Arranging Them with Arrays: Welcome back, everyone to blend the Building master class from concept to final render. So let's come in now with these pillars. So what I tend to do is I'll drop one right in the center. So left click, right click. Then I'll drop like three or four left click, right, click, three or four on this one, left click, right click. So now we've got one right in the center, and that to me is the most important one. So Alt Shift and click, grab this. Let's put proportional editing on. You can either click up here or press the O button, and then what we'll do is we'll bring them out. Let's try the sphere first, so we'll bring them out based on the sphere, bring it in. You can already see that's what we're actually getting. Now, Is that smooth enough? That's the question. So you can also come in and just give these a try. Like so, and I can see that one is probably looking a little bit better. And then what I want to do is bring these in. So I want to bring this one in and bring this one in. So I'm going to press the S bone, bring them in, like so. And for me, that one's not working on this, so let's try the shop. Like, so I'm just wondering if I should try the smooth. Let's try the smooth. And there we go. That one's working much better. And then I want to bring in one more edge loop, so control ar, left click, right, click. Control, left click, right, click. And what I want to do now is I want to grab the top of you. So old shift, and click, old shift, and click and bring these out. So I want to bring this one out. And because I've grabbed it right on there, it's kind of pulling in a weird way that I don't particularly want. So what I'll do is I'll turn this off for now, and I'll pull these out based on individual origins, and I should now, if I pull these out, be able to pull them out in the right way that I actually want them, as you can see. Now, I don't want to pull them out too much. I just want to pull them out. Probably around there, making sure that they still fit in. And now, this is looking pretty good to me. I'm just making sure if I right click, now shade or smooth. Now, we have got our reference here with these, but I think like the ones we're creaming, we could actually probably do a better job. Something like this, I think, looks a lot more old worldy, let's say. So I think I'm going to go with these. Now, the one thing is, we've got a bit of a problem with the band on here. So all I'm going to do is I'm going to come in, Alt Shift click, and then I'm going to press C troll B. I'm going to press C, troll B, and pull it out. Like so. And then for this, I'm going to press E, enter lns. Now, again, we've got on proportional editing, just press O, turn it off, lns, bring it out, like so. And then what we'll do is we'll have a little band either going in on this, so you can have it going in as well. So lt, shift, and click. And the other thing is, if you want to smooth off that, you certainly can completely up to you. So we'll do this one first. We'll go E, enter alters, bring it in. Like so. So you've got something like this. And I'm also thinking that this is a little bit too thick, maybe. So what I'll do is I'll press the S but and then press N's and pull it out. Like so, and now that's looking much, much better. Now for this one, what are we going to do on the bottom one here, shift and click, E, enter Alons and we're going to pull this one out. And you can see, it's not coming out properly. Let's try medium point alters. Still not coming out the way that I want it. Let's try the S bone instead. And there we go. But it's not pulled out evenly, so I'm going to press S ands and pull it down a little bit. We've got something like this. And finally, then we need the top and the bottom. So I'm going to come to the bottom. I'm going to press E enter alters, pull it out. And again, it's not coming out the way that I want it. I put it on individual origins. It should come out with Alter nets, but sometimes it does that. If I press S, I can pull it out and then press S and Z and line them up. And I can line them up perfectly as well by grabbing the outside of here. So you'll see if I grab Alt Shift click Alt Shift click, S Z zero or S Z medium point instead. So S zero, I can line them up like that way. There we go. Now they're nice and flat. Let's do the same with this one as well. So Alt Shift click with face slick, so AlshifClick, E S, pull them out. Then what I'll do is now I'll come in, grab this one. So Alt Shift click Alt Shift click. S, said, zero, and there we go with line those up. So they're looking nice. Now, this one here, to be honest, should be a little bit thicker than this one. So what I'm going to do is, I think, I'll just give it a try. So Alt Shift click Control Plus. I can pull it up and make it obviously much, much thicker. Then the other one, as you can see. Basically, when I'm looking at this, these look the wrong way round to me. So what I'll do is, I'll just try spin it round. So it, 180, spin it round, and let's have a look what that looks like. You know what? It looks a lot better than it did before. Okay, so I'm happy with how this looks. And now we need to do is you need to make sure that we're going over, you know, I'm just going to pull it up a little bit and make it a little bit thicker on the bottom. There we go. Yeah, that's looking pretty nice. Okay, so now we've got this in. We need to make sure then that we join all of this together. Just make sure that you're actually happy with everything. And I think I am. The other thing you can do, if you want to round it off more is come to add modifier, deform, and come down to smooth, and you can see that you can actually smooth it over. You can even do it just on the z if you wanted to. So now if I pull this out in, you can see I can really start smoothing that off a lot more than what I've actually got it. So you have a lot of control how you want to do this. You might want it like that. I'm going to then just take that off. I'm happy with what I've got here, and I think it actually really, really suits everything. I'm going to do now is I'm going to grab this and grab this, and I want to place them in the right places now. So we might need to make them a little bit smaller, a little bit bigger, but we'll see. We'll join them all together first, and then what we'll do is right click, shade or two to move. Control A or transform, set origin to geometry. And now I want to do is put them into place. Now, if I go over the top, before I do that, you know what? I'll grab all of this. Shift H, seven to go over the top, and then let's put it onto wireframe. Now I can see if I grab just this, so if I grab just this, I should then be able to put it over here. So if I press Shift D, bring it all the way over here, making sure that it fits in place. You can see now it's fitting in place by going along here. So if I come back round, I'll just show you what I mean, you can see it's fitting in place. You can come down here and it's stuck out a little bit of this, which means that we need to pull it back to tad make sure all fits in, and now you can see it's fitting in place. That's what we want. And now we can do is we can mirror this over the other side. So I'm going to go add modifier, generate a mirror. Not this one. This is the one we want. Right click origin to three D cursor and modifier, generate a mirror. Let's put it over the Y, turn off the X, and there we go. Now, what we can also do is we can come in now, grab this one, press Shift D, and then bring it over. And as we bring it over, we can actually bring in another one. So I'm going to put this one here, I'm going to press Shift D, and I'm going to bring in another one, like so. And at this point now, we just want to make sure that each one of these is lined up perfectly. So how do we do that? We've got one, two, three, four, five, six. So now we've got them in place, what we can do is we can shift D, this one, bring it all the way over, and then press P selection. And now I'm going to do is just remove that mirror, so I'm going to remove the mirror off, like so. I'm going to press Control A or transonsri clicks origins geometry. I'm going to bring it in place, and let's see how these line up. So if I put this here, I can go to add modifier, generate and array. I can put the array on the X, so we're going to put it round about there, turn this to zero, and then let's turn this down. If I shift s, put it there. And then what I'm going to do is get it to the other side, one, two, three, four, five. Let's bring it down now. We'll bring it down, put it all into place, and you can see pretty much they are lining up perfectly. That's one way you can check it. Let's press delete on those. We don't need them, and then just make sure they are happy with the gap between each of these. Now, you might not want to center one. Completely up to you if you want to center one in there or not, or if you want them, you know, spread out from here, because what you can do now is you can do what I've just done, but play around with them. So I'm going to go back before I lead to that. So what do I mean by that? I mean now I can move this up. So if I move this up and put it there, you can see now if I hide these out of the way, let's just hide each one of these out of the way, bring this one down to one. Like so. And now you can see that instead of a center one, we've got three each side. Now, if we bring back guy, double tap the A, and then what I want to do is just hide these out of the way. So this is the one with the mirror on. This is the one that we want to hide out of the way. So hide it out of the way, hide the center one out of the way, and now you want it either like this, or you want to press ltH and have it like this. So if I hide these out of the way, or you want it like that. So now you can press Control Z. Or Control Shifts Head and whichever way you want to. I think I want mine like this. I like the gap between them. I think that looks good, and I think I'm happy with that. Alright, so what I'll do now is I will press Controls Ed just to bring those back. I'm gonna delete those out of the way, and these are the ones that I'm going to keep. I'm going to go up to file and save out my work, and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 81. Creating Balcony Base Decor with Bevel Techniques: Welcome back if we want to blend the building master class from concept to final render, and this is where we left it off. So what we want to do now is we want to grab this one over here. So we're gonna grab this one, this part and this part. And now we want to put it over here. So if I press Shift D, we should, when we move it back, move the other one back, and we should be able to put it in place like so. And that is basically that part of the balcony, at least, done. We want to do some final checks just to make sure everything is in, making sure they're happy with, you know, how big these things are, how big this balcony part is. We've made it so that's a little bit I think it should be a little bit wider on the top. I think these are a little bit too close to it. So what I'll do is I'll come in to these parts here, and I'll just press Alternt and bring them out a little bit more like so, and I'm just looking over the top. I brought these out. I think I need to bring this one out a little bit more. So seven, go over the top, bring it out a little bit more holding the shift but as you can see now, these are lining up. Then what I think I need to do is also bring this out a little bit. Alt Shift and click Alter Ness. Let's bring out just a tad, a little bit more like so. Okay. Now I want to do is I want to make sure that this part is poking out enough. What I'm going to do now with this part is, I'm actually going to give this some actual depth. I'm going to press A, E to pull it down, like so. And don't forget we're going to have another part underneath it. But before we do that, let's actually come in and bevel these parts off, so I'm going to grab this one and this one. Now the problem when you bevel these off, you want it only to bevel to this point here. So what I'm going to do is actually sort that out. And the other thing is, I can see, you know, what we'll give it a try. So what I'm going to do is I'm going to press Control O. Left click, right click, and then Control B, pull it out, and we want to pull it out all the way up to there like so. And the reason I've done that is you will see in just 1 second, if I press tab, Control A or transforms, set origins geometry, save that my work, and then come in, grab this one. And grab this one. And what I'm going to do is press Control B and bevel them out. Now, I don't want them beveling like that. I'm going to turn it up like so. Left click. And then what I want to do now is I want to bevel them inwards. So I want to bevel them inwards, like so. And now you can see why why it is, I put those there. If I didn't put those there, I wouldn't have control. It means it would have beveled all the way into here, and we didn't actually want that. We can also from this as well, control how much this is going to be beveled. So as you can see, I can hold the shift bun and put it like this, and I think that is about right. The one thing I would say is that this needs to be a bit thicker. So I'm going to come in, I'm going to come in with face out, grabbing my faces. And then what I'm going to do is just pull it down past here, making it a little bit thicker like so. Next of all, then I'm going to right click and shade Auto smooth. And then we're going to come in while I've got these here, I'll reset my transformations. And then I'm going to press tab, I'm going to press the Ibr then and bring them in. Now, you can see we're ending up with broken mesh already. Now, we don't want that. What we want to do is press E, enter, S, and bring them in. Now, if they're not coming in, let's just check what we've got here. We've got it on medium point. Will it be better on individual origins? I want to make sure that you know this is like this one underneath. So you know what I'm going to First of all, I'm going to press A because I extruded it out. I'm going to press mesh, clean up, merge by distance, 26 polygons removed. And what I'm going to do instead is, I'm actually just going to duplicate this, Shift D, bring it down, so bring it down to wherever I want it. And instead of doing that, I'm going to come in and press Alt Shift click going all the way around, and then Alt and S. And I should then be able to bring this in a little bit better. We still end up with some broken mesh on there, which I really don't want. So what I'm going to do instead is, I'll just press tab, press the S button. Yeah, and it's coming from there. It's not really making any smaller on there. I want to really line it up. So what I'm going to do is I'm just going to bring it over and then press S and Y and bring it in like this. Control seven to over the top. Hide my terrain, so hide my terrain. And now you can see we've got it looking pretty nice, actually. Alright. So is that far enough, though? Let's come a little bit smaller, I think. So S, bring it in. Like so. And then let's bring it back and line it up. Like so, and I think now if I pull this down or pull it down to here, grab the bottom of it, pull it up, and I think that is what I want. That is exactly what I want. Now that is looking pretty good, as you can see. Alright, that's going into the wall. That part's going into wall. Okay, let's save our work once more. So far so good. So we've got all of those. Now, let's just go in and join all of these up. So what I'm going to do, I've got my mirrors on there and everything else. I'm going to go to Object, I'm going to come down to convert to mesh. So I'm going to convert that to mesh. Join them all together. So Control J. And I want to just check now, and I think you should, as well. If you press A, come up to mesh, come down to cleanup merge by distance, and just make sure you've got no extrusions leftover. I've not got any leftover, but you absolutely might. So that's the one thing I want you to check. Now, then we need something to support this balcony. So we're definitely going to need, you know, some supports under here. So first of all, let's work on the big chunky part. So the bottom, I tend to when I do this, I work on, like, this kind of corner, so this corner. And the reason I do that is because then I understand the size and scale, what it's going to be. So what I want to do is I want to press Shift day and we're going to bring in a cube. And my cube comes in this size because obviously, I fix that. And then what I want to do is I want to just bring it down. And understand how far and how chunky this is going to be. So I'm just going to bring it to there. I'm going to grab the top and pull it up underneath. And then what I'm going to do is I just want to then pull this out to where I actually want it. So I want the first bit to be, you know, in there. So this will be the first bit going down to these parts here. So if I pull this out, come underneath, just grab the bottom of it, pull it down, and then I've got a good idea where I need that to come up to, because I don't want it coming past these parts here. And then what I can do from there is I can pull that over now into the place where I want it. So five, press three. I'm going to have it over here, sorry, for press Control plus and then bring it over here. And then I can see that this is probably not going to be chunky enough. So I'm going to press S and Y and pull it out a little bit. And from there then, I'm going to control A or transform set origin to geometry, right click set origin to three D cursor, add modifier, and we're going to mirror it over. So mirror it over the other side. Which will be on the will, and now I can see how far they're spread out. Now I want the next part, which will be this part underneath. I'm also thinking that I think I'm going to have to move this down a little bit. So I'm going to move it down to here. And then what I'm going to do is come under here, grab the bottom of this and just give us that extra little bit of support because, you know, the closer they are to here, the more technical level of engineering you're going to need, because basically, you're going to need some metal going into the brick. And that's not something they really did. So we've got a thinking that way. So now we want to do is we want to have it. So we've got a top piece on here and then a kind of arch coming under here. Now, the top piece needs to come to round about this part. So what we'll do is we'll press Shift D, we'll rotate them round then, so we'll press tab, A, Y, 90, rotate it round. Now, of course, it needs to be either thicker or thinner than this. So I think on this particular one, I'll press S and Y and make them tiny bit thicker. I'm going to pull them out then. Keep them in the wool, pull it up, so it's just under there and just get my dimensions to where I want them. So roundabout something like this, I think looks good, and we can see now we've got quite a big support on that. Now, the good thing is, once we've got this in, we can then have a look and see how it's going to actually be supported. So now what we'll do is we'll grab this pot. We'll press Shift D. We'll bring it down. We'll press the Sp to shrink it down, so pass this point as well. And then what we're going to do is we're going to bring this down to here and then we're going to bevel this off now. So if I come in, grab the front of here, press Control B, we should then be able to bevel it off and have a look how that looks. Right click, shade At Smooth, double tap the A, and there we go. Now, you can see they definitely definitely look like they're supporting this, or they too much. This is the point then when you can go in and you can press S and Y and shrink them down a little bit if needed. Now, I'm just looking because I need to also grab this part here as well. Now, this part has also got mirror on, so join it to here, so Control J. Press the tab but, grab everything now, and now just shrink them down. A little tiny bit, and I think, actually, they are looking much, much better. Now, from here, this is where now you can actually start you've got the right dimensions for them. You've got the base of your actual balcony built, and from here, then you can actually start building these how you actually want them. Now, online, I actually made a very kind of weird bevel on there. You might want to actually do that. I think with these, I'm just going to play around with it, actually, you can see on our reference, this is what we've got. So we've got something like this. We've got these parts in here, and we've got these front bots. It's kind of all net, kind of decorative, and that's what we're going to try and achieve with this. Alright, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 82. Detailing Balcony Foundation Supports: Welcome back, everyone to blend the Building master class from concept to final render, and this is where we left it off. Okay, so what do I want to do then, first of all, let's deal with this part here. So we'll come in. We'll make this controller. Let's bring in two. So two, left click, right, click Control B. Let's bring the bevel back in, like so. Let's press E then and then Alt S and pull it out, like so, and there we go. Something like that, I think, looks pretty cool. And then what we'll do is we'll come and deal with this part. So we're going to bring it out. Like so. And I only want really the front of this to be beveled off in whichever way I want to bevel it. So I'm going to press Control of. Left click, and I'll bring it back to something like that. And then from there, I can grab this edge and this edge. I can press Control B then bring in the bevel, like so. And from there, then what I can do is I can come and use my own custom one if I want to. So what I can do is I can pull it out and pull this one in like so and just get a better design than what it was. And I can also turn these up to make it a little bit more smoother, if I want to, like so. And then we can come in then to the bottom part. Now, it's up to you how you want this one. I would say, though, for now, probably grab the top of this so you want to grab the top part of this. Now, I can probably grab the top going and looking in there. So put it on Face Light. We might be able to grab. That's the top of the, as you can see, and this, if I pull this down is the top of that part, so it's not that one. So it's this one. Is it this one? So have a look. There we go. That's the one that we're looking for. And then what I can do is I can just come in, turn this off, and then I can press E, so shift D and then E and pull it down, and then that creates a new one for me. From then I should be able to come in, grab the whole thing, hide it out of the way, grab this one, press L, delete, and delete vertices. OltH, bring it back, and there we go. We've got that in place. Now, again, how far do we want to bevel this off then? So let's come in. And what we'll do is we'll press tab, corn troll be bevel it in, and you can see that's how I got that first shape that I was showing you for with this, as you can see, and now we can actually bring this up. Round it off, like so, and then we get something like this, and I think that looks pretty cool. Now, the other thing we can do as well, is we can come in, wave this part. And what I can do is, first of all, reset all the transforms, but I need to make sure if I resell the transforms, then I'm putting it back in the middle. So Control A, resell the transforms, right click, the origin three D cursor. Then we'll put that back down there, and now I can come in and press the i button, bring these in. We can see we've still got some crossover, which we really, really don't want, like so. And what I'm going to do to fix that I might as well fix it, so I'm going to come in, and I want to join this I need to really join them up to this point here, as you can see. I actually need a point in there. I'm just wondering the easiest way to do this without actually ending up with this part. I'm going to go back. You know what I'm going to do I want to press E, Enter, and then S, and I'm going to bring it in that way. Like, so I've got a little bit more control over it. I'm going to bring it up then. I'm going to press S and X, pull it in. Now we can see that we end up with it kind of like this. So what I'm going to do is I think I'm just wondering the easiest way to deal with this because this is not what I want. You know what I'm going to do? I'm just going to go back. And instead of that, I'm just going to grab this side. I'm going to press Shift D. And I'm going to see now if I make this smaller, is going to come in the way they want it. Still not want it. Instead of that, can I press Alt and S? That's not also going to work. This kind of isn't working. So you know what I'll do? I'll just come in and I'll do it the hard way. So delete vertices. I'm going to grab both of these. I'm going to press the Ibn just to bring them in. And I know there's some cross over there. But you can see it's all nice and even going out. It's just these two parts that I need to actually fix. So what I'm going to do is just press Shift and H, hide everything else out of the way. And I need to kind of this is let's actually have a look if this is actually straight. So I can see that this is straight, which means that I want to really bring all of these. So if I can bring this to this. So if I press the NB and I'll I'll go to the last. So the last one, like so. And then if I pull that over, that is going to give me exactly what I want. So what I'm going to do is I'm going to come to this one now. So I'm going to come to. Let's have a look. Let's have a look at the mess we've got here. So this and this one, so the top and the botm, and then we'll do outlast, and there we go. Now I can grab both of these ones. I can press three or one to go inside view, and then I can actually bring them up to where I want them. There we go. Finally, we got there. Alright, so now we should be able to do is we should be able to come grab both of these. And the reason, by the way, that's happening is because this on the top here, they're just too close together. So what you might want to actually do is grab this one and this one, press the button, and do it at the last again, like so, and then grab this one and this one, M, and at the last again. And then let's do the same thing on here. So it's always the top one. There's two vertics there crossed over, and that's the reason it's causing this topology issue. So this one and this one and at last. And now that actually is cleaned up. So now we've got a nice piece of mesh to actually work with. From here, then what we should be able to do is grab this and this, press E, enter, and then S and Y and bring it in. If it's not coming in, just make sure we're on medium point, S and Y, and then we should be able to bring it in. Like so, and there we go, Now I've got a bit more topology. Now, the other thing is, I want to make sure cavity is on. Both of them look the same. And yeah, that's looking much, much nicer now. The final thing I want to do, I think I want a little bit of an edge on here. So all I'm going to do is press Control law, left click, right, click and then contro B and pull it out a little bit like so. Now, because I only want, you know, this part on here, all I'm going to do is I'm just going to grab each one of these. I'm going to press lth actually bring back all of this part. Grab this part and just check. So E, enter lns pull it the other way out, like so, and let's just see what that looks like. You know what? I think that looks better. Now, the one thing is, we've added all these extra lobes on here just to create this part. That's not actually what I want. So what I want to do is I just want to press Control plus, and I want to press Y, just to split that away from my mesh, hid out of the way. And then all I'm going to do is just Alt shift and click Alt, shift, click, making sure and I can then come to dissolve and I'm going to dissolve. You know why I can't do it that way, actually, because I need to fill in this surface. So you know what? We'll just do L, shift H, and then we have an idea of what we need to fill in here. Now, because it's got a mirror on the other side, we can simply just come in and press F and just fill in these again. So F and F and F, like so, and then Alt Shift, click Alt, shift, click, and Dissolve. And what we're going to do? We can already see we've got 432 triangles so delete and we can dissolve edges. And now we've got 376. So I know it was only a few, but it will make a big difference. Now, if we press Altage, bring back everything, double tap the A, this is what we should be left with. And you know what? I think that looks very, very nice. Now, what we need to do now is we need to obviously finish this up so we can take it into or the file. But we thought we'd do that. Let's just make sure the rest of it goes together. So I want a couple of blocks either side. So I'm just going to go to my set manager. I'm going to go to my supports or supports bob and tops, and the one I want is this one here. So I'm going to bring in, first of all, we'll bring in where's my plug on. Let's press Altag, bring back my floor, drop this on the floor, spin it around. So I want to press R Y, 90. I want to spin it around again, so R Y, 90, z, 90, and that is the way that I want it. Then what I'm going to do is just drop this into place. So if I press three, I'm going to press G then, and I want to pull it back. And the place that I want it is going to be sat right over here. Now, I know this is a little bit too big. I'm going to press the Sbne just to bring it into place. I want it right around here, just to look like it's giving her an extra bit of support. Now, it's up to you whether you want to pull it all the way back in there. I don't actually I think that is needed. So I think even in front of it a little bit. So even up to, you know, something like here, I actually think looks pretty good. And the last thing I want to do is probably drop it down to there, making sure that it's just in the wool. Like so. I'm just wondering if I like that. If I need that, or if I want to put it here, I can also put it here. Like so. Double tap the A. You know what? Actually think that looks better. Yeah, I think that looks better. So what I'm going to do is I'm going to mirror over the other side, right click Seragen to three D cursor add in a modifier, generate a mirror, and then we go, I'm going to minus off my array. I don't need that. I'll apply my mirror, contro A. Now, the other thing is, I brought in from you can see here what it's done. You can see that we don't really want that. So you know what we're going to do? We're just going to press Control Z, go back, so we don't mess around with any of those because we brought in from here, what I'll do instead is, I'm going to press Shift D. So, hi that one out the way, delete this one, old age, bring it back, bring it back here, and now add in your modifier. Right click Origin three D cursor, take off the array, add in the mirror, ad in the mirror, and there we go, now, everything's fixed. Just be very careful guys when you're messing around with that. Alright. I've also got this part in here. I was going to use it on something. I don't remember what that was. I'm sure it'll come to me. I'm going to delete that away for now, so delete it out of the way. And now we want to do is we want to take this into our other files. So before we finish, we'll just grab all of these parts. Now the thing is we've just got to be very careful because you know what? We'll do this on the next lesson because it's a lot of work, actually. It's not so simple. I'm also looking at, you know, this inner pot here, just making sure everything's right before I actually finish. And yes, I think it is. Okay, so what we'll do then on the next lesson is we'll put all this together, take it into our resource pack, get on the materials, all of that good stuff. And then what we'll do is I'm also thinking that the textures. So we've actually, you know, the stone. So if I go onto here, I just want to make sure that this is the same stone as what we're using in here. So when I bring this in, will it look the same? You can see here that this if I go down, is stone lighter. This one here, is stone lighter. Okay. We'll give it a try. On the next lesson, then we'll bring this into our other file. Alright, everyone, so let's save our work, and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 83. UV Mapping and Shading Balconies in Blender: Welcome back everyone to blend the building master class from concept to final render, and this is where we left you off. Now, all I want to do is, I'm just going to check to see if we've got any modifiers on or anything like that. So I'm gonna hid that one out of the way. This one here, no modifiers on, hide it out way. Just to smooth on. That's fine. So let's hide it other way. Let's come to this one, just to smooth. Come to this one. It's got a mirror, so Control A, hide it out way. And then we've got this one here which has a bevel on. Take the bevel off. We're not gonna want it on, and we just need to make sure that there is no bevel on, as you can see. Then what we're gonna do is we're gonna apply that mirror. Now if I press TH, bring back everything, I should be able to grab these parts last, press Control J, and join it together like so. Right click and shade Auto smooth. Okay, now we're going to do is I'm going to press G just to make sure that I've selected everything. And then what I'm going to do is press Control C and take it through to my other file. So the other file is going to be here and let's bring it in. Let's press Control V, bring it in to place, pull it over z -90. There we go. Then what we want to do is we can see straightaway we've got problems with the normals on here. Let's zoom in. Let's put it first of all, on top of here, like so. And then what we'll do is we'll press tab, A to grab everything, shift in, let's spin all those things around. Now, we've got everything on here. Everything looks good. We don't really need to do any work on here except bring in our bevel. We don't need an array on here. So let's see if any of these, have we just got a bevel on them like this one? Yes, we have. We've got an array on there. Let's first welcome in. We'll grab this. We'll grab this one. We'll press Control and L. And what we're going to do is link materials, and then we're going to press Control L, and we're also going to copy modifiers like so. All right, so now if I click on this, we've got a Ron, which we can take off. We've got a Bevlon which is set to naught point naught not three, so I can see here if I turn this up, is it going to affect anything? Now, one of the problems that we're going to come up with, first of all, let's resell the transforms, set origin geometry. And the problem we've got here is the bevel is not working properly. So you can see, we've got a tiny, tiny bevel. So if I hide half the way, tiny, tiny bevel, but we cannot go no more, you can see we can't go no more. Sometimes this happens if you've got very, very close intersecting points or vertices. And the way that you can get around that is if you come to geometry, you want to turn off clamp overlap, and now you'll see that I will be able to bring that all the way up if I want to. So now I can put a no point up five, and then you can see I've got more of a bevel on there. Not that we won that bevel on there. I'm just showing you in case you need to do that. Because it does bring its own problems. Of course, you might get over, you know, verts crossing over. It's there for a reason. But if you ever have problems like that, turn that on. I'm going to put it to note point note note three, turn it down a little bit, and then turn this back on, and there we go. Okay, so now let's actually have a look. At this. Alright, that's looking pretty nice. Now, what I want to do is I want to press Tab, A, U, smart UV project. Click Okay, unwrap it all, and there we go. That's what we're left with. Now, do we want these different colors? I think for me, we want this relatively dark. So what I'm going to do is I'm just going to minus off this one. And then what I'm going to do is with these, these parts, I think, let's have a look if we bring in the stone stone lighter. The click the plus, click the down. So we're looking for stone lighter, this one here, let's click a sign, and there we go. Now, do we want it like that, or do we want them all the same color? So let's just try minusing this off, and then you can go between them, so Control Z, Control Shift, like so. Or what you can do is you can just do a little bit of it. So, for instance, let's just press Control Z a minute. Bring back the stone lighter. And instead of that, we'll just put on this and click a sign. And then what I'll do is I'll come to the top of here, grab this one, this one, and this one, press Control plus, Stone lighter, click a sign, and there we go. Might look better. Like this. And it might also look better if we've got maybe maybe even this part. Let's try it. So stone lighter. Click a sign. Maybe even this part is stone lighter. You know what? I don't actually like that, so I'm just going to go back. And I'm just going to go onto these and click Stone lighter, click a sign. And I think actually, it's going to look better like this. Now, of course, I can't click all of these, so I'm just going to click Old shift click, A shift click, Al shift click Control plus Stone lighter, click a sign. Yeah, and I think that looks just enough. I think the other way is a little bit too much. Okay, I'm going to resell the transform set origin to geometry, make sure I've got my Bevelons movings on, everything's on. Now, let's move this over to this side, and then what we can do is we can put it under balcony, so we'll call it balcony. And we'll call it large just in case you want to do any of, you know, your own balconies, some smaller ones. And then what we'll do is we'll press we'll put it in its own one, as well, because we haven't got balconies, I don't think. We haven't made one, so we'll put balcony like that. And then what we'll do is we'll come over here and we'll make one for balconies. So balcony, like so, and then what we'll do is we'll come to unassigned, and we'll go find it on here by pressing the dot, right click in, marking as asset, and then we'll drop this into the balcony. And then what we're going to do is file and save it out. Let that little star disappear. Go back then to our build, which is here. And then come down to where we've got reload it. Balcony. And here is our balcony. Now, what I'm going to do is just drag this out. I'm going to spin it around, so Is a 90. And then what I'm going to do is I'm going to put it around there. So I want to press shifts and selection to curse her. I'm going to hide that there out the way, and then delete this other one. This other one's got, nothing on it. It's not been bevelled. Let's delete it out of the way. Alta, bring it back, and there we go. Now, let's come in and have a look at what this looks like, so let it load up. It's a bit slow. And the reason mine's so slow is simply down to the fact that I've got a few blends open that I'm using. So I'm just going to see now if I go back, put it onto rendered View. There we go. Now it's faster. Just having three blender files open all the rendered isn't the best idea. Now, what I want to make sure, though, is you can see, we're not in the wall there, so let's pull it back into the wall. Making sure this is also in the wall, double tapping the A. There we go. That is how we do that. So you can see now he's got a thermot room there. It's up to the right height where he needs to be. And actually, that is looking pretty nice. So now what we want to do is, we've got a couple of options. We can now start working on or does, or we can come over and start working on this piece here and then mirror it over the other side. I think what we should do is we should probably take a break from, you know, just creating things on here and go away and actually create our doors. So I'm going to do that. So I'm going to do is I'm going to put it on Object mode, first of all. I'm going to come up to file and save. And then what I'm going to do now is going to hop on back over to my resource pack. So this one here. I'm going to pull this over to this side. Like so. I'm going to then make sure that I've got my reference guide. So if I open up my reference guide, we can see that this balcony is done, so we'll put it over there. The windows are all done, so we'll put those over there. We've done, we've not done the chimney yet, but these are the parts that we're looking at. So we've got the three doors, and we've got the gate. Now, I'm not sure if we want to create the gate at the same time, but we definitely definitely want to create these arches as well. So I think it's important that we create these pretty much at the same time because you can see that a lot of the time, you know, the doors go with the arches. I don't so much mean that the doors, you know, are fixed in with these arches. But what I mean is you know, we normally have an arch where a doorway is, so there'll be an arch. It'll be pulled back with a boolean, and then you'll have an actual door. We can also see just how nice these actual gate parts look. So I'm not sure if we want to create those as well. But I think actually, once we've got on with this, we've nearly created all of the parts that we're going to need, especially for things like the steps. If we create the gate, it does mean that we've also got these parts on here as well. So that's important. And then we can move on to more difficult parts like especially the dome and this part here. Alright, so I think that's what we'll do. So we'll start with these doors. So we've got a few simple doors and they get more complex as we go up, and then we'll move on to the gate, and then we'll move on to these rchards. That's the way that we'll do it. Okay, so we'll put that over to the left hand side. We'll save out our work, and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 84. Modeling a Stylized Door for Architectural Assets: Welcome back everyone to blend the building master class from concept to final render, and this where we left it off. Now, let's put our cursor to the world origin. So cursor to world origin. Let's press one, so we're going into front view. Let's press Shift Day. And what we're gonna do is bringing a image, and we're bringing the reference. Now, I want to go to my references, so I'm going to go up PureRvRferences. Here it is. And the one we want is going to be if I make this a little bit bigger, the one I want is going to be door, and I'm going to bring that in just so we have something to actually reference so we can see here this is what our door looks like. It's missing, actually, the handles, so the handles are not on there. But we can see them on here so we know what we're actually going to be creating. So if I zoom in now, this will be the door that we're creating first. And I know it's a little bit hot seat, but you can see when you're looking at this, again, you want to break it down. You can see this top is split from these. So these have got a gap in here. Then we've got the next part, which is, you know, the inner part, which goes around these parts here. So we've got inner parts that go in here. We've got a pot coming down here, pot coming down here, and then we've got these inner pots. So when we break it down in that way, it makes things much, much easier. So the way I'm going to do it is I'm going to probably create this top by bringing up an edge loop. Then I'll create the sides going down here. Then I'll think before I bring these out, then I'm going to create this part and this part and this part going all the way down. And finally, then the inner part. So let's give it a try. First of all, though, let's get the right dimensions. Let's also pull it back a little bit, so we've got it just there to see. So what I'm going to do is bringing a plane. Did I leave a plane over there? No, I didn't. So we're just bringing a plane. Shift A, bring in a plane. Let's rotate it round. So RX 90. Let's press Control A, or transform set origin to geometry. Now, let's go to the X, and we'll put down 2.3 meters, and then we'll go to the Y. Yeah, that's not the Y. It's the Z. And we'll put the Z on 3.07 like that. Now, let's have a look at our guide. So if I pull it up, we can see that this is quite a chunky door. So very, very big dog. But this door is, these are the kind of smaller doors, so they're kind of thinner. This is the main door. If you look on our reference, you will see. And if I go to it, let me find it. No, it's not that one. This is the main door down here. So it's a big, solid, massive door. If you look, actually, I don't think I've used that door on anything else because I saved it specifically for the entrance. And if you think about these kind of massive buildings, you know, in this style, the old World buildings, they really do have big massive doors at the front of them. Alright, so let's move this over. And let's make a start on our door. So the first of all, let's come in. Let's press one. Let's press the tab. I'm going to press Control then because I want to bring up this top section. So this top section, it's quite thick. So something around there, and then I'll press Control law. Left click, right click Control B, bring it out with the bevel, and we want it basically to match this side and a little bit thinner probably on there. So something like this, nice and sturdy, I might need to go a little bit further. And if I do, I can just press and X and pull them out a little bit more like so. Now we need to think about, we've got a big block here, smaller blocks here. So what I'm going to do is I'm going to bring in two edge loop so Control, not two edge loops, sorry. Yes, I'm going to bring in one edge loop, sorry. Control. Left click, right, click, Control B, and pull those out. So the size I want the center, if we look on our door is much, much bigger here and much smaller on there. So if I build it like this, you can see already, now we're actually starting to get somewhere. Now I need a center going down here. So control, left click, right click. And now I want to do is bevel these all at the same time. So old shift, click, Old shift click. And now if I bevel them all at the same time, I'll get exactly the right thickness that I'm looking for. So there we go. Now we've got bevel, bevel there, and a bevel that I did on here. So now we can actually bring these parts out and then bring these parts out separately and then do this part on the door. So what I'm going to do is and first of all, going to bring out this part. I'll bring out the top separate from everything else. I I press the dot but, and then what I'm going to do is press extrude and I can extrude it out. Now, extrude is further than what you think because obviously, it's quite a thick door. It's going to be going into a wall, and then we'll come down now and we'll extrude these out. Now, I'm just wondering because the way that this doors built, when I extrude this out, so I'll go back. I extrude this out. I might as well press Control plus and then press Y. And then what I might as well do now is press delete and limited dissolve. I might as well do that because it will keep the mesh nice and clean. Now, if I come to this one now, I'm going to do exactly the same thing. So I'm going to come out, I'm going to press the E and then bring it slightly slightly under there. And then what I'm going to do is press Control plus Y, and then delete and limited dissolve. And now we've got the outside of the door. Now, let's bring these parts out. So I'm going to bring out this part first. So control. I'm going to press the E button and I don't want it coming out as far as these. So a little bit further in, so I'm going to press the E, bring it out to here, Control plus, Y, and then delete and limit to dissolve. Now, let's do these parts. These parts one coming out round about the same. So I'm going to come in, I'm going to press E just before this part here, as you can see. Then I'll press Control plus, and I'm going to press Y, and I'm going to don't need to limit to dissolve those, but I'm going to leave them like so. All right, so now we've got all of these parts. Now what I'm going to do is I'm going to resell my transforms, right clicks Origins, geometry. And then what I'm going to do is just take another look at my door so we can see we've got these panels, these panels, these panels. Now, even if we zoom in there, it's quite hard to see what these parts in are in the inside. So I'm going to actually do this with you. It's quite or net. So let's press dot and zoom in. So what I'm going to do is I'm going to grab all of these. Like so. I'm going to press the eye bone to insert in and get the first insert into there like so. Then what I'm going to do is I'm going to press the eye button again and bring the second insert in like so. So we've got a gap there. And then finally a third insert, so I, bring it in, bring it in, bring it in, like so. And then what we're going to do is now we're going to pull these out. But first, before we do that, what I want to do is bring this out. So I'm going to press Control plus, like so, and then we're going to go back to these outer ones. So these ones here, Alt Shift, click, Alt Shift click, Alt Shift click, and then go down to these. Oh, shift, click, Oh shift, click. And then what you're going to do is you're going to press E and bring them out. Like so. There we go. Now we've got that part. Now, if I press tab, that's what we've got so far. Okay, so now we want to do is we want to make sure that this is the point where you can change something if you want to. So in other words, this point in here, you can now come in and drop them back a little bit, which I think actually was probably the better way to do it. So if I come in like this, press Control plus, and then what I'm going to do is I'm just going to drop them back just a tiny bit, like so. And there we go. Now what I'm going to do is I'm going to come to the front of these. So I'm going to grab each of these like so. This one here, and now I'm going to pull these out. I'm going to pull these out, press in E. Like so. And then what I'm going to do is I'm going to make sure I'm on individual origins, and I'm going to press S and Z and pull them down. Then I'm going to press S and X and pull them in like so, and there you go. You can see now that looks pretty nice, making sure cavity is on, where you can see now we've got a lot of complexity in here. Now, one thing I would say about this door, I think I've gone a little bit too far on these parts, especially the outside, or these parts are definitely not pulled out far enough. So I think what I'll do is I'll grab all of these and what I'm going to do is just pull them forward. So I'm going to pull them forward like so, because I want them looking more like this, so more like up to this wooden parts on here. And now you can see, I've got a ton of room at the back. I've got no backs on them, which is great. The topology on these is very, very clean, as you can see, so very, very clean topology. And yeah, I think that is the perfect way to create these doors. Now on the next lesson, what we need to do is we need to create the handles that's going to go on each of these. Just make sure you're happy with how your doors look. Maybe you want yours coming in a little bit more on here. Maybe they're tilting down a little bit too much on these. You know what? I'll fix that before. So what I'm going to do is just press EssnsE and not have these tilted quite so much down, and there you go. I think that looks actually better than what it did. Now, well, again, you can go absolutely crazy with these so you can come in, come in. And then put in an inner one on here, so I can grab these like so, and then I can press E and pull them back like so, and now you can see they look even better. You know what? We'll actually do that. So I'm going to do the same thing. So I'm going to grab each of these, like so. I'm going to press the Ibn and bring them in. And then I'm going to press I again and bring them in. Like so. And then what I'm going to do is just grab each of these. So Alt Shift click. Old shift, click on the middle one or the inner one, Alt Shift click Alt Shift click. Shift click Alt Shift, click, and then what we're going to do is press B, pull them back holding the Shift button, like so, and there we go, I think they look even better now. Even better than what they did. All right, so I'm very happy with that. Let's come up to fail and we're going to save. And I'll see her on the next one everyone. Thanks a lot. Bye bye. 85. Fixing Door UVs and Aligning Wood Grain Textures: Welcome back, everyone to blender building master class from concept to final render, and this is where we left you off. Okay, so what I want to do now is I need to unwrap them. I need to bring in the material. So what I'm going to do is I'm going to go to Resource Pack. I'm going to comb to these. I'm going to press A U, smart UV Pj. Click Okay. Now, I already know when I drop on the wood, for instance, it's probably going to be wrong. So let's have a look. So we've got wood aged. We've got that one, and we've also got wood cracked. Now, you can see the wood crack nearly, it's nearly all going the right way. Some of it is, some of it isn't need to fix it. But what I would say is if I drop this on here, you can see, it's not so obvious with the wood, which way it's going. Some parts are, some parts aren't I'm just looking if this part here is going the wrong way. So if I bring this on, I'm just wondering whether which one's the better one, actually, 'cause they both kind of look nice. It's up to you whichever one you pick. One of them will probably take a little bit more work than the other. So let's look at this. We can see that these are going the wrong way. Let's come over to the UV Editing. Let's first of all, do that. So we're coming over, press the dot on, go to my door. Let's press Tab. Let's spin them all round first and see what that looks like. So, Oh, 90. Let's spin the more round. And now we can see that that's going much, much better way. These are going much better way. You know what? I actually think we don't need to really do a lot of work on this. It's not so obvious where the wood green is. And so, actually, I think that looks pretty nice without really doing a lot of work. We have got parts where you could probably turn them around, so you could probably come in and turn these parts around, for instance, so 90. Let's spin those around. And then they look a little bit better, as you can see. You've got parts on here as well, which you might want to turn around. So these parts here, let's see if it actually made such a big difference. So we'll spin those around. Like so. And yes, it does make a little bit of a difference. So, you know what? I'm just going to come in. I'm going to grab the inner on these press R, 90, spin them round. And you know what else, I'm going to see if I grab the whole thing, if I make them bigger, like so, is that going to make it look a little bit better? And, yeah, you know what? I think it does. I think it makes it look a little bit better. So yeah, I think I'm going to be happy with this. Also, we can spin these ones around, so these inners, we might as well, while we're here, being as we're grabbing things and spinning them around, let's go down to the next one, and we'll look at which way these are going. These are all going the right way. I can see that these here probably going. So I'm just shift clicking on these parts. Like this one, this one, this one, this one, this one, spinning them round, I can also see this one. You know what? It looks like it's going all the way down here and all the way through this one. I'm going to do the same thing on this. I'm going to control click going all the way down to here. Shift click, control, click, do them all at the same time or 90, spin them round. Now they look better, as you can see. And let's have a look on this one. So I'd say here on this one. I'm going to go all the way from this point. Control click to this point. Shift, click, Control, click. Same on this one. So shift, click, Control, click, shift, click, Control, click, 90. Let's spin them round, and now they look fantastic, actually. So that is looking much, much better. I would say that this here, is this one going the wrong way around? I think it is. So 90. Let's spin that one round. No, it wasn't. It was going exactly the right way round, so let's go back. There we go. And you know what? That's looking pretty cool. Alright. So some of you out there might not like the wood, so that's the next thing we'll look at. So we'll go to shading. We'll put it on to rendered view. We'll save out our work so we don't lose it. And then what we'll do is we'll just zoom out and find this wood. Now, you can see on this wood as we know, with any edgeware, we have bevels on here, and we can see that if we turn this down, we can actually drop that bevel back or we can make it much, much brighter. So that's the first thing you might want to actually do. You can also bring down the bevel, not that one, which one? Is it this one? Yeah, there we go. You can bring in more of the wood instead of the bevel. So if I bring this in, you can see now it's brought it back a little bit. And I actually think that looks a little bit better than the other way. Yeah, and I think I think I'm not going to touch this anymore, but have a play around with it, see how you like it, but I think I'm actually happy with this. So from there, then what we need to do is we need to come now back to modeling, and we need to actually work on our actual door handles. So if we look at this, we can see the door handles here. Don't worry, we're going to explain exactly how we're going to do this. First of all, though, let's press Shift day. And what we'll do is we'll bring in a curve, and I'll show you exactly how you can use curves to create door handles. So what I'm going to do is because I'm going to pull it over. We're going to press one to go into front view. I'm going to pull it up, and because I can't see it because it's behind there, I'm going to pull in, press one, and now I can actually see it. I'm not too concerned at the moment with the scaling. I'm going to get that in a minute. What I actually want to do, though, is create it so it actually looks like a door handle. So first of all, let's pull this out a little bit, and then you'll see exactly why I'm doing that. Now if I come on over to the right hand side, when you're bringing in a curve, you will actually have some more options. So over here on the right hand side, it's not actually geometry yet. It's a bit like a modifier or a geometn node. It's a curve. So if we come over here and go to geometry, we can actually come in then and increase the extrusion or the depth. Now, I prefer to increase the extrusion. If you increase the depth, you'll see you end up with a round kind of point, you can turn down the resolution and do it this way, as you can see, but you end up with it slightly bent. So I don't particularly like doing it that way. So what I'm going to do is put you can also put it on profile as well. We're not going to worry about profile because for this, we actually want to make it quite simple. So if I bring up the extrusion, you can see I'll bring it up. And then instead of doing, you know, messing around with the bevel on here, what we'll do is we'll just bring in a solidify, bring in a solidify, bring it out. Like so. Right click, and then what we'll do is we'll shade flat like so. And you can see already now, we're actually starting to get somewhere with the actual door handle. Now at the moment, I need a little bit more on this way. So what I'm going to do is I'm going to bring this out more, like so, and then I'm going to put it into place. So if I press one, I should be able to if I put on wireframe, be able to put this into place where it's going to go. Now, I can see as well at the moment, it's not quite thick enough this, so I'll go back. I'll bring up my extrude jaws a little bit more, as you can see, so bring up my extrude, and there we go. So we want people to see it. The other thing is, let's pull it in a little bit. So if I press S&x, I can actually squish it all in a little bit. Now, you can see, as well on the wire frame. It's really easy to see this. We can actually turn up the actual resolution of this, and we need to be careful with this because it's like everything else. We don't want to have loads and loads of polygons on there. We want to get away with as few as possible. And the easiest way to see that is when we actually come in. So if we put it on there rendevw we can see at the moment it's nice and smooth. If I bring this down, though, you'll see now it's very, very jagged. So what is the smoothest we can get away with? Probably around six and still keep it smooth. So I'm thinking something like this. If I pull this back, then into where it's going to go in my door, I actually think that looks pretty nice. Now, while we're here, let's just put it on object mode again. Now we can actually come in, and the problem we've got here is if we shade smooth, you're going to get it like that. You can't actually see what it's really going to look like until you've actually applied your curve. So let's go in. And what we'll do is we go to object, convert, and to convert a curve to mesh, we just go to convert to mesh. Now we can actually right click shade auto smooth, and there we go. We've got our curve in there. Now, I'm going to use this for my other doors. So what I'm going to do is press shift desk, cursed to selected, Shift D, bring in a cube, M my cube much smaller. And then bring it over to the side, and then this will be in the side like so, and this will be holding it to the door. I'm going to pull it out a little bit. What I'm going to do for this is I'm just going to bevel this edge. I'll resell my transforms. It's our original geometry, grab this edge. I'm going to press Control B, bring it down a little bit like so, and just bevel it off. Like so, and maybe maybe. I'm actually going to I think let's have a look. Let's have a look for a bevel that. Will it actually look better? Like so. Let's right, click, shade At Smooth. And yeah, you know what? It probably does. Now what I'm going to do is bevel the top and the bott. So I'm going to come in, Control B, bring it back, so it's just one, like so. And it's probably at this point, a little bit too big. So I'm going to bring it down, pull it up into place, and then I'll probably squish it a little bit as well. So S and Y, making sure it's still in the door. And there we go something like this. Now, of course, all of the dough will have bevels on as well, so we just have to bear that in mind. The other thing is I need one on the other side, of course. So if I shifts like this, right clicks the origin to three D cursor, add in a modifier, and we'll generate a mirror on the other side. Now I want to do is I want to I'm wondering if I should just leave this and bring in a bevel on its own. So if I come in, I modifier, generate a bevel, turn the bevel down. To something like, around there, not point naught two. And then I can join this up with this now. So if I join this to this, contoJ and what I'm worried about is the actual bevel it's going to put on there. So do I leave the bevel on like this? You know what I'm gonna do? I'm going to come in, apply the bevel, like so because we're having gold on this, and then I'll come in, apply the actual mirror, and now I can join it altogether. So Control J, join it altogether. Now, lastly, I want this over the other side. So if you come to my door, shift S, cursor selected, come to this one, then, right clicks origin three D cursor, add in a modifier and generate a mirror, press control A, and there it is. There is my actual door handles. And yes, they're a little bit low, but they're more ornamental I think than actual handles. All right, so what we'll do now is we'll save our work. And on the next one we'll do then is we'll get the gold on these. And we'll make sure they're the right size, and then we'll start on our next door. Alright, everyone. So you enjoyed that. I'll see you in the next one. Thanks a lot. Bye bye. 86. Creating a Unique Door Variation for Scene Diversity: Welcome back if we want to blend the building master class from Concept two final render, and this is where we left it off. Alright. So now let's come in and you know what? I'm just going to make them a little bit bigger these I'm gonna press tab, S and Z and s, pull them out just a little bit, just to make them a little bit chunky looking a little bit flimsy there. And then what we'll do is we'll go to shading. And you know what? First of all, though, I need to bring in the actual correct resource, which is this one here. There's gold here. So we'll come in, drop that on them both, double tap the eight, and then you can see just how nice they look. And then let's go over to the shading. Let's actually have a look at this gold, then. So if I click on this, it should come up as gold, and here you go. One of the more simpler ones. So you can see here, all this one really adds on has a bevel, so it's actually good this because you can really break it down from this one. So if you didn't understand it before, it has a bevel on there, and what that does is, if I zoom into these, so let's zoom that then puts some edgeware around here. It also has, as well, a concrete roughness, and basically this is what gives it that shine on there. As you can see, you can see the shine on there, and then they're mixed together, and finally, they come down to where the texture is. This is the actual gold texture. So you can see this goes into this principled, which as I said before, is the main principled and everything then slots in together using a screen. All right. That one is more simple one, so you can play around with that one and you shouldn't really break anything playing around with that. Now let's go back to modeling. So we're going to go back to modeling and what we're going to do then is join these two together. So we've got we haven't got a bevel on here, so let's actually add that in. So what I'm going to do is add, modify, generate a bevel, and then we're going to set this to note point, note, not three, like so. And then what I'm going to do is as check what it looks like on our rendered view, and there we go. If we turn this up, you'll see that it actually starts to bevel them more, or it should do. Let me just have a look at the Yeah, again, it's going to be one of those where we're going to have to probably come in and turn off our clamp overlap. Then let's put it on note point, note, note five. And now you can see, we should be able to turn it up like so. And we don't really want it that high. I'm just showing you if you have those problems, that is what it's going to be. Now I'm going to turn that off. I'm going to put on note point nut note three. I think that's easily enough. And then what I want to do now is join these handles up with this part. I'm going to press Control J. Join them all together. Right click, Shade To Smooth, Control A or transforms and set origin to geometry. And this is what it should be left with, and there we go. Now I think that's really, really nice. I'm wondering about the gold is, as it smooth them off too much, that's one of the issues I've actually got. And I'm also looking at, I think, I'll come in before finishing because we are going to use these. I'm gonna press Alt Shift click Alt Shift click. Right click, and we're just going to mark a shot. And there we go. I think that looks much, much better now, as you can see. Now, because they're not mirred over the other side, we'll have to do it on the other one as well. So there we go. I've missed one as well under here, and I've also missed one under here, right click and Moker Shop. And then what I also want to do is on here as well. So if I come in, and I'm going to go, Alt Shift, click, all shift, click, and I'll also press the dot but then, so I can just orientate myself around that, and I'm going to go down on the bottom, as well. So, shift, click, right click and Moker Shop. And there we go, now you can see just how much nicer that looks in comparison to this one, and that is the reason why we put these bevels on. And you can see using the bevels and using the sharps together is pretty powerful. In changing how something looks. So rightly, mark a shop, and there we go. That is the doors then done. Okay, so that's that done. Now what we want to do is we want to move on to this door. So this is kind of a simpler version of this. But once we've actually done this one, this one's pretty easy to do anyway. So we'll move on to this one. So first of all, as we normally do, we will get the dimensions. So I'm just going to move this to the side. I'm going to press file and save. So I'm going to file and save. Move it a little bit further over. And then what I'm going to do is shift this and cursor to world origin. I'm going to put it on object mode just once more. And then what I'm going to do is shift a mesh plane or X 90, spin it round, control A or transforms, set g into geometry, and now let me give you some dimensions. So if we come over to the item here, we'll put this X. Let me see which way the X is. So this X is going this way, and it said 2.3 yeah, on the other version, actually. Yeah, that's the actual orientation, it said note 0.2. And no, it's definitely not not. If I put this on Note 0.2, it was telling me it's this small. So it's 1.47. And then we've got the Y, which is bending it that way. So we don't want that one. So the z is going to be on 2.76, and there we go. Okay, now, what we've got to remember about this door is which is here. It's 2.76 meters, but that is the top of it. So where do we want the actual, you know, this kind of bevel to come to? That is what we need to work out. So we've got two panels in here. One of them, as we can see, is much longer than the other one, and then the handles come on here. Pretty much, though, this is actually built out. You know, it's built out the same way as this one. So let's come in, first of all, and what we'll do is we'll put our guy here. And basically, I do not want it to be below this guy. So the top of here, you'd never have it like below. You'd have him still roundabout here. So this panel here would be whereabouts his head is just below. So if I come in, bring my guy forward, and what I'll do is I'll come back to it and then what I'll do is I'll press Tab Control off, left click and bring it up something like this. And we can see now. That's probably around the kind length of here. Then what we'll do is we'll come in to vertex Select, grab both of these vertices, Control Shift B, bevel it in, like so. And there we go. Now, I know that there's some of these probably touching around here. So what I'm going to do is I'm going to press A, mesh, cleanup, merge by distance, two vertis. So that's the two vertors done here. And then I'm going to leave this part. And what I want to do now is, it's probably going to be easier to actually separate this from this part here. So I'm just going to grab this and press the Yb. I'm going to move my guide to the side then. And then what I'm going to do now is come back to this part. So, this part in here, it's very, very simple to bring the first bit in, which is going to be I. So this is going to be You know what? We need to reset all the transforms first. So all transomsZgen geometry. Let's press the I button now and bring it in. And now you can see it's coming in, nice and neat. Now, the next thing is, it will have a boolean in here. That's the easiest way to get that glass in there. But now let's focus on the bottom of this first. So what I'm going to do is press Controller. Bring it up to where I want it, so it's going to be round about here. And then you can see his head now, if I bring him over, put him in. Oops. You can see his head, his jaws below there, like I said, then press Control R. Left click, right click. Control B, pull this out to the side. Like so. And then we want one more, which is more or less down here. Control R, left click, bring it down a little bit round about here. And then I'm just going to pull this out as well. Control B, pull it out, like so. And now we need a middle section. I also think I've made that probably a little bit too thick. We can also see on this door as well that these, let's fix these before doing anything because they're too low. As you can see, they're not stuck in the correct place. All I'm going to do is just pull them up and put them in the middle there. Alright, that's looking much, much better. Now with this one, then, let's make sure that they're not bigger than these. So they look about right because it is a smaller door, and then Control R, bring in one more, and then control B, pull it out, move my guy to the side, and go back to it. And if I need to bring them in, then just press S and X, and you should be able to bring them in. Like so. Now we've got the top, we've got the panels here, we've got these parts that are going to come out. Now what I'm going to do is I can see the thickness of here. So it's around go to this one here, tab. Thickness of here is this, two point 0.246. So we're aiming for that top part to be 0.246. So what I'm going to do is I'm going to come in. And I also want to split these up as well. So this here, this part here, probably better off splitting it from this because then we can actually do a lot more with this wood. So I'm just going to press Y. And then what I'll do is I'll split all of this going up to here. I'll have them. Yeah, I'll go all the way around to this point in here. Pressing Y button. And then what I'll do is I'll grab both of these, and I'm going to pull them out. So I'm gonna pull them out, like so. And note point, what do we say? Let's reset the transforms first. And then the Y is this point in here. Let me see what this one is again, 0.246. I don't think that's going to be 0.246. If I go to 0.246, we can see. It's going to be absolutely massive. I don't know why it's reading that. But anyway, if I press three and go in side view, I can really then see if I press tab. So I've still got the ones selected. I can really see that I can then just pull it out. Round about here, and there we go. So I'm going to be happy with that, I think. What I'm also going to do remember, it's going into a wall. These things are always surrounded by walls. You're just going you should never just stick these on the front of somewhere. If you do intend to do that, even if you did, you'd still be pushing it back into the wall. We're making it bigger because of the fact we know it's going into wall. So just remember that if you think it looks a little bit crazy and a little bit too big. Okay, so what I'm going to do now? Is pull this one forward, to around about here, and then I'm going to press E and pull it out to just be in front of this door here. Now, why have we done that? Because it means now that on this part, if I press right click, shade Smoove, you're going to end up with those wooden parts in there. So the wood and groove is going down there. Let me just check see cavities on. The wooden parts going down here, as you can see, it's going to be split off now. And when I bring in my bevel, so add in a modify generate a bevel, put it on not point, not point not three or not point, not three, like so now you can see you've got those little parts in there. That's exactly what I'm looking for. Alright, so on the next lesson, then we'll make a start on the bottom of this door. But you can see, it's pretty easy now because we've got most of the things in place. Alright, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 87. Adding Glass and Decorative Elements to a Single Door: Welcome back, if you want to blend the Building master class from concept to final render, and this is where we left off. Now, I just want to look at something within here, you can see, actually, if I just grab this, press the dot but, and I should be able to doom in. We can see we've actually got a bomb on here. On this one, we didn't have that, so we need to make sure that we're taking that into account. Now on the bomb on my own, I've just basically added it on. So I've just added it onto there, and I don't really want to do that on this one. So what I'm going to do is I'm going to come I'm going to press Control, left click and then drop that down into the like so. And now from here, I can start actually creating my dog. So first of all, let's grab this. This is going to be the top. I'm going to press Y, delete, limited dissolve. Then I'm going to do the sides. So coming down to the sides, like so, grab this one, Control, select that one, Y, delete, limited dissolve. And basically what we're doing is just splitting everything off, and then we'll do the middle section. So the middle section, how are we going to do that? You can see on here the middle comes down, then we've got one either side. That is probably the best way to do it. So we'll grab this one going all the way down, and then y let, limit to dissolve, and then grab these two here, and all we're going to do is just press Y. From here, then we can actually start working on these. So I'm going to come in, and what I'm going to do is I'm going to press E to pull this out two, just under here. So it's j under this part here, let's have a look just under. And then what we'll do is grab these ones. We're going to press E and pull these out. So these again, just under, like so, and then we're going to bring this out. And if we go Control seven, we should then be able to if we press wireframe on, we should, if we press E, be able to pull that out just before this here. So if I look at this, put it on object mode, it should just be a little bit further back maybe than even these parts here. Now, let's do these ones here then. So we're going to pull all these out. We're going to press E, pull them out. Like, so, making sure that they're just below there. And now, finally, we've got these parts here. Now, these parts here, there's no point pulling them all the way back from there. We need to basically pull them forward, and we've split them up, so that makes it pretty easy for us. We want to then press control layer, transform set origin to geometry. Now, we're going to do these pretty much the same as we did with these ones here. So we've got an inner. Then we've got one that goes, sorry, an outer, an inner, outer and then this part on here. And we've actually put this on here from the original, which I really want to keep. So we'll do that now. So let's move a little bit further over just so I can see wondering. And then what we'll do is grab our dough. And the first thing we're going to do is press the I button, so bring it in with I, like so. Then we're going to press the I again, bring it in. You can hold this shift but remember, as well to bring it in. And then what you're going to do is you're going to bring it in for here. So we're going to press I again and bring it in. Like so. And from there, then we should be able to create the panels. Now, let's go in then and pull all of these out. So we'll do these parts first. Like so. And we'll pull these out. So if I press E, I should be able to pull them out, like so. Then I'll grab this part here of the middles, press Control plus, and then I'm going to pull them out. So I'm going to pull them out like so. And then we need to now pull this part out and then bring them in. So we'll do that now. So we'll grab each of these, press the EB and pull them out. And then what we want to do now is we could bring the tops in, you know, like we've done on these parts here, so you can see on these parts here, we've brought them in a little bit and the tops in. So let's do that. So what we're going to do is we're going to press S and Z, making sure that you're on individual origins, and then we're going to press S and X and bring them in, like so. And finally, then just make sure you're happy with them. Right, click, shade or smooth. And if they're not going flat, don't worry because we're going to smooth those off in a minute. Now we want to do is make this part here. So it's just an inner part. So what we'll do is we'll come in, grab these. We'll press the eye button then. So the eye button to bring them in, and then the eye button once more, and then we can bring these parts in. So we've got this outer band. So I bring it in once more, like so, and then Alt Shift click Alt Shift click. Alt Shift click and Alt Shift click. And they might be a little bit too much. If I press E now, let's have a look what they're going to look like, so if I pull them back, maybe maybe it's a little bit too thick, so just go back before pulling those in. So this here I'm going to press I and bring them in and make them a little bit thinner. They were too thick before, I think, so now I should be able to come in. All shift, click, and now they should be a little bit thinner, and that's what I'm looking for. Alright, now if I press the E button, you can pull them back holding the shift. There we go. I'm much, much happier with those. They look very nice. Now, let's grab this part here because I want to use these. So I'm going to press L, L and L. You can see they're going to be very big on there, I'm going to press Shift D, bring it over, and then going to press the P bone. So P selection, tab, C troll, all transforms right click, set origin to geometry. And then what I'm going to do is just press one and then need to make these a little bit smaller just to fit into here. Now, it's up to you how you actually do that. I'm going to pull them out. I could just press S and X and bring them in. But I think then they look a little bit too chunky for this door, I think. So instead of doing that, I'm just going to press the S button and bring them down very, very slightly, making sure that they're fit in place. Like so. Now, I want to put these on the other side. So I'm going to come on over, add a modifier and bring in a mirror. I'm going to right click Set Origins three D cursor, and there it is. Come on down then, and let's supply that with Control A. And finally, it's on Note point, not not three. This one's on not point, not not three, which means then I can grab this one, grab this one, press Control J, join everything together, and everything then should be beveled the way we want it. Now, the last thing then is this actual window here. So let's just move it over to In fact, you know what, we'll leave it there because we still want to do this. And what I'm going to do is I'll just bring in a circle. So let's bring in a circle. Let's put it down to we might be able to get away with 20 on this, bring it down to 20. Let's rotate it. So X 90. Let's bring it up into place, make it much, much smaller, and then just pull it out. Press one, and now you should be able to see it, make it smaller again, and then press S and, like so, and then let's fit it into the plate. So you can see I need to be a little bit smaller. Like so. And yeah, I think that's going to do it. So now I can just press Tab, make sure we've got Edge select on, press the F bone, and then we'll create a face. And then I just want to press E and pull it all the way through. Now, if it's red, just press L, shift N, just to spin it round. And all I'm going to do then is grab this and this and press Control minus, like so. And then it's just going to cut that through there like so when we've got our actual window. Now, at this point, you can see that it's probably looking a little bit big this window. So because of the way we've done it with the bull cup, we can actually now bring it down. And make it a little bit smaller, pull it out if you want to. You can make it much more intricate if you really want to do that. Once we've done that, then let's come to this part. Come down to your Boolean and click Control A, and then this actual boolean, I'm just going to delete because I'm not going to need that anymore. Now, from here, then we need to actually fix this part. So what I'm going to do is I'm going to come in with Edge select. I'm going to press Alt Shift, click Alt Shift click and make sure I've got it going all the way around. What I'm going to do is right click, come down and bridge edge loops. Now, edge loops only works when we've got nothing in between them. So nothing in between them. We've basically got two lines, you know, next to each other, but nothing in between. So right click and bridge edge loops, where's Bridge edge loops. Here it is. Bridge edge loops like so, and there you go. Now, what I tend to do is I'll press Controla. Left click, right click. And then what I'm going to do is just pull this forward, and I'm going to press the F but just to bring this in. So F. I don't like to leave this window where it's just a window based in this part of the wood. I don't like to leave it like that. So what I'm going to do is just press the IB and bring it like so, and then I'll come back and Alt Shift click and then just bring it out. I'm going to press E, just to pull it out. You can pull it out further or more in. I think I'll go more in like so. There you go. Now you can see that just makes you look a little bit better. All right, so we're pretty much done with this. Now I want to do is I want to obviously bring in some materials. We need a glass on here, but mainly it's the same materials as what we had on here. We already know these are pretty much unwrapped, but I'm going to unwrap them anyway because it's gold. It's very easy if I go to here, let's see if that'll work first, actually. It's very easy. If I just go to here and see you can't see anything on there. There's no grime. Well, there is grime on there, but you can't see it. It's not like the wood is. So basically I'm going to just press U. Smart UV project, click Okay on the rap. And then what I can do is press Tab, grab this one, press Control L L, and we're just going to link materials like so. And now we can see we do have some problems. We need to turn it all the way around, basically. So if I come in, UV editing. Let it load up a 90, Zoom into it. So dot born. And here we are now. We've spun it all the way around. You can see that looks much, much nicer. Now, there is a part on here that I actually want to fix, so I'm just going to come into this part going all the way around, like so. And I'm gonna come over here, then just press T, spin that round, spin it round again. So 90. And remember how I showed you how to straighten everything out, and there we go. That's looking much, much better. Okay, so we've got a dozen. Now we need our glass. So if I come over and I'm going to pull this over, go to my material. You can see we've got two lots of metal gold here. Let's take one of those off because we don't need them Bf on. And then what we'll do is we'll press the plus button down arrow, and we should have one that says glass green. And then all I'm going to do is come into this part here, just grab it, click my glass, click a sign, and there we go. Now, one of the things we can see is this is looking massive on here. Now, if I bring it out, you can see now I can get it to the way I want. So something like this is looking much much better. And because it's so small, you can also see that the dirt around here as well is much, much smaller. Oh, yeah, that's looking pretty nice. You could split off, you know, the glass green. So in other words, make another one and change this to a different color. I think I will show you on the next lesson how to do that because I think that's actually important. So we've got glass green here, but we will change it. And then it'll change right across the board to glass. Blue. Like so. Ops. Let's take caps off. So. There we go. Glass and Blue. Like so. Okay, so on the next lesson, then we'll change that material. And then what we'll do is we'll work on this fine do, and then we'll get to work on the gate. The gate is very interesting to create. You're gonna love creating the gate. It uses a lot of skills that we've learned, and when it all comes together, it just looks really nice. Alright, if you want, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 88. Modeling a Tall Door with a Radial Frame Top: Welcome back everyone to blend the building master class from concept to final render. And here is our door. Now, what I want to do is I want to actually add another material using the glass that I already had. So what I'm going to do is press I'm gonna pull this. In fact, you know what? I'll make it easy for us. I'll go to Shady M because then it's actually, you know, it's much further out here so we can see what we're doing. Let's press Plus. And what I'm going to do is call it glass glass green. Let's call it green. So. And then what I'm going to do is come to this one. Click the little down arrow, copy material, come to this one, click the little down arrow, paste material, and there we go. Now we've got glass green and glass blue. Now, if I zoom into this, what I'm going to do now is come into this one, grab it and you can see it's on Glass blue. Click on Glass Green, click a sign, and then you'll see nothing happens. And the reason nothing's happened is because it's still classing it as the same because we copied it and duplicated it. Now, what I'm going to do is just minus this one off. So in object mode, minus this first one off, the blue one. And then what we're going to do now is come in. We're looking for the emission color. So the emission color emission color A and B, this is the one that we want to do. So if I now come in, and instead of it being on blue, let's change it to a green like so, and there we go. It's just as simple as that to change it. And you might also want to come in and just make it a little bit darker. It is a door, after all, so it doesn't want to be that dark cause the light, you know, it would be from the hallway or something, so it's not going to be like being, you know, like Yankee Stadium or something like that. Okay, so let's go to File and Save. And then what we're going to do is return back to modeling. So there is our two doors. And they were done pretty quick, as you can see, I think, two or three lessons, and that's it. We've got our doors. And now what we want to do is this door here. So you can see pretty much the same thing. So I don't really want to move them right over here. I want to keep them next to each other, apart from this top, which has got some glass in. So this top looks a little bit more complex, so let's make a start on that. So again, first of all, we'll press Shift D. And this is the last door. We've done the windows, and we've done the doors. And they are kind of, you know, they're pretty intricate things, and, you know, you have to do three of them, and they're kind of the same. So once you've done those and got those out of the way, you've got some archers, but they're a little bit easier to do, to be honest. So the other stuff quits more unique, you know, and not so time consuming. So just take that into account. Okay, so let's come in then and bring in a plane. And then what we'll do is rotate it round. So R X and 90. And the other thing I want to do is just make sure that face orientations on. So I've got no red depot from at the back there. So everything's looking good on there, anyway. And now what I'll do is, I'll just bring in the dimensions. But first of all, as we always do, let's reset the transformation. So control A or transom set origin to geometry. Now, this door is very tall, and the reason it's very tall is if I come to My. Let me just open it up. Here it is. So if I come to this, why is this door so tall? You can see this what we're creating. If we come on over, this is this door here. So this door is here. Now, we're only going to use this door and this door. I think we only use them once. I'm not sure if we make this door a little bit smaller on this one, but I'm fairly sure we only use them once, so at the front. So that's what they use for. So I don't know if we have a better view here yet. It's this door here, what we're trying to create, but you can see it really sets the tongue for the front of the building and then going up. All right, so let's put that aside. We know exactly what we're doing now, so that's good, and then we can start building it. So when you're asking, Well, why am I doing this so tall, now, you know. So 4.23 meters, it's going to be the height and the width is going to be 1.71, like so. All right, so let's press one, let's bring it into place. So huge, huge door, as you can see, now we want to know where the actual top of this is going to go. So I would say that the top of here. So the band that goes over here is going to line up with this. So let's do that part first. So what I'm going to do is I'm just going to press Control R. I'm going to bring it up, so halfway between. So it's kind of halfway and then we're going to press Control B and pull this out. To make it like so. And then what I want to do is the dome that goes around this, I only want to really I only want it really to come from round about here. So I'm going to press Control R, bring in another part, left click, right click, and then bring it down a little bit like so. Then come in and grab your vertices, and then we're going to press Control Shift and B, bring them out. Like so. Let's make them a little bit more. And then what I'll do is I'll come now and change the angle to how I want it. So I want it a little bit more dome shaped, so let's pull these out, then, just so they're not quite touching. Something like this, I think, looks great. And then we should have maybe I've gone a little bit too far. Let me bring them in. Just a little bit like so. Okay, so now I can press A, as you should always do, and then clean up and merge by distance, two vertices removed. And this is what we've ended up with. Now I want to do is I want to bring this in, and I want to make a middle part on here. So the way that I'm going to do it, first of all, is I'm going to come in and I'm going to get rid of this. So I'm going to press delete and dissolve edges like so. And that's not going to work, so we're not going to do that. What we're going to do is split this off. So I'm going to press Y, split it off, tab, control A, or transform set origin to geometry. And then what I'm going to do now is bring it in. So I'm going to press the i button to bring it in, like so to where I actually want it. So something around there. And now what I want to do is I want to actually create bands going into here from this center point. But the way I'm going to do that is I'm going to come to Edge Select, grab these two edges. So these two here, right click, subdivide, nothing will happen, but we have got vertices there, so this verte is here, this verte is here, and you can just press the JB and join them up together. Then what we can do from there is we can come now to this one here. To this one. Press the JB, and then we can come from this one to this one, press the JB, and then this one to this one, J, and then finally this one to this one. Press the JB. Now we want to do is we want to get rid of this part here because it's going to interfere with our insert, so we go to grab all of these, like so, delete and dissolve edges. And finally, then you can see now all of these are split, so they're all on their own. We can come in come to this one, press C, and then you can just go all the way around. And then you're just going to press the I button, press the e button again, and then you'll end up with that insert like so. And there you go. That's looking pretty nice. Now, the one thing I don't like about this is these ones on here, they're a little bit too sharp going in. So I'm actually going to round those parts off. Once I've round them off, then we've basically near enough got this pot finished. So what I'm going to do is I'm going to come in. To each of these points here. So this one, this one, this one, this one, this one, and this one. And all I'm going to do is press Control Shift and B and just round them off a little bit. So I should be able to round them off. Now, if they're not rounding off properly, just press Tab Control A, transform set origins, geometry, and then just go back to it and let's see if I can do it a little bit better now. Let's round them off a little bit like. So if I increase it as well, you should be able to see that it's looking a little bit more rounded now as you can see, and that to me is looking way, way better than where it was before. Now, I'm going to try that again. I'm going to press Control Shift B. Just drop it down. I'm going to turn it up one, two, and then just pull them out, and there we go, I'm happy actually with how that looks. And now, finally, we need to split all of this off because, you know, it's a little bit difficult to work with it like this, and then we can actually start pulling it out to the same thickness as these doors on here. So what I'm going to do is I'm going to actually come in. I'm going to first of all, get rid of these parts here. So I'm going to come in. These are going to be my glass, of course. So what I'm going to do is just press Y and then hide them out the way. Now, this is going to be my wood, as you can see. So what I want to do is I want to actually bring in First of all, I'll bring in a seam, so Alt Shift click, bring in a seam. That then will make it easier just to split it off for me, like so, and I'll press right click, Mark a seam. Then what I can do is now I can split this whole thing off. So if I press L, I can split it off now. Why? And then it's all split off. Now what I want to do is I actually want to split, you know, most of this off. So where is the wood going to come from? Where is it going to go up to? Because we don't want just wood going, you know, all the way around here. It wouldn't work like that. It would work where we've got the wood going into this part here, for instance, and then coming down to here, and maybe all of this wood is joined. You would then end up with this bar going across, and it would probably come into this part here. So we need to think about that logically. So I'm going to do, first of all, the corners, of course, would be where the wood kind of comes together. So I'm going to write click and Mark asm. Then what I want to do is come into here, Alt Shift click, and you can see that's not where I want it. So I want it coming from here to here, from here to here, and then right click Marcosm. From here, then, I should be able to come in now and split this off. So this one and this one, Y, hide it out of the way. And this is what we're left with. Now I want to come to these parts here. I'm going to press Y, hide them out of the way. These parts. Now, the thing is, you won't know, but if you touch like that, they're still going to be joined together. So you're better off just doing them one panel by one panel. So Y, H, hide them out the way. One panel by one panel. You can see I just want to do this side because they're touching there. So why, hide them out of the way. And then finally this one here, why hide them out of the way. Now, I'm okay with having this wood, you know, all of this being one part. It's up to you if you want to split them up further, but I'm okay with it being like that. The one thing though I do want to do is put one more in here and here and right click, Mark asm. And then all I'm going to do is come to this, press Y, hide it out of the way. And finally, is this split up from here? Let's just try and yet can see, it is. So that's all splayed now. Now, let's surpressOtH, bring back everything. And the only problems we might have now is with these parts here. So when we come to unwrap it, we might just need to unwrap these and spin them round separately. But that's for another time to worry about that. What we want to do on the next one then is, first of all, get this out to the size it's going to be, finish this top off, you know, all the things we need to do, and then we can actually work on the bottom part of the door, which we know is way easier than the top part. So we're attacking the hardest part here first. Let's go to pile then, save, and then I'll see you on the next one, everyone. Thanks a lot. Bye bye. 89. Finalizing Tall Door with Detail and Material Accents: Welcome back if you want to blend the building master class from concept to final render, and this is where we left off. Okay, so what I want to do is now, I'm just looking at this one. I'm just wondering if I want this to be put further back instead. I'm just thinking, let me just have a look at all of this. Yeah, it's actually all together. Where does it come from? There we go. I might actually just pull this back. Yeah, and I think it looks way, way better like that. Yeah, when I leave that one like that, now I'll do is I'll grab this one, grab this one, press Control L, and I'm going to link materials, Control L and copy modifiers. And then it's come back to this one. And before pulling out, I'm going to press Control layer or transform set origin to geometry. Now, when I come in and grab all of this, so let's grab all of this part and pull this out, so I'm going to press seven to over the top. I'm going to pull it out round about to this point here. So I'm going to press E, pull it out to roundabout here, like so you will see now it's already got the splits in there for the actual wood. Now what I can do is I can come in to all of these parts. I'm just going to grab all of this. So if I just grab all of these, I should. Kind of press Control plus. No, I can't. So I'm going to press L on this part in here. Going to grab it all. It's a little bit tedious grabbing it. Oh, but still, this one here. I'm going to pull them forward. Like so. Now what I want to do is again, grab the wood. So I'm going to grab all of these wood because if we look at this, they're all level with each other. So all of these are level with each other. It's just that they're actually split for the bevel, which you'll see in just 1 second. So instead of going back, I just need to minus off my glass. So I'll just minus off the glass, and then I'm just going to press E pull them out to where I want them. If I press tab now, you can see this is what we've actually got, and that is looking pretty beautiful. Now we can come to our glass finally. And grab it and just because we want plain glass, we can just pull it forward now into place. And there we go. You can see we've got some beautiful wooden parts here. You might not like these parts here, and we can you know, if you don't like that, we can actually join it up. So this is like one wooden piece if you want to. I'm just wondering whether I actually want that. If I come back, so I will show you how to fix that if we come back before pulling this out because these are basically we want to join basically all of this together. So if I come in, and grab all of this. So if I come in grab all of this, grab this one and this one, I should be able to come in and press mesh, clean up. Let's see if I can actually do it. Merge by distance, nine vertices. Now, if I come in now and try and grab all of this in Edge select, it should should grab the more coming down here, as you can see, because they're not split anymore. Then what I'll do is I'll come in. I will keep still, no, I won't. You know what? I'll do? I'll come in and grab it going all the way from there, all the way from there, all the way to here, and then I'm going to right click and I'm going to clear scene. Now finally, what I'm going to do is I'm going to come in, grab the whole thing then. So grabbing each of these because I think it actually looks better when this has joined. And then what I'm going to do is press E and pull it forward into place, press the tab button. So tab. And now we can see what that looks like. And I think, Yeah, you know what? That actually looks a lot lot better. But press tab now. Yeah, I think that looks way, way better than where it did now. And now just with the glass. So if I come in, have each of these glass parts. And then what I'm going to do is pull it forward into place, like so, and there we go. That is that bit of door right, click, shade Ato smooth. Yeah, it's looking really, really nice. Alright, so now we've got just this part here. So we've got two long ones and one small one. So if I press one, let's first of all, do what we always do. Now with this one, we do have a bottom on it again, so we've got a bottom like this. So just take that into account. We do have a bottom, as you can see on here. So we'll do exactly pretty much the same thing. So first of all, though, we've got our main base in here. I can press Control, left click, right, click, Control B, bring it down with the scroll of the mouse wheel, do something like you. And then what we'll do is, you know what we'll make it, something like that. And then we'll do the middle part. So control. Left click, right, click Control B, pull that out then. And then we've got one in here. Now, for such a large door, it only has one, you know, one of them in here, not three like this one, but I think actually, it looks good. It looks imposing, but it's up to you if you want to actually change, you know, your dough. Now, what I'm going to do is press Control art, bring it down, and then press Control B and pull it out, like so. And then we want a bottom part in here. So control, bring it all the way down. And there we go. Alright, so now let's start pulling all of these things out and splitting them off. So first of all, let's come to this one, and we're going to press Y, delete, limited dissolve. Then we're going to come to this one all the way down, this one all the way down, Y, delete, limited dissolve, and then we'll come to the middle one all the way down, and then Y, delete, limited dissolve. And then finally these two, and we're just going to press Y on those. So Y on those. Let's start then with the toppot and what we're going to do is pull it out. So E, pull it out just under there, so we've got that little edge there, and then we're going to come to these parts and then E, pull them out, just under that little edge there, and then finally these parts, we're going to pull out. So we're going to pull them out no quite as far, so a little bit further back, like so, and then these parts, we'll pull out through here. Like so, and there we go. Now we've just got the center in the center, we're going to do exactly the same thing as we've done with these. So we'll come in. You know, at this point, you could really play around and change, you know, how you want your doors to look and all of that. You can play around with these parts, I mean. So what I'm going to do is I'm just going to pull these out, first of all, pull them out a little bit to round about round about here, I think. And then what we'll do is now if we move this door over a little bit, we can see we've got one there, inner, outer, and then out. So let's actually do that. What I'll do is I'll grab these. I'm going to press the eye button to bring them in. So, you know, before I do that, let's resettle the transforms as we normally do. Like so. Then we're going to press one, and we're going to press the eye button to bring them in. Like so. Then we're going to press the eye button again to bring them in, like so. And then we've got this one here, so we press the eye button again to bring them in. Like so. Now, let's bring all of these out. I'm just going to press Control plus to grab all of those. I'm going to press Alt Shift click then, like so. And then what I'm going to do is pull these out. So I'm going to press the E bond to pull them out, like so. And you can see now we've left this part behind. So this one in here, we're actually left behind. It's up to you. I want mine a little bit further forward than that. So I'm just going to grab both of these now in the center. And I'm just going to then pull these forward because I think they're a little bit too far back. So something like this. Now I'm going to do is pull these out. So we're going to pull these parts out. So these are these parts on here. So I'm going to press the E button to pull them out. Like so, and then I'm going to squish them in on the z. So S and Z, pull them in, and then S and X, pull them in this way, like so. And finally, then let's put the center parts in. Let's press the I button then to bring them in, and then the I button once more to bring them in. And finally, then let's actually create this part here. Now, again, I might have gone a little bit too far with this part, so I'm just going to go back. I'm going to press I, bring them in with shift. Yeah, and I think something like this. And then Alt Shift click Alt Shift click. O shift, click, Alt Shift, click. And then finally pull them back. So I'm going to press E. Holding Shift, pull them back into place. Now I'm going to do is right, click shade at smooth, and there we go. That is our actual door. Now, the one thing you can see is on here, these are not so flat. You can actually come in and bring this down. To flatten them all off so you can bring it down to there, and then it'll flatten everything off. I'm not sure if we've got the same on these, but we can actually come in and do the same thing. So if you put it on 24, you'll see that it flattens everything off and come to this one, put it on 24, flatten all those off as well, and now you can see they probably look a little bit better. Okay, so we've done all that. We've got our door in. Now, let's get our handles in. So we'll use I'm looking probably use better off using these handles. So let's come in and then we'll press L, L, shift D, bring it over, press P selection, and then control A or transforms set origin to geometry, press one. And what we want to do is we want to put it in the center of here. I'm going to make these a little bit bigger, so I'm going to press the S bone because it is quite an imposing door. So let's put them round about here. Put them into place, then just make them actually fit the door. Like so. And then what I'll do is right click Set Origin three D cursor, adding a modifier and bring in a mirror. So I'm going to bring in the mirror, and there we go. And finally, let's join it together. So Control J, join it together. After after we've added in our mirror. So Control A, shifts leg control J, join it together, and then Control A, all transforms set origin to geometry, and there is our dot. Lastly, then we just want to grab this part. We want to press Control L and we're going to link materials. And now click this on and there we go. That's what we've got. So on the next one, then we need to unwrap this, of course. All of it. Then we need to put our glass in, turn the wood around, and all that other good stuff. And then we have our final door actually done. Doors out of the way done, guys. Let's go to file and save everything out, and I'll see you on the next one. Thanks a lot. Bye bye. 90. Creating a Fence Gate with Stylized Geometry: Welcome back, everyone to blend the Building Master class from concept to final render, and that's where we left it off. Alright, first of all, then, let's come in and actually bring in our glass. I'm just going to select each of these coming over to our material, click on our glass here and then click Assign, like so. And now we can see if we go to the UV map what we need to actually do. So first of all, though, it's very easy now to come in and grab everything and spin it round. So if we go to UV Editing, now, I would say, let's put it onto rendered that normally if you want to grab a certain part, obviously, all you can do is just select all the ones, which have got gold or, you know, if I come in and select, you'll see it selects all those. If I then deselect everything, deselect the glass, you can see select them like that. Let's select all the wood, then. Click Select. Not a sign. Don't click assign. Just click Select. And then A, and you can see everything here actually, it's not unwrapped properly so let's actually grab it. Let's see if we can unwrap it a little bit better. We go. Now it's rap much much better. Now if I press tab, we can see, yeah, that's looking way, way better. Let's press tab then again. R 90, spin it all round, and now you can see, all that woods looking really, really nice. And now let's come to our glass. So I'm going to click Select on our glass. A, then, and then what I'm going to do is make them way, way bigger like so. And there we go. You can see now that looks beautiful. Okay, so let's go back to modeling. And what I'm going to do then is get these because they're nothing to do with the gate whatsoever, so I might as well just get all of my doors. Let's put them over here and let's actually come in and name them. So we'll call it large square door. So let's first of all, they'll put them in their own one. So I'm going to press M, new collection, doors like so, and then I'm going to come to this one first, and I'll press F two, and we'll call it large. Well, first of all, we'll call it door because then it's easier to find large square. Like so. And then we'll come to this one. These are way easier to name, by the way, than all those little parts that we've done before. So F two, we'll call later door small, arched. And you've guessed it. This one here, we'll call door Lodge. Arched. And there we go. Alright. So now what we want to do is we're coming over to the right tied, select them all right click, mark as asset, go to our asset manager, make sure run current file. Come on down then to where it says, we haven't got one that says doors actually, so let's make one. So doors. And then bring them over assigned, grab them, and drop them in to doors. Make sure we save or work. So file and save. Now, let's go back over to modeling because we know they'll be in there, so that's perfectly. They're perfectly done now. And now, we're going to be working on our gate. So have a click on this, zoom into it, we can see that there. Again, whenever we're looking at this, let's break it down first. You might not know how to do it, but you know that you can break it down. That's for sure. So with this, we're looking at this bits quite easy. So we can see that all of these, they follow this along, so these parts, they just look like they're square got a tip on them, easy enough to do. Then we've got the bars going across. Easy enough to do. They're just a cube, basically. Then we've got this bit. How would we do this? Easiest way to do that is probably to use a curve. That then will make it easy. And we could probably use the curve to do this part and use the same curve to do these parts as well. So we'll probably do it that way. And then we're moving on to here. So this bottom bit, cube extruded, easy enough. This bit then going up is a cube with an insert and then extruded inwards. We've got four things on here, really, really easy to create this stuff. So when you break it down like that, you can see, is it really that hard to model something like this? Probably not. Then we've got this bit. Now, we already did a lot of this work with the actual pillar. So we know we can already get pretty much all of these shapes that we need. And finally, we've got a sphere that looks like a sphere on top of there. So you can see, when you break it down like that, it's very, very easy to do. Now, what about scaling? That's the other thing. So we'll actually get a scale to work on, and then what we'll do is, I think I think we'll probably work on the base pillars first, and then we can work on the gate after rather than doing it the other way round. So we'll do it that way. So let's come in, and what we'll do is we'll come with our pillow. So first of all, I'm going to bring in a cube. Make sure you cut in the sense of so shift day, bring in a cube. Let's then come on down and make it around the right side. So what I want to do is not 0.49. So not 0.49 on the cube, like so. And then what I'm going to do is I'm going to bring it down then on the z. So EN Z, bring it down. Now, this is the bottom then of our actual cube, and the height that we're actually going for on here is going to be 3.21 meters. So if I press Shift D and then put this over here on the z at 3.21 meters, that is the height that we're actually going for. So I'm actually going to put this side. You know, let me just check and make sure I'm happy with that. I'm going to check it against my door as well if I come in. Yeah, you can see it's quite an imposing gate, so pretty imposing that gate. And it's obviously a massive building. So, you know, a big gate like this wasn't actually out of the extraordinary. I was more of the norm. So what we're going to do now we need to stick to this. So first of all, we'll make the actual base. So if I press one, just make sure that it's stood on this part here, and then what we'll do is we'll just shrink it in a little bit and then pull it out. So what I'm going to do is I'm going to come in. Alt Shift, and click. I'm going to press Alternss and just bring it in a slight bit, and then we're going to press Control on, bring it down then to where I want it, and then we're going to press Alt Shift click, and then E enter. And what I want to do is just bring it for a base in it. Alness bring it out. Like so. Now, again, if it's not coming out, you know, how you want it, let's zero everything out. So if I grab both of these, sorry, this one, press Control plus, and then S Z zero, that then is going to zero it out. If I come to this part as well, Alt Shift click S Z zero, that then is going to zero that out, as well. And then you should end up with something that you're looking for. Now, you can see we were looking for not 0.49, and you can see we're on 0.489. So let's put it on 0.4 Ops. 0.490, and there we go. You can't even see any difference there. Now, next of all, let's make this then a little bit taller, so a little bit taller. And then what we're going to do is bring it in. So, I, let's bring it in, like so. And then what we're going to do is press one, and I want to bring it up. The pole, so the actual top on here, we need to include that in here is probably going to be this height. So what I'll do is first press tab, Shift A. Let's bring in a cylinder. If we bring in a cylinder, doesn't matter about the vertices right now, we just bring it in to get an idea of how tall the top of it is. So if we bring it in even more, press S ands, I'm going to say that the top of it is going to be roundabout this sort of size. So something like this. Now, that means we've got a good idea then of if we pull it up to here, we've got a top on here coming from here, and then the gate going around here. So let's give that a try. So what I'm going to do is come back now to this, and I'm going to press one again. And then what I'm going to do is press E and pull it up. So I'm going to pull it up to here, and then this other part. So this will be where this actual top is. And now you can see it looks a little bit different now. You can see now that the gate is coming up to here. So you can see this is going to be where the gate comes up to. So his head could be where the first bar is. I think I'll pull it up a little bit more like so, just a little bit. And then what we'll do now is we'll actually create the first part of this top bit. So what I'm going to do is I'm going to come round again. I want it to be round about the same as this bottom one down here. So I'm going to press E, enter, S, and pull it out, like so. And then what I'm going to do is pull it up. So I'm going to pull it up E to pull it up, like so. And then what I want to do is I want to pull it up a little bit more, but I want to split there. So if I pull it up to here, I can get a split there. Like so I'm going to put split nine in the middle. Control, left click, right, click. Now I'm going to come in and alt click and press the Sp and pull it out. So, to give us that nice actual curve, as you can see on this part here. And then what we'll do is now we'll bring this part out. So I'm going to press E, enter S, pull it out, and then E, pull it up, like so, and then E, pull it up, and then finally S, pull it in. And there you go. You've got that nice actual part there. Now, it's up to you whether you want to bring any of these parts in. You might want to come in, for instance, and press control or left click, right click, press Control B, and bring this bit in a little bit. So if I press E to alter ness, we can bring it in a little bit, like so. Let's put it in an object mode and then we can really see what we're doing. And let's also press Control layer transform set origin to geometry. Let's make sure we've got cavity on, as well. Always make sure cavity is on. And finally, then let's give in ad modifier generate a boolean, and let's put it onto not a boo Not a boolean. A bevel. Let's bring in a bevel, not 0.3, like so. Alright, now we can really see what that's actually looking like. And actually I actually like this little pot that I've put in there. Next of all, then, let's think about these inner parts. So we only want an inner part on the let's have a look on the front and the back. So if I come in, I can grab this here, come around the back, and then I can press the I button and bring these in like so. And then what I'm going to do is I'm going to press E, enter, and then S and Y because we're following that Y axis, and I should be able to bring them in as long as I've grow on median point. S and Y, bring them in. Like so, and there we go, that's what you should end up with. And already, you can see this is looking pretty nice. All right, so on the next lesson, then, in fact, you know what? Before that, we'll just come into this part, press the I button, and then we'll press E and pull that into place. So ready for that light to actually go on top of there. All right, everyone, so I hope you enjoyed that. I'm going to save out more work, and I'll see you on the next one. Thanks a lot. Bye bye. 91. Modeling Decorative Fence Details with Curve Modifiers: Welcome back everyone to blend the Building master class from concept to final render. Now we're going to do is we're going to create this part on top of you. Now I'm going to show you a couple of ways of doing that because one of them is a real easy way to actually create something like that. The issue is the topology. Sometimes it stretches the topology out a little bit, but I'm going to show you, in any case, just so you can see what's actually available. Now, the first thing I want you to do is go back to where we've got our extensions, and the one we want to bring in is called extra curve objects. So do a search up here, extra curve objects, then come down and drag and drop and drop them into blender, exactly the same as we did with the other add ons. Once you've got that, then if I move my guy to the side, I'm going to put I'm also going to move these to the side as well. Like so, scrub all of these, move them to the side. And now we've got our cursor right in the center. And now if I press Shift A, come down to where it says curve going over, and the one we want is under simple, and we want point. And the moment we put point on, we should then come over to the left hand side, click on draw. And finally, then what we want to do is come to where it says surface. And at the moment, you'll have surface on fifth 70, put this around 15. And now you should be able to do is you should be able to draw an actual curve. So we've got our reference here. We can see how it's going to come up. So just kind of draw the same way I will draw it. So imagine that this is our line here. So this is the center of this part here. So what I'm going to do is I'm going to come. I'm going to draw it up, going out, coming back, coming in, coming in like this, coming in again, going up, coming in, like so, coming out, then, going around, back in. You can make it as complicated as you want. I'm going to make you round, and then I'm going to put a top on. Like so. So something like this, as you can see. Alright, so now we're going to do is we want to press Control A or transforms, right click, in fact, we can actually do that because first of all, we want to right click, and what we're going to do is convert to mesh. So let's convert it to a mesh, and you will see now that this is being converted to a mesh. Now, I would say, at this point, it's a little bit too complex. So let's just go back just for 1 second so I can show you what I'm going to do. So let's go back for it to be in a curve. So here's the curve menu. And instead of that, we can bring this down still. So let's not have it set so high. Let's put it on something like let's see where we're going to go up to, so eight or nine. Let's put it on nine for now. And then what I'm going to do is right click and I'm going to convert it to a mesh. Okay, now what do we do? So at the moment, we've got a curve like this, what we're going to do now is Control A, all transforms, and then that's coming over. Add modify and the one we want is generate, and we're going to generate a screw. And there we go. We can see that we've created a top that looks pretty decent like that one. Now I can do it, I can simply coming over, press Control A one. And then I've actually got my top of this song. Now, you can see the problem we have with doing it this way, even though it's a really, really easy way to do it, is the fact that our topology isn't even, and it's actually screwed on there. Now, to fix this, it actually takes quite a bit of work to fix this. So instead of doing this, I prefer to do the old fashioned way. But I'm showing you this so you can play around with it to your heart's content because it's really nice to actually test out different things that you want to create. So now we've got that. Let's actually delete that because we're going to do it then the old fashioned way, and I'm going to show you how to do that. So this is the sizing that we want. So what I'm going to do is I'm going to delete that way. And then I'm going to grab this. I'm going to press shifts, cursor, sorry, selections cursor. I'm going to press one then, and I'm going to bring it up, and this is the scale that I actually want. So once I've got it in the center now, I'm going to actually shift D, move it to the side, like so. Alright, so now with this, we want it to be this kind of height going all the way up. So what I'm going to do, first of all, is I'll bring out, you know what? We'll start it from the top. So I'm going to come to this. By select, come on down, and let's start the first point over here. And then what we're going to do then is we're going to bring it out, so I'm going to press E enter S, bring it out. And then what I'm going to do is press E, and bring it up a little bit, just to add a little bit of a bevel on there. Then what we're going to do is press I, bring it in. And it's going to be coming in to just before. So like a third before that. And then what we'll do is press E, bring it up. Then we'll press the S button. And then what we're going to do is press the I button, and then we want to press E, and then I'm going to press I'm going to press E again. So let's bring it up. Let's see how close we are now so you can see this is the height that we actually want it. And we brought you up here. Let's bring it up a little bit more. And then what we'll do is we'll bring it out. First of all, uh before we do that, let's bring in a few edge loops. So maybe four, left click, right, click. And I'm gonna come grab it on the top, then. So grab the top. Put on proportional editing, and we'll bring it in with the root, maybe. Let's try the root. So we'll press S, bring it in. And that there maybe is the way they'll want it. Something like this, so you can see now I've got a nice curve going up. It's up to you whether you want it to be curving a little bit more. So if I put it onto sharp instead, you will see maybe not that way. Let's try it onto. We've got Rube inverse square. Let's try that. Yeah, maybe on that one. Like so. I think that looks a little bit better. I'm going to try 1/1. Gonna try my sphere. Yeah, that's the one I'm looking for. That is the one that I'm looking for. That looks perfect. Okay, so now we can see this is the height that we want it. Let's press E then. And then what I'll do is bring it out without portion on just press O, so bring it out. And then we're going to press E, like so. And then we're going to press E again, S, bring it out a little bit more, E to bring it up, and then S, and then E, bring it up to there. And now we're working now on the top bit. So first of all, let's press I to bring it in. And then E to here. And again, I'm looking how close I'm to the top of there. I can make it bigger I know that. I can make it smaller and make it fit. But at the moment, what I'm trying to do is just bring in the kind of shape of it. If I press tab now, right, click, shade Automot autosmooth, you can see the shape that we've actually got. Now, I want to on this part, I want to bring this part out. So I'm going to press tab control law, left click, right, click, and then just press the Span. You know what? I'm going to I think, instead of doing it that way. I'll come in. Alt Shift, click, E AlterS, bring it out a little bit. Make sure that we zero it off because you might have to zero it off, so I'm going to grab the middle Control plus S, Z zero. Just make sure. I'm sure this bit is zeroed off, so I think we'll be okay with that. And now all I want to do is bring out this part. So Alt Shift, click, press the S but, bring this part out. Now we're on to the kind of mean bit. So what I'm going to do is I'm going to pull it in a little bit, so I and then E and then E and S. And this is kind of the main bit before we get to the top, so the top of here. So what I'm going to do is I'm going to pull this up now, and I want to make this a little bit rounder, so I'm going to press E, pull it up, like so, maybe like this here. And then what I'm going to do is control, making sure I've got one in the center. So I'm going to bring in five edge loops, left click, right click, grab the center edge loop, and then press O to bring on proportional editing, press the S but, and there we go, you should be able to then bring it out just a little bit like so. Now, let's come in and put a band on this part. So again, we'll turn off proportional editing. Althip click Alt ship, click, E, enter lns, bring that out. Like so. I'm also going to press N's E and pull that in. And now I'm actually on to the top. So I'm going to press I, bring it in. E, bring it up, E, enter S, bring it out, like so, and now we're creating this kind of top on there. So what I'm going to do is, again, I'm looking at the sizing. I can see it's round about here and it has a top on there. So what we'll do is we'll bring it up to here, and then I now want to bring it in. So bring in some edge loops. Left click, right click, come to the top of it. Okay, press one, press the S button with proportional editing on. So do we want it like that? I think I want it bend more like this. So, that's probably going to be on sharp. Let's try it now. Nope, that's the wrong way around. So let's go to Sphere. Is that gonna give me what I want? Maybe it's not quite enough. I actually want it a little bit more. Let's try root. I want to keep that bit there. Still not right. I'm just going to see if I can find the right one. Let's try linear. No, they're bending in the wrong way. So the last one, let me try smooth. No, there's definitely not the right way. I'm going to try root again. Root Roots seems to be the closest one to what I actually want, but it feels like we've not got enough edge loops down at the bottom, so I'm going to press Control lot. Drop another edge loop in there, and then I'll come in now again. I'll try it again now. So let's see if bring it in. There we go. It's coming in a little bit better than where it was. So yeah, something like that. If it doesn't work, you can always come in and just do it yourself. So we'll have it on here. We'll bring this one in. So I'll show you how to do it. What I tend to do, if I'm doing it, I'll come in, first of all, grab this. So I'm going to come from here, and I want it going. Like this. So what I'll do then is then come in, grab my edge loop. So this edge loop here. Oh, ****, click. Without portion ding on S, bring it in. Oh, shift, click, bring it in. Oh, shift click, S, bring it in. And oh, shift, click, S, bring it in. And you can see just how easy I made that. So S, bring it in. And there we go. Now we just want to top on, and then we need our ball on top of there. Again, we'll come down and take this off. So note Minus off. We also had a ruler on there as well. So let's minus off our ruler data. And there we go. That's what we've got so far, guys. So you can see that's looking pretty nice already. Now the next one then, let's just finish off the top of this, put on a little bow. But you can see it looks a little bit like a pawn. There are a few other things that we want to do on this, but we'll do those on the next one. So I'll do is I'll go to File Save on my work, and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 92. Adding Fence Supports and Gate Pillars: Welcome back everyone to blend the building master class from concept to final render. Now, let's come in, and what I want to do is I want to create a top on here. So what I'm going to do is just press E, enter S, pull it out, and then we're going to press E, pull it up. And then on this top, I just want to pull out the center of it. So control all. Left click, right, click Control B, bring in a bevel, and then finally bring it out with the S. And now we just want that little ball on top. So I'm going to press Shift A. I'm going to bring in a UV sphere. And, of course, I don't want it on 32. So let's go down to let's try 16, and we'll also try 12. And let's see if we can actually smooth this off. So right, click Shade Auto smooth. We've got a little bit of a band around there, but apart from that, the rest of it's fine. So let's actually bring it in. Like, so, and the problem is there, I actually forgot that when you bring in a sphere like that, it's actually going to bring it in instead of this. So we're going to press shift day, bring in mesh UV sphere, and it should come in with the same. So now we can right click Shade auto smooth. Uh, sorry, come back to it, S, bring it in, pull it up, and let's get it on top of here. So if I press the S but on top of you, like so. And there we go. That is looking. Very, very nice. Now, he's at the right height. Let's have a look. Nearly nearly the right height. If I bring this over, you can see just about the right height, a little bit higher, but hey ho, we can put it into the It's not quite at the bottom, actually. Is this one at the bott? Let's have a look. You have the ones at the bom, so I can actually pull it down. Pull it down a little bit. And this then would be, you know, in the fence or whatever in the top. So yeah, I think we got it pretty much about right. So lots of practice, guys. That's what that is. Now, let's join this and this together, so Control J. We're going to get that line there then. Because we're going to join this up with a gate, let's actually fix that because we don't want it. So what I'm going to do grab the center of it, Control B, and then it's going to give us that nice flat area. And then we want to do is add modify, generate a bevel, and we want to put the bevel on not point not not three, like so. Now, from here now, I want to bevel some of these parts off. So I want to make it a little bit more rounded, especially on these parts. So I'm going to press Oh, shift, click, all shift, click Control B, bring it in a little bit. Like so. Now, remember, I might want to before doing that, press tab, Control A, reset all the transforms. And yeah, there we go. You can see that the bevel might be a little bit too much now. So let's put it on note point, note, no. Five. Let's try. No, no point. No three. Let's keep on what we had it on. I'm just looking now. Okay, this is Bevdof. This is Bevdor. I'm looking for areas where I think it needs beveling off more. You know what? I don't see any. It looks it looks good enough. You could maybe put another band, a thin band around this part of it. Control left click, bring it down or put it going in. So Alt Shiv click Enter Altnes. Let's see. Altnes. Let's bring it in. Js are tiny little bit. And there we go. Yeah, this is looking really, really nice. So I'm going to leave this one. I'm going to grab this one now, and let's put it on top of here. So we should be able to see how I'm going to put it on there. Now, it's not gonna fit exactly, and if it doesn't fit exactly, let's make it bigger. So we're going to make it bigger, like so. So I want it right in the center of here, first of all, so shifts, cuss to select to grab this one, shifts and selection cursor. And what I'm going to do is I'm going to take my ball, so L P selection. And this is in case, as well like me, if yours is a little bit too high, which mine is, by the way, I'm going to shrink it down. So S and Z shrink it down, and you're still not going to lose that detail, and then you're going to get it around about the size that you actually want it. So now I should be able to come in. Can even put this probably even a little bit further in, and I can bring my ball down, drop that on top. Let me just make sure that's right in the center. Which it is. Double tap the A, and there we go. I think, You know what? That's looking pretty nice. So if I bring my guy over, we can see now that's how it's gonna look. Now, let's come in and delete I'm just wondering whether I want to delete this part out. You know why I'm going to keep this part because it's going to give me a measurement for the top of my gait. I want my top of my gate somewhere around there. So this part is pretty much done. Now, if we get the measurements, then we know how big our gait needs to be. So what I'm going to do is I'm just going to pull this over here for now. And I want my measurement to be around 3.6 meters. So if I press shifts, cursor to world Origin, shift. Let's bring in a plane, and we'll put the plane on the red, which is the X axis on 3.6 meters like so. And then what I can do is I can grab both of these. So this and this, I can press one. And I want to pray on Y frame just for now. So on Y frame, can I actually still see that? No, I can't. On wireframe, not ghost. Now I can actually see it. Now, if I move my guy just over here quickly, I should be able to come in, grab my little point, grab everything, and pull it to the side, like so. If I zoom in them, this is where I want it. I want to ride down here, next to this. So next to this, like so. That is how I want it. Now we've got the gate that's going to come up here. We've got the two hinges that are going to open and close. And now I want to do is I want to basically join all this together. So if I press, let's have a look first, making sure. Let's turn off that. Making sure that we've got a bevel, not point note three, a bevel on here, not point note three, and a bevel on here, which means I should be able to join this up. So Control J. Join it together, right, click, shade auto smooth, should get it back then to where we had it. And then finally, I want to now right click and set the origin, two, three D cursor, bring in then another modifier, which will be our mirror, bring in our mirror, then we'll put it at the other side. And now we know exactly where we want to put it. Now what I'm going to do is now, I'm just going to turn this round, so X and 90, and then going to press S and X and bring it in. So this will represent if I press one, it's going to represent the gap between the two gates. So if I bring it down, I want the gap between the two gates to be round about here. So if I pull this so, there we go. Now I want to do is I want to bring in the easiest way to do this, actually, is to bring in a curve. So we'll bring in a curve, first of all. So let's press Shift D. And what I'm going to do is I'm going to bring in a curve, and we'll bring in a path. So let's bring in a path. Make it smaller, so press the S bone. Let's pull it into place because once we bring in a curve, it's way, way easier to create the gate while using curve, makes things so much easier. Now we've got this. Let's come in, and what we'll do is we'll go instead of using resolution, we will come and extrude it. So if I extrude it, we should end up with something like this. And then what we can do is we can come now adding a modifier, generate a solidify. Come round, I'm going to shade it flat, so shade flat, like so, and then going to pull it out. And I can also from here, as you can see, it's not in the center. So from this, we can actually bring the offset down to zero. Then it's going to put it right in the center for us, and that's exactly what I want. Now, what I want to do is I want to pull this out now to get it to be the right lens. So we already know that we need one this side. So instead of doing that, what I'll do is I'll press Shift D to duplicate it, and then what I'll do is I'll spin it round. So Y 90, and I need this to be slightly bigger than this one. So what I'm going to do is I'm going to drop back my thickness. So if I bring back the thickness, holding a ship but, there we go. That then is in there. Now I can do is I can bring this to where I actually want it. So if I press one, I should be able to bring it just to the tops of here. Now, there is one thing I missed on here, which I should put in because that then's going to give me a better idea. Wants to be lined up with this part here. And from here, you can see, we've got a great idea now of how thick everything needs to be, and that is why we're working it out in that way. Now, what I want to do is before doing that, I want to come back to this part. And what I want to do is I want to grab it going all the way around there, so lt, shift, and click, shift ands, cursor to selected, and then tab, shift A. And what we'll do is we'll bring in a cube. We'll make our cube much, much smaller, so much smaller. And then what I'm going to do is going to go to the outside, and I'm going to pop it into the corner of here. So, into the corner Of here, as you can see, let's bring it back there. It's way a little bit, and maybe this way, and then maybe this way, just so the line up a little bit, like so. And this is where I want it. Not there, actually. What I have line up with that? Sorry about that, everyone. So let's pull it down. Let's pull it then in place Just so it disappears past there. And then we'll do it maybe a little bit more, pass that bevel, and then j so it disappears, pass this bevel here. That is what I want. Now, the other thing is, I'm thinking I'll probably need to bring it this way a little bit because it seems a little bit it needs to cover this. I mean, that's what I mean. I'll also bring it down, so I'm going to bring it down a little bit. And then what I'm going to do is pull it out, like so. Now what I want to do is I want to move this part in. So what I'm gonna do is I'm going to bring this part in. Leaving a little bit of a gap like that, and then I'll do the same one here, bring this part in, like so, and that is what I want. Okay, so now I need to just mirror it over that side. So right click Set origin, two, three Dcursor, add modifier, generate a mirror, and also put it on the Y, and then we've got the four corners on there. Press Control A, and finally, join up to this, Control J. Join everything up. And there we go. Now we've got what I'm actually looking for. Okay, so we've got that so far so good. Now, what we want to do is make sure that this part here then is roundabout halfway to this point here. So around about halfway to this point here. So if I bring it there, drop it down a little bit, that is round the halfway point. Then what we want to do then is create the hinges, and we want to create the hinges because then we'll have an idea of how close it needs to be to this actual partier. So we'll create the hinges two hinges, one and two, and then we can build our gate around those. Alright, let's save our work, and I'll see you on the next one e on. Thanks a lot. Bye bye. 93. Constructing a Metal Frame for Fence Gate Design: Welcome back, everyone to blend the Building master class from concept to final render, and this is where we left off. Now, as well, we're building like this because it's very nondestructive, and that's exactly what we want. So what I'm also going to do is press Shift ask us to selected. Shift D, let's bring in a cube. Now, unfortunately, making nondestructive hinges is a little bit harder. So all I'm going to do, though, is bring the hinges in like so, and we just want one hinge at the top, like so, and then another down here. What are we going to do as well is press S and E and pull them out. And then finally, what we're going to do is press tab, Control, one, two, and we'll have yeah, I think we'll have two in there. Left click, right click, Contra B, pull them out. And yeah, I think these will do for hinges for this. So what I'm going to do is tab controle all transform, set origin to geometry, and then enter lns, bring them in. So bring them in. Like, so, press tab and pull it over to the side then, so it should look something like this. Maybe maybe I've even gone too far in here. So I'm just going to press Alons or S and pull them out a little bit more. You can see that I've got a problem there. So what I'm going to do is just put it back. Before I've gone in, I'm going to press Alts and not come in so far and then move them back. Like so. Now I want to get the grab the top and the bottom. Like so. And I'm going to press Control B, turn up the bevels a little bit. Like so, and now you can see the stare to look like hinges. Alright, so right, click Shade or Smooth Control A or transforms. And then what we'll do is add modifier, generate a bevel, like so, turn it down to not point not naught three. Like so and I'm probably going to be happy without those look. Yeah, I think I'm going to be happy without those L. The one thing I would say, I'm just wondering if the top, so if this top should be shaded flat. So shade it flat, like so, yes, I think I'm right about that. So I'm going to right click and shade flat. And then wondering if I need an edge going around here. So I know they might seem small things, but I would sooner fix them while I'm here. So I'm going for this one here. Right, click, Mark shop. And there we go. I think that looks way way better. Okay, so that's my first hinge. Now, the first hinge ones to be set probably a little bit lower than this. So one. So control all transforms right click origin, two geometry. So probably around here, shift D. Bring it down to, and then we need this part now. So is this part going to fit into that hinge or do these hinges need to be a bit thinner? I think they need to be a bit thinner, so what I'm going to do grab them both, S and Y, and pull them in a little bit like so. And now I'm looking at this part. Yes, the hinges are in there. And I'm also looking at this here as a whole. So I think the thickness is a little bit too much. Not the thickness this way. Thickness this way, I think is okay. It's the other one. So it's the extrusion. If I bring this down, see you can make it thinner, or I can make it thicker. So press let's pull it into place where I actually want it. So do I want it in there, like so. And that's staying there. So what I want to do is I want to pull this down now. So I'm going to come in. Pull this down to the bottom here. Now, the thing is, we've got to think he doesn't want to be in there like that. He wants to be come in probably down to here wants to be a little bit of a gap underneath, but not too much of a gap. So probably round around here. And let's move it over then. So we move over past that point. So you can see now we've got a little bit of gap, and then what we can do is now we can move these over. So move these over, hold in the shift, double tap the A, and there we go. We've got hinged in there. Maybe maybe we want them a little bit wider. So S and X, pull them out, double top the A, and there we go. I think they're looking very nice now, and I'm happy with the actual scale of this. Now I want to do is I want to create. So if I pull this in there, you can see now it's fitting in there very nicely. So what I want to do is pull it up to the top, like so. I want to make this then a little bit thinner. So if I come in, is it my extrusion? Yes, it is. Let's make it a little bit thinner, like so than this one. Let's press one, and this is where we're coming up to. So we need another bar come in here, but we don't know where that bars going to be yet because we need to make this part come up. So if I pull this up now, and pull it out. I want it come in to something like this. I'm going to bring this part up, bring it up, like so. And how much do you want it to go and bend? I think this is a very, very nice flow now, apart from maybe this bit here wants to come down a little bit, like so. All right. That looks pretty nice. Now I'm going to do is I'm going to grab this part here. Now we want one here and one here. So I'm going to press Shift D, bring it down. And then what I'm going to do is extrude it. So E X, extrude it out, and there we go. There is next part. And I told you, working with curves, makes things really, really easy. Now we're going to do is press L. I'm going to press Shift D, bring it down to the next one. And there we go. Now the next thing we want is we want to kind of thick a bit in this bit for these to actually go on. So another reason I'm working with curves is because when we bring it all together, it makes things much easier, you know, when we're bringing up these little poles with the ends on them, much, much easier to do it working in this non destructive way. So that's why I'm actually doing it. The other thing is we need to make sure A, we've got a tiny, tiny bit of a gap there, as you can see. Now what I'm going to do is I'm going to grab this part. I'm going to press shifty and I'm going to bring it over then to this side. So I'm going to bring it over, and this is where we want the gap to come. So if I press one, we can see this is what we decided roughly where the gap is going to be. Now I'm going to mirror this all over the other side. But for now, I can actually delete this out of the way. Then what I'm going to do is I'm going to pull this up. I want to get rid of these first because I'm not going to need them, so delete and verses, it's a straight line, so we're really not going to need them. And all I'm going to do then is pull it up into place just over the top of there. We know it's lined up with this one over here. So we end up with something like this. So far so good. Now what we need is the bottom part. So I'm going to grab this part. I'm going to press Shift D. And then what I'm going to do is move it over, rotate it round, so R Y 90. And then what I'm going to do is press one, I'm going to move it into place. So I want it just just at the side of here. I'm going to pull it down into place, and then I'm going to pull it over here. So I'm going to delete those two, delete vertices, pull it over here. Just a little bit past this one like this one is here. Now, the next thing I want to do is make it thicker. So I think that will be on the extrusion, let's have a look. There we go. Make it slightly slightly thicker than this one here. And there we go. Everything should be fining nice, so we should still end up with a little tiny bit of a gap down there. And that then is looking pretty nice. Now, the one thing I would say is maybe, maybe I just want to move this over just very slightly. So if I grab this and this, maybe I want to move them over very slightly. So holding shift but very, very slightly, like so, and then move my hinges. Again, press one over very slightly. So I'm just going to pull them in the middle. Like so, double tap the A, and there we go. Now, the other thing I would say is, as much as I like these hinges, I think they need something else here. I'm going to press shifts, Custer selected, Shift A, cube, make it smaller. And then S and Y S&X Pull it over there, and then it's something that the hinges can actually latch onto Eons head, like so. Yeah, and I think that adds a lot more to this. And I think also now, I can actually pull this over Jaws very slightly over to there, double tap the A, and I think that looks way way better now. And this can also be mel. Now, what I want to do is shift cursed to selected, grab this, shift D. Shifts and selections cursor. Press one, and then let's drop it in the same place as this one here in there. Double tap the A, and there we go. Alright, that is looking very, very nice. Now, what we'll do on the next lesson is we'll start with the actual railings. And again, because we're using curves, it makes things so much easier when we're doing this. Alright, let's move our guy over here and I'll see her on the next one, everyone. Thanks a lot. Bye bye. 94. Building Fence Grids and Metal Mesh Panels: Welcome back if we want to blend the building master class from concept to final render, and this is where we left off. Now, I do want to show you something before we finish. At the moment, if we click on this one, you will see the resolution is on 12. If I right click Convert to mesh, you will see we've got something like this. You'll also see that these bands, they get thinner as they go up. Why is that? I'll show you why that is. If we press Control's Ed and just before we highlighted that, if we go in, every point on here, means that it will basically distribute the bands around it. And on this occasion, it's set to 12. So if I come and I delete these two bands, press these two verses, and now I press Right click, convert to mesh. You will see now they're evenly distributed. But we still have a problem in that. We don't need all those bands. So when you've got something like this, turn it down to one. And then right, click convert to mesh, and now you'll see it's a straight actual plane. And that's exactly what I want. So now I'm going to do is, I'm just going to press Controls head because I'm still going to use it. Make sure this on these parts is set to one and make sure you've got rid of all of the parts in between. So if I come to here, now I can see I've got a point here, I've got a point here, and if press delete, I can delete vertices. Not that one. Let's have a look. Yes, not that one. This one here, this one here, this one here, and this one here. Press Nope, that's not. Let me just make sure. Let's do this one at a time. This one here, this one here. Is that part of that? I'm not actually sure. Delete verts. Yes, it is. So we'll do this one part time. So I'll press tab. Nothing in there. Grab this one. Nothing in there. Nothing in this one. Let's come to bomb one. Nothing. Is there one there? Let's have a look, Delete verts. Yes, there was in there. So we did find one, I think. Let's have a look again, last one. This one here. Is there any points in there? Is that a point there? Not sure if it's a point, so let's try. Delete vertices. Yes, it was a point. So we got a point in there. It's weird because they're hard to see. I should have used, you know, put it on Y frame or something. Can I see it better than Y frame? Yes, I can, but the orientation is still there, which makes it a little bit harder. The other thing you can see now as well, on Y frame, is we can see right through here. If I set this then to one, we can see all of those disappear now. If I put it on object mode, you can see we've not got anything in there. So let's put this to two, which tells me, I think there's one more band in there, delete vertices. Is there another band in there? Let's actually have a look. Control and plus, and there we go. There's nothing in there. So let's set this to two then. Let's just test this out. Right, click convert to mesh. Yeah, there we go. So we've set it to two. Let's go back now, and let's set this. So we've put this down to. These three at the moment are all joined. We don't want that. So what we want to do is want to go L and L and P selection, separate them off. Now we've got just these two here. If I put this down to one, it's not going to work. Let's put it on two. Let's do the same thing on here. And this one here, we can actually bring down maybe, maybe a slight bit, but we really don't want to lose that smoothness that we've got on there. So just take that into account. Now we've done all that. We can do now is we can take one of these. I'm going to press Shift D, and then what I'm going to do is rotate them, so R, Y, 90, rotate them round, I'm going to delete one of them. I'm just going to come in to this one, L, delete vertices. And then with this one, what I'm going to do is just press one to go into front view, right, clicks origin, two, where is it set origin, two geometry, and then I'm going to move it over now. And what I want to do is I want it to come from the bottom and go all the way to the top and poke out of here like so. The other thing is, I want to make sure it's thin enough that it's actually going to go out of all of these. In other words, if I come over and bring this up. I want it to come out all of those like so, and I'm thinking, as well, that I might want to make it a little bit thinner just to differentiate it between them. So if I come down here, let's make it a little bit thinner. Like so. And there we go. That is what I'm looking for. Now, I know I've got these all lined up, which means I can now come in and add in an array because you can add in an array at the same time. An array. Let's put it though on to the X, which is going across here. So all we need to do is move around the X, not the X. The Y? Let's try that. No, not the Y. The z. For some reason it's the z. Either way, let's put it going over. Like so, and you'll end up with something like this. And that is exactly what I'm looking for. So now what I can do is I can apply my array, so control A. Let's I can't apply the array, actually until I bring that in there, apparently. So it says, cannot apply constructive modifiers on curve, which means I need to apply all of this onto this before doing anything else. So we'll do that. No problem. So what I'll do is I'll come in and go and right click Convert to mesh, and there we go. Now I want to do is I want to make sure that this is following this curve. So you can see here this needs to be following this up to this point. And we also want to put a top on there. So what I'm going to do is I'm going to press one. I'm going to come grab my actual tool again. Or we can do it different way. You know what? We'll do it a different way. What we'll do instead is, we'll press Shift D. We'll bring it up and we'll put that just under there, like so, and then we know how far we need to bring these up. Now, to bring them up and not keep, you know, moving this way and moving that way, what I'm going to do is I'm just going to click on these, go into wireframe, tab, double tap the A, face select, and I should now just be able to grab that face. And you know what? That's not working? Let's go into Edge select. There we go. Now I can grab that top face and bring it into there. Same for this one, bring it into there, same for this one, bring it into same for this one, then, bring it into there, same for this one, bring it into there and same for this one, and bring it into there. Now you'll notice that when I was doing that, it was bringing this side up into it. So this other side is disappearing into it, but this one is the one that's catching on each of those. Now, let's see what we've actually got here. So if I come in, press delete, so get that rid of that. Now you can see what these are looking like. Now, we do have one problem. In that, for some reason, I brought them up on ven though it was in. Was it in wireframe? I'm just gonna go back down and put them back. Why was the only grabbing that? Maybe I wasn't in Wireframe. Alright, we'll try that again. Okay, so let's put it onto Wiframe. I was in wireframe. Wonder why it's not actually going all the way through. I wonder why that is. So it should go all the way through, as you can see. Why isn't it doing that? I don't know why it's not doing that. So instead, Yes, if I've got that on, let's have a look. Can I actually grab it now, double tap the A? And I think for some reason, A. Now it's going all the way through. I think for some reason, I got it turned off. Anyway, let's pull them up now. So again, the back end humps. And I promise you guys, it's definitely quicker doing it this way. I know it seems slow, but, you know, I am trying to explain what I'm doing here. Many ways of doing things, but it's definitely quicker building a gate in this way, rather than I don't actually know which would be a better way than this. Let's press tab. Let's get rid of all of these, and then we should hopefully be left with something like that, which is what I'm looking for. Alright, so now we need a tops on these. So let's do them all at the same time. So if we come in now, grab the tops on each of these, like, so and then what I'm going to do is press E, enter, make sure that we're on individual origins, press the S button to bring them out. And then what I'm going to do is press E to bring them up, and then we're going to press the I button to bring them in. And then finally, I'm going to press E to bring them up and then S to put the tops on those, like so. And if I look at those, I think, I'll pull them up a little bit higher. And there we go. That's looking really nice. Now we want these parts here. Or to have bottoms on. So the way I'm going to do this, I think because we know they're all at the same length, we can see they're all at the same length, if I come in and press tab, grab them all, I can then come in, mesh. And what I'll do is I'll come to bisect and I'm going to cut them across going straight over there, so make sure you set the X to zero. And then if you need to, bring them down using this. Bring them down using this, like so. All right, so that's what we want now. And what I'm going to do now is I'll grab them going all the way around. Now, I'll just add a seam on these, so we'll right click, right click and mark a seam. And then what I'll do is now we can come in and just press L on all of these. In fact, you know, well, that's not going to work because we've got bombs on these. Yeah, we've definitely got bombs on these. So that was a waste of time because what I was trying to do, if I just hide this out of the way, I was trying to come in and just grab the seams, but you know what I'm going to do? I'm just going to delete these out of the way. We don't need these bombs on anyway. So let's delete and faces. And now I should be able to just come in, press the bun on each of these, like so, like so, like so. And now I should be able to press E to Alterns. And pull them out slightly so they have something to rest on, like so. Now, if I press, alternate, bring back everything. That is what you should end up with. And what we're making sure is that they're not going over the edges, so you can see the right of the edge here. Like so. And you know what, guys? I think I think we're nearly done with this git. So just make sure you're happy with yours. You might want another band in there if you want. But once you're happy with it, save out your work. And what we're going to do now on the next lesson is we'll convert these to mesh. I'm just making sure, these are all converted. Look, that everything's in place. We'll convert them to mesh then, and then we'll get it on the other side, we'll get it beveled off, and then all of this joined up. And then finally, we've got our gate done. It seems a long process to get this gate done, but honestly, it makes such a difference, you know, to the actual finished piece, now you've got this gate on there. Really, really bring it to life. All right, everyone. I'll see you on the next one. Thanks a lot. Bye bye. 95. Ensuring Symmetry in Dual Fence Gate Panels: Welcome back everyone to blend the building master class from concept to final render. Now, one thing I want to do is I just want to, I think, you know why leave them. I was just wondering whether to pull these out a little bit more. You know what? I want to leave them. What I'm going to do then is just turn everything into mesh. So I'm going to grab all of these. I know all these are already turned into mesh, but you can grab them anyway. It will just literally put on the solidifying everything. So right, click, convert to mesh, and there we go. And now we can do it, so we can just press Control J, join everything up. Control A or transforms, right, click Set Origin to set Origin, to you know what we'll leave the origin there. You know why I'm going to leave it there because we need to actually put the other side on. First of all, though, we'll come in, add a modifier, generate a bevel, and we'll put it on naught point, not not three. That's the one that we like putting on. Double tap the A, and there we go. And now I want to put a mirror on. So add modifier, generate a mirror. Let's put it on the other side. There is that gab I was talking about. You know what, guys? This looks absolutely perfect. The one thing I would say is maybe maybe you want to make this part here a little bit wider, but I'm pretty happy with mine. Now, on this one here, we've already got bevelon 0.93. We've got our mirror on. So let's apply the mirror here. Let's apply the mirror here. And let's come to these parts now, and we'll join both of these together because they've got the bevon. We'll just press. The one thing, yeah, I've still got the bevel on there. Okay, let's go back. So grab both of those. Press Control J. Right, click, shade Auto Smooth. And then what I want to do, I'm just wondering, did I actually pull bevel on there? No, I didn't. Okay, so that's okay. What I want to do now is shift desk, cursor to world origin. Right click Set origin, two, three D cursor, add in then a mirror. So bring in a mirror, put it on the other side, apply your mirror. And now we've got our bevel on here. So we've got a bevel on here, a bevel on here at no point no three, and then we want to grab this one, but we want to grab this last, so we end up with our bevel. So Control J, join everything together, right click and shade or two smooth. Finally, then, let's press Control A or transforms, right clicks origin to geometry. And there we go, guys, this now, hopefully, should be our actual gait. And that is looking very nice, really, really happy with how that turned out. And our overall dimensions. I'm just checking on my own. So 3.63, we had it, which is where is it? Is this the X? Yes, it is. So this is the X. I'm just wondering whether it's a little bit wide at the moment because I want it around 3.6. So if I bring it down 3.6, you can see it squishing everything up a little bit too much, so I'm not sure. If I want to bring, you know, these parts in and you know what I'm going to do? I'm going to go back before joining it all up. I'm going to grab this part, and I'm just wondering if I want to bring it in a little bit more. So I'm just going to press. I need to go back before, probably before the mirror. So let's go back to this part here. And I'm hoping that it can come back. Yes, there we go. This is the bit, then what I want to do. I want to squish this in. I want to put this git, the whole thing around 3.6 meters. And you can see, it's 3.6 meters on its own, which means I'm probably going to have to come in. I've took off the mirror off there as well. So I'm going to bring in, first of all, a plane, and I'm going to pray around 3.7. That'll be okay. So 3.7. Let's bring it in. We'll move it on the X to 3.7 meters, and that is the kind of size I want it. So what I'm going to do is I'm going to grab all of these, first of all. I'm going to not that one. This one. Maybe I'll get it. This one here. Like so. And then what I'm going to do is join these together. So Control J, join them together. Right, click, SeraginT. You know what we won't do the origin yet. What we'll do first is put on the mirror. So I'm going to put on the mirror. Right click Seragin 23d cursor, add in, then a mirror. So generate a mirror on the other side. Now what I do is grab these right click, shade or smooth, grab this then, and I'm going to try and bring them all in. Now, if I move them like that, you will see it moves the whole thing along. We don't want to do that. What we want to do is press tab, A to grab everything. And then if I move this one, you know why it's not doing what I want? Because I think the mirror isn't on this one, either. So you know what we're going to do. We're going to mess this up. So what we're going to do is we're going to come in, make sure wireframe is on, B, grab all of this, delete and vertices like so. And then what we're going to do is we're going to come to these. We're going to take off this mirror just for now, join both of these together. So press Control J, join them both together. Come back now, make sure that the beverly is on. So there you go. You can see the bev is on everything. This is where the um, middle part of it is. And now what we're going to do is adding a mirror. So I'm going to generate a mirror, come down, mirror. And then I'm going to press one. And what I'm going to do now is tape to grab everything, and now I should be able to move it over. So where do I actually want it? Let's put it on wire frame so we can see where is this part. So if I move it over, there it is. So it's going to be around here. Now let's see if I can squish these down a little bit. So I'm going to press A, S and X. Let's squish them down a little bit. As you can see, not everything's moving at the same. So what I want to do is make sure that we're on medium point tab, and then S and X, and let's just squish them down a little bit and move them over because I've made it, I think, a little bit too thick on there, and I want to fix that. So I'm going to bring them out, like so, and then go to come back to this. I'm going to move them over just a little bit. And if I look down here, I can see that it's just not touching now. So now let's have a look at that. Let's move up. And we can see now we're about right in the realms of where we wanted it. So my fall and made it a little bit too thick. But doing it this way means we're not going to squish these posts. That's the main thing. We can afford to squish this fence a little bit, and I actually think it looks a little bit bad the way that it's done now. So Hopefully, hopefully, yours will fit in place. You see, it's a little bit too big, still, but that's okay. I think we can actually work with this. If I bring my guy over now, you can see this is what it's like. Now, it's up to you. You might want to come in. Let's actually see. Can we get away with squishing it a little bit more? So S&X, can we get away with that? Move it over to there. Come back to this one, tab, and move it over to place. Like so. You know what? I think we actually can. I think we can. There's a little bit of a gap down there. Yes, I think we can actually get away with that. And I think that looks even better. So we'll grab this. We'll grab this has got Bevlon no point not no three. This has got a mirror on, so let's apply the mirror first. This has also got mirron, so let's apply the mirror. Let's join them both together. Control J, and let's press Control A or transform set origin to geometry. Right click and shade Auto Smooth. And there we go. Alright, finally, the gait is done, and there we go. We can get rid of this part out of the way. We can save our work now, so file save. We can bring it over now over here. To my doors, like so. And now all we need to do is start getting in the materials on this thing. So let's actually bring in, first of all, we know we've got two types of stone. So if I come in, we need two types of stone and metal. I'm just wondering if this has. Yes, it's got metal building, stone light, wood crack. We've got all of these on which we can remove some of them. So if I grab this and grab this, I can press Control and I can actually link materials. Now we'll do is we'll put this on Rendered View first, and we'll come into these parts first. So what I'm going to do is just grab all of this going down, all of this going down. And, you know, I'm going to also, I think, grab all of these. So I'll unwrap them all at the same time. Go around here as well. Around here, press U smart UV project. Click Okay. Let's have a look at what that looks like. And they are now around about the same as that. So that's looking pretty good. Now one thing is, I do want some of these to be stone lighter. So I do want some dark and some lighter. So when I bring them into, you know, the other fowl, I want to make sure that these, you know what else? I'll do I'm just wondering whether to make them darker, this stone lined stone docket, the same on here. I'll come into this part here. Can I just grab all of that? No, because it's going all the way up, so I'm just wondering whether I want this part except this part down here. So yeah, I'll show you what I mean. So I'm going to come in. I'll shift click. Go all the way around here. Let's just put it on object mode. So all the way around here, like so, same on this side. Like so, right click and what we'll do is Mcasin. And then I'm going to come in, and we're gonna come to this part here and this part here, and gonna put on stone lighter. Like so. Let's have a look at what that looks like. Let it load up. And let's put it on rendered view. Yeah, something like that. There's definitely a contrast now between them. You might also want to make sure this top pillow is also the same color of that. That might be something worth doing. So if I come in, and I'll grab this, and I'll put it at Control plus going all the way down to the bit underneath here, like so, and then we can put it on stone light, click a sign, and there we go, I think that actually looks better. Now we'll come to these parts here, so I'm going to press L, L. And they're on here. And then I'm going to press U Smart UV project. Click Okay. And then the metal building, let's click Assign. And then we go there looking very, very nice, as you can see. Now on the next one then, all we need to do is create this metal along here, see what that looks like, and then we finish the gate. Alright, everyone, so let's save our work, and I'll see you on the next one. Thanks a lot. Bye bye. 96. Enhancing the Back Entrance of the Manor: Welcome back everyone to blend the Building master plast from concept two, final render, and this is where we left it off. Alright, what we want to do then now is put it on Render View. Let's come and grab all of these. Now, the easiest way to grab these if I press one, I can then come in with box select, so B, make sure it's up here. And then what I'm going to do is just drag all the way down to halfway over here and all the way over to this one here, and then press Control plus. Enough times to make sure they've actually selected it all. Finally, then come in. So L, L, L and L, and then come around to this side, and L, L and L U, smart UV project, click Okay, metal, click a sign. And there we go. Double tap the A, and that's where you should be left with. And look how beautiful that looks, guys. Really, really nice. We've got a lot of edgeware on here and everything like that. And yeah, that is looking really good. Alright, so now let's get this in place. So first of all, we'll put it under a new collection called gates. And then we'll call it main gate. So main gate, like so. And then we'll go over to the right hand side, and we'll drop it into our asset manager. So mark as asset. And then what we'll do is we'll come over now to our asset manager. And here's our main gate. Let's make one for gates then. So gates like so, coming over to there, and then we'll just make sure the doors are on as well. So everything is there now, guys. Everything is there. And now what we can do is we can actually coming over back to our main build, and then what we can do is we can check out where we're going to put these doors. We can bring in the gate, as well and see what that looks like within the build. And yeah, then we can start making the steps, wherever this one of these doors is going to go coming down. And then there will be a big part once we've got those steps in to the rest of the build. So the main things that we've still got left is going to be, if we bring in, let's just open up our reference, so we'll bring this over so we can see the next bi we're going to work on is this be here. Can see where the door is. We have got the arches to do. And it might be worth checking the doors out in our other build and then dropping back into this one and creating these arches there. Because once the arches are done, you can see, we've got the balconies, we've got all of these parts already done. We need to do the steps, and we need these parts here. We need the railings and things like this. But these are relatively easy. Next of all, if we go around, we can see again everything is done, pretty much. We need a chimney in there. We need this part of the roof. This is a little bit different this part of the roof. We've done the window over here. This is the gate that we did. We need some steps coming down here. And if we go around even further, so we can see even around this part, everything is pretty much done. You know, we've got the odd thing like the sign. And the main thing is then after that is this front bit. So this front bit is probably the hardest part to actually build, but we've got a lot of the parts already done. So we've got things like these pillars. We can steal those from the pillars we've already created. So just a lot of it's already done, but this part will take probably the longest amount of time. We've got this part going up here then, you know, we need to create an arch and stuff like that. But once we've got these parts done, you know, we're on the home straight, basically, as far as modeling lots of tiny little parts. Of course, we've got benches and things to do as well. But you can see where we're at. If you've got to this pot, just keep going, guys. Honestly, keep going because you're going to see such a vast amount of improvement in your work, because pretty much from year on, it's rinse and repeat, rinse and repeat. It's going to, you know, just get all that muscle memory in there. You're going to finally figure out how to put everything together, because, you know, building this side of the building is relatively easy. Pulling it all together is a hard thing. Put it in the hedges, put it in the trees. That's the thing that really brings everything to life. And that is the last part of the model of, you know, setting up a scene environments or creating buildings. It's the last part where you're going to learn the most. So stick with it, guys, if you've got to this part. So now what we'll do is we'll put that out of the way. So I'll put it down there. I'm going to then just open up my other file. So my other file is here. So here we are. I'm going to then save it out, not save it out, reload this. And we should have it here at doors. So let's go in first, put in rendered view, and look where our door is gonna go. So the door that's going to go in here, I think is going to be the smaller door. Let's bring it in. And we'll spin this around, so we've got the back of it there. Let's have a look. Let's spin this around. So shad 90. That is going to be our door. And you can see that's fitting in very, very nicely with what we're trying to build here. Let's have a look at our other doors. So this is our other door. This is this door. Very, very nice. You can see just how nicely they're fitting in. And again, if we need to change our glass, for instance, we can easily come in and change that on the fly. So that makes things easy for us. You know, if we don't like the blue or we want to make a bit darker, we can come and change that. So the other one we want to look at is the gate. So let's bring in our actual git Z 90. Let's spin it round, double tap the A and there it is. And you can see, Wow, just how nice that looks, and you can see how it goes with everything else. Alright. So now let's think about this actual door. So what we need to know is we need to know our steps. Where are our steps going to be, how tall are our steps. And then from there, how far do they come out and how far does this actually go back? So this door, how far does it go back? Because we can kind of put this door in. Alright, so let's look at that now. So what we want to do now is work out the size of our step. So let's actually do that now. So what I'm going to do is I'm going to grab this. I'm going to press shifts, cuss to selected, bring in a cube, shift A, bring in a cube like so. Now, the dimensions of this, I'm going to come over to this side. And what I want to do is I want to put this on 2.41. Like, so I want to put the Y on 1.5, and then I want to put the z on 1.5, as well. Let's have a look at that. And that is the right dimensions, I think, for my step. So I'm just going to put it down to the ground plane so it sticks in there. And then what I'm going to do is just pull it back. Into place, like so. So I'm going to pull it back round about there because I want that top step on there as well. And then what I'm going to do is lift up this and pull it into place. Like so dropping it on if I press three. Should be able to drop that on there and put the door in, like so. Now I've got a good idea where that doors going to go. Now what we need is the part that's going to go on the side. So what I'm going to do is again, I'm going to bring in a cube, so shift date, bring in a cube, and I'm going to come over and over now again to the X and put it on 2.64. And then I'm going to put the Y on naught 0.486, and then the z on 4.66, like so. Then what I'm going to do is again, press one, pull it up just below the ground plane, and then I'm just going to pull it in to the wall. Now, remember when it's in the wall, this is going to be set a little bit further back because we want to make sure that the steps, so how big the steps are so let's pull it out a little bit. Like so. And you can see now I've done that. Basically fits new enough the actual door. It's like magic. Let's pull it back a little bit. Let's pull this one out a little bit, so out a little bit. And basically, this is how we want it. So we want our stairs coming down to here. And then this kind of coming down from here, and then out and following our stairs down. That is what we want. Now, as well, we can see from here now that we can bring in now we've got these dimensions, we can actually bring in a boolean to set back our door. So we'll do that as well now. So what I'm going to do is I'm just going to come to the front, grab my door, press Shift desk, cuss to selected. Shift D. Let's bring in a plane. Let's spin the plane round. So RX 90 or Z 90. So sorry. Y 90. Let's pull it out a bit so we're in front of it. Let's press three again. And then what we're going to do now, I'm just going to hide this one out of the way. I'm also going to hide my steps out of the way. I'm going to pull it in on the S and Y, so S and Y, pull it in, pull it down. And then what I'll do is grab the top, pull it up into place, like so. Then what I'll do is I'll come to here and here, Control, Shift and B. And then bring it down to where I actually want it. Now, if it's not coming in properly, resell the transform, so control A transforms, etginGeometry, and now try that again. So control should B, increase it, and there you go, it should work better. From here, then, we're going to press L. And then what I'm going to do is pull it forward and then pull it back into place. Now, it should just drop through that wall. So what I'm gonna do then is I'll just hide my door out of the way just for now. And then what I'll do is grab this, grab my wool, press Control minus, and there we go now. That is all we need in there, actually, because then I'll show you what I mean, Controller come to your cutter, and I might actually save this cutter out. So press op, clear paren. Bring it over here and let's drop it in. So you can see we've got the cutters in here, but we want in boolean. So I'm just going to drop in boolean, like so. And now what I want to do is I just want to remove come to my cutter remove cutter. And it disappears because we've hit them, so I'm just going to bring it over, and this one is for the door, so I'll actually open this up. Not that. We'll open up our booleans, this one here, and we'll call it door just so we know the difference. And then I can close that up, hide them out of the way. Save I work by save. And now I can do is press TH, bring back everything. And now I can actually pull my door in place. Now, if it's going through, then it's not far enough back, I can actually saw that because I can just literally come in, grab this face here and pull it further back, further forward, wherever I want. It's really, really nice to work in that way. So I can pull my door back to here. I'm going to have my archway on there, going to have a top over it, and you can see it's really, really easy to work with. Alright, so, lastly, then what we want to do is we want to take these. We want to press Control C. And then what I'm going to do is go to my modular pack. So this one, which is, let's have a look, this one here and not this one. This one here. And what I'm going to do is press Control V. Bring them in. And here they are. I'm going to spin them round, so's head -90. Spin them round. And then these are then there for the next lesson, and we can create our first stairs. So we'll create our stairs. We'll create this part here. So this part on here, going down, and then finally, we'll probably once we've done that, start on the archways. Now remember, with these parts as well, we'll probably come in and create this part as well and then just get everything fitting in together. Alright, everyone, so let's save our work, like so. And I hope you're really enjoying the course so far. Hopefully, at this point, you should be able to leave a review, so think about that as well, and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 97. Modeling Backdoor Staircase with Stone Elements: Welcome back if you want to blend the building master class from concept to final render. And this is where we left it on. Okay, what do I want to do then, first of all, is obviously delete that out way. Now, if we come over to our references, let's just put let's leave that one there, actually, because we're still going to be doing that one. And the ones we want are going to be our stairs. So these ones here, you can see. So we're going to actually create both of these stairs. With this one, we're going to create just the stairs, and then we're going to work on this bottom part. And then with this one, we're going to create these stairs and just this part, like, down to here. And then we can put that part on top. So basically saying it out so we can bring it in and put the gates and things like that on top. We'll probably actually end up creating the whole thing. But to start with, let's create just the stairs on this one, and then on this one, we'll create this bit here and, you know, move it along a little bit, and then probably jump back to this part. Alright, so with that said, you can see, also, as well, the tops on here are exactly the same. So we can use the same ones for this. And I think I think these parts as well are also exactly the same. So once we've created one of these, we can bring it in. The only difference is, as you can see, this one is a little bit taller, and I'll show you why that is because this one's obviously going up a lot higher. Alright, so let's pull it over to that side. Now, let's come to our stairs, then. So, you know, Stairs is one of those things where you'll always like there's so many ways of creating stairs. But the easiest way, honestly, I find you can use bevels, you can use curves, you can use so many different ways. You can use geometry nodes, even. Let's well put this out of the way. So if I go to modeling, then I can see all of my model. Press the little dot button on the number pad to zoom in, and there we go. Now, we've stairs then, what we're saying is. So with our stairs, if I just come over, we will see we've got one. So we're looking at these going up, so one, two, three, four and five. So one, two, three, four, going this way. So imagine it going this way. So what we want to do is create one, two, three, four, five stairs. So let's have a look. So the first stairs will be down here. So if we come in and we press control law, we've got basically one stairs at the moment, two, three, four, five stairs. Left click, right, click. So we've got one, two, three, four, five, and then this part going up. So again, one, two, three, four, five. At the moment, we've got six stairs on there. And we've put in five, so let's put it down to four. Now we've got one, two, three, four, five stairs. Alright, so now we've done that. Let's bring them in the other way. So we want to split them evenly, and we know we've got four going that way. So let's press ContolaO, two, three, four, left click, right click. And let's drop those in. Now I've got one, two, three, four, five stairs. And that is basically what we want. Now, there is a reason why I'm doing it this way as well in that once I've done this, like the topology is going to be really good if we do it this way. So what I tend to do is now I will come and I'll come to these and I'll press Delete and faces, and then come round to these and delete and faces. Then I'll come round to this side, I'm going to come down, so delete and faces, and then we're just going to come in. And delete all of these going around to this side. Like so. Like so. So delete and bases. Now, finally, all we want to do now is join these up. Now, we might be able to get away if we come to mesh. Let's see if it can actually work. So if we press A and we come to mesh, and we go to cleanup and then we go to fill holes. Let's turn this up and see if we can actually fill in all these holes. Let's see. And there we go, let's bring it down. There you go. You can fill in all your holes. Now, has it filled them in properly, that is the question. As you can see here, you can see that we have got a lot of issues with these. In other words, these aren't joined up. If I press J, yes, then we can join them up. So is it worth doing that? Because we'd have to actually come in and do this anyway? So, probably not. And it's also causing issues. So we're not going to do it that way. I thought I'd give it a try. That's not going to work, so let's go back, like so. And then what we'll do instead is, we'll come down with this one all the way down to this one. It's cut it through, as you can see. So instead of doing that, we'll just do it like this. Just grab this side, grab this side, like so. And then what you're going to do right click and bridge edge loops, and there you go. There's your stairs. Now, the next thing is, what I want to do is I want to make sure I'm keeping the height. But what I also want to do is I want to put a top on these. So let me show you how to do that. So if I press Shift D, then what I'm going to do is I'm going to go to the side view. I'm going to make them a little bit smaller E and E, pull them down to where the other one was. And what I'm looking for is to get these the same thickness. So I've pulled it down. I need now to bring them up to run about here to get them to be the right thickness. So what I'm going to do is I'm going to now come in, grab this one. So this one here. Like so. I'm going to press Shift D. I'm going to press P selection, separate those out. And now we should have two. If I hide these out the way now, you'll see we've got these press Control A or transforms, right clicks at origin to geometry, and then press tab A, three again. And now all I want to do is press E and get the thickness of my slabs. So something like this, I think is fine. Next of all, then what I want to do is I just want to bring these out, like so. So I can see on this step, if I press three, when I bring them out, we can see just how far they actually go over. So something like this. And the other thing that I did forget to talk about bring my guy over, he's going to be stud here. Like, let's break over. So let's press three. Make sure he's on the ground plan. Now, you can see with these stairs, they are pretty steep, but it's going into house, so they probably are going to be a little bit steeper than none. But honestly, guys, if you check your own stairs out, you will see, like, coming up to this part of your car here is a little bit steep. Normally, steps are around this height here. So normally somewhere around here and a lower step might be down nearer the ankle. So this is always the sweet spot to put them in. So, honestly, you can come in now, grab both of these and shrink them down even more or grab this one, bring it down a little bit. So Herson said, Let's bring it down a tiny bit. Let's pull it into place, and then let's bring this down. And don't forget, well, when we bring this in, we can make sure that it's fitting properly. Okay, so so far so good, we've got the stairs and we've got these parts on here. Now we need to do you know, because on this, you will see as well that we have got some sides in here, so that is going to hide any of these parts here. That's a good little trick to hide everything out of the way. But what we want to do now is we want to actually bring in some slabs. So if I come and a press Control R. And I'm going to bring two and pull them over slightly. Control R, two, three. Yeah, maybe three, something like that. Left click, bring them over very slightly, and then Control R three, bring them over slightly and then Control R two, bring them over slightly, and then Control R. Three bring them over slightly, like so. And there you go now. Why have I done that Because you can see now that these will be their own slabs. So Alt Shift click, just grab all these. Like so, and then right click Marksin. And then from there, what you can do is you can come in and press L and then L and L and grab all of the islands like, so press the Y button, and then with this, we can press well, first of all, bring in a bevel. So I'll press Contole all transform, set origin to geometry, bring in a bevel though generate a bevel, put it on not point, not three, and now the magic happens. So if we grab we've still got all of these grabs, we just press Y, and then we press A, and then we press mesh, clean up, and we're going to fill holes, and then press tab, and then the lolly filled. Just make sure you've got it on at least four. It should be by default on at least four down on this menu down here. And there you go. It's as simple as that then to create those stairs. Alright, so the next thing I also like to do when creating these, I also like to just come in and grab one of them. So grab this one here, come in, put proportional editing on, and then what you want to do is you want to come in and put it on random. It's a really good way, actually. If I bring this out, you will see I can bring it out and just bring it up and then come to this one and bring it down. And it's just going to make them a little bit more uneven. We also can do it here as well. So if I pulled them out, like so, you can see now that these and I pull this one in like so, now you can see they're uneven and they're looking very nice. So really, really easy to do that. Alright, so now we're not gonna need this part anymore. What we are going to need now is these parts in. So these parts going up to this part here, and then this is going to be on top. So let's actually work on that part next. But of course, what we're going to do first is say about our work, and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 98. Adding Stone Side Supports for Stairs: Welcome back, everyone to blend of building master class from concept to final render, and we left it at our stairs. So what I'm going to do now is I'm going to bring in a cube. So let's bring in a cube. Let's shrink that cube down then, and let's pull it over this side like so. And here you can see, if we come to this, you can do it by eye if you want to. I mean, you can see that you know, it's a little bit shrunk in on the what is it on ours on the X. So it's a little bit in on the X. So if I pull it to, let's say, here, press S&X and just bring it in a little bit. I still needs to be pretty chunky because it does need to go, you know, next to the other things that we're actually going to be creating. And this then we'll just pop there. Then what we'll do is now we'll put it up to the grand plane. So just make sure that it's up to the ground plane, like so. And what I want to do now is bring in the front and make sure I'm happy with the front. So all I want to do is press a shifty bring in the front. And then what I'm going to do is I'm going to shrink it down, first of all, because it looks a little bit too chunky, and then I'm going to press S and Y X and bring it out a little bit. And this will be our front. I'm going to place it just around there, so it actually is in the front here, and you can see that it's just in front of it so you can see just in front and then bring it down perhaps a little bit lower than my stairs. Then what I'm going to do is I'm going to now bring my guy over. And what I'm going to do is bring this up, and then it'll be able to tell me if I turn this off where I actually need it. So as you're walking upstairs, generally, when you come in, you can put your hand on here and you'll lift it up slightly. You won't put your hand down here and bend down. It wouldn't be like that. So that's what we're trying to keep it. So from here, then what I can do is press E, enter, S, pull it out. And then what I can do is I can press E, pull it up, and then E again, like so, and now I'm going to do is just press the S button and bring it in like so, and I'm probably going to make it a little bit more shallow. Now the thing is, I can see here I think this is looking a little bit too thick. So what I'm going to do is instead of shrinking it all the way down, all I want to do is just grab this one, press con CoClck and then I can actually bring it in like so, and make it the right size. Now, I think, as well, is this a little bit too big at the moment? I think so. So I'm just going to bring it down, like so. And then we're going to pull it back in to place. And we can see if I just move this one out of the way how far that one is, it might need to come in a little bit more, we shall see. And then finally, I'll just bring this part up again. So Control plus once you grab the top, and then we can actually bring it up jaws to tad more, like so, and we can also bring this one down. Again, jaws under there. Okay, so far so good. Now what we need to do is we need to make this part that's going to go up here. So we can imagine that if I put my guy on here, we already know the height of this. So if I put him on here, look, we already know the height of this, so the height right to the top. So to the top or let me just show you this part here without this part on should come to round about that height there. But what I want to do, first of all, is create this actual part that's going to go up. So if I pull this into place now, it doesn't mask so much if it's in the center because it's going to be come in just over this. And this is another reason why if I press SNC and bring it in and pull it into the center here, you can see now it needs to kind of go over my steps a little bit more than that. So it needs to come in probably a little bit more like so. And then from there then, what I can do is I can grab this now. Like so, pull it all the way to the back. And then what I want to do is create a arch going up. Now, where do we start it? I always say that start it like under here. So just under this part here, and then grab the back of it. And we also want it to be flat here. So basically, if I come to this step, I want it to come just in front of this. So if I press three, I can press Control off, left click and bring it just in front of this step here. And then what I can do now is I can bring this up. So if I come in, I can bring this up, three. I can bring it up to something like that, again, where his actual ankle is or his shin bone, should we say. And there now, you just want to make sure that you're happy with everything. Now, one of the problems you're going to have is you can see on here that this, so this from here to here is a lot lower than this one. So I will come in and just drop that down a little bit. And again, this is just if you want to. Like, there is no set rule on this, guys, so it's just if you want to do that, then it might look a little bit better. Alright, so I've got this main part built out. I've got it in my wall. You can see here, it's looking very nice. It's in the wall. And then what I want to do is put a top on there. So all I'm going to do is I know that the top in fact, you know what? We won't do it that way. What we'll do is we'll bring this up first. So if I come into here, press three, and what I'll do is I'll press E and bring this up into the place where I want it. So it's going to be right to the top of there, and there you go. That's going to be the place, then it's going to have a top on there, so. So let's now come in and make this part here. So if I press Control lot, bring it down to where I want it, press Control B to pull it out, and then we're just going to press E and alternates pull it out. Now, if it's not coming out, let's just reset the transforms just once more. Set origin to geometry. And then what I'll do is I'll come in now, press the tab but. Have I That's the other thing. I did extrude, but did I extrude it? Is there something done under there? Always check that if you're not sure. The way you check that is mesh, clean up, merge by distance, zero vert is removed, which means I don't have a extrusion on there. So Alt Shift click, E enter Alter pull it out a little bit like so and there we go. All right, so that's looking pretty nice. Now what I want to do is I want to make this kind of arch up at the top of here. Now, just so you guys can follow along, I think the best thing is to make the arch from round about near the top of his head. So if I press one, I can press Control R, bring in another edge loop, and just make sure it's near the top of his head like so. And from there, then I can actually start pulling this out and bending it in. So what we'll do is we'll pull it out a little bit, and then we'll use probably the bevel to bring it in a little bit. Let's give that a try and see if that actually works. So what we're gonna do is I'm just going to press E, pull it out slightly, and then I'll come in to this part here. Again, press Control A or transforms set genes geometry, press Control B, and then bring it out like so Left click, and now we can actually come in and change how we want it to actually look. Like so you might want it going is the original. On the original, you can see it goes out and then it goes in. But I'm actually looking at this, thinking, Yeah, you know what? I think that actually looks better for right click and shade Auto smooth. Yeah, for me, that looks actually a little bit better. I think it'll be a bit better with a spot. And I know why I actually bent it off. I bent it so it wasn't coming out so far, but you know what? I think this actually looks better. So the one thing is, though, if I grab this now, I actually want to join these up because we brought the bevel down. So basically, there's two edges here. So if I come to mesh, come to clean up and go to merge by distance, you'll see two verts removed. That was those two there, making this a much, much cleaner mesh now. Alright, so we've done this bit. Now what we want to think about is these stair tops. So what we're going to do is we're going to come in. I'm going to grab this part here, I'm going to press Shift D and just bring it up, like so, so bring it up. And then what I'm going to do is I'm going to press Control left click. And drop some of these in. Now, again, these slabs, do I want them all the same? I don't think so. So you know I'm going to do, Controlla bring it down to here. Control A, bring this one down to here, controla bring it down to here, and then control LA and just bring this one up a little bit and now you can see they're a little bit different from each other. And from here, then what we can do is we can come in, split it off. So LP selection, grab this one, then Control A or transform, set origin to geometry. And then we're just going to pull it out slightly. So S and X, let's pull it out very slightly where we actually want it to be. And you can see that it slightly overlaps on this top part. That's absolutely fine, nothing wrong with that. And now I want to do is we basically want to split them up, so I'm just going to grab them, pull them into place, and then all I'm going to do is just come down each one of these, press Y, split them up. And then what I can do is I can press A and then E and pull them out. Now, I think it's better if we press Z, so we can press Z, and we pull them up like this. So they're going in line with this part here. The other thing is this on the bottom definitely definitely needs to cover these up. We don't want them hanging out like that, and we probably even don't want it coming in. So it's up to you. If you come to the face here, you can put it on normal, and then all local. Let's try local. None of these are working. That's a shame. So I think it's probably because we reset all of the transforms, so we haven't got it anymore. It should go to the normal, but you can see we do have a problem there. It's not actually doing that. So what I'm going to do instead is that I will just press one, sorry, three. I will pull it back, so I'm going to pull it back and then lift it up into place like where it needs to be, like so. Alright, let's put it back on Global. And then what I want to do now is pull this out. So I'm going to come to this part. We can see we've got a beautiful edge going down there. We just need to pull this out a little bit. So I'm just going to press S and X, pull it out a little bit. Like so making sure it's covering it up. And if I need to, you know, the last thing I want to do is bring it in if it's not quite fit in there, as you can see, it's a little bit out, which means that I'll come to this and I'll pull it over jaws to slight bit just making sure that it's in each side and now it is. Finally, then what I can do is I've split all these up, so now I can fill them in. So A, mesh, clean up, build holes, and now they should be filled in. And now we can join. We can copy this. So if I press Control L, copy modifiers, grab this one, right, click, Shade Auto smooth. And I'm just wondering, did we actually split those up? Let's just grab this. We did split them up. Is the holes in there? Yes, there is. Oh, that's why for some reason. We just copied the smoothness. Let's copy this one. Concho, copy modifiers. There we go. Now we've got what we want. Right click and shade Auto Smooth, and there we go. Now, before we finish, let's try one more thing. Can we actually pull it out on this normal? Yes, we can, so that's great. So let's pull this out. Let's pull this one back in. Yours very slightly, very, very slightly, guys. So when you're pulling it back in, just grab the blue, and then hold shift, and then you should be able to pull it back in very slightly, like so. And there we go. We've made them a little bit uneven. And finally, then, let's just grab this side, and we'll go to randomize. And then we'll just pull them in, but bring it a little bit in. Like so, and then bring this one a little bit in because we just want to randomize them a little bit, like so, and they're all going to be part of the same mesh, these. We're not going to have one, one side, and then the other. We should be able to join these up to create the full stairs, which makes it very easy to use. Now you can see they're randomized like so. Alright, so on the next lesson, then, what we'll do is we'll get all these joined together, get them moved over to the other side. And finally, we'll turn this around. We'll actually put a top on, as well. We might do a little bit more work on here if we need to, like, put it in, you know, on here, an extra thing going in or something. I'm actually, on this bit, I think we'll do that. Get them over here, and then it'll look pretty nice. Alright, everyone, so I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 99. Creating a Stone Arch Above the Backdoor: Welcome microphone to blend the Building Mass plat from concept to final render, and this is where we left it off. Alright, so what I want to do now is just alter this a little bit. So what I'm gonna do, first of all, obvious self press Control A, or transoms not sure if I did that or not, origin geometry. And then all I'm going to do then is just bring this in. So I'm going to press the i button. I'm going to bring it in a little bit and make it a little bit more than what I did on the older version, something like this. I'm just going to make sure yeah, cavity's on. I just haven't got my my bevels on yet. So what are we going to do grab this, grab this one, corto, and we're gonna copy, whereas it copy modifies, like so, and right click, Shade Auto Smooth. And there we go. That's what we should be left with. And then what I'll do is, I'll put another bar around the top of here 'cause I feel like it's a little bit boring without it. You could either do that, or you could grab the whole thing and bring it in, like so, and then pull it in, so you can pull it in, like so. Jaws to little tad. That might work better. But I think for me, I'm not going to do that. I'm going to put a bow. Around the top up here. Now, to do that, of course, I can't do that right now because we've got edges going all the way down here. So, a bit of a messed up topology. So we want to bring in our Bthectol and just cut this away. So if I press one, I'm going to go to mesh, I'm going to go down to bisect. I'm going to put it round about here. Again, you can move this up or down. First of all, though, just make sure you are resetting your X because then will straighten everything up. And from there, then you can pull it up or down. Now remember, we're going to have a bar on here, which means I can pull it up a little Control B, then, and I should be able to if I drop these back, pull them out, like so, and you should end up with something like this. Then what you want to do is just press E to lns without proportional editing on, so turn it off, alterns and then just bring it out a little bit like so. I think that just adds a little bit more to it. Now we've got that, then what we want to do is put it over the other side. I'm going to grab my steps. I'm going to again press all transform set origin to geometry just to make sure it's in the middle. And then what I'm going to do is now I want to keep these separated. So I'm going to grab this pot first, and then what I'm going to do I just want to keep them separated for now. By the way, I don't want to keep them separated, you know, for all time. And what I want to do is I want to mirror from here. So again, I'm going to come back to my stairs, shift stairs, cursed selected, back to this part, right click Set origin, two, three D cursor, back to this part, right, click, set origins, three Dcursor and finally back to this part, origin, three D cursor. I want to keep them separated because I might need to alter them. That's why I'm doing it. So if I come to this one first, add in a mirror. So let's put it over that side, and there we go. Then come to this one, add in a mirror. Put it over the other side. And finally, this one, add in a mirror. So let's go and add in a Mirror, like so. Alright, so we've got these now all in here, and what I want to do now is just come in and press Contole on each of these because we mirrored them over. So Control A, mirror them over and then Control A, and mirror them over. And now I'm going to do is just change these around a little bit. So all I'm going to do is just grab the whole thing, grab both of these. I'm going to press the question mark. Just isolate everything out, and then we've just got these left. Now, I'm going to come into this part. I'm going to press L, L, L and L. Make sure that you're on Global, and then you're just going to press three. So control three to go into the other side, and you're going to flip it round. So X, blip it over, like so, making sure that it lines up, and then all you're going to do is put this on normal, and you should be able to pull it up. If it's not working on normal, try the local, and if that isn't working, just basically pull it up. Pull it into place, like so, just make sure it's stuck in. The wall like so, and there you go. Now, the reason I've done that, of course, is to make those a little bit different from each other. Now I can press the question, Mark, bring everything back. And we're pretty much done with these steps. The only thing is now we need that top on there. So let's actually create the top, and then we can use that for our other steps. Well, let's get some decent dimensions for our top. So what I'm going to do is press Shift, and I'll bring in a cube. And then what I'll do with this cube is I'll come over to the right hand side here. I'm going to put it on 2.72. And let's put this on 1.07, and then the z on 0.33 94, like so. And there we go, now let's see if we can actually put that on top. So again, I'll press one. I'm going to put it right on top. And because when I brought this cube in, it came exactly where I'd positioned my cursor, so you can see it's coming very nicely. I'm going to pull that back. Don't forget it's going to be going into the wall. Now, the one thing is that you just want to make sure it is overhanging, so it might need to come back a little bit, because if you look on here, you can see they're slightly, slightly over like so. First of all, though, let's actually create what we're actually doing here. So we need this, and then we need a top on there. So I'm just going to, first of all, pull that to the side, so shift D, pull it to the side. And then what I'm going to do is come to this one, and we use this as a reference for the height that I actually want it. So I'm going to pull it down, like so and then what I'm going to do is press I think I'll bevel this in, actually, first, so I'll come to these parts. I'll press Control A or transform set origins geometry, and then press Control B, and I'm just going to bring it in like so. Not quite I want it but. I'm going to give it a few edge loops, like so. I'm going to come down then to custom, and then it's up to you how you want to shape it. So I'm going to pull this part out. I think I'll pull this part in and just have it going down and more rounded, so while making sure that I'm not overlapping this part here, we don't want to do that. Alright, so that's looking good. Now, the one thing is I think what I'll do is, I'll probably shrink it on the sides. So I know this is the dimensions that it should, but what it's not accounting for is just this bar that's coming round. So I'll shrink it in the sides a little bit. So I'm going to press S. Well, let's go back to it, S and X. Pull it in very slightly, like so, and then we'll press Control R. Left click, right click. Carm troll B, pull this out, drop down the amount of bevels we've got on there, and then eat, alternS and pull it out a little bit, hold in the shift if you need to, and you should end up with something like this. Right, click, shade smooth. Okay, now let's work on the top, then. So the top now is pretty easy. We can just grab this part. We can the one thing is with the top, we want to bring it in, and I'll show you how to do that. So first of all, we'll bring it in. So press I and bring it in with Insert. Now, we do want to make sure that it's back to the wall, all the way back to the wall so that when it sticks in, we've not got a gap down there, we don't actually want that. So what we're going to do is press K. Press the Abn just to make sure it's lined up, press click on the line, press the enterb and then do the same thing on the other side, so click it and then A and then Enter. And if it doesn't go, what that means it's trying to connect to this part here. You see how it's connected here. If it doesn't go, it's just trying to connect this back part. So just make sure you do it again, and then you're going to press A, line it up like so, press the ends bone, and there we go. Now what I want to do is we want to grab this one as well. So shifts like this, and now I can actually pull it up. So I'm going to pull it up to the height that this part is here. So if I press E now, you can see I can pull it up into that height. Alright, so that is basically what I want now. I just want to top on here. So all I'm going to do now is grab both of these. I'm going to press the insert to bring them in. And you can see now we've got a lot of crossovers that are happening. Now, I'm just wondering if it might be easier to create a boolean in here. Let's first of all, try E. Enter S and bring it in that way. That might actually be a better way of doing it, because you can see it doesn't break the edges as much, and that's always a good thing. And I'm wondering if I should bring it from this part here. So you can see, we've got edges in here. They're not crossing over. That's fine. We just though want to only bring it in mainly, so the top of this, we want to bring this in a little bit. So you know what? I won't make this hard for myself. I'll just press S and Y, pull it in. Like so, and then all I'll do is drop it back a little bit. And then all I'm going to do is press E and bring it down just to have a top on there, like so. Now, it's up to you whether you go inwards or outwards. You know, the problem with inwards is you're going to get a load of dirt and stuff accumulating in there. So is that the best move? Instead, let's probably try going the other way and just give you an edge like that. And I think actually more realistic. On my original, you can see I put it on the inwards one. And yeah, if thinking about it, it's probably not that realistic doing it that way. Alright, so we've got that now. Now what we want to do is create our next step. So I want to create our next steps once I've actually joined this altogether. So let's you know, join it together. Should we do that first because we've got a lot of parts that we might be able to use? I'm just wondering this part here, for instance, and this top, we're going to be reusing it. So you know what? At the moment, we won't join it altogether. What we're going to do now is we'll get the dimensions for other steps. So we'll get those dimensions, and then we can start creating those. So let's first of all, bring in a cube. So we'll bring in a cube, and we'll move it over to somewhere like here. And now we'll come in and get the dimensions of these. So on the X, we'll go for 2.07. We'll go for 4.18 on the white, so it's much, much longer, as you can see, and then on the height, we'll go for 1.72 light. So you can see now if I drop this just above the ground playing like our other stairs, you can see now it's not only taller than our original, but it's also much, much longer. I mean, if I go over the top now, you can see it's much, much longer. And the reason for this is because this step is going. On where is it this part here? So you can see it's a long, long walkway to this part here. Now, you can see that these are a little bit shorter on this one. So I've just got to make sure that I actually, you know, make these parts. That's why I've kept them to be probably a little bit shorter than these ones here. But it doesn't matter because at the end of the day, we can actually join them together, maybe even separate this out, you know, for a ledge or something. And then we'll have actually three different parts out of these two. So that'll be great. You might also want to, you know, split it even further if you want to. So now I'm going to do is just pull that over there, and I'm going to save out my work like so, and I'll see her on the next one, everyone. Thanks a lot. Bye bye. 100. Designing Staircase Variations Using Curves: Welcome back, everyone to blend the building master class from concept to final render, and this is where we left it off. Now, if we come over here, we can see if we count the lines. So not the bottom one. We've got one. So one line here, two, three, four, five, six, seven. So edge loops, seven edge loops is what we need. And then you can see if you count the other lines, so you're going to be counting in, you'll see they're pretty much exactly the same. So let's try that one, two, where is it, three, four, five, six, seven, so 71 way, seven, the other way. So let's put that over there. And then what we'll do now is come into this and we're going to press Control R. Left click, right click, and let's put it on to seven like so. Now, I did forget to say before doing that, make sure though you have reset all of your transforms. Now let's go seven the other way now. So seven, left click, right, click, put it on seven, like so, and there we go. Now we want to do is we want to delete the ones away that we don't want exactly the same as we did before. So if I come in, and go up, like so. You should end up with it nice and evenly spaced, and now you can come round to the other side and do exactly the same. So we're going to go up, it should end up right around there. And then we should be able to press Delete and faces and know exactly what we're going to be pulling away. Now you might be able to press on this now and actually with Face L be able to delete and faces, delete those out of the way. And then finally, what we're going to do is we're just going to press Alt Ship click If it doesn't work, just Control click and just keep Control clicking all the way up. Just make sure you hit in that top part of it, like so and then you're going to do Shift click and then Control click going up. Like so. Now you're going to do a right click and we're going to bridge edge loops. Now, I've missed one there, so I'm just going to come in and instead of doing that, I'm just going to press F just to fill that in. Then Control R O transforms, right click, set origin, set origin to geometry. Now I want to do is I want to pull them out. So I want to pull them out a little bit to make them a little bit more random what they are. So I'm going to do then to do that is I'm going to press control law, I'm going to bring in, I always want one in the middle. So just remember that if you want one in the middle, we just need to make sure there is one in the middle with three or five. So left click, right click. And finally, I want to pull all of these parts out a little bit. Now, I'm just thinking that it's probably going to be better if we grab all of these, because if we use proportional editing, it's going to pull even these backs away, and we don't particularly want that. So instead of doing that, let me just try Alt Shift click. Is that going to take us all the way around? Yes, it is. So I don't really want that. What I want to do then is I'm going to You know what, we'll grab these sides first. So I can grab all of these going round. So a little bit tedious to know, but let's just grab all of these front parts. Like so. And then we'll do the same thing on this one, and we'll pull these out very slightly. And it's up to you if you really want to do this. I think, personally, it adds a lot to these stairs. It makes them look a little bit more ornate than what they originally were. But let's pull these out like so. Now, I'm just thinking, Yeah, we'll do it like that. We'll actually pull it out, like so. And then we want to jaws pull it out a little bit further than what we intend because we need to pull this middle bit out as well. So now I'm just going to go in and grab all of these middle parts. Like so, and even the bottom one. Don't forget that one. And then we're going to go seven to go over the top, pull them out to give us a nice slope. So it's a nice slope there, as you can see. Right click, Shade Auto smooth. And there we go. We've got the first part of our steps. Now what I want to do is I want to make sure that these are the right height. So again, shifty, bring it over. And then all I'm going to do is just put it there. I'm going to press I'm going to isolate them both out, so I'll press a little question mark. I'll go to the side and grab this one. So just make sure you've grabbed this one, so it'll be the other side, so three. And now I can do is I can press S and Z. I'm just making sure, here it is. It's okay. It's just where the roundo bit is. So S and Z, hold them down a little bit, and then pull this down how far you want. So if I pull this up, you can see, I'm going to pull it down, pull it down, so it's level now with that, and I can see the thickness now of my actual steps. And now I'm going to do is actually create the steps like we did with the other steps that we did. So I'm just going to come in, shift select in all of these, like so, like so, like so. And on these, we'll have them more even because these are more on it, so the chance of these being, you know, pretty even even as in where the slabs are. So, you know, four on each is probably higher. What I'll do then is press Shift D, P, selection, split them off, and then I can delete this out of the way. In fact, you know what? Won't delete out the way yet. What we'll do, first of all, is we'll come in and we'll split these off now. So I'm just going to come in to each of these, like so, and then I'll come into each of these. Like so. And then what I'll do is, I'll press the Y bone just to split them all off. And then A, three to go in side view, and I just want to pull them up now to where they're going to go. So if I press E, I'm going to pull them up and check how thick the slabs are. So something like this, is looking about right. I might need to just raise these up just so they go under there. They come in and just pull them up there. And then what I'll do you know what? I'm not going to pull them up like that. What I want to do is I want to press eight and pull them up together, so holding shift bun down, pull them up. And then Altag bring back the other part. So tab, Altag, bring back this part. And then three again. And I just want to make sure now that they are underneath here. So they're attached to these. So I'm just going to press Eons head, bring them up, and don't forget you can bring them up a little bit more from the bomb, so I'm not quite in. And there you go. Alright, so now we've got those on there. Now, the other thing is, you can see, these all need pulling out, and I actually forgot that. I forgot to pull them out. So what we'll do now is we can come in and pull all of these out. Now the problem we've got is we have to go down each one because I messed up. So sorry about that, guys. I actually messed up a little bit there. So I want to pull them out evenly before coming in and randomizing them all. So yeah, I've made it a little bit harder for myself. Like, so there is a quicker way of doing this. We could just go over the top, put it on I frame. And go in there and just pull them out. Well, see first, then pull them out. So if I go over the top now, I'm just going to see if they all pull out and making sure they're all right. Yes, they are. So now I can pull them out where I actually want them. So how far out do I want them? Probably something like this. You don't really want a bigger lip than that anyway. And there we go. Now finally, what I want to do is I want to randomize these as we've done. So I'm just going to grab a few of these, and then I'll go to proportional editing, and then I'm going to just pull these up now. So if I pull these up, bring it out a little bit, like so jaws pull them up very, very gradually, like so, and you will get a little bit of randomness on those. You can see I've not got any bomb, so I'll do the bomb now. I'll pull it up by bringing it in. Like so. And then finally now, do I need to pull them out a little bit? You can see they're not quite out. So what I'll do is I'll just come to this one, this one. This one. I'm just grabbing it at random, as you can see, this one, this one, this one over here, this one over here, and maybe this one here. And now I should be able to jaws pull them out, pulling all this out. Holding the shift but and just pull them out very gradually, making a little bit of difference on the steps like so now you can see that's looking pretty nice. Now, if you feel like you've gone a bit too far, you know, just go back in, press the z, and then you should be able to level them up a little bit more if you want to. But I think with mine, they're absolutely fine. Now, we've got this part here. We don't need it here anymore. What we need to do is, if I bring it over, you can see everything's correct on there. I delete that out way. Finally, then, let's come in to these parts. And then what we'll do is add in a bevel. So control A transforms set origin to geometry, add in a modifier, generate a bevel, and put it on point not three, like so, and little question mark to bring back everything, and this is what we should be left with. Now, we already know that this part here, so this part here, probably better off not all joined together. So the moment, you can see, we've got it all joined together like that. We just need this part here. So all I'm going to do is I'm just going to grab this part. I'm going to press Shift D, and I'm going to bring it over without proportional editing on, of course. I'm going to bring it over, and then I'm just going to press P selection. And before I reset all the transforms, I'm just going to come in. I'm going to grab this side and the underneath, delete them out of the way. So delete faces, and now we'll just fill in that face. Again, you can just grab it, mesh, come in, clean up, and fill holes. Then we'll fill in the hole here. And there we go. This is what we've got so far. So now what we need to do is we need to make sure, first of all, all of this lines up. So control A, I transform, set origin to geometry, and let's pull this into place. So we're going to pull it into place like so. And then what we need to do is like we've done here, you can see they're slightly wider than this. That's absolutely fine. It needs to make sure they're not wider than the bottom bit on here. So slightly wider at the top is okay. On the bottom, normally, there would be level with the wall, so you won't be able to see them here. That is exactly what we want to do on these. What we'll do then on this one is we'll create the bottoms first. So Joe going to move it over. I'm going to press one, pull him down. And then what I'm going to do is, I'm just going to steal one of these as well. So I'm going to press L, shift D, bring it over. And this is about the same height as what we want for these bomb bits, so I'm going to press P selection, and then Control A or transform set origin to geometry. And I've done that basically so that I don't need to go in and measure everything up again. There might be a little tiny bit lower or a little tiny bit higher, but roughly around there. So shift desk to selected shift, let's bring in a cube. Let's make the cube lots lot smaller. And these, I think I want to be a little bit more square. So I'm going to put them maybe, maybe even a little bit thicker than this. So maybe going out to there for the bombs. And then what I can do is I can bring them, put them in place, so seven to go over the top, bring them right to the front where I want them. And on these, you can see there's quite a shallow gap between here and here. But because these are a little bit more ornate, I think, you know, putting them in like this where they're at, you know, a little bit more set back on the stairs, I think it's a better idea. Alright, so we're going to save that'll work, and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 101. Finalizing Staircase Details and Side Decor: Welcome back everyone to blend the building master class from concept to final render, and this is where we left it off. If I press one now, what I should be able to do is just bring this up a little bit. So I'm probably going to bring it up, so I'm going to grab the top, press one again. I'm going to bring it up Jaws about halfway past this one here, like so, because I will need a top on there. So halfway on the third one or something like this. And then what I'm going to do is press the ebonne jaws to bring it in. Like so, and then what I'm going to do is bring it up nearly to the top. I want it the same height as this. So if I press E, I should be able to then bring it up because I want the top of this to be much, much thinner because it matches the stone better than this one where it's got brick on here. So what I'm going to do then is come out. I'm going to make this then about, if not a little bit more than the bottom of here. So if I press E, enter, S, pull it out, like so, and then what we'll do is we'll press E. Like so, and press in one again, and then I can match it up with this. So if I then press E, bring it up, and then S, bring it in, like so, and then you can see it's a lot much much, much thicker stone. I think I need to go a little bit more in, like so. Now, how far in do I want this? Probably a little bit more. So something like this. I'll line it up with that, so don't worry, guys. And now what we're on to do is I want to put a base. Now, my base on this one is probably going to go from the bottom of this step and then all the way down to somewhere like here, needs to make sure that it's covering up the steps, but don't forget we're going to have some slabs on there as well. For now, though, I can actually get rid of this. And then what I can also do is come to the front of here, grab the front, press the e bone, and bring it in, and then the E and pull it back a little bit, so just making it a little bit ornate than what it was. It's up to you whether you want them in the sides, as well. I think it just looks better like this, so it's just a personal view. Now I want to do is, I want to bring in another block. So shift D, let's bring in a cube. Let's make the cube smaller. So S and X on the X, and let's pull it in. And then I'm just going to get to fit into this point here. So I'm going to come in. I'm going to get it to fit in. Do this. So S and X. There we go, something like this. And I do want to make this tie up with the bottom of there. Now, what I also want to do with this is making sure that it's in, but I'm going to make it a little bit thinner. So S and X, bring it in a little bit more. And then what I'm going to do is grab the top. Bring it down. And what I want to do with this is I actually want to put another part on the top of this and then bring them all down to here. So first of all, let's just pull them in so I'm making sure they're putting in. And how I'm going to do that. If I go over the top now, put it onto wireframe, so on wireframe. I should be able to see now how far that is in there. The other thing is, you can see that when I moved it, I actually didn't move the whole thing, so I'm going to press L on this, just to make sure I've grabbed it, and then pull it over just to make sure that it's in that stone right down at the bottom. Now it wants to be just in there because we're going to do a bit on the top. What do I mean by that is we're going to come off wire frame. We're going to press the E button. Like so. And then what we're going to do is bring it up, like so, just to make another chunky bit. From there, then what I'm going to do is I want to make sure that I've got, first of all, the right width on here. So what I'll do is I'll just lt ship click, bring this down a little bit, like so, and then just grab each of these. So what I'm going to do each side of here, E, enter, S and X, pull them out. Like so, and then just make sure that you've got a little bit of a gap there, maybe even even more so X and X, pull them out a little bit more like so. Now, let's first of all, get where the top of this. So the top of this is going to come just just below here. So roundabout here. And the reason is then because we actually want some slabs on top, we're actually going to have, you know, a kind of metal gate going up there. So what I'll do is I'll grab all of the top on here. So what I want to do is just wondering the easiest way, I'll grab this one, this one, this one, this one, and this one, and then the top. And I should then not have to bother grabbing the back because we should have grabbed enough where it's actually going to work, and I should then be able to be able to pull this down to halfway on there. And finally, then what I want to do is I want to grab all of just the front because this part here I want to pull out. So I want to pull out to here. I I pull it out to here, like so. And then I want to drop this part down. So this part here, I want to drop down, making sure that it's pretty low down, then so going down, going down all the way so that it covers Yeah, so you can see now we've got the same going all here, and then the top of this, so the top of it here should be covered up with the slab. So maybe, maybe I want to lift this up jaws to tad more just to cover those parts. I have a grab just the top here, should then be able to jaws pull it up, like so so it's covering all of those. And now you can see that's pretty even going all the way up there. Now you can also see that mine isn't quite in the middle. So I'm just looking now if I want to pull it this way, jaws a little bit, holding the shift bun, like so, and I'll line these up a bit more as I go on. But for now, I'm fairly happy with how that looks. Now, again, with the slabs, they're going to be pretty even. So they're not going to be different on each side like these ones over here. You know, these ones over here was the side entrance of the building, you know, not as much work on the grand entrance where, you know, the officials go in. I'm thinking about that actually when I'm, you know, modeling these things, and I think it's really important to think through those things. You know, grab a book or some images and look at these buildings and how they were built. Okay, so now we've done that, we need to create these slabs going over. So what I'm going to do is I'm just going to grab all three of these. I'm going to press Shift D, and then I'm going to press P. So P selection, separate those off. Hide this part of the way, and then I should just be left with this. Now what I do is I want to bring in some edge loops. So control. Let's bring in some edge loops. So left click, right click. Now, when I'm bringing the edge loops in here, I'm actually thinking of where the actual gate pots are going to be. So you can see they're evenly spaced out. If I put a gate pot in the middle of each one of these, it's going to look pretty good. So if I've got one here, you can see it kind of matches up at the top of here, and that is what I'm going for. Now, at this point, you can go right click and moccasin. And then what you can also do is then split them off. So if I come to L, L, L and L, I can press Y, split those off them. And then finally, I can press tab, oltch, bring back the other part. Now, I do want to grab this part here, so you can see I've grabbed this part here, and I want to make it, you know, a little bit wider than this part. And here, of course, so I'm going to press S and X, pull it out a little bit. Like, so making sure that it's still in this here. We don't want it going past there, so just take that into account. We just want it to have a little bit of a lip on, as you can see. We also want to make sure it's not going past this one. Finally, I can press tab, I can press E and Z, making sure it's going up straight, and then pull it up to how big you want these stone parts to actually be, something like this. And then I can grab this one, press Control L, and I can copy modifiers, like so now, I do think, like on this part, probably chance of them being, you know, a little bit uneven is probably, you know, a lot lower. So what I'll do is I'll just bring them randomize them very, very gradually. Now, there is another way you can randomize things. You can actually, if I come to just this one and grab it and press A, I can actually come up to mesh, come down to transform or come up to transform, come down to them where it says Randomize. And what I want to do is turn this down. So turn it all the way down the note point note one, and even maybe you want to go further than that. So you can see at the moment, we've Great like this, and now they're slightly slightly out, but hardly noticeable, as you can see. Let's write Click and shade Auto Smooth. And the other thing is before doing that, you know, I'll actually go back and I'll show you something else. So before doing that, you can see at the moment that we've got edge loops on here, which we really don't need. So these ones here are what we don't need. So what I'll do is I'll press Delete, and I'm going to delete limited disolve. Let's go with Limited Dissolve. And now, if we come to mesh, transform, go down to randomize, turn it down to note point note. One. Now press tab, and there you go. Now you can see the slightly uneven. Now, the thing is, why am I bothering doing all those things, the eye picks up on so much. So even with the edgeware that we got on here, even with these steps being a little bit uneven, the eye picks that up. It makes it less uniform. Cause even though this building is very uniform, I see a lot of people's renders where everything is so uniform that, you know, it just looks generic type thing. And we don't actually want that. So even on a building like this, where everything is built, you know, very, very well, you know, it's not like some Western themed saloon or something. It is actually an 18th century building, and they're normally built to a very high level. They have stonemasons working in there, you know, even sacred geometry in some of them. They have all these goggles and things. Amazing, amazing level of craftsmanship that went into these things. So we don't want things to be bent all over the place or anything like that. We want it just to be very subtle, but just subtle enough where you can actually pick up on it with the eye without actually thinking about it. That's the key right there. All right, so what we're going to do now is file, save out our work, and on the next one, then what we'll do is we'll actually start creating these railings that are going to go up into this part here. Alright, everyone, so hopefully enjoyed that. I'll save out my work and I'll say it. I'll see you on the next one. Thanks a lot. Bye bye. 102. Modular Fence Piece Creation in Blender: Welcome back, everyone to blend the building master plat from concept to final render. Now what we want to do is we want to actually create the railings. So if we just take a quick glance at here, we can see that these railings look like this. So we just need to create the railings, and then pretty much with this part, at least, we're actually done. Now the thing is with these railings, they're also going to be used, as you can see in this part here. So we may as well create the railings to actually use on here. And then what we can do is we create these bars, and then we can use those railings for the back, which is this part here. So for the bag going down here as well. So let's actually do that now. So just going to go back to my stairs, so I've actually got them out, and then we're going to put them over the right hand side. So how do we create these railings? So first of all, we're going to create them basically for the actual fence. So the fence that's going around the outside, not for this. And then for this, we can just take those and use them and adapt them. That's the best way to do it. What I'm going to do is, first of all, I'm going to come into where my little guy is. I'm going to press one to go into front view. I'm going to press shifts, cursed or selected, bring in a cube. So let's bring in a cube. We're going to make this much, much smaller. I think with these railings, it's better if we actually keep it square. So I'm going to bring it down right to there, and then I'm going to bring it down even more, so a little bit more like so. And I think the top of my railings just wants to go under is crotch there, which is round about aligned with with this. And then what I'm going to do now is come to the bottom side of this. So I want to go to the bottom, grab it in face leg. So just grab this, press one again. And then what we can do is we can bring that down nearly to his feet. Now, this might be got proportional editing on turn that off. This might be a little bit too thick. So if it is, I'm just going to press. Let's just zoom in so you can see shift click just to make sure I'm grab him around the outside, and then I'm going to press alternates, and that's not going to hold to their height. It's just going to alter the actual thickness. And there we go, that might be still a little bit too big. And I think something like that is about right because remember, these are made of steel, so they're not going to be, you know, really, really thick or anything like that. That wouldn't make any sense. Now they're gonna basically be sat on top more. They're not guarding anything. They're not keeping people out. They're too low for that anyway. People just climb over them. They clearly for decorative purposes. Now I'm going to do is gonna press E, enter, S, pull this out, and I'm gonna press E, pull this up. Like so. And then from there, I'm going to press I and bring it in. Slightly more probably than this part in there. So I'm going to press S if I want to go in a little bit more. And then what I'm going to do is bring it up. So E, bring it up, like so, and then finally bring it in. So S, bring it in. Now, it is up to you if you want to make them a little bit more decorative. So if you want to make them a little bit more decorative, rather than bringing it, you could do it like this. So we could basically come in now, control or bring in three edge loops maybe, lt shifting click, proportional editing on. And what we're going to do is we'll use the sharp maybe. So let's try the sharp, bring it in. So bring it in. Scroll in, scrolling. Yeah, maybe that one's a little bit too sharp, as you can see, so we'll try one of the others. Let's try the root that's normally a little bit less. And you can bring it in like so, and you can see, right click, shade or too smooth. That is looking a little bit better. Now, the one thing is when I brought that in, so before bringing it in, I don't want to alter this part here, and the easiest way to do that is just to come up and you'll see that if I press Control plus going all the way up here, so Control plus up to here, hide these out the way. I should then be able to come in. I'll just show you Alt ship click, bring it in. So we'll bring it in even there and then press tab and you'll see now it's not altered any of this, so hiding it out of the way is really an easy way to bring it in without altering anything. What I'm now going to do is just bring it in. Where I want it, like so, right click, Shade Auto smooth. And there you go. You can see that's looking pretty nice. Got a nice bend on there. And yeah, okay, it's costing us a few more polygons, and that's up to you whether you think, you know, is it worth it those extra polygons just to create that nice top on there? The other thing is, is it high enough, or do you want yours a little bit higher? Remember, these ants keep people out. So having a big spike on there is probably not the way to go. Alright, so now want is we want the bottom on this. What I'm going to do is press tab, Alt H, bring it back, and then I'm going to press E and bring this down. So I need a little kind of part where it's going to go down like so. So E, bring it down, and then alt, shift, and click, going this way around Alt, shift, click, grabbing it going around there. I should be able to then press E to alter ness without portional ensing on. Probably not ltess. Is it going to work? Yes, it is. So we'll bring it out, so it's got something then to sit on. Now, just remember that you want this flat, and I'm fairly sure that this is flat. Yes, it is. So that's nice and flat. Now the next thing we want to do is we want a couple of bars that we can actually use. So we've got this main part now, but I want a bar that's going to go underneath. So underneath from here, and I also want a center bar, as well. So let's bring those in. So what I'm going to do is shift A, we'll bring in a cube. I'm going to make my cube much, much smaller, like so I'm going to pull it out. It's clearly not in place, but we'll throw that out in just a minute. And what I'll do is I'll grab the center off here. So Control A, you'll transform set origin to geometry, and then shifts, cursor selected, grab this cube, shifts and selection to cursor. And now we know this is right in the middle. So what I'm going to do now is I want it Nice and thin, first of all, and then S and Y, sorry, S and X, pull it out a little bit like so, and I'm going to come in, and it's going to sit on top of that. So now if I come in and pull this out, and then I'll pull it this way, this is how it's going to sit on, like so. And then this part here, we're actually going to add on, first of all, a generate an array. We're going to turn it off on the X, and I'm going to move it on the Y, like so. And then when we bring this in or save it out, we've already got this array on. We can also move these along if you remember, I did show you if you come into the face set, you can actually come on and make sure correct face attributes is on. So once you've actually brought in your materials, put on the shader and things like that, you should be able to just pull this out and it just lines, you know, it just automatically vis it more and more and more as long as that's a seamless texture. Alright, so next of all, I want to grab this now, and I want to pull it up to where it's going to go on here. So I'm going to press Shift D. I'm going to bring it up, and I want it just to be where his tie is. So kind of halfway in where his tie is, maybe maybe a touch higher like so, and there we go. So now all we need to think about is the top bit. Do we want it so wide? I don't think so. So what I'm going to do is press S and X and pull it in just to make it a little bit thinner like so. And there we go, This is basically what we're looking for. Now, with these two parts, we can probably get away we join them together. So Control J. Let's join them together. And the one problem you're going to have is when you're arrange something, you can't keep the modifier on and join it altogether. So that's one problem you're going to have. So you probably have to bring these separately in because I have tried pairing them up and see if they, you know, come through like that. So what I'm going to do, though, is I'm going to bring them all out here together, like so. And then what I'm going to do is I'm going to see if they work now with parenting up. So if I go to my asset manager, so open up my asset manager, and I'm just going to grab this one and this one, press Control P, and we'll set parent two objects. And now they're parented up. And now if I right click, I'm looking for, as you can see, I can only mark them as assets like so. So when I come in now, you'll see that they come in like this, and when I bring them in, now you can see they're not coming in properly. So you can see they're not coming in with the bom parts, no matter what I do. Now, I can do another thing. I can grab both of these and press M, new collection and put them in as railings, like so. And there we go, now we've got one that says railings. We should be able to go up and clear. So we're going to clear these. So I'll grab both of these, right click and we'll clear the asset, so clear them. And then I'll go to the railings right click, Mark as asset, and now we've got both of them in. So now you can see, I can't bring them in apart from the here. Did I bring those in? Let's have a look? I actually did bring them in. Now I have they got Have they got the modifier on because they've come in very weirdly, as you can see. So, Pete, clear parent. Let's press Tab. I can't even do anything with them, as you can see, they're actually a railing like this. And when I open this up, it just comes in as that. And now I can't do anything with them. So as you can see, I don't know how to get around that. So I'm going to come to both of these. I just thought I'd show you just in case you go down the same route I did. I'm just going to clear them out, making sure my arrays on, my railings are there. And I know it's a bit long winded to show you that, guys, but I'm just showing you the limitations of asset manager. So now let's clear the asset. And what we'll do now, we're not going to put anything in the asset manager. We're just going to go back to modeling. And what we're going to first of all, do before finishing is we'll add in a bevel. We'll add in a bevel, not point, no, no three, like we always do not point, not not three. So and then we'll come to this one, do the same thing, add in a bevel, so generate a bevel, and again, note point, not note three. Finally, then what I'm going to do is I'm going to grab both of these and just reset. So control a reset all the transform, set origin, to geometry. Now, I think with these, it's probably a little bit too high on the bevel, as you can see. So if I put this on note point, note, note one, let's try that. And then we'll put these on the bevel, note point not note one. And I think now they look ready to go. Now on the next lesson then, we'll actually put those into here, get those all fixed in. And first of all, though, let's say that all work. And I'll see you on the next and every one. Thanks a lot. Bye bye. 103. Using the Array Modifier for Sloped Fence Placement: Welcome back on to blend the Building Mass class from concept to final render, and this is where we left it off. Okay, so what I'm going to do now is grab both of these. I'm going to press Shift D, and I'm going to bring them over. And then what I'm going to do is put these in place. First of all, though, we want to delete the bomb off here. We don't need that. So, delete and vertices because these are going to be sat on top of these parts here. Next of all, then, I want to bring them over and put the first one into place wherever I want it. So I'm going to make sure that we said that we're going to be using these here. So these steps are nice and even, which means I can put the first one into here. Now, I don't want it disappearing in there. I just want to have it nice and laid out into here, like so. Then what I want to do now is I'm thinking that maybe I want a bottom section on here or do I want to pull this down? You know what? I think I'll do all that once I've actually got these in place. Now, because we have an array on here, what we can actually do then is pull this out, first of all, so if I hold the shift bone and bring the Y out, and then what I can do is I can now lift them up. So I can actually offset it a little bit as well. So if I press the z, you can see now we can offset it. And then what I can do is I can bring them up like so. I need to offset a little bit more, as you can see. And also, I've got one, two, I need to pull them over a little bit more. Let's see if we can actually do that. So pull them over, pull them over very slightly. Like, so into the center of each. We bring it back one because we've got an extra one in there, as you can see, so bring it back one. Now, let's try and offset a little bit more. Can I get away with that? Sometimes you can. Sometimes it's a little bit too much. So you can see here, not 0.1. Let's try not 0.180. So eight to four. So it's not 0.13, not 0.172. Let's try that. And there you go, now you can see that they're pretty much all into place. There's a little bit of difference. So let's try just putting up three. Let's try that. And there we go, I think, maybe, maybe, maybe two more. So let's try five. And I reckon that is about right. And I'm looking now just to make sure everything's in. And there you go, that is how you're going to do that, guys. Alright, so now that we've got it in place. Now, let's bring this part into place. Where is this going to go? Let's first of all, resell the transforms set origin to geometry. And then what I'm going to do is I'm going to put it into roundabout here. Now, the other thing is, as well as I feel like with these, maybe they're a little bit high, so I'll bring them down in time. What I'm first of all going to do, though, is pull this out to where I actually want it, so it'll be all the way over to here, and then I'll lift it up. Pull it out, like so. Now, what I want to make sure with this, I can delete this out of the way. By the way, we don't need this. What I want to make sure is if I grab all of this, I'm just going to select all of it, press the question mark, just isolate it out. Press three then to go into side view, Control three to go into the other side view. And what I want to make sure is this is lined up with these. Now I can bring this down and I can make sure that it's pretty much lined up near enough perfectly with this bomb here. You see, it's tiny, tiny bit out, which means that I can come to grab this, hold the shift button, and just line it up a little bit more. And from there, then, I can actually pull it up into wherever I want it. Now, we can see here that these are probably a little bit too high, and if they are, it's really easy to come in. Or it should be, grab the top. So let's just grab the top right on the top there. Press the little question mark once you've grabbed it, like so. And then what you're going to do is you're going to press Control plus and go all the way around just to the inside of there. And then what you should be able to do then is just pull them down a little bit and still keep everything in line. So it's up to you if you want to pull them down. I think, for me, they're a little bit too high, so I'm just going to pull them down like so, and I'm looking, have they alter the bomb. If I pull them up, you can see it as alter the bomb, and that's something that I really didn't want to happen. So I could come in, pull them down. And then remove this z. So if I bring the z down, sore up, like so slowly bring it back Is place, like so there, and then drop it back. So it's 1.85. So let's put it on 0.183. Like so, and I'm looking if I press Control three, I can see now the distance between each one looks about perfect. So that's looking good. Now, last of all, then let's apply this array because I'm not going to need it anymore, and to be quite honest, it'll cause me problems later on down the line. So let's press Control A. Then what I want to do is just isolate these out, so shifte you can isolate them out. And then what you can do is you can come now to the bottom of here. Like, so press control plus, just so you've got both of them. And then what you're going to do is pull them down, so press the taba Ita, bring back everything, and then we should make sure that everything is in place like so. Now finally, what I can do is and come to these now, press the tabun, just press delete and face us because we're not going to need those bond faces in there anyway. And there we go, guys. We actually might be done with this. One of the things is, though, they're not actually in the middle. So let's grab both of these, pull them over more to the middle, like so, and that's looking pretty nice. Now, let's have a look with our guys. So let's unisolate everything. And what we're going to do is just bring him around and see if it looks good on the steps, yes, I think that is. That's about right. Alright. Really cool. Now what we need to do is just delete this out of the way because, as I said, we're using this and this together, so that's going to be looking very nice. So now let's come in, shift desk, curse to selected. And then what we're going to do is move everything over this side. Now, we can pretty much join everything up. So we've got not point note, note one. This is going to be one of the problems where you're probably going to have to, um apply this because this will have a different amount on the bevel, and we've been through that discussion before. So what I'm going to do is just grab this one, press Control A, and then we're going to grab this one, press Control A. And then what I'm going to do now is grab this one and this one and join them to this one. So I should be able to press ControlJ. So grabbing this one last Control J, right click Shade Auto smooth. And you can see we do have a bit of an issue there, and I don't really want that. So sometimes, as I said, we'll have to before joining it altogether, apply the actual bevels, because you can see what it's actually done is it's beveled it twice. Now one thing we can do is if I join this with this, so press Control J, you can see now C right click shade Auto Smooth and that for some reason. It's not going how I want it, so I'm just going to bring it back. And you know what? I haven't reset my transformation, so it might be that. So before I do that, you know what we'll do? We'll press Control A transforms, right click, set origins geometry, and now join them with this. So Control J, right, click, shade ato, smooth. And the thing is, they're not actually auto smoothing, probably because they've got a bevel on. If I turn that off, right, click, shade to smooth. Yeah, it's still not actually smoothing it out the way that I want it. You know what I'll do? I'll do it a different way. So we're just going to go back. We're going to come to this one. So before it had the bevel, now it's got the bevel on. You can see they're all smoothed off very, very nicely. And we should be able to shade them flat with maybe some sharps on there. That might be something else that we think about. So let's press tab and let's right click and shade flat. And then what we'll do is now I think we'll bring in some sharps. It might have been better to do that, you know, before using the array on here, but I've already used the array now, so I don't really want to mess around with it anymore. So yeah, what we'll do is we'll join them all together, and then we'll try. And so I'll go to here, press Control J. And there we go. Because we shaded them smooth, you can see now they've actually turned out pretty well, and they've still got that on there. Now what I'm also going to do is I'm just going to bring them up because I can see now because how these are, we're not actually getting the bevel on here. So we need to come down to geometry, clamp overlap, turn that off, and then we're still going to get that bevel on there, as you can see. And then I'm going to resell the transforms, right clicks at origin to geometry. And now let's have a look at what these look like. So double tap the A, and you can see now we do have a little bit of a problem with the clamp overlap. Let's turn it off a minute. And now we don't do we need it on? Do we need it on? Let's have a look. Here I'm getting the bevel there. I turn it off. I'm getting the bevel there, but it's a bit too high, so let's put it down to note point, not one. Let's put it down to that. I'm just looking. I've got some bevels in here, as you can see, if I press A, shift N, I can't turn them round. So this is ended up a little bit of a mess. So you know what we're gonna do? We're just going to go back before joining all these up before doing anything like that. Split them off. So let's go. There we go. They're all split off. One more to get back our bevels. And what we'll do is we'll save our work, and on the next one, we'll join them up in a different way. Alright, everyone, so I hope you enjoyed that, and I'll see you in the next one. Thanks a lot. Bye bye. 104. Adding Arched Staircase Entrance Decorations: Welcome back, everyone to blend the Building Master class from concept to final render. And now let's get this finished. So what we're going to do then instead is we're going to grab this one. We've already applied our bevel, so just press Control A on your bevel. Let's make sure it's in there so you can see it's in here. Let's then grab this one and this one we'll press ControlJ because we can join them both together. We can join this one, then we can apply the bevel, so Control A, let's apply that. And then we can join these two together. So ControlJ let's join them both together. Now, the one thing I would say is, before we join those, let's actually mirror them over the other side, and then let's join things together because I might want to make these a little bit different at the moment. We can see there is some randomness on them, but we might not want that translating over to the other side. So I just want to check how that's actually going to look because I might want to spin them round like we did before. So let's first of all, go to our center and make sure that we've got our cursor in the center and then come to this one. And what we're going to do is we're going to go to or modify, a modify generate a mirror. Let's mirror on the actual cursor set origins, three D cursor. And there we go. Let's do the same then with this one. So we're going to copy the mirror from here, so I'm going to grab this one, grab this one, and press Control L, and we're going to link or copy modifiers, right, clicks Origins, three D cursor. And then this one as well, we're going to copy this, so I'm going to write clicks Origins, three D cursor. Same for this, right, clicks origins, three D cursor, grab both of these, grab this last, control, and we're going to copy modifiers. And that then is going to put everything over there. And then finally this one. So right, clicks origins, three D cursor, grab this one, control, copy modifiers, and there we go. Now let's have a look at what we've got here. That is looking very nice. These bits here, are they know, can you really tell that they're both the same? A little bit, a little bit. So what we can do then is we can apply the mirror, so Control A. And then what we can do is we can grab now this one. So all I'm going to do is just press B. I'm going to grab it going all the way down to here. I should then be able to press Control plus P selection, separate it off. Control A all transforms right, clicks origin to geometry. And now I'm going to do is spin it round. So I want to press R Z 180, spin it round, and then just balance it back out. So if I come now and hide, You know what? I'll do? I'll just grab the whole thing, and I'll press question mark, and then I'll grab this. Press three to go in side view, and I just want to level it up now. So if I press R and X, I should be able to just level it up the same as the other one. And there we go, double tap the A, and now they should look different. From this. So you can see this one's rising up here. This one's a bit down. They look a little bit different from the other ones, and very happy with how they look. Now, the next thing we want to do then is we need bevels on these, and we want to apply the bevels, obviously, because we don't want to join everything up without the bevels on. If we come to this, we've got bevels on, Controle. Come to these. We'll do the same thing Contro adding a bevel. So generate a bevel and we'll put it on Noto note three. Like so, we'll press controle. I'm just looking to see if that's right. Not not five. Let's have a look. Maybe a little bit more of a bevel on these. Control A, apply that, hide them out of the way. These have got a bevel on, as we can see, hide them out of the way. These don't need a bevel. These are done now, so both of these sides are actually done, so I can hide those out of the way. These are actually done, as well. They've got a mirror on, so let's apply that with Control A, hide them out of the way. These don't need any bevel on or anything, just the mirror. So apply that, hide them out of the way. And finally, then this part here, these have a mirror. I can press Control A. Let's bring in the bevel, so I'd modify a bevel. Let's put it on Not point not three. Let's press Control A. And let's press Alt H and bring back everything. Question mark. And now we need is this one here? Now, does this have a bevel on it? No, it doesn't yet, so we need to pour bevel on, so add modify, generate a bevel. Let's we click shade Auto smooth. Control A, all transforms set origin to geometry. And what I'm looking for now is to make sure it has that bevel on. So we want to put it down to not point not three, like so, and there we go. Now, on this, because I'm joining everything together, I should apply my bevel, so control A. And now what I can do is I've got these two here. Probably, you might want to split yours up. In other words, you might want to split them up so you have, you know, this top, which you can use for other things. So you can put that in there, put that on your own buildings, or you can keep them the same as me. It's completely up to you. But let's deal with this one first. So at the moment, I need now to bring this one over now. You can see they're not in line with each other. So all I'm going to do is just press Shift D. And then what I'm going to do is just plate it there. I'm going to grab both of these ones, and I'm going to press Control A, all transformed, set origin to geometry, grab this one, shifts and selection to cursor. And then what I'm going to do is bring it up now. I'm going to press seven to go over the top, and I'm going to line it up, making sure it lines up so that this, as you can see, first of all, is pulled up, and second of all, is pulled out. Now I'm just wondering, this one here now. I'm wondering if I have to. Pull this one out a little bit, because you can see here that these are a little bit wider, and that's why these aren't leveling up properly. So what I'm going to do with that is I'm going to, first of all, press Control off, left click, right click. Now, that's not going to go all the way through, so I need to do this a different way. So the way that I'm going to do this is seven to go over the top. A to grab it and I want to bisect it down the center. So mesh, come down and bisect it straight down the center, just a little bit to the left. So center, a little bit to the left, make sure we zero this out, like so, and then all I'm going to do is pull it over a little bit. Now the reason I can get away with that is because we've got no bends or anything like that in this bit. So if a right click, Marc asin. So we're going to mark a seam if that's not working, press Controlle, Mcasine. And then what we can do is we can come now, press L, delete, and faces, like so. And finally, now I can actually put a mirror in here. So if I come in, add a modifier, generate a mirror, and now finally I can come in, press the Abn and move these over to where I want them. So I want it moved over to here, just in that point there. I'm also looking at this point here so we can see if we zoom in. Got about the same distance either side. So, this sticking over a little bit more is okay. And then what I'm going to do is come over control. So I need to be object mode, Control A, and now finally, what I can do is just build these in. So I'm going to come in, Alt, shift click, Alt, shift click. And then what I'm going to do is right click and bridge edge loop. So bridge edge loops, there we go. Now, you shouldn't be able to tell the difference. And finally, then what you can do is shift, click, shift, click, Dissolve edges, like so, and now you can come in and shade Auto smooth. Now, if it's not shade auto smooth, just turn it down a little bit, Just a tiny bit, and you see that's now perfect. And then finally now, let's work on these. So, have we got a bevel on these? Let's have a look. Yes, we have. And I think this now is actually ready to completely join up. But if I move these over here, I should then be able to come in and join all of this up. I'm just going to have one more check on it, hiding each part out of the way, just to make sure I've got no mirrors or bevels on or anything like that, or the bevels even on where I need them. So these so let's check this one as well, and we can hide that one out, wait. Let's check this. Hide the other way. And let's check this, hide it other way. OT H, bring back everything. One I just wanted to check is there. And now I should be able to join it altogether. So let's press Control J, join it altogether. And then what we'll do is press Control A, all transforms, right, click Set origin to geometry. And now we're going to do is come to this one, exactly the same process. With this one, we've also got bevels on as well. And Not point not no three, as you can see, no bevels on, not point not no three. So if this let's go Control A, hide it out way. This one, Control A, hide it other way. These don't need any bevels on, so we can hide that other way. This does. So all we're gonna do is come in, and it's already got a bevel on, as we can see note point not three. Control A, hide it out of the way. And then we're on these two now. So has this one got bevel on? Yes, it does. So we can hide the other way. And finally, we're left with these which don't I'm going to add in a modifier, generate a bevel, note point not note three. There we go, maybe a little bit higher again because it is stone, not point non five. Let's try that. There we go. Let's apply that, hide it out of the way, Altag, bring back everything, and I'm just checking this. Yes, the bevel has been applied. So now I should be able to with this one, join it altogether. So I'll press Control J. I'm going to right click and shade Auto smooth. I'm going to turn this down just very, very slightly like so, and there we go. That is that part done as well. Okay, so very happy with how that's turned out. Now we need to do is we need to obviously bring in some materials. And then we're basically done with this. We've got our railing. We've got our steps on here. And yeah, this is looking really good. So I think the next thing that we'll do is, once we've added in our shaders and things like this, is we should make a start on these arches. And the reason I think we should make a start on these is because these are going to go like in between these parts here. So these are going to go over the side, and then these parts are going to go in. If I show you the door, you can see in here this is where the arches. So it's not just a wall going back. It doesn't look right if you do it. Even on the one in here, we've got an arch going in there that you can just see. So that's the reason why we're doing those. Once we've done those guys, honestly, as you can see, if I put this over here, this is the main parts now that we've got to create. All of the other stuff, honestly, we've already created, so we can really start now building this out. We've obviously got this part in here and this dome that I've talked about, which we haven't done yet. So we've got this, this part and this dome. Now, these are the most difficult parts, I would say to actually model. But once we've done those, we can start building all of the stuff out, pretty much putting everything in, and you should really then start to see your model actually come together because I know what it's like when you're building things, and, you know, it's taking a long time to actually get to that point where you can actually see what you're actually building. But I assure you, once you've actually you know, built these walls and doors out, then we'll be able to see. I'm thinking that actually probably the best thing that we can do is once we've built those orchards, let's go in, and what we'll do is we'll start building all of this pot out. So we'll start building all of this pot out, I think. Before building out the archers because then it'll just get rid of that repetition of just modeling, modeling, modeling. I don't think that's the best way to work. It gives you a break from that and actually gives you some motivation to actually see what you're actually creating. Alright, everyone, so I think, as I said, once we've actually done the archers, we'll start on the back of this building it out. We might even start building out, you know, these gates and things like that. I think that's going to be a lot of fun. Alright, everyone, so I hope you enjoyed that. I'll see you in the next one. Thanks a lot. Bye bye. 105. Finalizing Staircase Decor and Integrating into the Manor: Welcome back, everyone to blend the building master class from concept to final render. Now, let's just take a look at our stairs first, just to give you an idea of the materials and shaders, so you can see we've got a slightly different part on top here, slight bit of difference around here and here. These are a little bit slightly different to the stairs, and then you've got the male parts and these parts being brick. So let's move this over to the right hand side. What I'll do is, then I will come in and we'll deal with this one first. So all we're going to do, first of all, is grab the whole thing, press U, smart UV project. Click Okay. And we want to make sure that we're just getting the stone looking the same as we know. Let's put it onto either material view or Shade View. Let's put it on rendered view for me because I can run it at that. And then what we'll do is we're coming over and material. Now we want the same material. As let's have a look at this here because this has the metal and it has the stone on there, and that is basically everything we need. So I'm going to basically grab this press Control L, and we can link materials, and let's go back to it, and let's actually do this first. So we can see that this is why I split up my materials. So I've got light on top and dark underneath, and that's why I did that. We can also see we're getting a little bit. I'm just looking to see if we're getting repetition. No, we're not. We're not getting repetition, so that's okay. So what we'll do then is we'll come in and we'll grab these here first. So we're going to press L, L, L, L and L. Same for these. And then what we'll do is we'll come down stone light, stone lighter, click a sign, and then we're going to do the same thing on these parts here. All of these. All of these. Now, one problem. Yeah, I grabbed it edge. Just make sure you grabbing oh it's an edge slick because we've got some seams on there, and stone lighter, we can click a sign like so. Now, let's come in too. The top parts because they're going to be stone slabs on top. So Control plus, so going underneath, press the dot but. You can look underneath Control plus, and then all we're going to do is press stone light. So stone lighter, click Assign. And there we go. And now I want to do is this light's probably a little bit too bright for these, actually. What I want to do though is break it up then with brick under here. So if I press Alt ship click, and what I want to do is now going up and press the plus p. So plus, if I go to this one you can see brick normal Ooh one, let's come down then to these and we'll go for bricks. So brick, normal o. Press tab, click assign. Now, we want to just make sure that the bricks are the same size as these, and you can already see that they look around the same size of these anyway. They might have been a tiny bit smaller, but generally, you want to keep them around about the same size. So that looks pretty nice. Now we want these parts. So we're going to go with these two outcroppings and this outcropping on here, and we're going to have them stone light. So what I'm going to do is Althif click going all the way around, like so Alt Shift click. And then Alt Shift click. And finally, Alt Shift click Alt Shift click Control plus, and then stone Lighter click Assign. And there we go, that is what you should end up with. And that is looking. Really nice. Okay, I'm really, really happy with how that looks. Yeah. Okay, so now let's move on to this one. So if I grab, in fact, you know what we'll do? We'll take off the glass blue because we're not going to need that. We'll take off the wood crack because we're not going to need that. And then we've got all the materials that we need for both of these. So now if I grab this one and grab this one, I can press Control L, and I can link materials. I can grab this one then, I can press A, U, smart UV project, click Okay, and there we go. Now, one thing I'm just going to do is I'm going to press Tab, press Shift D, and I'm just going to bring this over to this one just to make sure my stone is looking the same. So I'm just looking here. And you can see. Yeah, the stone is looking about the same. So on this one, as well, is the stone looking the same B these will be a little bit smaller. So I'd say on this one, as you can see, especially on these, the stone is looking a bit more a bit higher resolution as you can see. So what I want to do then is I want to come in to all of this and then go to UVEditing, grab one of them, press the Db one so you can zoom in. And then what you want to do then is coming over, drag this over and just make sure it's rendered so you can see what you're doing. And now I want to match them up with this. So the way they'll do it is if I press S, I should be able to bring them out or bring them in, like so, and I think that looks a little bit better than what it did before. Okay, so now we can go back to modeling, and now it can work without being hindered at all. So what I'll do is I'll come to these first, Alt Shift click, Alt, shift, click, Alt, shift, click. And then I'll come to these Althif click and Oh Shift click contro plus, Stoneighter, click Assign. That's those done now. And now I need to come to each of these panels down here. So L, all of these stop top steps and all of these ones, not the metal into here. Like so, and then we'll do this one, and there's one pink. No, it's not. No one in there. Going down to these, like so, and then these steps. Coming down, and then up, and then I'll just move my camera and see, have I missed any? And there we go, God them all. So then I can come in, stone lighter, click a sign, and there we go. So he's got a difference between them. And then finally now, I need the metal. So if I come in to these meal parts, I'm going to grab each one of these. One. And then I'll grab the bar. That goes across as well, because that obviously is going to be meal. So metal building, click a sign. And then finally, I need these on top of you because these are a different color if you look at the reference, so we'll go down, grab all of these. Press Control Plus, keep going cause you've got bevels on there, so it'll be a little bit more of a Control plus. There we go all the way under Stone Lighter, click a sign, and there we go. Alright, so this I can now delete. And then we've got large steps and small steps. So we can actually save those out now. So come in. I'll put them under their own one. So we've got a new collection, we'll call it steps. Like so. And then what I'll do is I'll so I will also put this in there as well. So come down steps and then I'll call this one small steps. So F two, small steps, and then large steps. Large steps. And then what I'll do is save out my work, so file and save. And I'm just going to grab both of these. They should all be down here and I can right click and Mark as asset. I can come over then to my asset manager. Here they are. I can make one then plus all its steps. Like so, roll down, and then I can grab unassigned and bring those over into my steps, and there we go. Okay, so now with these, I can just bring them over to the back of here, like so, and then I'll actually check those out. Then in my main file, I can bring them in and see how they're actually going to look. Now, if we go back to our reference just once more, we can see and we've got steps here. So this is this part here, so we've got steps here. We haven't gon any steps around here. We've got this is the front again, as you can see, so this is the same one as here, and then we've got some steps to the back. So basically, only two steps. Up to you, if you want to put more steps in, I tried to balance this out. So generally, you know, you're going to have an entrance, which is the side entrance, which is this one, and then you're going to either Well, we have got some more steps. We've got the main entrance here, and we've got a back entrance. So I would say on a building like this, you're probably going to have three entrances, maybe four, but no more than that, really. And I always like to keep one side of the building with no doors or anything like that. It's like, you know, the back side of the building. Alright, so now we can actually put this back over there. I can come now to save, just save it out. I can open up then my next one, which is the one that I've got, which is here. So here we are. This is where we left it. And now what I can do is I can delete those out of the way. I've already pulled my door far enough back into place. To be honest, when I bring in my archway, I'm probably going to have to pull it back a little bit further. So I'll put it there for now, and what we'll do is we'll just come down to our steps. So we haven't even done this bit yet, so that's why I'm saying we'll build that after, but we're just giving one of the steps to try and seeing how it actually looks. Now, I need to reload this. I'm Joe going to reload it. Then going to come to steps, and the one I want is going to be the small steps. Spin it round. So our Z 90. And then we'll do is we'll put this into place. So I'm Joe's going to press three. Jaws to get it where it needs to line up, so we can see there it's lining up. It's a little bit big, and that's okay because we can actually shrink it down a little bit if it's a little bit big. And also, the other thing is we're going to have this archway on here, which is going to be hiding these little gaps here. That's another reason why I want down there. So, you know what? Even if it's a little big, a little big, I'm actually going to leave it because I think it's actually going to fit perfectly. So Jas going to bring it in. And then what I'm going to do now is pull it into place. So I'm going to pull it into place. So, it pops on there. And finally, then we can see that it is a little bit out this way. In other words, all of this is a little bit out this way. So where does this need to be? If I move this over a little bit, in fact, you know what? Is it because let's just have a look on three before we finish? Is it because these two are a little bit out? And I don't think so. I think that this, I'm going to pull it down to the floor, so to the ground plane, like so. And then I'm just going to pull it over and get it into place like so, and that is where it needs to be. So I'm looking up here now lining up with here. So you can see here this is lining up with there. My door, when I put it in, I put it a little bit out. So how do we fix that? We're going to fix that just before because it's so easy to fix, so I'm just going to press Alt Shift click, move it over, and then I want to hide my door out of the way. So just hide my door out of the way and just go back to the wall now, and you should press in three, be able to move this over now. So you should be able to move it over relatively easy. And then all you want to do is press ultage, bring back your door. You just want to move your door back over just so it fits in where it needs to go. So if I fit it in somewhere like this, and now you can see everything is lining up, and that is looking really nice. I'm going to write click and shade do to move just to get rid of those parts there. You won't be able to see in there anyway. And now we can see if I double tap the a press three once more, I should be able to see that this and this line up a little bit better. I'm going to line them up just a little bit better. Yeah, I think that's looking about right. So let's now put on our rendered view. We'll have a quick look at it. And there we go. We can see on the inside of here that the bricks aren't there, and that's not something I want, so I'm probably probably going to on the next lesson, just quickly unwrap this. And then once I've done that, I can actually focus on the rest of it. Now, the other thing I would say is that this maybe needs pulling up a little bit. So you can see here, this has dropped down, not quite right. So I think I'm going to actually sort that out on the next one. All right. I'll see you on the next one, everyone. It's gone a little bit over, but I'll see you on the next one. Thanks a lot. Bye bye. 106. Measuring and Planning Door Arch Geometry: My wants to blend the building masterclass from concept to final render. Now, what I want to do is I just want to. So I'm going to put this on material for you. I'm just going to change this to the right material, and I'm also going to drop this down a little bit because it's a little bit too high. When this loads up, we actually want this to be below here. So we're going to drop it down, as well. So the way that we're going to do that is, first of all, let's go in and we'll grab all of this. We're going to press. So let it load up. RV project, click Okay on rap. And then what we're going to do is come to our materials. And instead of it being that, we're just going to hit the plus. We're going to hit the down arrow, and we're going to pick the Don't goofi building like this one here, that will do. Click a sign, and there we go. Now, I'm hoping that that when I put it on rendered view, should look a little bit better than what it did. Okay, so far so good. Now let's think about bringing this down. So obviously, I want my daughter to fit in here, but I do want this to be below the floor here. So I'm going to do is press three to go into front view, and I should then be able to pull this down, pull it down, pull it down. And you can see here now that it's actually changing the way that all of this looks. That just means I'm going to actually have to come in and unwrap these parts here. So re unwrap it, basically. So I'm going to do that. I'm going to run wrap it all together. I'm going to make sure, though, first, before I do anything, that this is actually in. So you can see it not quite in. So let's write clicks origin to geometry, and let's pull it in, but it goes just over there, like so. So we've got a little bit of a lip, as you can see on here. So you walk to the steps, and then you go over. Okay, so now we should be able to come to this part, press tab, A, to grab everything and then U. And let's click Smart UV project. Click Okay. Like so. And I'm hoping now I should be able to come in just with the brick only because I don't really want, you know, what we can change it all. It's okay. So what we'll do is come to UV editing. And then what I'll do is I'll press three. I'll zoom in, grab everything. And then what I want to do is pull these either in or out, let's pull them in, and make them the same size as the other one, which now you can see they are. So easy to fix it if it is a problem. You may as well fix it because I think now this is looking much, much better than where it was, as you can see, and now finally, I'm just thinking that I just need to make sure this door is in place. So let's put it on rendered view. Let's have a good look at our door. You can see here that it's got a little bit of a gap there. So let's bring it down, bring it down, bring it down into the floor, making sure it's all still fitting in, which it is. Basically, what we want to make sure is if I come to object mode, this bit here, as you can see, it needs dropping down a little bit, so that ward is in there, maybe even a little bit more. So something down to there, like so. And finally, one more render, just to check. And there we go. I think that's looking very nice now. And once we've got the arching, we're going to hide a lot of that way. But now you can see that door is fitting in very nicely. Alright, so let's go to object mode. Let's save out our work, so we're just going to save out our work, and there we go. One thing, um yeah, I was just going to have a look on a render from here, but I don't think we actually need to do that. I think it's actually looking if I press three. It's looking all nice and level anyway. So, yeah, that's looking very nice. So now, let's go back to our modular pack. So we're going to go back to our modular pack, which is. Let me just find out for you guys. Here it is. And then what we're going to do now is, first of all, we're going to look at our reference as we always should. And then we're going to look at this one. We're going to move that over there. That is part of the De list. And now here we are. This is what we've got. So creating, you know, these arches, we could do it even with the stone geometry node, which I actually showed you how to use that yet? Yes, I have on the column. So you can see here if I grab this, I can actually press E. In fact, if I do it into front view, I should, if I go back, be able to E, pull it up. Like so. Let me see if I can resell the transforms if that actually straightens it out. You know what? It doesn't actually straighten it out. I think if I dropped a um if I put a curve in and then drop this Jumptre node on there rather than bending it all, I think it would actually go in perfectly. So I will show you that as well. So let's go to curve. We'll bring in a path. We'll bring it over. And then all I'm going to do is see if I bring this up a little bit, so move. Let's bring that up a little bit, like so, and let's then grab this one and put on the same Jumpture node. So can I press Control L and copy modifiers, and there we go. That is what I'm talking about. You can see now there is no bending. I can actually bring in as well if I go to length and bring that. Yeah, I'm on this one. On this one. If they're coming to bring length, you can see now I can bring them down, light so I can come down and put the randomness to zero, and now all of them are in line. So that might be an easy way for you guys to actually build out these. So you see these parts here, that's probably going to be the easiest way to do it. These parts here, as you can see, they're just stung. So we'll go through them. We'll probably start with this one here and we'll create this kind of dome structure on there. We'll get the right sizes just to make sure you know that we're keeping with the right scales all three of these, as you can see, they're quite big, as you can see. Alright. So let's actually do that now. Let's enough talking here. Let's get on with this. Alright. Well, let's first of all, delete this out of the way. And then what we're gonna do is bring in something to use as an actual scale. I'm just wondering about this bit. I haven't put that bit in there. I'm just going to put it over there just for now just so I don't forget about it. And then what we'll do is we'll just press shifts cause to world origin, and then shift A, and we'll bring in a hube now what we'll do is we'll come in and we'll get the dimension of the first one. So the first one will be the smallest one. So what I'll do is, I'll come with the X. We'll put it on 1.65. We'll put the Y on not 0.517, and we'll put the z on 2.88 like so. And we'll just pull it up to that ground plane, like so. And then what I'll do is I will move this out. So I'm going to press Shift D, move this over to this side. And then what I'm going to do is come to the next one. So the next dimensions, guys, if we come in and we'll put it on 2.99, we'll put this on not 0.26, and we'll put this on 3.85 like so. Alright, again, we'll put this up to the ground plane. We'll press Shift D, and we'll bring it over. So that's our second one. Now our third one, which is the tallest one. Again, we'll come to the X, we'll put the by the way, this here, if I just pull this over quickly, this here is just this arch. This is not including these parts on here or anything like that. It's literally just the arch because I think if you got the damage for that, building on top of that is going to be way, way easier. But let's pull that over again over the right hand side. And then what we'll do now is this one here. So we'll put it on 2.43. We'll put the Y on 0.583, and we'll put the Z on 4.51. So pretty tall. Alright, let's move that over there. Okay, so we've got our three now. Let's start then we're probably better off starting with this one. And all I need to do then is create an arch that's going to come up and go all the way up to here, like so. We also need our little guy here because we need to make sure that it can actually fit through this thing. So if I press one, bring him down, like so. Like so. Now, what I tend to do when I'm building arches is you can build it out of things like a you know, a cylinder and then pull it down. You can do it that way. Or and then you can bevel the top of it. That's one way of doing it. Or you can do it with curves. Now, the beautiful thing about curves is we can change them quickly and easily. So that does make it very easy. So let's give it a try with curve. I'm going to press shift desk, curve to selected. Shift day. Let's bring in them a curve. So we'll bring in, where is it? Let's bring in a curve. So curve, and we'll bring in a path. I like using paths, much more than the Bezier curve. So I'm going to bring it up, and I want it up to like so. And then what I'm going to do is bring these two down. Before I do that, though, let's shrink it in. So S and X, let's bring it in. Let's put it on wireframe so I can actually see what we'll be doing S and X. Zoom in a little bit S and X, and there we go, maybe a little bit out O S and X, like so. Now, that will do for now. And then what I'm going to do is just bring these two down, like so. And then all we need to do now is create a few more edge loops in here so you can right click and subdivide. And then what you can also do is press S and X because they're going to be round about the same. And then if you're doing it this way, from here, then you can end up with a nice nice curve. So I can bring these down now, and we can do it not those, bring these ones down, like so, and there you go, you can end up like so, getting it exactly how you want it. Now what I'm going to do is pick all three of these up like so. Now, the one thing you're going to have is, when do you want these to bend? So the moment they bending from here to here, we don't really want that. So there's a couple of ways. You can grab both of these, right, click, subdivide. You can see that brings in. Right, click, both of these, subdivide, and then finally these ones here. So if we grab both of these, right, click, subdivide, now you can see that we've got a much, much better curve. So that is one way of doing your curves. Now, from here, you can come in, add modifier, sorry, you can come in and extrude like we've done before, so you can extrude them out, like so, and then you can use the modifier, which is the generate and where is it? The solidify. So you can bring that out. Put it on flat. So right, click. Let's put sheet flat, and there you go. You've got your curve, press Control A, right click, set origin to geometry, and then you can work from that. This makes it actually easy in some ways, because what it means is that you can, like, bring it to the next one, the next one, the next one, and actually, you know, create your arch really easily. I'm not going to use this because I think sometimes it's easier to use the Bevel option, but I'm showing you just so you know that this is available and it might be a good way to create them. So we've got three ways which I've showed you really. We've got the junction node way, which I showed you with these and creating a junction node because from here, we can actually, you know, take off. Let's take off the solidify, so we'll take that off. We'll come back and put the extrusion down at zero. And then what we'll do is we'll just grab this now, so our Jumpton node, press Control L. And what we're going to do is copy modifiers, and there you go. You've got your curve there. You can do it that way. We do have some problems, as you can see, probably due to the fact we've got two of these in here if you bring them down, and then delete. Let's try and delete inverters. Is that going to work? Let's bring them up? But, yeah, I don't think adding that in is actually going to work. So, forget about that, guys. We're not gonna do it that way. Just pretend you didn't see that. But the other way we can do it is with using a cylinder and bringing them down, or the way that we're gonna do next, which is using a cube and just simply beveling it off. I like that way because I've already got my dimensions here, which means really I just need to bevel off each of these into the shape that I want. Alright, so let's delete the way. Let's go to file and save our work, and I'll see you on the next and everyone. Thanks a lot. Bye bye. 107. Modeling a Stylized Arch Decoration in Blender: Welcome back if we want to blend the building master class from concept to final render. So what we're going to do, let's go to modeling because it's going to make it a little bit easier if we can see everything. Let's put it on object mode. Let's make short cavity is on. And once we've done that, we can press one and go in. Now, we've got I would recommend here having your references open. So we're going to do this one, this one, and this one. You can see that this one is a little bit higher. This one's a little bit flat. This one's a little bit more rounded. So they are a little bit different from each other. So we're going to try and replicate that. Let's put it back over there. And then what we'll do is come to this one first. Now, again, one other thing, these aren't joined on here. It's like I just strap them on after probably not so much of a good idea, and I'll probably actually put them all together. Alright, so let's do this one first, then, so we'll come in. We'll press tab. We'll go to the sides of it, like so. And then what we'll do is, in fact, before we do that, let's just resell the transforms, make it much easier for us. Let's then come to this one first, and then I'll press one. And what I'm going to do is press Control B and bevel them out like so. And as I said, with this one, it's kind of a little bit flat. More like this, I think. And then we'll come to the second one. This one's a little bit more rounded, so we'll come to this one now and grab both of these. Like, so pressing one again. Control B. So we'll bring it in, same as the other one. But as I said, on this one, it's a little bit more kind of slanted, more like a little bit of an arch. So we can come now and we can bring it in this way or we can bring it in that way, and that's the way that we want it. So a little bit more of an arch, as you can see. And then the final one is a little bit of both, actually. So what I'm going to do is, first of all, let me increase the number of subdivisions on there because it's a little bit bigger, and then we'll come to this one. And we're going to press one again, and then we're going to press Control B and bring it down. You know what? I think, actually, I don't actually need to do a lot with this one because I think that is looking very nice. As is, if I bring this a little bit more, yeah, I think that's looking about right for what we've got. Go around the side and just maybe add one more subdivision just to make sure it's quite tall, this one, and there we go. Alright, so now if a right click and shade are smooth, we should get each of these now being absolutely really nice and smooth on the top of them, and that's one of the main things that we're actually looking for. So now we want to do is we want to bring these in, keep the bottom part. So there's a few ways of doing this, and the easiest way is probably just deleting all of the faces on here. So if I come in and grab all of the faces on here, front and back, like so, and grab the bombs and then press delete and faces, and then press tab, Car troll, all transforms right plate, the origin geometry. Now, let's come to this one first. We're just going to do the arch so you can see a a lot more intricate with these top parts on. But for now, we're just going to build out this arch. So once we built out, you know, this arch where it's going in, you can see it is coming in on this part as well. I can't turn it around or anything, but you can see that it's kind of all one piece, this, so we have to take into account that as well. So let's put it over to this side. This one's probably the most complicated, actually. And then what we'll do is we'll come in, add a modifier, and we're going to add in a solidify. And what I'm going to do then is bring out my solidify, like so. I'm going to just make sure reset all my transforms, and I'm going to bring it out to where I think it should be. So I think something like this is absolutely fine. And then what I'll do is I'll make a edge loop going across to you. So what I'll do is I'll come to my solidify, press controla A, and there we go. We've got our mesh. One thing I didn't do actually is make sure even thickness is on. Just make sure that's ticked on. Control A, and now we'll come with this other part coming out. So I'm going to press Control left click and just move it forward like so, and there we go. And then what I want to do now is bring out this back part just to make it, you know, that little bit extra that's gonna come out. So I'm going to go all the way around. Hits in Control click, Control click. And then what I'm going to do is I'm going to press E, Enter, one. And what I want to do is press AlnS and bring it in the other way. So alternS and we should keep the actual sizing. Now, this one here is going to be for our main door. So I think something like this is looking really nice. And then what I want to do now is I want to press Control R, left click, right click, and then Control, left click, right click. Old shift click, grab them both, and then I'm going to bring them down. Now, you can see that these aren't zeroed out. So because they've followed the line up here, this edge, they've actually come in at a bit of an angle. So just press S zero, level those out. And then what we're going to do is we're going to pull them probably down to something like here. And then from there, what I'm going to do is exactly the same thing. You know what? It's probably going to bear if I just press Control B. Pull them out a little bit, like so because I think it'll be a bit easier to do it this way. We don't want them too thick, so something like this, and then just pull them up like so. And then what we're going to do is, of course, we're going to press E Alter ands. So let's try that E, Alt S, and pull them out like so, and then press tab, and there you go. That's the first part done, looking very nice, as you can see. Okay, so now we need just the center bit on here. So if I press Shift desk cuss select is going to put it right in the center. So let's bring in another part. So we're going to bring in a cube. So cube, bring it down a little bit. And then we want to ride in the center, something like this, bring it down even more. And the thing is, this is on the front. So, in other words, this is coming to the front because it's hidden in the back. So we want it yours to fit. We don't want it floating up there. What we want to do is make sure that it's fitting just under this part here, like so. Then what we're going to do with this is obviously put a middle part in here. And because it's a front bit, it's going to have a piece of gold on there. Now, I recommend when you do this, that you just come in now, grab the back of it and just pull it all the way to the back because then it's going all the way through then it looks a bit weird on this part, if it doesn't, even if the top part is hidden. Now, let's come in and press the I button and bring it in, and then we're going to press E and bring it in like so. And then what you could do just to highlight it a little bit more, is press the I button, bring it in. Just a tiny bit, then press E, bring it out a little bit. And finally, then we're just going to press the S but and bring it in. And I think then this bit of gold on here is just going to look that little bit better. Okay, from here then, we need a arch that's going to come up on here. So the arch is going to go across there. What I'm going to do is I'm going to come grab this part here. I'm going to press E to S, pull it out, like so, and then E, pull it up, like so, and then I pull it in, and finally, I'm going to pull it in probably a little bit too far, so I'm going to go back, and I'm just going to press the Ibn again, pull it into there, and then press E and pull it up into place like so. Now, my arch on here can either fit, you know, going all the way up to here or even further, but I think you know what? I think what I'm going to do now is I'm going to put another pawn here. So I'm going to press I, bring it in, like so, and then I'm just going to press E and pull it up. To the top. Now we'll put in another part, so control, bring it up to here, control B, pull it out, and then heat enter lns and bring it in, like so, and there we go. Okay, so now this part here we want to top on here. So what we'll do is we'll grab this. Where do we want our top to start from? Let's start it from here. So we're going to go all the way over, back over to the other side, making sure I ever press one, put it on wireframe, making sure they line up with each other, as you can see. Then what we're going to do is just put it back on object mode. And we're probably going to press Shift D because I think it will be easier. P selection, separate it off, and then just try and grab it if you can. There we go. We've grabbed it there. And then if you can't just go into wireframe, you should be able to grab it. Add modify, generate a solidify. So let's generate a solidify. Let's press Control A, just make sure retell the transforms. And then what we'll do is we'll increase the thickness the other way because this gives us more control. Put on even thickness. And what it also does enable us to keep these parts straight if you want them straight. If you're not doing it this way, you know, if you're extruding and the notes or scaling like that, it doesn't give you as much control over this. So now I've got control exactly where I want to put this to relatively easy. So you can see I can drop it just under there, like so, and then you can see just how easy that was to do. Now, from there, then let's apply that. So control A. And then what we'll do is we'll make sure we've got all of our modifiers on. And from here then, I can simply join it together with Control J, Control A or transforms right click, set origin to geometry, right click, and shade auto smooth. Finally, then that's adding a bevel, so generate a bevel. Let's put it on not point not note three, like so. Let's go in and just make sure that bevels on there. Maybe note point on five. Let's put it up a slight bit because it is stone after all. And there we go, guys. That is the first one done. So you can see, really, really easy to do that. This will be then for going with this massive not the window, where is it? The massive door here. So if I now bring this over, you should see that it fits. If I press dot but, it fits relatively nicely in there. So if I pull it back, let's pull it back into place. Now, if it doesn't is no problem with getting your door and just pressing SN and bringing it down a slight bit. There's nothing wrong. You won't be able to see no difference apart from this part here. So let's bring it up a little bit, a little bit raise it up. Y a tad. Like, so let's put it in the middle. And if it's not fair in the middle properly, and what we'll do is just press S and X and pull it out a little bit, and we just testing to make sure the door fits, and there you go. Simple as that. Look at this, how it looks now. You can see it looks beautiful. Now, the thing is while I've got this, I can actually grab this. I'm gonna press Shift again because that is now This has now been changed. So you know what? We don't actually want to do that. We're just going to put it back. So let's put it back because we don't want to actually change it and scale it and all that cause it will update from our what's it called? Our asset manager. So we're going to leave it like that. We'll bring our door in the other one and then we'll change the scale and everything. Alright, everyone. So that's looking good. Let's go to file. Let's save it out, and then we'll work on our next one. And this one, I think is even easier actually than the last one. So I'll show you how to do that. Thanks a lot, everyone. See you on next one. Bye bye. 108. Creating Mid Sized Archways and Enhancing Bevel Use: Welcome back every on to blend the building master class from concept to final render, and this is where we left it off. Now, if I bring over this, this is the one that we want to create now, now you can see, first of all, we've got a kind of part added onto it. Also, this part actually goes in, as you can see. So let's actually create that in part first, and then this bit on the outside. So let's move it over to this side. So what I'm going, first of all gonna do is, of course, bring in the modifier, so bring in another solidify. Let's put even thickness on, and let's create the right thickness that we're going to need for this. I think something like this will be the right thickness. And then what we'll do now is we will apply that. So let's come in, press controle A, apply that. And then what I'm going to do, you will actually see, by the way, this one looks better than this one, because it's very jagged on here. So we've made it much, much better than the than the original. Now, let's come in then, and what we want to do now is press tab. I want to bring in one edge loop because I want to bend it in, as I said. So if I press Control, left click, right click, it's up to you whether you want to have it in the center or bring it a little bit to the side. I think for me, I'm going to be happy with it being like that. The other thing, you know what I think actually, I need to bring it to the side, because if I pull this part out, it's going to be very, very thin. So what I'm going to do is come back control of, left click, bring it in, like so, and then ult click. And what I want to do is bevel this off now. So Control B, let's bevel it off, and we brought that there to kind of hold it to here. Now, you can see at the moment it's actually going through there, and we don't really want that. But what I'm going to do is I'm just going to put it through there, so come down to the bong left hand side where you've got bevel. And instead of doing that, just go to clamp overlap, turn that on, and there you go. I shouldn't actually interfere it. What's more now, you can actually come in with this and try. Let's bevel it a little bit more. I'm just wondering if I can change it round the other way. And you can see at the moment that even if I try and pull this down, I'm not actually getting anything that's going down there. So the other way, once you've got clamp overlap on is to come and put it onto percentage, and then we can just increase the percentage of this, and hopefully it will be able to create that inner bit that we want, so we can see now we can create it so I'm still unsure whether I'm actually happy with this. Let's just put clamp overlap off. I don't think I'm happy with that. So what I'm going to do is just press Controls, and I'm just going to come back and see then if I can pull it out a little bit more. Like so, and can I actually move this the way that I want. I'm just going to turn it up again and come down to custom. I'll just move it out and play around with it a little bit on here and see if I turn this up, I'm going to get what I actually want, maybe maybe I am. Maybe something like that is going to look good. And you can see how I actually did that with these options that I've got now. Yeah, I think that looks does it look like the reference? That's the question or does it look better than the reference. But the reference is this, you can see it going in. Here is mine. We can see it going in. You know what? I'm I'm going to stick to the reference more. I'm going to go Control B, bring it all the way back through here. So all the way back to here, I should then have full control over it. I'm going to put it on to offset, which is the one we had it on. And then what I'm going to do is turn this up. Near enough to the edge. So near enough, we've got a little bit of an edge there. And then instead of doing that, what I can do then is press Old Ship click and just do it the old fashioned way where I can actually just drop it back a little bit. So I can also press probably their spun and bring it in, or press SX and bring it in that way. You just wonder if that's okay. Let's right click Shade Auto smooth and let's actually right click, put in a shop, and there we go. Alright, so that's one way of getting around that. Now what we need to do is we need to bring out this part. So I'm going to press Control off. Left click, bring it up. Around about here, and then I'm going to come to the bomb. Control click going all the way around, like so. And then what I'm going to do is I'm going to pull them out now. So if I press E, I should be able to just pull them out. So Joe's going to pull them out a little bit, like so. And there we go. We've got actual that little indentation now, the bending in. And yeah, this looks pretty nice. Now I want something on the top part of it. So what I'm going to do is just press Shift Desk bring in a cube. And it's coming over here. So let's press Shift S and selection to cursor to selected. There we go. And then shifts and selection to cursor, and then let's bring it up. Now, we want to create this kind of shape, which should be quite easy to do. I'm going to bring it in. So first of all, we'll press the. Let's bring it into where we want it. And then what we'll do is we'll pull it back a little bit. So S and Y, making sure. And it's in the correct place, like so. And then what we'll do is bring this in. And we're going to bring it in. So S and X, bring it in like so, and there we go. Now, on this one, you can see it's got a bit of a bevel on the top, so we'll go in and do that. So we're going to press Control B, burn it up a few, like so. And it's up to you if you want this or if you just want it on normal because with normal, we have a lot more control, as you know. Let's turn up the amount of subdivisions on there. And let's also play around with this as well, and just put it however you want it. And I think something like that for me. Right click Sheet or smooth is probably going to be how I like it. I like that actually better than the original that I did. And then from there, I'm going to bring it either in or out completely up to you. Sorry if I press the i bone, should they then be able to bring this in. Now, you can see here, we have a problem with these vertices. Can I actually go to select, sorry, mesh, clean up, merge by distance. Let's turn this up, and there we go. The two vertices have been merged. But they're not merging the way that I actually want them. So if I go back, I really want to merge this one to this one. So instead of doing it that way, I'll go here to here, right click and we'll go merge vertices at last. So let's merge it at the last. That's not what I want, either. It's causing a little bit of an issue, but you know what? I can fix that. So I'm going to go here to here, and then or Shift R, even Shift R. And now let's straighten this up. So all I want to do is grab all of these S Z zero, straighten it up, and there we go. Okay, so now I can actually pull this back in. So or pull it out, whichever one you want to do, you can pull this out. Like so, and there we go. That is that part done. Now, what we can do is we can join all of this up together. So we've got one part and two part, press Control J, Control A or transforms, right, click the origin geometry, adding a modifier and bring in our bevel, bevel it off to no point not not three or not point non five, whichever one you think looks best. I think no point, not not three on this one. This one's set a little bit higher, but it's a different kind of arch. But I think now they look about the same. And yeah, I think I'm happy with that. So there we go, guys. Now, if I move that one over there, what we can do now start work on our last and final arch. So if I bring this over, you can see I built this in 22 parts, but I don't think it's really worth doing. But what I do think it's worth doing is maybe splitting off these parts here. So splitting off these parts, so they are little kind of stones in there. That's something that'll be good to learn. So let's pull this over the left hand side. And same thing again, we're going to do exactly the same thing. Control A or transforms the origin geometry. Adding a modifier, bring in a solidify, pull mas solidify inwards, make sure even thickness is on, and then take a check and just make sure you're happy with the size. But the size on this one, we can actually bring the door over, press the dot bun and you can see, this is how the doors going to fit in. If I made this any wider, so if I press S and X, let's pull it out and see if we can actually make it fit a little bit better, which it does now, like so. And then what we can do now, we've got the right thickness, I think. So what I want to do is this isn't going on the door. It is going in the arch in front of the door, as you know, but what I can do now is just put my door back, so I can put my door back over there, and then I can come back to this arch now and actually get to work on it. So first of all, let's come in. And apply these, solidify, and then press tab. And what we want to do is we want to put in two parts on here. So we still want our stones coming up, but we want these parts flattening out. So what I'm going to do is see if I can flan these out, so, shift, click, shift, click, press one, and then S and z, and zero and zero those out. And you can see it hasn't altered the shape of it, which is great for us. Now we want to do is we want to keep these three parts in here, so l, shift, click, l shift, click. Then we want to split these up like so. We're going round, splitting them up, and this one, right click and marking a seam. Now, from here, let's split all of these up. So we're going to split these up, these up, and these up, and the same this side as well. We're going to press Y, and now they're all split up. And from here, then we can grab the whole thing, mesh, clean up, build holes. And there we go. Now, we should filled those holes. Now what I'm going to do in this one is, I'm just going to resell my transforms now, right click SargensGeometry, adding a modifying generator bevel. Let's put it on note point note note three, and we should end up with something like this, which is exactly what we're looking for. From here, then we need two bands on here. So if you look at the reference again, you'll see there's two bands. So on the next lesson, then we'll put one band up here, one band here, and then get this center part in. Once we've done that, then, those are the archers done. We can get in our materials and shaders. We can name them, put them in our asset manager, and then we're on to actually building out a little bit more of our building. So all to look forward to. Alright, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 109. Preparing Archways and Fences for Asset Libraries: Welcome back everyone. Blend Building master class from concept to final render, and this is where we left it off. Okay, so let's now, first of all, start with our points on here. So if I press Control R, left click, right click, Control R, left click, right click. What I'm going to do is Alt shifting, click and drop those up there, and then Control R, left click, right, click. Control, left click, right, click. Alright, so now for press one, I should be able to come in, Alt Shift and click and drag these wherever I want. So what I'll do is I'll bring these down first, so I'll bring these down near the bom. Don't forget, I've got to bevel it as well. And then I'll leave these in. I'll bevel them all at the same time. So Control B. Turn the bevel down and let's bevel them all at the same time, holding the ship button, and then eat, enter, and then lt an and bring them out. So. And there we go. Alright, so that's that bit done. Now we need just this bit here. We may as well. Use this to actually create this top part. So if I come in, control, left click, right, click, control, left click, right, click. And then what I'll do is just mark a quick scene because I'll make it easier to grab them. But then I can press L and then E, enter alters, and then I can bring this one out as well, like so. And then finally, I can press I, bring this in, and then either bring it in or out. I think actually what I'll do is instead of doing that, I'll grab all three of these, press the ebon and bring them in like so, and then I'm going to bring them in on the original. They are put out, but I think it actually looks better in. Now remember, we've already got a bevel on here, so that one's that one. We've got a bevel on this one, and finally, we've got a bevel on this one. Now we need to do then is name them. We need to put them in our asset manager because these are pretty much done now and finally get some materials on them. So what I'm going to do is just grab all three, controle or transform set origin and geometry. Now, unlike the stairs, we don't actually have to apply the bevel because we're not joining loads and loads of different things together where they need different bevels on them, for instance, so we're not going to do that. Now, we're also going to bring in, I think, so this part this part here. Let's also bring that over. Let's spin it round. So if I zoom into it, should be able to press Rsad -90, spin it round. And then what I'll also do is just resell the transforms. So I'm just going to grab one of them last. Just sudden they're both not orange. Press Control A or transforms and set origin to geometry. And you know what? I don't know why that happened. That is on the array. So there's an issue there with the array. And I will need to sell the transform. So I'm going to try that again. I'm going to press Control A You know what? I'll actually look, first of all, 3.250. Let's see if actually, if I copy this so Control C, reset my transforms. It's on the Y. So Control A, what I know what's happening, actually. If I press R z minus if I press R Z 90, press Control A, all transforms. There you go. That's what's happening. It's because we have spun them round is why that's happening. So what I'm going to do is press Control Z twice. And what I'll do is I'll come to it. I'll press Control A, I'll transform set origin to geometry. And instead of it being on the wire, I'll zero that, and I'll put it on the X, so Control V, enter, and there we go. Now I'll reset all the transforms on this one, set origin geometry, and there we go. Now, unfortunately, we can't actually, grab these together because we need to pull this part out. That's the reason and also we're going to be arraying that. So I'm not going to do that. What I'm going to do instead, then is just go to my rendered view. And when I come in, file save out my work. Let's come to these parts first because these are the easy parts. So what I'll do is just grab them all, press A U Smart UV project. Click Okay. And then I'll come down to material, drop down menu, and we're looking for metal. So metal building, this one here. And I'm also then going to grab this one and this one, press Control L, and I'm going to link materials. So let's just link materials, and there we go. Now the reason I did that again is if I press tab now. Come to each of these ends. I should be able to if my option is on crack face attributes, just pull these out without stretching them and there you go. Now you can see what they look like, and that is exactly what I'm looking for. Let's put them back. They're actually done now, and let's actually come to our stone. I'm going to press the end but just to put that out of the way. Now, with our stone, well, we need one with gold on. I'm just looking if I should be able to use this. So what I'm going to do is just grab this one, this one, this one, and then grab this one. This only has stone light on, actually. I'm looking for one where it might have both on. Let's have a look. Have we got anything with bofham? Stone lighter, stone light. There we go. So that one there, we'll grab all three of these. Grab this last, press Control L, and we'll link materials. Then what we'll do is we'll come into these. So let's press tab A U, Smart UVPJ click Okay, and let's have a look what that's going to look like. The stone's looking very, very nice already. So now all I want to do is change this one. So L, you can see that if I zoom into this, it's gone to the actual seams. So what I want to do is press Control plus just to go to the next part, and then I'll do Stone Lighter a sign. Let's hide it out of the way. And all I'm going to do then is Alt Shift, click, Alt Shift click around these edges. Like so Control Plus, Stone lighter, click a sign. And then that one's done. Press voltage, bring everything back. And you can see now just how quick this actually is. Now, with this one here, we'll come in, and what we'll do is Alt Shift click going around there, Control plus, and we'll go Stone lighter, click a sign. Don't think I really want to change anything apart from bringing in some gold. So what I'm going to do is just click Plus, go to my asset manager, come over to my resources. So resource a pack, go over to materials and shaders, and here is my gold. So over here on materials, I'm just going to drag and drop this in right there, and then it's back over to modeling. So back over to modeling, and there we go. And now just click on this part, and we're going to click Jos wondering, let's just have a look. You need to press Control plus L just to go to the next part, click Metal Gold, click assign. And there is the metal gold. You can see that looks really, really nice gold. And then finally, we're on to this part. Now, we'll just then what we're going to do is either do just the front. So if you grab just the front with Control plus and click a sign or you can grab the whole thing. I think for me, I'm going to be happy with just the front. Okay, so small, medium, large arches. That's what we'll go with. So if you grab this one, this one's going to be the small, so small. Small. Not snow. Small arch. Like so go with the second one, large arch, large. Arch. Like, so and medium arch. So up to medium arch. Like so. Alright, let's grab them all, and then what we can do is we can press M, and we can put them in their new collection, so we'll call it Archds L so. Now before we go into asset manager, let's just do this, as well. We'll call it fence railing, fence post. So this one here, fence post. It's got a kneeon there, like so, and then fence railing. So F two, fence railing, like so. Now, let's also put these in their own as well, so grab them both, press the button, and we'll call it fence. Like so. Fence. Fence. And there we go. Now, let's go to our asset manager. So what we'll do is we'll grab all three of these first. We'll make sure that this is on our modular pack, like so. And then what I'm going to do is go over the right and side press the dot bom right click and Mark as asset. Then I'll go to this one, and I'll come down right click and mark as asset. Now, let's do two. So we'll do Archers first. So Archers and then we'll do another one, and this one will be fence, fence, like so. And then what we'll do is now we'll come down to unassigned, and here is our arches. So let's move up right at the top. It should be and go and drop it in there. And then we've got our fences, which are in this one here, like so. Alright, let's tidy everything up because they're all done now. And then what we'll do is move them over to here, and I'll move my fence over to something like here, like so. I'm also going to come to modeling now and just make sure everything is tidy. So we've got our boolean cutters, which we're not going to need, so just delete those. Tidy everything up. We've also got something called railings with nothing in it. So railings. What is railings, even? I don't even know what's supposed to be in there, to be honest. So what we'll do is we'll just delete that out of the way. And then we should have just these things like so. We've also got something which is a ground plane. Where are my ground planes, which are these here because they weren't named. So we'll call this F two, and we'll call it fence post. Like so, and there we go. In fact, it's not actually naming for some reason. So fence post. Why is it not naming? There we go. So fence post oh 01, which should be. Let me just have a look at where it's gone. There's that fence post. I don't know what this is. Et's have a look what that is. Press a little dot B. This, okay. So this is actually an empty. So if I press tab, you can see that there's nothing there. You will end up with empties in your file, especially when you're beginning ended up with thousands of them when I first started out. Don't worry about them. You can see it's an empty because even when I press tab, there is no mesh there, as you can see. Sometimes it happens when you start something a curve or something like that. So just delete it out of the way. We'll come to this one then. I'll press a little dot bun and this is my wool. So it says ground playing on here, but it's actually my wool. So what I'll do is I'll just rename it to wool. Like so, and I will also put it in one that says New collection and wool to tidy everything up, like so. You can also drag and drop these in any way you want to, and then I'll just get rid of my grand plane because I really don't need that. Okay, so far so good. So let's go out now and file and save. And then on the next one, we're going to be jumping in to our main build and actually getting to work on that one again. Alright, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 110. Filling Gaps and Enhancing Wall Decorations: Welcome back everyone to blend the building master class from concept to final render, and this is where we left the off. Alright, so just make sure this is saved out. Make sure it's either on wireframe or object mode, and then what we'll do is go to our other file, which is this one here. Now, finally, we can actually do a lot of building in here, because this part here, as I said, is mainly going to be built inside here because there's no point taking that into the file. Once you've done it, then you can put them in the other file to be used in other buildings and things like this. But at the moment, what we're going to do is build them on here. Now, we're not going to do that right now. What we're going to do right now is actually bring in some of the parts. So I'm going to put it onto RenderView. I'm going to then just save out my file, making sure it's saved. We're going to go to asset manager. So let's go to asset manager. I'm going to put this to the front as well, because reorder the front. There we go, because my other ones set the front and this one's not. Now what we want to do is come to arches. So let's go to arches and the arch we're going to one is going to be the small arch. So let's bring this in Arts 90, and then we're just going to put this into place. So if I press one, sorry three, I should be able to actually grab my door, shifts, curse its leg to grab my arch, shifts and selections cursor. And there we go. Now what I want to do is just lift it up into place, wherever it's going to go and then just pull it out, like so. Now, you can see that this is looking in a tiny bit. Too small on here. So all we'll do is press S and Y and then just pull it in, so there's a little bit of an edge. You don't want much, and you also just want to make sure that it is pulled down to the actual floor because you can see at the moment it's not quite in the floor, like so. Now, last of all, we want to put a front on this. So we just want to take a piece of mesh and put a front on here because it wouldn't be like an arch and then just this part here. So just a small thing. So if you go to mesh, bring in a plane, spin it around, so Y 90, and then just pull it out. And all we're going to do is just put it into place like so, bring it up, and then S and Z. Like so, pull it up into place wherever it's going to go. So something like this, just make sure we've not got any gaps in here. So just press S there if you need to pull it down a little bit further. And then all you're going to do is S and X, sorry, Y and just pull it in. And finally, then if I press three, we can see now it's in place. Now, all I need to do now is control, bring in a few edge loops. So maybe five, something like this. And then finally, what we can do is we can come in now to each of these. So if I grab each of these, I can pull them up, pull these ones down. And if you want to see through there, you can grab both of them. Like sew, and then just pull them up into place. So like sew, hold them up, and like sew, hold them up. And then all we want to do is tab, A, grab everything, U, and just unwrap it is just a plain now. It does say this. So it means I just need to resell my transform, set origin to geometry, like so now tab, click Unwrap. There we go. And now grab this one, purse, control, L, and we're going to link materials. And you can see that the material doesn't quite look right. I'm going to bring it further forward, first of all, just so we can see it, like so. And then what I'm going to do now is come to UVditing. So we'll just go UV Editing. And you can see here it's massive. That's part of the problem. If I zoom in, press the aboard and I can bring it down then to be something more like this and back to asset manager. Let's have a look at what that looks like. Tab double tap the A, and there we go. That part is done. Now, let's move on them round. To this back section here, and we're going to be using so these are our columns. Now we know with all of these, we can simply come in. So all of this side, all of this, we can come in and press Alt D because we're not actually going to be moving those in any way. They're just going to be basically duplicated over this side. So if I press Alt D, I should then be able to pull them out into the corner of here. Let's check them against here. Now, again, remember, I'm using, you know, on Render View. I'm going to be dropping between them. So just remember, though, you might not be able to get away with having it on Render View, but you'll be able to certainly see bet what I'm actually doing here. So I'm going to pull these in place like so. Now I need the bar. So I've got this bar here. Again, Alt D, I can bring it out. I can press R Z 90, spin that round then, press Control one to go inside view, and I'll just bring it into place. And you can see it's nearly finished. Just a little bit of tiny more, so E and X. Pull it out a little bit, like so, and then let's drop that back into place. There we go. Alright, and you can also see, as well, how quick everything goes. Now you've got that. Now, the next one I need, I want to possibly the smaller bar. So I've got the thick bar here, and I'm just looking what other bars I actually have. Let me just go too. And these parts here so decorative. It's not under that. It's under support. There we go. Now, these are my supports. So let me look at which supports I've got. I just want a smaller piece, just go in in this part here. So let me just have a look which ones I've got. I've got all of these. Think it's going to be that one, which is, I'm fairly sure this one down here. I'm just going to bring it in. It doesn't matter if you're in, by the way, I bring it in for your asset manager. They're basically pretty much the same thing. So control one. Let's pull it up. And what I want to know is, yes, if we have an array on there, so I'm just going to turn that on. Put it up to three, and then I'll move it into place. And I want to put it just round about in between here. Now, what I'm going to do with this one is I'm just going to press Es and's E and pull it out a little bit to make it a little bit thicker, and then I can put it into place, like so. And this part is time consuming, but it's pretty enjoyable. Now you can see what's happened to this. Yeah, As it 180. There we go. Now, let's press Control and one again. Let's put it into place. I've got it where I want it. Let's press S and X now and Js. Bring it back a little bit, see if I can fit it in. Like so. So how much time you spend on this is entirely up to you, but I actually find it pretty fun doing this part. I like all that work has come together to produce this. Okay, so now I want to do is I want one of the smaller ones, which is this one here. We do have a smaller one. So we have supports we have, where are the columns roof support bottoms, there we go. So we have, I think, this one here. Let's have a look. Is that the same size, or is it a bit smaller? That looks the same size. So that's that one. Let's try this one. There we go. That's the one. Now, let's put this right in center of here. Now, get in the center off here. Now, I'm just going to come in, grab this shifts, cursor selected. Now, once I've done this, I can actually look on my wall, but let's get everything in first. So if I bring this in now and I pass shifts and selection, do cursor. And then what I'll do is now, I'm going to drop this down. Now, this needs to go just on top of that. I think I should have used the bigger one, but instead of doing that, I'll just pull it down. I want it going into the top of there, like so, and then I'm going to grab one of these like so, and shift a selections cursor and let's spin it around. 180, and then I'll also spin it the other way. Y, 180, and then Control one, and I'm going to pull it down into place like so, and maybe maybe it's a little bit thick. A is it in the middle? That's one question I need to ask myself. Let's have a look. Pull it out a tad, just making sure everything goes in. We'll make a tiny, tiny bit smaller, pull it up, pull it out a tad like so, and then just move it over a little bit, I think. Alright. That's that bit. Now, let's put in the bottom. So this one here, we know we've pulled it out a little bit. So all I'm going to do with this one, O D, bring it out, and then R Z 90, control. In fact, you know what we'll do. We'll pull it out into place first. We'll press the dot button. And then we want to, as you can see, ride on top of that. So if I pull it back into place and then pull it over here, like so, and then all I'm going to do is S and X. Pull it out, and there we go. Now, if it is irritating you, you know, where the center is, it's like pulling from here. You can shift right click and then set your origin to there if you want to, but it doesn't bother me too much. I'm just telling you if in case you want to do that. All right, so that's that bit. Now, let's think about the bottom section. So the bottom section, I'm just going to carry this along, so I'm going to press Old D again. I'm going to press Z 90 and bring this out. And then we're going to jaws drop this into place like so, and I'm going to pull it back, making sure it fits. Now, let's have a look, making sure that we've got no flashing in there. I'm going to pull it out, and then we go just making sure it's fitting in there and maybe maybe I want one more. Let's pull it up. You can see with this one that I might need to shift D this because or I could let's just have a look how far it's off. It's a long way off. If I go S&X like with this one, you can see it's a long way off. You know what? Let's have a look. You know what I'm going to leave it as it is. Now, I can see that when I come out, you can see the flashing on there. We don't really want that, which means we need to pull it a little bit, little bit forward. And let's have a look. Not so bad now. And there we go. Alright, that's that part. Now, on the next one, then, we're gonna get this roof part in, and then we can get one window in here, and then two windows down here. And then we all use our Boolean, and that part is pretty much done. Alright, if you want so I hope you enjoyed that. I'll see you in the next one. Thanks a lot. Bye bye. 111. Enhancing Wall Decor with HDRI Lighting Previews: Welcome back everyone to blend the Building master class from concept to final render, and this is where we left it off. Okay, so windows. This is one window we're going to need, so I'm going to grab this one. No, we can't grab this one. Can't grab this one. This one here. There we go. Alt D, let's bring it down. Then we're going to need some smaller windows, so Alt D, bring them out. Spin them both round. So R z, 90. And then all we're going to do is press Control and one and what I want to do then is fit them into place. So now, roughly, this is the center, as we can see. Now we want this bang in the center. So if I pull it up to there, you can see it's bang in the center. And this one, we want each side. Now, we do want it level with this like the other ones. So if I pull this then to the side, like so, and I should I'll just hold D and see if they actually fit because I can see the gap down here, so hold D. No point creating more work for myself. And then let's put them in, like so. And then what we'll do is pull them all back at the same time. Though we're going to pull them back to there. These are going to be these windows. We're going to actually use a boolean, like we've done with here. You can see in here. Have we used the Boolean in there? I think we have. Let's have a look. Yes, we have. So we've got our boolean already set. And then we want. So with this, for instance, you can see, and I'm going to have to pull them further back so they're in the wool, so they're just over the top of there. Like, so we don't want them coming forward, so that's why we need the boolean. And then with this one, we can see roughly how far they go back. So you can see roughly that gap there. That is what we want to do with this one. They've come ins. They've come in and pull them back. Let's say something like that. That looks about perfect. Let's save out our work. And then what we'll do is we've got our booleans here. Let's turn them on. So we've got our square, and we've got our small window, like so. Now, what we can do is we've got these centered, so we'll come to this one, this window, shifts, cursor selected, and then shifts, selections cursor. If you press now Control one, you will see that that's fitting in perfectly, really, really easy. And now we'll just spin this round. So Is 90, we'll grab this window first. Like so shifts, goes to selected. Grab this one, shifts, and selection to cursor. And we can see if I press Control one, that is pretty much perfectly aligned with this one as well. Now what I want to do is I want to put this over here. So I'm going to press Shift D because I'm going to delete it anyway. To this one, shifts, selections cursor or cuss to selected. Sorry, grab this one and shifts and selections cursor, and there we go. That one's in. Now, let's pull them back. So we're going to pull them back into place like so, and then we're going to join No, we're not going to join them together, actually. We'll pull this one. Whoops. We'll This one's already back far enough, actually. So now what we should be able to do is grab this one, grab this one, press control, and minus. This one, this one, control, and minus not working. Let's have a look. References. Do we still have a ball tool on? Let's have a look, so ball tools not ticked on for some reason. Let's tick it on. Blows that off. Control and minus, and there we go. Let's grab this one and this one and see if I'm doing both at the same time. So control the minus, and there we go. Now, let's actually apply these. So I'm going to apply them all together. So one, two, three. I want to make sure when I'm doing this, I'm not applying anything else, so just click on this one, and then you've got all of these. Now, you can go down Control A, Control A, Control A. Sometimes, though, depending on what order they modifies in, that doesn't always work. So the best way of doing it is object, convert, convert to mesh, and there we go. Now what we'll do is we'll come in. We'll delete one of these out of the way. We'll grab then this one, and we're going to remove the cutter, grab this one, remove the cutter, and then all we're going to do is pull those out. At P, just to take off those parents, and then finally hide your booleans out of the way. And there we go as simple as that. Now, let's come in to these parts here. Alt D, let's bring it over. We want this right up against here, so Z 90, control one, and let's put it into place. It's going to be roughly around there. Let's bring it in. And then we obviously want to turn up the array. So let's turn up the array a couple of times. Let's press S and X because remember that when we're pulling this in, we haven't got to worry about other ones going wrong like this one over here because we're not actually using edit mode, so we're not editing it, so it's okay to use that. Make sure everything's in, make sure it's not coming forward over here and make sure that also, we know it's jaws to right height where the actual roof is going in. So with this one, we can see that the roof is not quite there. So we've got a couple of choices here. We can either move this back a little bit, but then we've got the problem with the wall or we can actually pick this up a little bit. It's completely up to you. Jaws to tad, like so, so we've got j a little bit. Or the lip going in down there. You know what? I'm jaws looking at these 'cause I don't want to pull it up too high. You can see now it's gone way too high. You know what I'm gonna do? I'm not going to worry about it. You know, hardly noticeable. Hardly noticeable. Okay, let's go now to Rendeview this is what we've got then so far. Now, at this point, as well, I always look and think, do I need to change my sun? Now, before doing this, just go down, save it out. And what I want you to do now is come and did we actually apply that? Yes, we did. Come over to your world and come down to sun settings. I'm just wondering if I can move it around let's have a look. Can I actually move it around and you're also going to go to my shading and go to World, because sometimes with HDRIs in particular, let's just move it up. There we go. Yeah, like this one here at the moment, I can't actually move it around. Now, we have to be very careful how we do this. So what I'm first of all going to do is put it on rendered mode. Like so, and I'm going to see if I can just spin this around now. Now, just remember to do this. Go to edit. You're going to go to preferences, and you just want to put in Wrangler. So just make sure that's on. Once that's on, then come back to it. Control T, and that will bring in the mapping. Again, make sure it's safe because generally, you know, if you've not got a lot of VRAM, blending normally crashes when you rotate in the sun, so just be careful. Once you load it back up, it will be absolutely fine. Now I'm going to do is I'm going to come down to where it says rotation. I'm going to go to where it says Z and I'm going to spin this around then, like so, and then we can turn it around. Onto here, like, we should then have a nice, nice view of what we're actually doing in here, which is the most important thing because we need to know what we're doing. Okay, so that's that bit. Now, now I'm going to do is I think I'm going to work my way around, so work my way around here. And, you know, it'll be interesting once I've got here actually, you know, built this out, then we can actually start with one of my favorite parts, which is this part here. So, let's get this finished first. I know it's a bit tedious, but you might want to you know, start over here, H here. Look at your reference if you're going to do it on your own. Now I'm going to do is I'm going to make sure, first of all, as you can see, these are not improperly, so I'll press S and Y and squish them in on the Y. And then what I can do is I can pull them out slightly so that in front of that roof. I'm just going to check now they're still a little bit out. I need to pull them a little bit more. Check in this. You can see S and Y. Let's pull them in a little bit more and then pull them out, holding the shift bone, like so. And there we go. You can see now that roof is actually feeling better. And now what we'll do is on this one here, so on this back here, we don't actually have this part. We just have this bar kind of going across. So what I'm going to do is I'm going to put in one, two, 2 bars, and then I'm thinking, we'll put in I won't put a bot. I don't think I'm going to put a bar. Here I think I'm going to put because the way it's laid out, I've got one, two, three, four, and then five, six windows. So I think I'm going to do this one a little bit different. But first of all, I do need a big a big ball like this. So you know what? Before we do that, though, let's actually bring this over. So if I come in, I'm going to grab all of this like, so I'm going to grab this, this and this. And then what I'm going to do is put them right in this corner here. So if I press old D, I should then be able to drag them over. Press the dot bun or zoom in. At least if I press the dot bun, we should be able to see what we're doing. And then what I'm going to do is shift and select. I'm going to put my little sideways V on and go to three D cursor. And now I can actually see how far I'm pulling these out. So into place into place into place. Now we've got that line going down there, and that is what I want, and now they're pretty much into place. And I'll deal with this bit. Um as I worked my way around. We can also see we've got chimneys and we haven't done those, but we can see exactly where they're going to be. So I can see that lines up very nicely now with that. Alright, so now let's grab this part here, and I can put this over. So I'm going to press O D. I'm going to press RZ, 90. And we can see we're coming. The reason that happened, by the way, is because we move this little sideways vehicle, press it and put it back to individual origins. Now it'll actually rotate around there. Either way, it doesn't matter because I've already got it in place anyway. So in place like so. Now what I am going to do is just make it a little bit smaller. So S and Y, let's pull it back a little bit, so we're not wasting all that UV space. And then we want this one here to come around and up here. Now, I think at this point, we'll probably be better off bring in now we've got this one in. Probably be better off bringing in our windows. Now, I'm also looking, and I don't know how I've done it, but even putting the booleans in there because we unwrapped this part first, it basically just left all the brick there as well. So that's really nice. You know what we'll do on the next one then is, we'll bring in I think these windows are a little bit too far. In. So what I'm going to do is just grab them all, pull them out a little bit, double tap the egg. And I think now they look way, way better than what they did. I'm just making sure that we're not going over there, as you can see on this here, if we're going slightly over like on these two, just pull it out very slightly. And then we go, you're not going to harm anything by doing that, make a check on everything else just to make sure like these here now, you can see they're a little bit out, which means that we're going to pull these out, and then I'll pull these out as well. So I'm just going to pull them out very, very slightly, making sure we've got a little bit of a lip there like so, because if you've not got that, it's going to look a little bit weird, and you will pick it up in the render. Now, I can also see as well that these here, they'll not out far enough. So what I'm going to do is just pull them out, pull them out, pull them out. And now I can see that these have gone a little bit over this, so I'm going to pull them out. And these are the final fixers, by the way, guys, just make sure everything's going right. I want to make sure that I've not got a gap in here. Now you can see I've got a gap in here. So S and Y, pull them out a little bit, double tap the A, and there's that fix. And then I'm looking now to make sure I can't see any bricks in there. No, that looks absolutely fine. Sometimes, if we do this, um I'm going to get rid of this, as well. You'll be able to see in the render and we don't want that. So going back, as I said, on the next one, then we'll grab these windows here. And what we're gonna do is put one here, one here, and then go to put one and another one on there. And then finally, up here, we're going to have some bigger windows, and then we can start filling them out. Alright, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 112. Wall Decor Refinement and Window Placement in Blender: Welcome back everyone to blend the building master class from concept to final render. Now, let's come in, and what we'll do is well, first of all, before carrying on with that is we're just going to grab all of these. We'll grab this one in here, we'll grab this one in here, and we'll grab this one here. And then what I'm going to do is just press Alt D. Like so, and just pull them over to this side. Now I want to do is I just want to mirror them so they're going the other way because I want them facing this way to go into this part here. So what I'm going to do is see if I can come in and go to object, mirror, and I want to mirror on the y like so, and I should be able to just turn them all around like that. Without altering these ones in here. The most important thing is we don't want to alter those, so it should be able to just turn around, and then from there, I should be able to just come in, go round to here, and pull them over, hopefully, so that they go into this corner along here and let's see if it can actually do this into this corner. Long here, pull them out, pull them out. I'll get this part in first, I think, so pull them over because I can see they're still going the wrong way. You can see here that you know what I'm going to do? I'm just going to pull them out, and then I'm going to put them in separately because I think that's going to work much, much better, pull them out, pull them out. And I can also see that this is a little bit higher. And maybe made Maybe I've made a little bit of a mistake here, but anyway, let's pull it up into place. I'm going to pull this up. You know what I'll do, actually? I'll take this one and use that instead. So I'm just going to grab this old D, drag it over. I'll pull this one into place. Like so. That's looking pretty nice. Now, this one here, I might be able to just stretch out a little bit. So if I pull this over, I should be able to just put it in the corner there, like so, and then have it coming up. So pull it up into there. And I'm just wondering whether I should put it underneath here. Let's see if it'll actually go under there. So if I pull it up, pull it up. And I'm just seeing if I can pull this out a little bit more just over the front of it. Like so. And there we go that then is going all the way down there. And you know what? I'm just going to delete that one out of the way. So I'm not going to put that in because then we haven't really got enough room in there down here anyway. And I'm going to think put this part in. So I'm going to delete this. I'm going to delete this. And I'm going to just press Alt D, and just bring that part over, put it right into place with a little bit of a gap there. There we go. And it's just tying up that little bit just in case. I mean, we're not going to take an image like this, but we might take an image, you know, from this angle here, and that's why I'm just making sure that we've got something in there and it's not just an empty gap or anything like that. And once we've got this part going over here, so if I come in and, for instance, grab this, press Alt D, bring it over, you can see that it needs mirroring on the X. So object, mirror, X, spin it round. And then I should be able to put this in place right along there. And as you can see now, that's fitting in very nice. And then you can see that lines up very nicely with that. Now, the rest of whatever we do down here, you know, this little gap and that doesn't really matter. But now, let's move on then. So let's move on then to this part on here. So what I'm going to do is, first of all, halfway up, I think I'll take this, and then what I'll do is I'll press Alt D, bring it over or Z, 90, spin it round. I'm going to put this into place. Like so, and where do I actually want it? I'm going to put it just for now in roundabout here. So if I pull it back, it should sit your nicely on there. Now, let's bring in those windows. So what I'm going to do is I'm going to grab this window or this window. Let's see. This window here, Alt D. Bring it over and spin it round. So 180, spin it round. And now I want to put two windows in here. Now, I want to just grab all of these parts here, I think, this part and this part. And then what I'm going to do in this window is press ShiftH now I can actually see what I'm doing. So now for press Control three, I should be able to go around the back and see where these are going to line up. Now if I pull this over here, like so, and if I press Alt D, pull it over here, so we can see that probably they're a little bit too big. There's not much of a gap down there. We only want a little tiny space down here, but still, this is either a little bit too big or if I put them in place because I can put them in place now, like so, I want them just just on there so we can see now that's what they will look like. They look a little bit too big to me. Even if we pull them down, I think I still think even if we pull this down, they're still a little bit too big. So let's grab them both. And then what we'll do is make sure that we're on individual origins. And then what we'll do is just make them smaller, like so. And I think now if I pull this up and then just pull them out a little bit more. Pull them out, it might have gone a little bit too far down there. I think they're going to look much, much nicer there, like so. Now, the other thing is, you know, I put these in place. So what I'll do is, I'll come round. I'll press Altag now because I've got those realistically in place. And then what I'm going to do is I'm going to grab this one here, I'm going to put it right in there. So if I press Alt D, should then be able to bring it out. I want to put it right in the center. So shifts, cursed to selected, grab this one, and then we'll press shifts and selections cursor. And then what we'll do is drag this down. And I'm going to sit it right on top of there, pulling it out a little bit, so pull it out, like so, and I want it going all the way down to here now. So I'm thinking, what other one can I use? Let's have a look at our supports. So we're going to asset manager. Here's all our supports laid out. Though we could. We've got this one at the moment. Let's have a look at this one, so we can bring this one. And I want to basically come down to this point here. So this point here, sit in under. So if I press Shift desk elections cursor, bring it down and sit it right on there, I can see. Yeah, it needs probably stretching out a little bit. Can we actually do that? So, EssensEd, how far can we get away with stretching it out? And I want it just there, pull it out. So we shift, and then I'll grab this one, op D, bring it over. Go. And then R z 90, shifts, so shifts, selections cursor. And then let's drop this part down, and then let's bring it out. So bring it out, bring it out. There you go. That is that part done. Alright, that's looking pretty cool as well. Now, let's come with these two parts. I'll grab this one first, and then what I'll do is I'll press D. And then, Z 90. And then what I'll do is I'll put it below this one here. So if I just grab this one, I should be able to press Shifts, Coster selected. Grab this Shifteselection, cursors shifts, selection cursor. I should now if I go to Control three, be able to see is that lined up with that? Why is it not lined up with that? Shift, first to selected. Hide it other way. Grab this one. Shift, selection cursor, oltate, bring it back. And now you can see I should be able to grab this, and it's in line with these. So now I can go and pull it down where I actually want it. At this point, I can see whether this is a little bit high or a little bit low. We go all that into place. Then we'll do the same on this side. So I'm going to go Shift, Selections curses. Shift, curse selected. Grab this one. Old D, shifts, and selections cursor and then bring it down in line with this one, making sure that they're lined up. And then I should be able to pull this one out, as well. Like this one here. And there we go. Now finally, we want the bottom ones. Now before we do that, actually, let's look. Are we happy with these? I think they need going up a little bit, so I can just grab all of these now, and I can grab this as well, and I can just pull them up very slightly, giving us a little bit more room. And then with this, I can just press Edson, bring it down to the top of there, so double tap the A, and there we go, that's looking much better. And now what we need to do is bring this round. So I'm going to press Alt D or Z 90, bring this one out. Press a little dot born, and I'm going to pull it into place. Just on the top of there, like so, and then let's put it into here. Making sure it's not going past there, so I'll press S and Y, bring it in. Like so. All right. That's that part. Now we'll come to this bon pot of D or Z 90. Then just pull it into place. So. And with this one, let's see if we take down. So if we come to this, if we take down the count, yeah, it's going to be too far, as you can see. Even if I move it up to you, it's still going to be too far. So what I'll do is just point in another one, and then what I'll do is S and Y and bring it down. And see if I can actually fit it in then, like so, and I think that is looking pretty nice. Now, if I zoom out, is it going to be it far enough out? Basically, is what I'm looking for, making sure it's not coming past, you know, this part or this part, which it's not. And finally, then we can grab both of these, D, bring them down, dig them right on top of the right on top of here, bring them up, bring them up. And then maybe, maybe I'll either pull these out or I'll pull these back. So if I pull this out, coming out slowly, it's going in front of there, so you know what? We'll just grab both of these. And instead of doing that, we'll pull them back a little bit, like so. Okay. And there we go. That is looking very good. So now we'll do is on the next lesson is we'll bring in our booleans. So we'll bring in our booleans. We'll get those booleand and then we'll do we'll start work on here. We'll start work on here. And finally, then we can make a start on this part here, which is the part I'm really excited about doing. Alright, everyone, so I hope you enjoyed that, and I'll see you in the next one. Thanks a lot. Bye bye. 113. Decorating Upper Walls Above Ground Level Roofing: Welcome microphone to lend the building mass class from concept to final render. Now, let's actually bring in the Booleans on here. So we'll go first of all to modeling. And then what we'll do is we'll come over to our Booleans, which is this here. Let's bring them all in. So we need one of the large ones, which is this one here and one of the little side ones, which is this one here. So let's bring them over. Now what I'll do is I'll spin this round, so I head 90. And then what I'll do is I will come now, and I think the easiest way to do this is just to have how many of these we got four. So four of these and two of these. So if I press Shift D, bring it out. In fact, Shift D, enter, shift D, enter, and then on this one, Shift D, enter. And then what I can do with this one is I'll come to this first. In fact, I've already got one there, so I'll come to this one, shifts and selections cursor, keep offset. Now we can see because we made those smaller, we are going to need to make this smaller, which means I'm going to shift D, this one again, come to this one, Shift S, and cursor selected. Come to this one, shift D, selections cursor. Now grab both of these. Now we can see as well, they're a little bit out. And I'm just wondering why that is maybe it's because I need to reset both of these. So I'm just gonna make sure we're doing this right. So let's have. Yeah, I think the first cursor was a little bit out with this one. So if I press Control, drop these back in, and then you'll see if I come to this one now, grab this, shifts, cursed to selected, grab this one, shifts, selection, curse it. Now they're the same height as you can see. Grab them both, make sure under individual origins. Press the S bone then and now we're just going to have to line them up. So it didn't work out like I wanted it to. Not really. If I press it down, can actually get it how I want it to. Let's press the S bone and bring them out a little bit bigger. Let's pull them up now, and there we go. Alright, that'll do. I'm just making sure everything's in. Now, let's come to these ones. So these should be easier because we aren't alter the size, so shifts, cursed to selected. Grab one of these, shifts selection to cursor. Grab the next one, shifts, cursor selected, Shift S, selections cursor, Shift S, cs to selected, shifts and selections cursor. And finally, last one. Like this. Alright. There we go. Now I can do is I can grab all of these at the same time. I just want to make sure, everything's in, so it should be okay to rock 'n roll. Let's grab this one last. Let's press Control and minus, and there we go. Now, we're just going to grab just this part. We're going to go then to Object and we're going to apply all of those booleans, so convert to mesh, apply them all. Then we're going to come in now. We only want one each of these, so delete this one. This one and this one, just delete them out of the way, and then this one will come over to our tool. So press N bunt to open it up, go to Boolean tool and remove cutter, and same for this one then. So Boolean tool and remove cutter. Now, this one's the same as this, so actually, I can get rid of this because I made it smaller as well, not forgot about that. Now, if I pull this out, I just need to press ol P, clear the parent off, and there we go, That is that part done? Let's hide the Booleans out of the way. And you can see working in this way is incredibly effective, incredibly quick, way quicker than, you know, coming in and actually building out the whole building or something like this, really easy. The one thing I would say is when you've built this out, you might want to take a whole block like this, a whole block like this, a whole block like this, and then you can build out things extremely fast, you know, once you've got this. So, in other words, take just this block here, even with the stairs, and you can put it over here, over here, over here, and you can build out an entire even city near enough based on this and then create more parts for it, and that is how you would do it. You wouldn't be building, you know, little pieces in like we're doing here because we're just building a building. So let's come on round then. Now what we're going to do is work our way around to this bit. So first of all, I want perhaps one, just a line going over there. So all I'm going to do is just grab this, hold D, and then bring it over, and I'm going to drop it, obviously, in this part here. So it's going to go right in this section here. Now the thing is when you're actually building any buildings, for that matter, or anything in three D, it's important to not let have empty walls. You want to be doing something. You can see here as well. I need to pull this out. So good job I saw that, so let's pull it out a little bit. You want to be having something always going on with any part. You know, here, we've got windows. We've got this part on here. Here we've got, you know, a little bit of a balcony here, another balcony here. There's always something going on. It's not just the same all the way around. That's something that you really want to think about when you're building something. Alright, we've got this in. Now, let's come in and grab these are the same. These are the same. I'm thinking they'll just grab this one here. We've got this one in here. You know what? We'll grab this one here, we'll press ld. And what I'll do is just bring it up just so it's going in this building here. And then I'll press Eston'sE and just squish it down just so it's a little bit different. It's up to you whether you want another part coming down there or not. I think for me, I'm actually okay. I don't need that. What I want now is just to grab this part here, and I want to put this over here. So if I press Alt D, I should then be able to bring it down into place right on top of there, and I want to pull it out a little bit more. And then finally, what I want to do is grab this part here, and then going to press Alt D spin it round, so bring it over here. Odds head, 180 spin it round. Seven to go over the top, and then I just want to line it up to make sure it's going in to this part here, so you can see into there. Press the little dog bun. And now we can see where we need to pull it out to pull out, pull it out, pull it out, and double tap the eight, and there we go. Alright, that's looking so far so good. Do we need another part in here? I don't think so. Do we need just, you know, one more chunk or something in this bit to show where it's going into or another, you know, part like we've got here. So we've got this part right in here. Do we need to put part in there? Maybe. Let's see what it looks like. So D, being as we're already here, we might as well just have a look and see if it's going to add anything to it. So that's the main thing, adding something to it. If it's not gonna add anything to it, don't put it in. It's waste of time. So I'm going to pull it out to there. And then what I'm going to do is just grab this bit and pull it out a little bit further. Like so. Double tap the A. And there we go. You know what? Yeah, I think it actually looks bed like that. So yeah, I'm going to leave that. Alright, working our way over, let's grab this part here. Did we squish this? I think we squish this once, so I'll just grab this lt D. And then what I'm going to do is I'm going to bring it up to the top of you. So up to the top, I'm going to pull it out slightly. So just making sure it's going in front of the wall and then I'm going to pull it over, like so making sure that it's going to line up with this part in here, like so, and I want it going all the way over to there. Now, let me just hide my chimney out the way at the moment because I want this to go all the way over to here. I also want another chunk in here. So I'm going to grab this one Alt D, bring it over, like so, drop that in there, just with it stuck out there, as you can see. And then I want to I'm just thinking I've got a chimney her. I'm going to leave the chimney off because it's going to make my life a little bit easier. Now I want to one of the windows. Now, we haven't used this window yet, so let's come in to Asset Manager. Let's bring in our windows. This is the window we're going to use, so we're going to drop that on there and then going to pull it up, spin it around making sure it span around this way, I think it is. So I'll head -90, and there we go. And then what I'll do is, I'll just come to this part in here. I'm going to press Shift desk curse to select to come to this pot. Shift desk selection to curse. That then's going to put it right in the center for me. That's exactly what I want right in the center. And then what we're going to do is drop this down. Now, with this, do you actually want it to be set right back, so to be set right back in there. So in there, something like that, or do you want it to just be on the outside like so. If you want it to be just on the outside like so, don't bother print a boolean in. It looks good enough without it. Now, let's think about this part coming down to here. So what I'm going to do is I'm going to steal, I think. I'm going to move that over a little bit because it's not quite in the right place for some reason. Okay, so I'm going to steal, I think, this point here. And I'm going to put that coming down to this point and then a kind of column going down here. So let's do that. So I'll grab right, this one and this one. I'm going to press Alt D, not Shift D, Alt D, and then we're going to bring this into line a little bit further maybe something like this, and then bring it up into place. And the top of it, you go just over there with this part just in this one. Now remember, we're going to be having a roof going on here, which we're going to do. So just make sure that this parts in, and then we'll have a column in down here, and I think I'll use this one. Alt D, and let's bring it over. Now, if it's lt and D, remember that I don't want to alter the amount of it. So I'm thinking on this point, we're only going down to here such a waste. So what I'll do is instead of that, I'll grab this one and go, This one might be better, actually, Alt D. Let's see if this one's better. I think this one's going to be much, much better. Press the little dab on just to zoom in. And let's drop it down into there, like so. And again, you know, you need those parts in because you can actually see quite far over here. Now, next of all, what I'm going to do is I'm going to come in and I'm going to grab this part and you can see this part is slightly forward. So I'm going to press the TD, bring this part over, drop back the amount of eras drop it down by one and then just pull it out, and it's going to be the same is it going to be the same? Do we want it? Yeah, you know what? I'm just wondering if I need to place it higher, and I don't think I'm gonna do it because I'm gonna let my roof do a little bit of the work there. Now, finally, finally, I'm going to put one more window in. So one of these windows, press salt D, and we're gonna bring it over. I'm going to stick it right in the center of there, again, always supporting them. So it'll always be supported on here. Make sure it's in the center, and then we can pull it back. And on the next one, then we can get a nice boolean in on that one. And then that is that point done. And from there then, I think we can actually make a start. And I think the third thing we'll do is we'll make a start on our roofs on this. And the idea is here that I want to work our way around so that we can start putting our gating. You know, putting our gating and putting this part around here that parts really, really interesting to do. So I'm going to save up my work, and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 114. Speeding Up Roof Tile Optimization with Feature Selection: Welcome back if we want to blend the building master class from concept to final render. And this is where we left off. So now let's bring in our Boolean. Now, the other thing is, if you're like me, I love jumping around. I don't like just doing something over and over again. So, you know, I tend to jump around a hell of a lot. So if I bring this over and I come to this part here, I'm gonna press Shift Dess, curse to selected, grab this one, Shiftes and selections cursor. And the reason I'm saying that is because once I've done this, I'm actually going to start creating the roofs on I'm not going to create the roofs for the whole thing because I don't really want to do that. And then I'll jump around. I'll create the fronts on here, and then I might jump over to creating these side bits or this top bit. You know, jumping around makes it interesting. You're just going to make sure that you don't get absolutely tired of doing the project. If I press dot, then I can zoom into here. Let's grab this wall, and I'm gonna press Control minus. And then what I'm gonna do is just apply this because I've only got one boolean on, so apply this. And then I'm going to grab this part here, remove cutter, oat P, and then clear pin. And then I can move this over here. Alright, so we're pretty much done with this part now. So what I want to do is create the roofs for this part, this part and this part. So we'll come hide our booleans out of the way, bring back our roof. We might be able to get away with one of these roofs, but being as we're doing a more together, let's just use this one. So I'm going to press Shift D. Because we don't want to press Alt D and then go to spin it around. So Z 90. And then what I'm going to do is pull it over. And again, we'll use we'll just grab this one and this one. I'll press ShiftH just to hide everything else out of the way. And then I should be able to jaws put on my magnet again like before, bring it down. And hopefully, let's see if it'll work. We should be able to then pull into place, and you can see it's not rotating Have we got rotate on. We've got rotate on. I don't know why it's not rotating, so you know what we'll turn that off. It's on here, as we said, so we know it's roughly there. Let's first of all, though, turn up. Well, let's put it in place. Let's also, as well, before we do that, let's just press Altag just a minute, and then you can see that this is it going all the way down to there? Okay, so that's the reason that's going all the way down to there, but we don't need this going quite so far. So first of all, we'll pull this out into place. So it's going to go somewhere around there, and then we'll turn down our vertical not our vertical, sorry our horizontal count. So we're not wasting all those tiles. So if we put it in here, turn down maybe a couple more, then it down, and then we can just drop it in there, like so, and I think that's going to be right. And now I can grab this one and this one, press shift age, and then drop that in place. Okay. Now what I'll do is make sure snapping is off. I'll turn up then my vertical count, so let's bring it up. Let's press one or three to go in side view. And then what we'll do is we'll press and X and split it round. Now, we can see we still need a few more to go. Let's pull it into place, though, to make sure it's in there. So just around here. Then we'll turn up the vertical count. So maybe even one more and then make it a little bit smaller because we've got a top on there. We need it to come to this edge. So S, if we make it smaller, though we're going to have to pull it out on the other one. So if I pull it down to here, you'll see now it's in line with the top. We can put something on there. That's all great. I need to bring it down a little bit more. Something around there. But the problem we're going to have now is, first of all, it's not level with it anymore, so I can press R and X. I can sort that out straightaway, like so. Then I can press ln H, bring back everything, and we can see now that this simply not going to go, so I need to put this into place. Double tap the A, and what I'm also looking for right now is to make sure that I've not gone too small. So you can see, have I gone too small? Do they look the right size of those? And I think, yes, they do, which is good for me. Okay, so now I want to do is turn up the horizontal. So let's go one, two, three, four, get those in place. And finally, then I can come in now, grab all of these just once more and press Shift H, hide everything out of the way. And there we go. I think now that is looking pretty nice. Now, from here, what I can do is, again, I can press Alt D here because I can just copy this one over. So Old D, like so, spin it round Z, 180. And hopefully, this is the same size. Which it is, like so, and we can get that in place. And the other thing is, the one other thing is, how far is it going that way? Let's check that before we finish. And yes, we're not going to get away with that. So instead of doing that, we need to go shifty, like so, Z 180 spin it round, get it into place, roughly where it's going to go. So somewhere around here, and we might need to pull this down, but we'll check that in a minute. And then what I'm going to do is pull it into place and then increase the number of horizontal, so one, two. Let's have a look at that. And yes, now we can see might even be able to get away with not going so many, so I might be able to bring it down one. Yes, and I can, I think. There we go. Alright. That's fitting in place beautifully now. On this one here, you can see it's pretty much the same. So we can probably get away with Alt on there. So what we'll do is we'll press Shift D, first of all, and we'll do the back of this. So if I come down to the back, so we're miles off at the moment, I think. I don't think it's going to be anything like. So we'll just grab this, ShiftH and I'll first of all, line it up. So first of all, let's get it pull to where it needs to go. So it's going to come all the way down there, like so, and then you can see, actually, if I press three, I'm going to line it up then, so O X, like so, I should be able to then just lift it up a little bit and then and X a little bit more. And there we go. Now, I should be able to do Alt D on this one. So if I press Alt D Z 180, spin it round, and I should be able to put that in place, it should should line up. Nearly perfectly. This will be into the wall anyway, so I'm not really concerned about that bit. And what I can do now is press ultage, bring back everything, and then pull these two parts over here. Now, remember with the roofs, we need to make sure. These are alt deed, remember, so I can pull it over a little bit. Like, you know what? I'll leave that one there. Then what I'll do with this one is, I'll pull it over a little bit, like so. Now, as I turn up this, I think they're both going to go up, so let's have a look so horizontal. No, they're not. I'm not going to go up on that. So I can turn that without altering the other one. I didn't actually know that. And we're going to go even more. Pull it over, like so, and I think from here, I could probably go away with pressing S and X, pulling out very slightly. Like so, S and X, like so, and then with this one, let's put up the horizontal, not the vertical, the horizontal. Let's pull it over. Now to go even more. There we go. Alright, that's that one in as well. Okay, so that's looking very nice. And now we need to do is before doing anything else, let's save work. And then what I'll do now is we'll do what we've done with all of these, where I can grab them all. We'll get rid of the backs and we'll get the actual material on each of these. So if I press Shift H, I should now be able to come over and grab all of these. Let's see if we can do it all at the same time because that is going to make it our job much, much easier. So if I press tab, in fact, you know what, we've got to convert them first. So object, convert to mesh, and now we can press tab and I'm going to grab BsegGrabbing all of these. And I'm hoping so if I go now to I just wonder if I go to, you know what? Rather than let's just have a look at this. So if I go to sideview and we put it on wireframe, is it going to be easier? If I take this off, now we're on wire frame. Is it going to be easier if now I come in and press C? Yeah, it's grabbing Let's try that again. So C minus it off with the middle one and just grab these ones here. Now, it's grabbing all that face, so we can't get away with just doing that. So okay, that's answer my question. What I want to do then is come in and grab the faces going down and going the other side because we know these are the ones where we need to select. And then what we're going to do is we're going to select similar and on the normal. And there we go. Now, we've selected all of the normals or these selected. This one, for instance, for some reason, hasn't been grabbed. Now, this one hasn't been grabbed, so I don't know why it's doing that. Um, I don't know why it's not showing that one all. Let me just go back. What is going on here? And I'll select all of them. Yeah, I don't know. If if I bring in a cube, if I bring in a cube, grab them all, grab this one last. Yeah, it's still Oh, I I don't know why I can't edit these two at the same time unless it's because it's old D. It might be because they're old D on this one, and that's the reason why. Probably the reason why. So instead of doing that, we'll get rid of the cue. We'll grab all of these. We'll going in again, so we're just going to grab this one last. And you can see now we've grabbed all of these, so all I'm going to do then is press H to hide them out of the way. And then what I'm going to do is now I just need to make sure that I've got no side points. So you can see on here, I've got all of these. I've got all of these. Let's go to select and select similar and normal. And then I shall be able to hide those out of the way. Now, whoever grab them all, going around here. Grab the more going down the bottom. Same on this one, look going all the way around. Same on the note on the bom, so grab this one. Select similar normal. Hide them out of the way. There we go. And now let's come to this one here. We'll grab this one. We'll grab the top, as well. Select similar normal. Hi them out of the way. Now we should have all the sides gone on there, as well. Like so. Now, if I'd leave the backs off these, I'm hoping he'll let the backs on these, but we'll see, of course, on the next lesson. Let's save our work, and I'll see her on the next one, everyone. Thanks a lot. Bye bye. 115. Designing Roof Details for the Manor’s Central Section: Welcome back, everyone to blend the Building master class from concept to final render. This is where we left it off. Now I'm hoping that I can grab all the bags of these. So all the bags of these go to normals, and hopefully it will select them all. So let's give that a try. So I'm going to go to select, mesh, sorry, select similar normals. And now I can't do that. So what I'm going to do instead of that is I'm going to press three to go in sideview. Double tap the A, and now I should be able to do is bring a line down here. So if I press C now, making sure that you're on Y frame, by the way, making sure this is turned off. Now, if I go C, I should, can I select all these? Why is that not working? I also see, I think, there's these on here. So this is turning into a bit of a pain. And I'm just wondering if I come to this one first, where is my face on there? Okay. And the dots on the faces on appear, and I think that's what's stopping me selecting them all. So if I click this on, then they should appear. Now, I might be able to select them. So if I go see yeah, I can select them. Okay, so that was the issue. Now, first of all, before we do that, we can see that we've still got all of these faces on. So all of these faces on the top are on there for whatever reason. So let's make sure that this is done properly, so select similar normal, hide them out the way. I'm just going to go down, making sure. And then I'm just going to come to this one now can see the same on this one. So let's do the same thing. There we go. They're not appearing anymore. Nothing in the side. Okay, so now let's come to this one here. You can see because these were the same now, that I haven't got that problem with these, so that's great. If I do one of these, the other one will get done. Brilliant. So now I can do is I can come to this one, this one, and this one, press three to go in side view, press the tab, make sure then I'm in wireframe and make sure that's ticked on. And finally, then, I should be able to come now and press C on each of these. Like so. Like so. And trust me, guys, this is the quickest way. I don't think. Just make sure you've grabbed them all there. I don't think there is a quicker way of doing this, actually. To get rid of the backs of these, but luckily, we haven't got that many roofs to actually do. I'm going to go to this one, this one, and this one, like so now, let's come to the other side. We can see there. Look, there's all those on the front, but I might be able to get away without actually interacting with those. It's just that most of the sides, especially on this way, need to actually be gone, se we won't be able to do this. So So, let's going. And there we go. Now on to this one. And which one we on? I think we're on this one over here. So let's go. And it will take us What? 5 minutes to do all this. So even though it feels like it's taking a long time. 5 minutes, not a long time when we've modeled hours and hours of this. And I think also it's teaching you a lot of skills of how to fix things as well. So we've done all that now, delete faces. Now, let's press Old Age, bring back everything, like so. Let's put it on Object mode, and we should end up with all the faces gone from all of these. Next thing we want to do then is we want to check our normals and we also want to join these together. So what I'm going to do is I'm going to grab all of these. Now, we know that this is a copy of this one, so we just want to make sure that we keep that. So what I'm going to do is just grab these three. And we also want to know now we've got rid of the bottoms, we need to join them up. So A, if we come to mesh, clean up, and what we want to do is merge by distance. It's important that we don't forget that because if we do, right, click Auto smooth, let's right click Auto Smooth. If we do forget that, it means the normals will a very weedl and we don't want that. Now, let's come on and check our normals. So face orientation and pretty much we've got some like this one. So if I press, A on this one, shift N. We can spin all of those around, and there we go. There's all those done. Let's come to this one then. We'll come to this one next, A, shift N, spin them all around. This one, then A, shift down and spin them all around. Alright, so they're all done now. And what we want to do now is just unwrap them. So I think it'll be better if we press Alt ag first of all, just so we can actually see what we're doing. And then what I want to do is I want to unwrap them so they're pretty much the same as these. What I'm going to do is I'm just going to put it onto rendered view. Let that load up. And then what I want to do is I'll come to this one first, and I'll press A, and U and SmartUVPject. Click Okay. Then what I'll do is, I'll come to this one. I'll press Control L, and we're going to link materials, and there we go, and that's what it's going to look like. So yeah, they're looking good. Let's come to this one. We'll do the same thing then. So tab A ltates just make sure everything's there. Smart UV project, click wrap, and then control L and link materials. Let's do the same then with these. So tab A, Smart UV project, click Okay, and then grab this one and press Control L, and we are going to link materials like so, and there we go. Now, the thing is, you'll never be able to see, like, if, you know, this is the same as this because they're going to look a little bit different, but you can see here that even though they're the same ones, actually a little bit longer than the other ones, so they're a little bit different. So yeah, we'll leave those like that. I think even if I'm zooming in here, the tiles look exactly the same as these. And even looking at the size, I'm just checking that. So what I'm going to do now is save out my work. Now, what do I want to do next? So we've got these in. So I think what we need to do, first of all, is just hide this chimney here. And what I'll do is I'll grab one of these. I'm going to press Alt D, bring it over, and then we're going to press Z 97 to go over the top. And then what I'm going to do while I've grabbed this is, I'm just going to press G because it'll follow that along. I'm going to get it into the place where it needs to go. And I'm also going to increase it. So if I come down, we'll increase the array. So let's increase the array and then bring it into place and then just get it to fit down on top of there. I'll fit down on top of here. Let's have a look then. So we've got I'm just wondering if I want to, you know what? First of all, I'll hide this out of the way. I'm going to grab this shifts, cursor selected, press tab, TH, hide this out of the way, and then grab this and I'll press Shift selections cursor. And that the n's go to put it perfectly in the sense for me, and all I've got to do realistically is raise it up, so it's similar to that one. Like so. Double tap the A, and there we go, make sure it's in this part of the roof, as well. And then we can bring it over to this one. So if I press l D, I can even bring it down one because we don't need maybe even two. So let's come down, one, two, and let's bring it over. And then what I'll do is I'll come to this point, grab the top of it, Shift S, c to selector, grab this one. Shift S, and selection to curta, move it over into place, zoom into it so we can see what we're doing. And finally, just pull it up so that it's got a bit of thickness on there. Making sure it's in the wall, making sure it's in the wall this way. Double tap the A, and there we go. It's really starting to come together now, guys. Alright, so I'm really, really happy with how that looks. And I think what we'll do now is we'll still have our asset manager open because we're definitely going to need that. I think what we need to do now on the next one is we need to bring over these parts here, so this and this part here. So with these, I mean, so we'll bring that over. Round here, there really is nothing for us to do. You're never going to see in there, so we don't need to worry about any of that at all. All we need to worry about we'll actually do this front and this front, and then we'll put whatever we're going to put in there. You know what? Actually, what we'll do on the next one is we'll grab this and this and we'll make sure that the topology is good. So if I press shift H, you can see, we've got a lot of topology on here. All we need on these, we don't even need the back of this. We don't need the sides of it. We only need the front and the roof. We don't even need the bottom. So you know what? Let's actually come in before we start. And what we'll do is we'll delete this one, this one. This one, this one, press Delete and faces. And then we're also going to delete the back. So if I just put this on, I should be able to come in then and grab this one, Delete and faces, and that is that one then. And now, what I want to do is just split it off. So I will even delete this middle section. I'm not even going to need that. So delete faces, grab this one and this one and press P selection. And now we come to this one now. Bit harder to tell on this one. So tab, the do we need the back of it? No, we don't only need the fronts. We don't even need the sides. So we're just going to grab this, shift H, and we'll come round the back of it, which is here, hopefully. We don't need the sides. We don't need the bomb. We just need the front. So all the way up to here, delete and faces, like so, and we've also got a part in there for some reason. So delete faces, delete faces, and there we go, delete this middle bit, delete faces, split these two off with P selection. And hopefully, hopefully, if a result ge, bring back everything, double tap the A, we should be left with everything we need. Should be. We can't see down there, so that's good. And now what we'll do is on the next lesson is we'll bring in the wood, like we've done with this one. Then we'll bring in the walls, make sure they tie up, and then we can start working on this. So file, save everything out, and I'll see you on the next one everyone. Thanks a lot. Bye bye. 116. Enhancing Exterior Walls with Stylized Decorations: Welcome back if you want to blend the building master class from concept to final render. Now, let's come to. So what I'm going to do is just hide each of these out of the way. I'm going to hide each of these. And then what I'm going to do is come to let's grab these. We're gonna press tab, A, Smart unwrap biangle, I think. If it doesn't work, just grab both of these. Grab your walls as well, it's going to help. Control AO transforms set origin to geometry. Now we'll grab these and we should be able to unwrap them, and then we'll come to this one, grab them, A U unwrap. Now, finally, then, let's just hi this out of the way, want them looking something like that. So I can just grab this one and this one, press Control L, link materials, grab this one and this one, Control L, and link materials. And there we go, they look good enough, so that's good enough. Now we're on to these parts, so we can see we've got this part here and this part here, and all I want to do is make sure that these are unwrapped as well. So I'm just going to grab this one A, angle based, and then same on this one, A, angle based. And then finally, what I'm going to do is I'm going to grab both of these breast control L, and again, we're going to link materials. Now we can see we do have some problems with these ones. Let's go to UV Editing. Let's put it onto material once we get there, so let it load up. Let's zoom out a little bit on this. Let's go round. And here we are. So we've got these two here, and this one here, A are 90, spin them round. Now we can see these are way, way smaller. Than these ones here. So we don't really want that. So what we're going to do is press the board, make them to be about the same size without anyone noticing. And that looks. Looks. I think these bricks actually here a little bit small. I don't think they're the same size as those. So let's have a look at that. What's going on with these. Are they all the same size. It's this one more. That's bothering me, but with this one, I can bring it in a little bit, like so, and there you go. And then this one, they look about the right size, so can I come in. And bring these ones in a little bit like so. Alright, now they're all matching up pretty much. Alright, I'm happy with that. Now, let's go by COVID to modeling, and let's have a look where we left this. So if I put it onto Rendered view, I should then be able to press Ath, bring back everything, double tap the A, and let's now start work on this part here. So what I'm going to do here I'm just wondering, I think I want a small one and then a big one, but before we do that, let's press old D bring this over, and then I'll press Z -90 because it's going that way round. I should then be able to press CtlumO. Yes, there would go, bring this down into place. Let's pull it into place. And then what we'll do is pull it out. L so into there. And you can see how beautifully that is fitting now. I'm just wondering how far I want to pull this out. I think I want to pull it out a little bit further than what it is. I'm going to pull it out there. Like, so and then I'm going to just put it into place, making sure there's no brick shining through there or anything like that, and then increase the array. And, of course, it would be going the other way. It would be going the other way, wouldn't it? Let's put it into there. Increase the array. We need to increase it not that many. And now, I'll just press S and X, pull it out a little bit, hold in the shift but. Here we go. Double tap the A. Now, let's come over and we'll press O D, ring it over, and then I'll press Control and one. Bring this down into place. So I want it just above there. And let's pull it out. So let's dot to zoom in. Like so, and then let's pull it over into the place where it's going to be going, which is into that wall there. And then it's going to be going into this wall here. And the other thing is, let's just turn down the count and see if I can pretty much get it going into the wall, just expand it out. So if I press S&X should be able to pull it out very slightly and still get it going into that wall, yours there. Is it going in there. Tiny, tiny bit off so S&X There we go. Double tap the A, and that's what we should be left with. That is pretty much perfect because we are going to have a corner in there as well. Now, let's look at the next bit. So I want a small part. I'm just looking to see if I've got a small and a big. And yes, I have. So I'm looking at if I can use one of these parts I've already got. So I'm just going to go to asset manager. Look at my supports. So these tops and bombs, and I'm looking at which supports do I actually want to use. So I want a small one and then probably a big one underneath to go onto this part here and then a line going across. So let's first of all, bring in our line. So I'm going to press Alt D. I'm going to bring this over them. I'm going to press Z -90, and I'm going to pull that over then into place over here. Now, if I press dot, I should be able to zoom in there and line this up. With this part here and then just pull it back a little bit, just so it fits in. Now, if it doesn't fit in properly, just press SNY and squish it down a little bit. There we go. Make sure then it lines up, let's have a look. Let's increase the array. And there we go. That's fitting in place now. And then what we want to do now is put on a couple of things just so this is not a blank wall. We don't want a blank wall on there. So I'm probably going to want this, You know what? These two here. They're perfect. So we'll use those. Opdi. Let's bring them over. Seven to go over the top, and I just want them then just to be in front of this here. Like so and I want them both lined up. So I want to pull them out enough just to make sure that they're pulled out enough just so I can see what I'm actually doing. Line this one up that will come in. And if you're struggling, just put it on object mode. You'll probably be able to see a bit more. Now, you can see that on this now, we are struggling a little bit. I want that to go under there. I also want it probably to come down, so it's actually supporting like so. And the other problem I've got is if I do it like that, yeah, is it going to be? You know what? I'm going to get rid of this one. I'm going to pull this one up because I think I can put that under a little bit better than this one, so I'm just going to press the S but, bring it down. Put it just under there, like so, as you can see. And then I'm going to make sure that the level up like so. And then with this one then I'm going to press Alt D, bring it down, but make this one a little bit bigger then. So press the Sb. Make it a little bit bigger, and then drop it just under like halfway between, like so, and then I'm going to grab them both and Alt D, and I'm going to bring them over, and I'll put them here, like so. Double tap the A. Let's put rend Van. And there we go. That's looking pretty good. Now, next of all, I'm going to save out my work. And I think with my HDRI, I'm going to come down and can I actually move it? Yes, I can. So here now, I can actually move it round. So can I actually get it so it's actually shining on there, a little bit brighter because at the moment, I'm struggling to see what I'm actually doing. And yes, I can. And that's our roof. Let's hide the roof out of the way. There we go. We don't want those. Let's bring them back. And what we'll do is these need going into roofs, so I'm just going to put these into roofs, so I'll press M and put them into roofs, like so, and then I should be able to hide that way now. Double tap there, and we've not got that big shadow there. Alright, so let's now come round to this part. So we've got this part. We need a cornet probably in here. And we're probably going to need a cornet in this part here. So we need a little top on, so we have a little top here, and we have this here. Now the problem is that's probably not going to go all the way down to I'm looking. Have we got any of that R gonna go all the way down to that? In fact, you know what? They need to we need another post on, so you know what? We'll grab. We know that this post is the same as these, so we'll start on that. Then we can move this over this should be about the right height, Savalu. Yeah, that's gonna be about the right height. So what I can actually do is I can grab both of these, hold D, and then pull them over. And all I want now is a top. So I want a top on here, and I'm going to steal my top from Savo. We have got the tops from this. These are the tops. So I'm going to press old D to duplicate that. I'm going to pull it over here. Now, what I want to do is put it obviously in the center of this I'm already working on. So shifts cursor selected. Grab this one, Shiftsk selections cursor. Press the dot button, and then what we'll do is now we'll make it do we need to make it bigger? Let's have a look. Can I pull it up into place? Into place there? I'm going to make it tiny. In fact, you know why I don't want to make any bigger. I'm just going to put it up just so it's sliding over the top of there. Then I'm going to grab all of this, including this. And we're going to pull them back. Into the corner. Put it on object mode so you can really see what you're actually doing. Oh, here, here, you can see this one here. I'm going to pull these back into place. They're over there. So now we've got a gap there. That's exactly what I want, then into place into this corner, like so. I'm just looking at that now. And that there, I think, I will pull this one because I know when I've got this right, and I need to pull this out as well, then I can get the other side right, as well. So if I pull these into place where I want them to go, so you can see now they're all lining up. Now at the bottom of here is this one looking good? I think it needs to go this way a little bit, and then this way a little bit, like so. Now what I can do is I can grab all three of these. No, it's not that one. This one here. I can press Alt D, bring it over. And then what I want to do is mirror them. So I will see if I can go to objects, mirror, and it's going to be on the X. Is that mirrored? I don't think so. Object. Mirror. Let's try it on the Y. For some reason, they're not mirroring these. So let's grab this. Yeah, I think it's 'cause they're centered, so they're not really mirroring. So if I come in and grab this one, Object, mirror. And let's mirror locally on the X. Why aren't those mirroring? You can see though we have got one problem here, so fix that walla me here, actually. So I'm just gonna go old shift click. Shift down. I it round. Just notice that, so let's just fix it. Okay, we've got these here. Let's pull them into place. So we've got this little corner here. Now, of course, this little corner. I can put it in. So let's bring in this one then, and that then should fit under there, like so, and then this one should fit outside of here, like so. So I'm just going to put those in there, and I think that's going to be good enough. I just need then another piece here, so I might as well grab these parts and bring them over. So I'm just going to press Alt D, bring them over to this corner, like zone, make sure they're in the corner properly. And yeah, that looks good. So let's do it again. Let's press Alt D, bring them over into this corner. Now, the problem with this corner is it's coming up against here and my roof here. I'm just wondering if I need to make that a bit smaller. It's going to come over to here. I've got my roof here. This roof, I would say, needs to come up probably a little bit because we're going to come down to them and we want this to be over. So I'm thinking that the roof is a little bit low, it should be around the same height as there. You know what I'm going to do? I'm just going to come in and grab all three of these. And I'm also going to, first of all, just hide these out of the way so I can actually see what I'm doing. Come back to this. Press Control one, and then I've got a front view of it. And then what I'm going to do is just lift it up. Like so, lift you up to there. And I think now I can lift my you know, while I leave my chimney there, it's probably going to be okay. Let's press Altag, bring back everything. And now you can see that this is coming up to where my roof is gonna go. Now, perhaps perhaps these want to be lifted up a little bit. Let's see. Can we lift them up a little bit? Yes, we can. And they're still under there, like so. And, yeah, that's looking pretty good. Okay, let's go to pile. Dave everything out, and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 117. Staircase Integration into Stylized Structures: Welcome back, everyone to blend the building master class from concept to final render. I think it's time that we actually put our stairs in there. So where are our stairs going to go? So let's first of all, come in and see how everything's gonna fit because remember, we're gonna have our stairs here, we're gonna have a gate going this way, you know, coming over here, and then a hedge row, probably going round here and then a hedgerow going round here. So let's come in and look at our stairs, first of all. So our stairs, those steps, here they are. This is the large step that we want to bring in. Let's spin it round, then, so ours head 180, and let's put it where we think is the best place to go. Again, looking, if we go over here, we're looking at this edge to this edge, and we want them to be roughly the right dimension. So all I'm going to do is press T just to open up this measuring tool, and let's measure from let's say this section to here or round about here to here. So this is 1.4, and this one is they're around about the same. I move it a little bit more this way, but you know what? They're so close that I think I'm going to actually leave it. Now, the other thing is to get these off, I think, if I come up to here, I've got one that says ruler, I can actually minus it off there, as well. So now I can actually go to my ruler and they disappear. I didn't actually know that. I just found that out recently. Okay. So now let's pull this into place. It's going in there, like so. Then let's grab our door. So if I come down and grab doors, and the door we want is going to be the large rounded door. I think this one. And the other thing is about large rounded door is yeah, it's spun round. So Z 180. Let's spin it round. Let's press Control one. And what I'm going to do is I want this door to be right in the center of there roughly. So if I hold shift, I should be able to move it in the center. You know what I'm going to do? I'm actually going to grab the center of it. So curse the select to grab this part then shifts selections cursor. Press Control one. What I'm going to do is put this into place like so. Now, of course, he needs to go back quite far this, so want to pull it back into place, so I'm going to pull it back into here. Like so. So how far back do I want it to go? I think something like this, and then I can pull it back to wherever I want it probably going to be the best way of doing this. Now, I'm not sure if on my Booleans, if I have one for my dough. Let me just have a look. I think it might be this one. Let's just press R Z 90, shifts, and selection to cursor. Let's press Control one, and let's see if it is this one. Or if this one's a little bit big. I think this one's a little bit big, actually. I'm not sure if I kept my door on, so let's actually have a look at this one. Shifts, and selection UCursaO S 90. Control one, let's see if it's this one. No, it's not this one either. Now, can we use this, though? Let's press Tab, A, shift the N, spin it round, and let's just press Control one once more. And you know what? I think we actually can. If I press the S bon, let's actually have a look where this is. Press the S bone. I'm not actually sure, so what I'm going to do is I'm going to grab this and this. Shift H, control one. Now I can see where it is. Alright, so now if I lift this up, yes, it is. This is the right one. But I should be able to lift this up. And then drop it all the way back so I can move my door all the way back. So something like this, I think, pull it back into place. And then what I'm going to do is lt age, grab this one and this one, press control and minus, and there we go. Then what I'm going to do is come to my wall over to here, and we've got our boolean on there, Control A, and then I should be able to come back to this splitter. Remove splitter, P, just to take away that parent that we've done many times before, and then let's just move out of the way and hide our booleans out of the way. Now with my door, I should be able to pull this back into place. Now, something here that sometimes happens is because it's just a plane, as I said, sometimes it won't actually work the way that you want. So it will take it all the way back like so, which means for this, at least, we need to make a floor and we need to make an arch around there. So what I'm going to do is I'm going to come in. Alt Shift and click Alt Shift click going all the way around, Marcosin. So mark as. And then what you're going to do is you're going to press E and whichever way it's going back. So it'll be the Y for me. So I can pull it back, pull it back, press the F button just to put a back on there, like so, and there we go. We've got our door in there. Now, the next thing we need to do, as you can see this floor, knees drop in below this part here. And the other thing is, if I start pulling this down, it will start moving around my bricks. So let's actually have a look at that and I don't really want to do that. So let it load up with material view. So if I grab this, start pulling it down, you can see how it starts dropping down there. So rather than do that, what I'll do is I'll press delete bases, and I just want to come in now to each of these, like so. And instead of doing it that way, let's just have a look at this. What is this here? What is this floor here? Is this a floor? O? I'm going to hide my door. Out of the way. So now I can see under there. So what I want to do is I want to bring this down. So instead of doing that, all I'm going to do is grab each of these, press E Z, bring it down to there, and then press the F but, and there we go, that is how I won my floor. Now, while I've got this on here, I'm just wondering, I might as well make this stone like we've done with the other one. So let's come in and we'll grab it going all the way around. So Alt Shift and click, like so. And then what we'll do is we'll press U, unwrap, and it won't wrap properly. So all we'll do is we'll press Smart UV project. Click Okay. And then what we'll do is we'll put it onto the stone. So this stone here, if we go to material, stone lighter. So this one here, and then we'll come plus, and we're looking for stone. Stone light, I think it is. So let's scroll down. So stone light. There we go. Click sign. And we need to obviously think as well, go to UV Editing because we might as well fix this while we've got it. Zoom in. Zoom in over here, press the S bun, bring it down like so. And there we go. Now, let's also grab this, right, click Shade Smooth. And now let's go back to our modeling. Now we've done that. Come round here, press Alt H, bring back our D, double tap the A, and you should end up with it like this. Now what we need to do is you need to bring in the arch, and it's going to be the same arch as what we've brought around here. So this one here, I'm going to press Al D bring it over then. I'm going to spin it round, so z 90. I've already got my cursor in the center, so I can press shifts and selections cursor. I can then press Control one. And what I can do is put the arch in where I want it. So the arch is going to go right about in there. I'm going to pull it back then into place where I want it, which will be the top of this step, like so. And then if I need to, I can pull my door even further back. Like, so, double tap the A, and let's actually have a look at what that looks like. And I'm looking at this gap under my door, so I want to pull it down a little bit. And I'm looking at the lighting on this part here. I'm also looking at how far this is out. So how far is this one out? Like, so. And you can see the issue is that this needs to be a little bit smaller. That's why I've got the lighting issue around there. So this needs to be a little bit smaller. So if I bring it in, bring it in, bring it in, and then just pull it down, just so it sits on the floor. And there we go. That is looking much, much better. I'm just making sure that this is also going the right way. So I'm just going to check my normals on there. So face orientation. And yes, it is, that's going the right way. So that's all good. Double tap the ears. Have a look. There we go, guys. That is looking very, very nice. Now, last of all, I think, I'll also squish it up on the Y, so S Y, and then I'll pull it out a little bit more, double tap the A. Like so. And yeah, I think that looks actually better. Now, the one thing I'm wondering is if I need bricks up there, but you know what? I think I think that looks good enough. So finally, we've got our door in there. I'm going to have some lights on there and all kinds of things. Now, we'll have our railing then going in this side and this side. You can see how much room we actually have now to build our railing going round. Now, on my original, which I'm just going to put on just to check here, I had hedges, hedges which were right up against here, which I think I've still got room for to pull them in. I might bring this in a little bit. I might bring the whole thing in just a tad. So if I press SEX and bring it in. I don't want to squish it too much as the thing, so I want to bring it in, but still keep, you know, most of this. So I'm wondering if I want to come in and just bring in these steps a little bit and then join together, I think I think it's a little bit wide, but if I just bring everything in, it's going to kind of mess it up. So I want to be careful of that. The other thing is, I want to be careful because I am messing around now, you know, with with the actual mesh. So we need to be careful when we're actually doing that. We can see here now that this needs probably going back a little bit because we're right on the edge there, or this here is right on here, as you can see, we don't really want that. But we also on that drop down, as well. I think what we'll do is I think we'll fix that, because I've dropped this down here, should I pull it up? So let's actually do that first. So if I come to this, I'll bring it up. So it goes over there, and then I've got a little bit of a gap, but I do know already that, if I bring up my floor, I can bring it all the way up to there without real linear shoes. You can see where it's going to bring down to. But I still feel like probably want to stretch this a little bit. So I'm going to press Esn'sE and pull it out, and I should then be able to get away with pulling this down, pulling it down, and then just pulling it over the top, like so. And now it should fit in a bit better, which it does. So that's that bit sorted. The next bit that I want to sort out is I want to bring these in a little bit because this to me, the steps are a little bit wide. So unfortunately, we could go back to our modeling and actually bring them in a touch. So if I come in, the steps really want to come in to each one of these. So what we'll do, we'll do that first. We'll press Shift D. We'll bring in a cube, and then what we'll do is we'll bring our steps down. So is this in the center? Let's have a look. Let's press Control and one. Yes, it is. So I want to bring my steps roughly roughly in to this part of it, because then it's going to give me a bit more room for my hedge row each side. And then what I'm going to do is press Control C. I'm going to go then to my parts section, which is this one here. And then I'm going to press Control V and bring in that cube. And from there, then I can take my steps now. So take my steps. Here they are, and bring them over. And if I zoom in now, we'll see where I need my steps to come to. So you can see now I need these to come in all the way to here. Easier to fix inside of here. Trust me, guys. Alright, everyone, so let's save out this. Let's go back to the other one because don't forget to save out that one as well. We don't want to lose any of that. Let's save that out, and I'll see you on the next one, every one. Thanks a lot. Bye bye. 118. Detailing the Back Entrance Staircase Area: Welcome back. I want to blend the building master class from concept to final render. And what we're going to do now is we're going to come in to these steps. Now, I'm going to go over the top. You know what? I'm just wondering if, actually, I won't do that. I'll press one to go into Frontew. I'm going to put it onto wireframe. And then what I should be able to do is double tap the eight first floor so nothing else selected and come in and just grab them going all the way to here, like so. Press Control plus, and then you should be able to grab your steps like so. And then what we're going to do now is press S and X and bring them in to where we actually want them. Now, the main thing here is we don't want to bring them in too far. So if I grab my cube now, we can see roughly it's about the right size. We don't want to bring them in too far, where, you know, they kind of look stretched and things like that. So that's the last thing that we want to avoid. Now what we're going to do is we're going to grab these this side only and bring it in and mirror it on the other side. So what I'm going to do is we've done a lot of work on here, so we don't kind of want to, you know, mirror it because if we mirror it, we're going to lose all of that work that we've done. All of these are going to look exactly the same. That's going to cost us a lot of work. So instead of doing that, what we're going to do is we're going to grab both of these, I think. So I think what we'll do is we'll separate these off just for now. So P selection, separate these off. And then what I can do is I can separate this off, so L, E selection. And then I can hide this out of the way. So I don't need that, and then I can come back to this. And now I can grab this side only, for instance. So if I press seven, I can put it on wireframe, go over the top then and grab this one. And then what I'm going to do is bring this line, so this line up to my steps and just have a check because then I'll know about the other side. So if I bring them to that, press the object mode and then double tap the A or press tab, double tap the A, and then look at where this is going to come. And I think that actually looks probably better. So now I'm going to go over the top, and we're going to do exactly the same thing with this one. Then I'm going to go on wireframe, click on one of them. Press B, grab the whole thing, and now we're going to bring this side up to there like so. Object mode. Let's come in then, delete this cube. So delete the cube, press lth to bring back everything. And now what we should be able to do is grab the whole thing, grab these last, press Control J. And hopefully, hopefully, this should look exactly the same, except now it's a little bit thinner in between there. So if you ever get anything like that, we now know how to fix it. Now, if I save a work, hopefully now, that should update. So if I go to file, save all my work and there we go. And now if I go back to the other model, which is over here. And what I want to do now is bring in the new one. So, let's delete this out of the way. Let's go to my asset manager, which is here. Load up. Let's zoom our little bit and bring in our first of all, we'll update it. And let's come in and bring in our stairs, which is and I'm really hoping it's updated. So let's bring in our stairs. Let's spin it round. So Rs 180, let's press Control on one, and it hasn't updated. Not updated at all. So, you know what? We're gonna try something else. What we'll do is now, we'll route click and we refresh library and see if now it's updated. So let's just have a quick look, and that's gone wrong. Let's see. Has it updated now? Oh, Z 180. Patrol one, no, it's still updated. So what we're going to do is we're going to go back to file. Now, remember, we might have a problem here. So what we'll do is we'll press Control layer transforms, right click Set Origin two geometry. We'll go to an asset manager. We'll come down to our steps. We'll click it. And if I bring it in now you'll see it comes in right on here. It's just not on the other file. So all we'll do is we'll go in, right click and clear asset, come back to it over the right hand side here, and then right click and mark as asset. Now, sometimes it doesn't update. I do not know why it's not updating sometimes, but sometimes it doesn't now, I brought that in. What I need to do now is just put it unassigned into our steps. And now let's see if I save out once more, so file, save, update it. Now let's go to the other file and see if it's updated. And if not, we've got another way of doing this anyway. So here is our file. Let's update this. Z 180. Control one, let's bring it over, and it's still not updated. So what we'll do is we'll delete out of the way, go back to our file. And I think this is a book with blender. And then what we'll do is grab this one. So Control C. Go 'cause we only need one stairs, we'll go back to here, and I'm hoping that in the next one, they will fix this. Control V. Bring it in, and there we go. It's in now. Now I should be able to. Bring it over, spin it around. So Rs hundred and 80. And you'll see, first of all, that because the material is different, that it's actually brought in the kind of a different type of material. You'll see a stone light Ooh one and stone lighter Ooh one. We want to make sure that we don't have those. First of all, though, let's see if it's the right size now, which it absolutely should be. So if I bring this over to here, you will see that now, if I pull this in, it should fit in, much, much better. The only thing is, I need to pull it up into place. So we're going to do exactly what we did before, pull it up into place. And I'm also going to make it a little bit bigger. So S and Z make it a little bit taller, making sure it fits into the floor. Let's put it on render view just so we can see what we're doing. There we go. And you'll see now what I mean by the dark and the light. So that is something that I want to fix. So now I'm looking at the edge coming over here. I'm looking how it all fits into place. You can see it's filling very nicely. Maybe, maybe this wants to come out a little bit. So S and X, pull it out a little bit just so it's in there, like so double tap the A and just make sure then that we've got no flashing around here. And the way we'll look at that is we'll go to here, making sure that that's stuck all the way through. And then finally, finally, we want to make sure that this bit here, we put a front on here. We've got our cursor here. So let's bring in another plane. In fact, we'll borrow this one from here. Then we'll sort out the material. So if I press Alt D, should be able to borrow this from here. As head, 90, pull it forward, press Control one, and I should be able to line this up with this. So if I bring it up, bring it up, should line in near enough perfectly with this, so you can see it's nearly nearly there. So what I'll do is I'll press n's head and then pull it up, pull it over a little bit. Oh, sure, pull it over, pull it over, and there we go, and it should then be able to fit in. With I pull it back, press the little db. We just want it past there, like so. I really hoping that works. Let's put it on render view. Double tap the A, and there we go, that is that part in now. Now, as I said, these parts here, the dark, so the doke, we need to replace with this one. So stone Light. So what I'm going to do is replace this one with stone light. If I come down, I can find one that says Stone light, and there you go. Now you can see. If I come to this one, click the down arrow, Stone lighter, and there we go. Now it all fits in place. And that is looking beautiful. Alright, so that was a lot of messing around. I'm just wondering if this stairs needs coming down a little bit, maybe it's a little bit too high still if I bring it down, holding the shift board. In fact, you know what? Let's have a look at that. I think it's actually and it's just the shadow. Yeah, it's just a shadow, I think, have a look. Yeah, it's definitely just a shadow. So it's just contact shadows there. I'm just looking now to make sure. Now, you can see if I put some railings here, we've got a lot more room for our hedgerow, and that is basically why I did that, you know, If I didn't do that, I don't think there'd be enough room. Now, the other thing is, before I finish, I just want to measure if I press control one, I want to measure this from here to here. So let's come in measuring tool. Let's grab it from here to here. So it's 1.9 and one point nearly 1.9. So not far off, oddly anything. 20 centimeters or something. So that's okay. Let's get rid of that. So we'll come. Where is it? That's press tab? Is it on here? No, that's not working. Where is it? Why is it not coming up here? I want to actually delete this off. You know what instead. Instead of doing that, we'll just come in and delete them off. There we go. Okay, so that's done. Now, on the next lesson then, we're gonna either. So we've got a choice. We need to put these in here first. That's the first thing we need to do. That's a given. But then we can actually start building this part round or we can come to our dome. And I'm thinking that probably the best way to do this is maybe make a start on the dome or at least bring these parts in. I think what we'll do is we'll bring this part in. So we'll do these on the next one. I think once we've got this front part in here with a little window over here, then we'll come to these side pots. Alright, everyone, so I want to see if I work, and I'll see you on the next one. Thanks a lot. Bye bye. 119. Creating a Compact Variant of Stylized Roof Geometry: Welcome back if we want to blend the building master plat from concept to final render. Alright, so we said we're going to do this bit first and then we'll move around and start this bit here. What I'm first of all going to do is write click shade Auto smooth just to get that night and smoothed out. And then what I want to do, I've already got these parts that I already put in there, but one I want is these parts here. Now remember, on these parts, if I go down to supports tops and bottoms, uh, no, not there. Look supports. Here we go. We've also got some different ones, so just remember that we could swap between these round here instead of, you know, these are a little bit different here. So we could swap them over and have something like this. Let's have a look if I bring this in to shed 180. This one might be a bit big, but what I'm saying is just remember that you actually have them. That's the main point. So we could put like one here and then two there. Something like that might actually look really good. So if I put this in here, let's just give it a try. Let's see how it's going to look. And what we'll do is we'll bring the square one in and then sed 180, and let's have a look what this one looks like. Like so, and I think that one looks a bit silly, so let's delete that. Let's have a look at these ones. Are these going to be the same size or are they going to be a bit big? Because we basically want one or the other. Yeah, I think what we'll do is we'll delete that off with try sad, 180. I do recommend always going in and giving it a test to see what things look like. Obviously, I've pre built this, but that's a little bit different. But when you're doing it on your own, make sure you do that. So Alt D, let's bring it over. And then what we'll do is put those both in place. I'm going to squish them up a little bit then. So S and X, squish them up. Make sure we're on medium point to do that. S and X, let's pull them in, and let's get those into place. Like so. And then what we'll do is press Alt D and drop them over. We don't want to join them together. Don't ever join them together, or you're going to have some big problems actually doing that. You can see on this side, we're quite far out, but that's because we're relying on this part here, as you can see. So this part goes straight down. This part we'll be going from here, which gives us a bigger bit of a garden here. What I'm going to do with this one is, can I get around S and X, squishing it down even further? Can I actually get away with that? Let's have a look on the rendered view just to make sure we're happy with that. Yeah, I think that actually looks quite nice like that. Really hard to tell anyway, if there's a difference in them. Alright, so now we've done that. Let's come in then, and what we'll do is we'll bring in our window. So it's another one of these. Do we have to bring it in? No, probably not. We can just grab this one. Or maybe even this one, it's a little bit closer. So OPD, bring it out, spin it around. So s -90. Let's press Control one just to go into this view. We want to keep it the same level, so we want to keep it the same level, and just pull it back into the wall and make sure you're happy with it. So if I pull it back, pull it back, pull it back, just in front of the wall like so, and I think something like that looks pretty good. Now, if we come to Boolean then, what we want is, which boolean is it? I think it is this boolean, so Rs 90, go back to my window. So this here is shifts, go to selected, go back to this then, shifts, and selection to curta. Control one, and it should fit in perfectly like so. Now, grab this one and this one Control minus, pretty much like we've done many times before. Go to the cutter, remove it, and oat P. And at this point, honestly, guys, you should be pretty fast at doing this, understanding exactly what I'm doing. And then we can speed up this process. Alright, so last of all, then, I just want one of these. I'm going to press Alt D. And what I'm going to do is bring it over. The other thing I forgot is I could have you know, instead of pressing Ol D, just use the modifier, the array. So I could have just done that, but I forgot, so my fault. Let's put it into place anyway, regardless. And then let's press E and X and pull it out a little bit, and then put it into place, like so, double tap the A, and there we go, that is that bit done. Okay, so moving round then onto one of the harder parts. So this part here, the thing that makes this part hard is the angles. So the angles are, if we go on here, we'll see 55 degrees. So just make a note of that. That it is 55 degrees. Alright, so what do we start with first on this? Probably going to start with the roof. So let's start with the roof. What I'm going to do is hide my booleans out of the way. I'm going to bring in my Jumptno which is this one here. And then what I'm going to do is I'm going to press Alt D, jaws to bring it over, so I'm going to rotate it round by 55, then. So z, 55 degrees, and it should line up with the roof, at least, perfectly. Now, we can see it's not lining up with this part. What I want to do is put it on normal when I actually twist this. I'm also going to grab this, so shift H. So we've got both of those grabbed at the same time. And then what I'm going to do is just rotate it. Now the problem when you're rotating this, obviously, is that you can't really see down there because it's at a 55 degree angle. But what we can do now is press Atonex and we should be able to rotate it round just enough to actually get a good view of what it's going to look like. So if I drop this in here, like so, let's move it over and let's pull it down a little bit further. And you should be able to pull it down, as you can see, with the normal. Let's pull it into place, just so it's not going through there. You can see it's going through there a little bit. And now I want to do is just bring it down and get it into the right size and then you'll be able to see exactly how it's going to look. So I'm going to leave this bit here because at the end of the day, we're going to have those bits on the roof that are going to cover all this up. So what I'm going to do is come over to here. Let's bring down, first of all, the horizontal. So if I bring this down like so, should be able to bring down the horizontal. Let's pull it a little bit more, maybe one more. And let's have a look what that looks like. Let's have a look. And there we go, I think maybe we can bring it in from there, so Eta next, bring it in a little bit. Now, the vertical, let's bring that up then. So all the way up to maybe up to there. And then what I'll do is instead of doing that, you know what I'll do? I'll press Controls head. Just go back a minute. I want to go back to hens. Instead of pressing Etanex and bringing it in like we did, let's first of all, bring up the vertical, and then from there, I can actually shrink it all in to get it to be near enough the right side. Now, when I'm looking at that, you can see, pretty much it's lined up perfectly, and that is exactly what we want. Now, I want to mirror it over the other side. So what I can do is I've got it on at the moment, I've got it on normal. So I'm just wondering if I should use a mirror to go over there, a mirror on here, but the problem is then I have to convert them all together. Let me just see if that actually works. So this will be into no man's land. So I'll grab this. We'll grab the top of here, shift desk curse to selected. And then what I want to do is right click. Can I set the origin to three D cursor? No, I can't, and that's what I was worried about actually mirroring it. So what I'll do instead is I'm just thinking I'll come in to put it on global, sorry. And then what I'll do is I'll press Alt D rotate it, sad, 180, and then we should be able to get this in place. Now, if I put this on normal again, and I actually get this in place. So if I pull it over here, like so, let's pull it down then into place. We can see we're quite far out at the moment, that we'll get it into place like so, and then hopefully then should be able to pull it back and pull it up like the other one. So we've got it nearly going down to here or something like this. I think think of nearly let's have a look how close this one is. So it's quite close to there. And I think this one is also quite close there. So I think from this, yeah, I think that's going to actually work. Alright. So before we finish this, let's just move it over a little bit. Before we finish this, let's make sure that first of all, we've got the parts in. So making sure that all this fits is really important before doing anything with this. So what I'm going to do is I will press AltH, just bring back everything. So we want one of these parts in, as you can see. So what I'm going to do is just press Alt D. Let's bring this part in over here, and then Z, 55 degrees or R Z -55 degrees, like so. And we can see that is really not fitting in there. I'm going to go over the top. And I'm looking, Oh, 55. There we go. That's why. There we go. Now it's fitting in place. Now I want to do is level it up, so I want to get bang in the middle just about. I think I could probably come in. Let's have a look where the This is in the middle. So we already know though there's this part in here. So what I can do is I can just press shifts and selections cursor. That should. Let's have a look. Has it put it bang in the middle for us? Yes, it has. Like so. Alright, now what we want to do is I want to pull this down into the top, so we can see where these parts are here. Let's bring them over. I'm going to put this into the top. Now, the other thing is, we can see on this one how far it's down, so you can see it's near enough all the way down. So let's actually replicate that. And maybe maybe I should have brought in the other parts as well. Now we can see it's not coming down enough, and that's probably because we've got a big gap at the top. And this is why I said it's important to bring these down as well. Now, the other thing is, if I bring down my vertical count, there's going to be too much, as you can see. So let's see, first of all, if I bring this down and rotate this, what I'm going to do is rotate it on the normal, so that's Rt and X, rotate it a little bit, and I don't want it in there. I'm going to rotate it around here, and then I'm going to pull it out. So now I'm going to pull it out into place like so, and then we'll have a piece on here. So now we've got it like this. I'm thinking I've rotated that a little bit too much, so art and X spin it around a little bit. Like so. And then the other thing, of course, is getting the center part in. So I'm going to grab this, I'm going to press Alt D, and it's a little bit tricky. But the thing is, once we've done this, we can just mirror it on the other side. Really, really easy to do, guys. So R z 55, and if not, R Z -55, like so, is that rotated? Why is it rotating like that, let's have a look. So Z rotate it this way and then put it on 55, like so, seven to go over the top. G to bring it into place. And we can put it right in actual place. So shifts. Let's do it that way. Selections cursor, bring it out then into place, maybe even take one off. So take one of the array off. Pull it into there, and then S and Y and pull it out, like so now. Is that stuck in the wall? And the other thing is it needs lifting up, of course, as you can see, and then making sure that my tiles are in place on there. There are the tiles in place? That's the question. And it looks as though, they're touching up to the top of here, and that's what I need. Now on this one, as you can see, they go slightly under. So, should I lift this up a little bit or notes have a lucky if we got to lift it up. I'll tap the e. There we go. Now that's looking better. Now, what that means is, though, that we need to lift up this part and pull it back a little bit. So if I pull this part back and then even pull it up a little bit, like, so now we should be able to get the other part in and line that up. So let's see on the next one if we can do that, use it doesn't need to be perfect. Not in the slightest. I'm also looking at where this line is coming down. So I think what we'll do is we'll get these parts in here, then we'll get the part in here, and we can build this out a little bit and see if it all fits together. Hopefully, it will. Alright, let's see if I work, and I'll see you on the next and every one. Thanks a lot. Bye bye. 120. Placing Decorative Supports for Short Roof Designs: Welcome back, everyone to blend the building master class from concept to final render, and this is where we left it off. Now, let's grab this one, Op D. Let's bring it over. And then, again, we'll spin it round on the 55 degrees. If I put this on 55, yes, it does. It works just doing it like that, which makes it incredibly easy for me. And then I'll just press Shift S and selections cursor. And then this makes it even easier for me. So I'm just going to bring it out. And then what I'm going to do is just pull it down into place, and hopefully hopefully this will actually work. Now, we don't need to, you know, bring it all into there. We can bring it up, bring it up. Do something like here, double tap the A. And we can see we're a little bit out on here. So what I'm going to do is bring it up even more, bring it up even more. Yeah, it's too far out on there. So what I'm going to do is just bring it in. Double tap the A, something like there. Maybe drop it down or pull it back a little bit even. So let's try just Oh, pulling it back into there, double tap the A. And that looks. Yeah, that looks cool. That is actually working. Let's have a look at this side. The only thing is that, of course, it's a little bit low on this. Let's see if I put this into place. You know what I'll do? I'll actually try and pull it in there SNX, pull it in a little bit. We're going to have a point on here, as well to hide this part. But what I need to do now, as you can see, is probably bring it up to get it over there. Like so we can see we're still a long way round. So you know what I'll do? I'll actually just bring in these points, I think, the bottom parts because at the moment, we're really struggling with this, but it could be as well, as you can see. We've got quite a gap down here, quite a gap. So what I want to do is just pull it into place, and then I'll rotate it round and see if that makes any better. So art &x, it could be me not getting in place. But the thing is, as I said, it's very important that we get these in place first. Now you can see that's probably looking better. Now, let's pull this down and have a look at this. There we go. Now it's fitting into place, much, much better than where it was. Alright. There we go. That's looking much, much better. Let's have a look around this side, 'cause remember, we didn't alter this side. And now I might be able to get away. I'm gonna put post on here. I'm just gonna move this post and have a look. How close are we to this one? Yeah, it's fitting perfectly. It's fitting perfectly on this. But the thing oh, yes, that might be where it is. It's because of the roof. The roof is a little bit out here. You know what I'm going to do? I'm actually going to press S and X and pull this roof out a little bit to make it fit a little bit better, like so. Now it should fit in place. And then we can have our bricks on here and then going down. That might actually work a little bit better. Or we pulled the whole thing in, including these parts as well. Doesn't matter again because we're doing our, we're gonna mirror it over there. Let's just press Controls and let's come to these parts. Now, the thing is if I edit it in edit mode, that will cause a problem. And that's why I'm actually trying to avoid it. I can actually bring it out from here so you can see I can pull it out from here and bring it in, but I really don't want to edit it in edit mode. And then, of course, I've got the problem in. You know what I'm going to do? I'm just going to pull it in. So I'm going to pull this one in. I'm going to pull it in all the way to and then I'm going to do the same thing again to this one. So I'm going to pull this one in, so it's behind this line. And I know it's a lot of fiddling around, guys, but it's definitely going to be worth doing it. So pull it into there now you can see that tucks in under there perfectly. And then what I'll finally do is I'll grab my roof the roof isn't so important. And then what I'll do is press S and X and bring these in, hide them out of the way, like so, and there we go. Now we can actually fit that in place, apart from these bottom pots. Now, let's see if I can just grab this one. And grab this one through here. So this one here. And let's see now if I can also pull those out, because if you can pull those out there without altering the roof, that would be great. So S and X is it S and X. Let's look, S and Y. And actually, so let's try this one first. We're on normal. And at the moment, we don't really have one to pull them out, so let's go to local. Let's see if local works. Note that's not going to work either, so we'll go back to normal. And then what I'll do is I'll pull it out and up. And then my roof is not going to fit. Mm. Okay, wondering about the best way to do this. You know what I'll do? I'll put my roof back to there. And what I'll do instead is, I'm going to take this part here. I'm going to press P selection, separate it off. And then what I'm going to do is pull this part out. So if I grab now this part going down here, I should be able to press S and Y and pull just this part out. And then I might be able to come to the top. So if I hide these out of the way, come to the top. Where this is, there you go, you can see where this is and then bring it in. So I should be able to bring this part in. So if I grab this, and we'll merge at center. Let's have a look what that looks like. Voltach, double tap the A. And nearly nearly very close. Let's pull it up. Is it still going to be in there? That is the question. Let's pull it back a minute. And it's just this bit that's actually not going so right. Joe this bit. Once you know, the rest of it will be easy. We just got to figure out what's going off with this part. We can see as well that we've got a lot of parts in here, as well that we don't need. Well you know what? Let's just go to this part. And what I'm going to do is I'll just get rid of this because we're definitely not going to delete faces. We definitely need the top of it. We're definitely not going to need anything in here, so we'll just delete them all, even the bottom, delete faces so. We're going to need this side, this side and this side, these sides. We're not going to need the backs of them, so we'll delete those as well. So delete and faces. We're not going to need the top of this, even though I've joined joined the front of this, so we're not going to need the top. A we're going to need this part here. But what I want to do now is press tab, Alta, bring back everything. And now what I should be able to do is grab not this, this part in the center and pull it in, so it's not going to be you know what it's not actually going through there. It is just literally this part. So this part looks near enough in place, except this part. So you know what we'll do? I'll just come in. I think we can just drop it down if it come to here, this part, take it off, come round, should be able to drop it down, like so. And then we need to make sure now that this is underneath the roof. So if I press S, you'll be able to bring them up to the roof. And this one looks like it's already under there. So under there, under there, that looks pretty good. Now, before carrying on, let's think about this part here because at the moment, we need this to plug this gap. We need this one to plug this gap. So what I'm going to do is I'll just bring in this one, old D. And then I'll press Z 55, like so. And then I'll press I'll bring it down, first of all, and just try and get it in place. And I'm also, if going to pull it back a little bit, pull it into here a little bit, like so, and then I'll shrink it down because I think it's a little bit too big, and then and Z, pull it out and just drop it under there. Like so. That is looking very nice. And now I just want one on the other side. Now, can we mirror this? I think we can, yes, we can. So what we'll do is we'll just if I move the origin, though, I don't really want to do that. So what I can do is, though, we know that this one here has the orientation, right in the center of here. So I'm going to mirror, actually, from here. So if I come in, I should be able to go add modify it. Come down to where it says mirror, so come down to mirror. And then go down and we want to mirror it from the object. So the object in this case, will be this one. And there you go, now you can see that's mirrored it on the other side, and then I can just simply apply my mirror. Come down, apply your mirror, make data use a single apply, modify, remove it from the list. I'm just wondering whether if I remove that from the list, it's going to mess up everything else. So I don't really want to do that. I think I'll just delete the mirror. There we go. So what I'll after do instead is Alt D and bring it over to here, go over to here, and as far out as what I need them, so it needs to go that far out. And now I want to actually bring in this part. I want a little one, actually, so I'll just I'll put in it going over here, and then we'll do the smaller part. So we'll do Alt D, bring it over, and then RZ 55, like so, and then RZ 180 to spin it all the way around. And now I should be able to put this into place wherever it's going to go. Let's turn down the array. So we'll turn down the array. And now we'll drop it in place into place. And I think if we turn it down once more, we lose that have. No, it will fit in, so that's good. And we can drop it in all the way there, making sure it's in. Maybe that's going a little bit too far. Like this, and going go around this side, and there we go. Yeah, that is looking good. Now we can on the next lesson, grab this and just put it into here. Or you could put in, like, this bit here if you wanted to just in these points. I'm wondering which one I want. Maybe, maybe. One of these bars, I think. I think that will look better. So I'll just get this ready, so I'll press Alt D and bring it out, and we'll use this on the next one. And then we'll continue building this out. Once I've got this bar in, we'll then go in. We have to check this, as you can see. So there's this hanging through here that I need to fix. And I will fix that on the next one, as well. So we'll get this bar in. We'll fix this part of the roof. I think if I hide this out of the way and hide this, it literally is just bringing these in this in a little bit more. So we'll do that first. Alright, everyone. Alright, so sorry for all the messing around. Sometimes it takes a little bit of time to get everything in, fitted into place and all of that stuff. And, of course, you know, even though I've built this, I'm still trying to rebuild it again. So sometimes it is a little bit fiddly. So, you know, you're always gonna get that when you're putting these things together. So let's say that all work, and I'll see in the next one, everyone. Thanks a lot. Bye bye. 121. UV Mapping for Compact Roofs and Building Extensions: Welcome back if I want to Blend Building masterclass. From concept, final render, let's now crack on with this part here. So if I grab this, should be able to pull this back just a tiny bit. Now, let's press Tab voltage and see if we've done that. Yes, we have, so that's all looking good. And now the final bit, which we got here, let's bring this out, spin it round so -55, like so. Let's have a look, 35, 55. There we go. And let's then pull this back into place. Hopefully, it's going to fit, and we'll pull it up into there's where we want it. So we're going to bring it out, bring it out, bring it out. And then pull it over because we can hide it behind there. We can turn down the array. So we can turn down the array, maybe to three. And then what we compress is S and X and squish that up a little bit. And I don't think even though it's the stone, I don't think we'll have a quick look, so let's have a look and render. Double tap the A, and I don't think we're going to notice. Now, the other thing is, again, I really want to get the brick in here as well before doing anything else, because if not, it's going to make things a little bit hard to see what I'm doing before we've got the roof in. Now I'm going to come round here, as you can see, this is how the roofs going in around this bit. I'm just wondering if I should bring those up a little bit more because you can see on this one here, this actually goes just under there. And even though this does go under there, it's a little bit out, or this bit here I'm talking about. So I could press EN E and pull them out that way. Let's just try that E&E, pull them up that way, pull it into place. Yeah, and I think that actually might work better as well for us. I'm also going to, I think, pull it out on S and Y just to get it in front of that. Let's have a look what that looks like. Double tap the A. Yeah, maybe that doesn't look right like that. But let's press Control's head, flip back. There we go. You know what? I'm going to leave it like that. I'm just wondering if I pulled all of this down look there it's not gonna look right, so you know what? I'm going to leave it like this. I think once we've got our roof in, it's going to look cool. Right, let's now. Now we've got that roughly in the place where we want to. We've got all of this built out. We've got this part on here. Now let's come in. And what we'll do is we'll get the wall on there. So we'll get all the wall on. Now, we've got rid of the back here. So even if I press tab now, I should be able to unwrap it and get it in. Now, before we do that, though, let's bring round the sun. So the I'm going 234. Again, before moving any sun, make sure you rotate your make sure you save out your foul. So then what we can do is I can bring this down now, bring it all the way around and get some nice lighting on here, like, so just so I can see it. Alright, now we can see everything. What I want to do now is grab all three of these. So if I grab all of these, shift H, and now let's come in, and what we'll do is, first of all, we'll unwrap everything. Now if I press A, we've not grabbed that from one, so let's grab that as well. So now if I press A, U, unwrap angle based, and now what I should be able to do now is come in and bring in a material. So let's bring in a material. At the moment, we've got ambient occlusion. Let's minus that off. So we'll minus that off. And we'll put in bricks, bricks, like so we need to spin that round. Now, on this one, let's come in. I'll grab this one just on its own. I can't grab it on its own, as you see, so I'll do is just minus off ambient clusion and we'll bring in the wood. So roof, not roof. What is it called? Wood cracked. Is that one, or is it wood stylized? Wood stylized. I think that's it. Yes, it is. You see, as well this is at an angle. Now, why is it at an angle? If I press shift, let's try again. Cursor to select. And let's also then press Contro all transforms. Right click origin to three D cursor just to keep it in the center. And now let's grab both of these and see if they unwrap any better. So if I press unwrap angle base, there we go. If I press I I grab this one, press U unwrap angle based. Is it going to unwrap any better? No, it's not, but we can rotate that round. And finally, then these ones here. So let's come in. We'll grab each of these. Unwrap. And let's see now, if I click plus down arrow, put it onto bricks normal, click assign. Yeah, there we go. These are going to look better. Now, let's press tab, lth, bring back everything first, and then we'll come to these bricks here. Now, these bricks here, as you can see, look nothing like these ones here. So let's go to UV Editing. You've heard it. Let it load up. Not responding. Okay. I also, I also forgot to I thought I'd actually done that. Why isn't that there? Did I not put my boolean in? Oh, I brought my boolean out before applying it. Great, great stuff, Neil. Okay, let's come to this one in hand first. This one here, let's zoom out, press the tab button, A, to grab everything, A over here, and then rotate it. So R s 90. Let's rotate it round. Is it going to be right? Now, you can see with this one, we are having a real big problem unwrapping this one. It's definitely not the right way. So if I press the S button, though, first of all, let's get it to be the right size for those bricks and then R. And because most of this is hidden, we can probably really get away. We've lining it up like this, as you can see. Now, one of the problems I've got is, W is this coming through here? That is the roof. I'm going to pull my roof, Joe's back a little bit on the red. So let's pull it back into place. And then what I'm going to do is press S and X just to get it into that part under here, and then pull it back. And there you go, Is that enough? That is the question. I think on this part as well, we can bring in another part which you'll go down here, which is this part here. I think that might be worth it. But first of all, let's just have a look. Have a look at this one. This one's in there. It's just this part here. So I'll come back to this, press Controls and just bring it back a little bit, making sure that it's not sticking through there. So if I come in, do this part. Grab the red, and it should if I grab the red properly. So grab in the red. Let's turn it around this way. We can see where it is. This one here. You can see now if I press, double tap the A, now it's in place. Up to there. And now let's grab this one here. Let's press salt D. And then what I can do is I can pull that back into place there, double tap the A. Like, so and there we go, that is looking much better. And now let's come in. And what I want to do as you can see we've lined these up. We just want to line these up now. So if I come in with these and then go L and L A R, 90, spin them round, and just make sure they're looking around the right size as these ones here, which they pretty much are. Alright, double tap the A, and that's what we're left with. Now we've got now our wood in there like before. And now what we want to do is sort out this roof. Now, we already know how to do that. But let's go in and first of all, though, let's put this on object mode. Let me bring back in by Boolean. Let's go to Mmdling actually. Let's come to Boolean. Bring them back in. That is very, very annoying, actually. Shift Des cursor selected. I think it was this one, actually. Shift Des and selection. Let's grab this again. Shift Desk, Cursor selected. Shift Des selection to cursor. Control one. Just make sure it is that one. Yes, it is. And now grab the wool, Control minus, and now we'll press Apply. So apply it on there, and then we'll come to remove cutter and then we'll come to Oat P and remove paring. And now finally we can move it out. And then what we'll do is just make sure then what I'm making sure that I've got my booleans in another way and then put it in rendered view and have look, making sure that's okay. Alright, that looks cool. Like so. And then what I'll do is, I'll just hide the roof geometry node, and there we go. Now, let's come back round here and look what we've got. So this is all looking good now, as you can see. We're going to press lth, bring back the roof on here. No, we're not. We're gonna put it on object mode. Where is my roof, lth. And I don't know where my roof is. Did I actually delete that other way? Or did I have it on? Have I hid my roof? Yep, there we go. It's under the Boolean roof. Alright, so let's put this in its own part. So we'll grab both of these, and we'll put them in. We've got Boolean. So the junction, I want them in roofs, like so. These also should be in roofs. If I press M, is it in roofs? Let's have a look. Press the little dot B. Yes, it's on the roof, so that's good. Alright. Now let's come into these two parts, press Shift H, hide them out of the way. And now what we'll do is we'll see, first of all, if they've got the face orientation on. They're all the wrong way round, as you can see, and we know why that is. So let's come in, and it might turn amund when we convert them both to mesh. I'll grab them both. Right click. You should be able to convert to mesh from here as well, and there we go. And now what we can do is press A on Let's look on this one and press Control N or ShiftN and we can see that this is the reason why I joined them all up in the beginning as well. So there is a set procedure to go through when we do this. First of all, we actually convert them to mesh. Second of all, then we delete the normal, so the backs of them, and then third of all, we actually join them all together. And then fourth of all, we turn around the normal. So make sure you're doing it in that row. If you don't, you're going to have a lot of problems as we've learned in the past. Alright, everyone, so we'll sort that out on the next one. Thanks a lot. Bye bye. 122. Optimizing Roof Tiles and Building Decorative Supports: Welcome back, everyone to blend the building master class from concept to final render, and this is where we left it off. Okay, so now we've Can we join them both together? I wonder if we can do them both at the same time or should I do them separately? You know what? It's not going to take that long to do them. So what I'm going to do is I'm going to come in. The only problem we're going to have is grabbing them all at this angle. It's quite hard to grab them all. You can press, let's say, three. You can press three and then press six or seven or four, sorry. And what it'll do is rotate them slightly. You can still see that we will have a problem with that. So we don't want to do that. I'm going to try and line them up as best I can like this as you can see. So we'll give it a try. Maybe we can get away with it, maybe we can't see. It's a little bit hard to do. The other thing, of course, you can do is if you come to item, you will see that I can move them around on if I zero this out, let's see. If I zero that out and press three, there we go. So I've zeroed that out, it was 145 degrees. Can I actually get rid of these and then put it back? So if I come down, get rid of these and put it, let me just have a look. 170 was it at? Let's have a look. Let's put it back. It was at 145. So our Z in fact, you know what, Let's put it at zero, like so, and then put it at 145. We might be able to get away with doing it like that. So let's give it a try first. Save out your work because then if you need to come back to it, you can do. So let's go to zero it out, and then let's come in now and do the work that we need to. So we're going to just grab all of these. We're going to come into here and grab all of these. We're going to come round the backside of it and grab this one here. And then what we're going to do is we're going to go up to select, click similar and go down to normal. And then finally what I'm going to do is I'm going to hide those out of the way. So I should be able to hide these out of the way. I should then be able to press three and go into side view and we can see all of those have gone now. So we're getting way, way quicker at this anyway. And then what we'll do is we'll put it on wireframe. And finally, then I should one we forgot these ones here, as you can see. So again, select Bear normal, hide them out of the way. Okay, let's make sure then three I'm just looking at the bombs of here, making sure they're all there, and yes, they are. And now I should be just come in pressing C, C and C and just working your way down, and we should be able to select them all. And we'll do this first just to make sure it's working and then we'll try it on the other one. And then I think we'll be absolutely fine with this and be able to motor along and get it on the other side once we've finished building it out. These are the slowest bits, of course. Like this, like this. And of course, the other way you can do it is just using a texture. You can see on this one, as well. We've still got this here, but I think we'll be okay. So delete and fats, like so, there we are. You can see it there. And now if I press OtaH, bring back everything, press A, mesh, clean up. And then merge by distance, 4,248. And now if I put it on object mode, I should be able to spin them round. So shift, spin them round, and then right click and set Autos move on. And now, finally, let's go to 145, and there we go, we put it back in place, and it's all done. Now, we should be able to do the same with this one. This one is 325. So again, just in case you can't fix it, put it at zero. And there we go. Let's hide this one out of the way. And then pretty much the same thing. Now, if I press three, I should be able to go into side view and actually delete all those off. Now, why do I choose to hide them? Because it does make it a lot easier. I know what you're thinking. You know, while you're hiding all these, you can just go down and select them. For me, it makes it easier to do it this way. So I'm just going to do it this way. But then I don't end up selecting anything else like these sides. You can be very careful with the C select and just, you know, grab the backs, but I find this way way easier. I'm going to go to select, select similar and normal, and then I'm going to hide those out of the way. Now I'm just going to come down and have a look so you can see here, for instance, I'm going to select similar and normal and then hide those out of the way. Going to the side view then, so it's 325. I'm just remembering that. I've got one here as you can see. Now, where are the backs of where are the backs of them? Have we still got backs on there? No, they're already deleted out the way. So that's the best thing ever, 325. Let's put it back. Right, click, shade to smooth, oltage, bring back everything. And the reason is because these are Alt D from each other. So that's the best thing. It makes it so easy for us. Now we need to do is bring in the textures. So grab this one A, U, smart UV project, click Okay, and there we go. And then what we'll do is grab this one, press Control L, and we're going to link materials. Then we'll go back to this one. And there we go. It's done, guys, and it looks fantastic. And it took a bit of work, but we're there. Let's take a face orientation, get rid of all of those. But, yeah, that's looking amazing right now. Okay, now, let's look at this wall, so the walls in. So let's work on this bottom part here. So I want two kind of ends on here. Now, this is where I think I've got one which I haven't built out yet, so I think I haven't built it out. So what I want to do is, first of all, I'll put in the main pots. I'll put in a pot going this way and a big bulky pot on here. So we'll go, first of all, to the asset manager. I'm fairly sure I've not built out the corners for these, and I'm also fairly sure that we can change, one of these if we need to. Let's go to supports, first of all. We've got these big chunky pots. Which is this one here. Let me look what I've got for su puts because I definitely want to put something better in here, and maybe, you know what? We'll just go to these. But we'll go to these. I'm just looking. I haven't got anything I can work with. I could probably work with this one, probably. Let's bring it out. Let's rotate it round first. So Y -90, like so, Z 55. Let's put it onto Global and then do Z 55. That's what I mean. Something like this maybe. And then let's put it onto normal. And now I should be able to put this into place. So let's bring it over and see if it's going to fit into what I'm trying to do here. But if I put it like that, is that going to look any good? Possibly, possibly. Let's first of all, bring in the round bit. Have I got one of those on there. Let's go to the supports. What is this one? Let's have a look at this one. What does this one look like? Well that's the big part. I could probably bring that in or let me look at the other parts, 'cause we haven't used many of these yet, I could probably bring this one in putting that in the center. So let's see if we can build this out. So it's Rs Rs 55. Let's put it in that way. And then we'll put it in the center roughly up here, like so. And I'm wondering about the bottom bit is what I'm wondering about because the bottom bit needs something in there to kind of hold it up. So that's why I'm trying to put in something like this and then have something else underneath it. That's what I'm trying to do. So if I bring in this one and then let's have a look. Shall we bring in how big is this one? We'll bring in both of these, actually. This one here. Bring it up and then Z 55 or Z 55, like so. Let's bring it over then. I mean, into place Pull it into place, and then I should be able to put that into there. Like so. And hopefully, hopefully, it should fit in. I I bring this to let's say to here, just into there, like so, then pull it up a little bit and put it like this. Pull it out a little bit, see what it looks like with it and how it looks better in. And then what we'll do is we'll put it on the other side as well. So if I bring it over, so I should be able to press Alt D, bring it over to this side, put it into this side as well. Let's have a look at how these things line up and then grab all of these and make sure we're on normal and then S and X and bring them in, like so. Double tap the A, so far so good. And now we want to some lumpy bits here. So we'll use probably these parts, Alt D, bring it down. It's already at set at the right angle anyway. Press a little dot one to zoom in and pull it out like so, and let's pull it up a little bit so it fits on there. And then finally one we're going to do is I should be able to S and Y. I should be able to pull it out and then pull it in, so it's in the wall, like so. And then what I'll do is, I'll press Alt D and bring it over the other side. So Alt D, let's bring it over to the other side, making sure it's roughly around the same on the edge. And there we go. That's that part. And now we need a part underneath. So the big bulky part underneath will be this part here. I don't see why we wouldn't use that. Though old D, let's bring it out, and then R z -55. And we're always going 35, so I don't know why that is, but we'll put it on 55 regardless. And now we'll pull this into place. I'm going to pull it into place over there, and then I'll drop down the array. So if I turn down the array, maybe to there because we're going to have this one the other side. And now let's see how that's going to fit in. So if I pull it back into place like so, and let's see where I need to bring it to. So if I bring it down to just down to there and then press Essen'sEJ squish it down a little bit more. And I'm just looking, where is it coming down to? You know what it's coming down to that part there. So I'm just going to pull it up just a very small amount. Though this part here, you can see, I want it just into place there. And now let's grab this one. I'm not sure yet. So O D, let's grab this one. And let's mirror it on the so let's go to object, and we're going to mirror it on the local, and it's going to be the local Y, I think. So let's miror it on the local Y. No, that's not it. Let's go to an object mirror on the local X. Nope. So let's go to Object Mirror on the Y global. No. It might not, you know. There we go. Z. Who would have thought Z. Alright, let's pull it out there. Let's look in this. I'm going to put an object mode just for now so I can see what I'm doing. You can see the gap here and here. Let's pull it out. Got about the same gap now. And then finally, finally, let's look at where this is. So I'm going to pull this here. I'm going to press S and X, pull it out into place. Like, so double tap the A. And now let's have a look at that. You know what? I think I'm happy with that. I think I'm happy with that. The only thing is, I think I may need one more of these to hold that, and then maybe this one's wrong. I think what we'll do is on the next one, we'll test out some things on this one, just to make sure everything's fitting in properly because at the moment, I feel like it's not quite there and I'm not quite not quite happy with it. I need to move it a little bit more or change a few more things with the pots I've got. And then from there, I can get this bottom window in and start working on the other side, which will be a lot more interesting. So yeah. Alright, everyone. So I'm going to say about my work. Thanks a lot, everyone, and I'll see you on the next one. Bye bye. 123. Adding Decorative Elements to Manor Walls: Welcome back everyone to blend the building master class Rome concept to final render. So these parts here, let's first of all, grab this part, and I'm looking. It's got this point in. Do I want that point in there or do I want it to come in straight down? That is something I need to ask. So as well, this one, we'll use this one. This one seems to go straight down. So O D, let's bring it over. And then what I'll do is spin it round by 55 degrees. So art Z, 55, and there we go. And then what we'll do is we'll put that into place. I'll just drag it over and then into place. Like so, press the dot born, let's zoom in, and let's get it set on there, like sew. This is my worry that it's not going to sit on there properly. You can see it's not out enough, so I'm going to bring it out. I'm gonna pull it up into place. I'm going to make sure that there's a little bit of thickness on there. And then what I'll need to do is I'll need to bring both of these out. So just make sure you're on normal. And then let's just pull them out a little bit, like so, double tap the A. And there we go. Now, I'm looking at this, and actually, it looks pretty nice. I actually like it. So I can do nice press salt D. Bring this one over to this side. Zoom in, so zoom into it. Like, so, making sure it's around the same as this one, which I think it is. And then what I can do is bring this out now a little bit, as well. So bring it out, bring it out. Bringing out not that way. I think I'm going to have to have a look. So this one is just on the edge of there. So if I pull this out, is it just going to be on the edge of there? Or do I need to pull it out a little bit this way, as well, like there. And let's have a look now at this part. Can see it's going all the way over there. Let's just tweak this a little bit. So S&X and place. You know what? I think we've got it. Now, we'll do the parts going down. So we want I think with this, should we carry on with this one is what I'm thinking? I think so. So what we'll do is we'll just grab both of these. We'll press Alt D, and I'll bring them over here, and then I'll press Z 55, spin them round. I'll put it on object mode so I can actually see what I'm doing. And then what I'll do is I'll pull them into place, like so, and I'll pull them into place, like so. And then now we can see that we've got this part in here, but I don't think we need that. So hold deep. And then 55. Like so, bring it over. We'll just put this into place. And then we'll bring this, the other side. Op D, bring it over. Make sure that we've got a nice bit of a gap there as well, like so. Then now let's have a look at this. Can we bring this one over to the other side? If I put it on another one, yes, we can. That looks perfect. All right, so I am happy with that. Now I also want to do this one, Op D, bring it over 55, thin it round, bring down the array. Then from here, I'm going to press S&X and bring it in. Pull it into place, so it's going to be Ja sat coming over the edge of here, like so. And in it goes. All right. Now, I want one more above it, and then I think I'll put a window on. So if I press Alt D, I should be able then to bring it up and put it onto there, and then I'll bring this window down. So I've grabbed this window. In fact, this is all part of the same window, so I'm probably going to have to come over and grab this one over here, so I'll just press Alt D. Bring it over. And then I want to just grab the front of here or at least these two to put it in the middle. Or, you know what? We'll just grab this point here. If I grab this point here, shift S, cursed selected, and then I'll grab this one, spin it round to 55, like so, and then shift S and selections curtain. It's going to put it right in the center for me. And then if I bring it down, we can see it's going to look like this. These are a little bit smaller, so it's up to you whether you want to make this a little bit smaller. Let's first of all, pull it in. Let's pull it down onto the top of here. And let's see where we need this to come. So you can see it needs to go back, needs to go back, right around there. Is where it's going to come now, I would say it's not far enough out. I'm going to pull them out, pull them out. Yeah, and that looks way, way better. And there we go. Now we can see that these are bigger on here. And I think that looks pretty good. Now, one thing I'm going to test is O D, bring this out, and then I'm going to press Y 90. In fact, you know what Y -90. And let's bring it out into where I want it. So ride about into the wall there. And then pull it down under here, like so. And I'm just testing this out to see what it looks like because I feel like it just needs something else, holding it down there. Now the thing is, I could use this one here as well, at the corners here instead. But I think, actually, let's have a look with it on rendered view if I actually need it. Let's hide it out of the way. I think it needs something, so let's press D and bring this one down. Like so. And then what I'll do is press ALTH. Hide this one. So hide this one out of the way. And then we've got something that looks like this. You know what? I think that looks better. I really think that looks better. So I'm going to delete this out of the way, and then I'll delete this one out of the way. And then I'm going to press l D and bring this one down. Down into here. And then what I'm going to do is just make sure you know what? We won't do it that way, we'll grab this one because for some reason, its this looks a little bit low, so old D, let's bring it over. Yeah, and there we go now it's fitting in place, like so. And then we'll press Old D on this, bring it over, put that one in place. We can see this one is a little bit further out. But this one's a little bit further out. Let's pull it in. And double tap the A. And finally, then this part here, let's press S and X and pull it out into place. Double tap the A, and there we go, and I think that looks actually I think that looks way, way better. Now we can see though that we've not quite got in, so S and X, let's pull it out even further. Pull it over, double tap the A. And there we go. And now let's do this part here. And I think, yeah, we need one little part on the front, maybe. Let's look what supports we've got. So we've got supports top and bottom. So we've got all of these little tiny supports here. I may put one like this. Yeah, let's use this one. You know what? Let's bring this one in. And then Z 55. And we should have the Cursors Sar in the center, so shift desk, selections cursor bring it down. And I just want that going under here. Like so. Let's pull it back a little bit further under there. Double tap the A. Yeah, and that looks fantastic. I'm very, very happy with how that looks, actually. But now it means I think I need to shrink down my window a little bit and just drop it in here. Double tap the A. And, yes, I think we've got that. Now, it needs to drop down a little bit, as you can see, so hold in the shift and drop it down. Now, let's save that'll work first. But we'll save that'll work. Bring in our booleans. And the boolean we want it's going to be a little bit smaller for it, so I think it's this one. I'm going to press Shift D, and then I'm going to spin it around. So I 90. But, you know what, we'll put it on 55, like so, and it needs to be on the other. So -55. Let's try that. So -55. And then what we'll do is let's see if it's actually going to do. So we'll press Shift S, selection cursor, drop it into place. And this is absolutely not right. As we can see, why is it not right, though? That's the question. If I put it on there, press Control A, or transom set origin to geometry. Now, let's try putting on 55. And I don't know why oh, I think it was already rotated, so let's put on zero again. And let's turn it around. What is it going to be at? Roughly. And it looks like 35 -35. No idea why it's that. That seems to be what it's going to be at. Now, I don't want it obviously going all the way into there, so I'm going to make it a little bit smaller, so S, bring it down. So I think something like that, even though it's a little bit out, it doesn't really matter because, you know, you're only trying to create a boolean from here, as long as the boolean works. So if I press Control and minus, as long as that boolean works like that, you should be good to go. So now if I press Control A, let's delete this out of the way because we're not going to need this because we're going to mirror it over the other side anyway, and that is what we should be left with. Now, what I want to do is I want to first of all, on the next one, bring in a window in here. I want to make sure that I've got something at least going over here. I want to bring in the window on the bottom, as well, because then I want to make sure I've got this part in here. You can see these pots missing. These little tiny parts in here are pretty important, actually. I'm thinking I'd probably use this and make it a little bit bigger for this. I'm wondering whether I need an actual another column in there, you know, to balance it out a little bit. You can see I could put a column, but then it might be too much, but you can see the bricks don't quite line up properly. So I'm just wondering the way to get around that, 'cause we have to think how we're going to fit all of this in together, probably. I'm probably just going to use these panels on this, use this, turn it around, this one, turn it around, and the top ones already done. I'm probably going to do it like that just to make it easy for myself. Alright, we'll do that in the next one. Again, we'll save it out, and I'll see you on the next one, every one. Thanks a lot. Bye bye. 124. Refining Building Corners for Curved Structural Integration: No. Well, welcome back everyone to blend the building master class from concept to final render. Now, let's get these parts in. So I'm just going to put out an object mode. I'm going to grab this one on here. I'm going to press Shift D. And then what I'll do is I'll spin it round by. Let's first of all, spin it round. I think it's going to be in this direction. So 155. Let's try that. I think that's going to be about right. And let's pull it into place. So we'll pull it in. I think it's a little bit out, actually. Yeah, it's a little bit out, as you can see, so R Z. Let's pull it a little bit more even. Let's pull it out. And we also will need this top on here. So what I'm going to do is I'm actually going to shrink it in on this time, and then put it in place and shrink it in even a bit more. Put it in place, like so. And then S and X. And we only need to do this one, so I'm not worried about, you know, shrinking it too much, and then S and Z, like so, making sure it's in the floor. And then we'll grab this one. So t D and then R, Z 55. Turn down the array all the way down, do one, and then grab this and put this in place. Now, again, always remember to lift it or drop it down, so just so you've not got that flashing like so, and there we go. And what I'm wondering with this is if I need to where do I actually want it? So I think something around there. Looks good. And then we'll do the same thing with it. So might as well just grab this one, old D, bring it up, making sure it's fitting in. Making sure it pulls back a little bit, like so, and then we'll do, these are the thick ones, so I also want to thick one, and I want a thick one to make sure I'm hiding this part. So old D Z 55, turn down the array count, like so, and then drop this into place. Like so and then drop it down or up up to you really, or you can just go S and Z and just pull it out a little bit. That might work out a bit better for us. Double tap the A, and there we go. All right, so that's all that bit in. Now, from here, I'm just wondering whether it's easier just to mirror them over the other side. Maybe that is the easiest way to do this. So I'm just thinking, what is the easiest way to do this? Because it's quite complicated. It's not so easy. So first of all, what we'll do though is we'll put our cursor right in the center. So cursor to selected. And then what we can do is we can always base it on the object. So if I now grab this object and I press Control A, all transoms right, clicks Origins geometry. And then what I want to do is now I want to come in and actually delete this up. So I want to come in and grab this if I can. So I'm going to try and grab this. And you can see that this has got a mirror on there. So this one's okay. This one's probably done. Let's just have a look and make sure we've got all of our roofs in and everything. We've got our booling in. So this one's okay. So what we need to do now is mirror this over. So if I grab I can't even join them up because we've used old, and we really don't want to mess around with that. So we're going to have to do it a little bit of the hard way, but it is going to change it is going to save us a lot on optimization. Now, what I want to do with the mirror is, of course, I want to grab this object and put it over there like so. So now I want to do is just grab each of these, add in a mirror, so generate a mirror, and then the object is always going to be this one over here. And then what we can do is as we're working down these, we can hide them out the way. But we'll come to this one now, adding a modifier, generate a mirror, and then the mirror object is going to be on here, like so, hide it out of the way. Stay with this one. Yes, it's a little bit of work, and yes, it's a bit of a pain, but I don't want to go in and even apply the modifier because some of these have rays on, and we don't want to do that. So we have to be very, very careful when we're doing this. Though the object is going to be over here, so, hide it out of the way. And just work your way down. Doing it like this, and I think at the end of it, we can see that we're probably not going to have any issues. Let's do this one as well. Let's come to this one. God, generate mirror. And then we'll come down to where it says mirror, and we're going to pick this, and then we can hide it out of the way. And if we work like this, I think we should be okay. It's just a little bit of a pain because we can't add just the mirror to the more at the same time. As far as I'm aware, we can anyway. So add one if I generate mirror. I'm just wondering, actually, if I can just press Shift R. That might be something we might be able to do. Let's hide that out way. So if I press Shift, will that add a mirror? Shift? No, it doesn't because all it does is basically put it there, so we can't do it that way. What I can do though is put them up, obviously, generate a mirror, grab this one, hide it out of the way, and then put these up, generate a mirror. And Mirror is going to be this object here, hid it out of the way. Alright, you can see, though, the way that I'm doing it, it's quite methodical, which does make it a little bit easier. At least I think it does. And then we've got this one, and we'll have a once we've done it to make sure that this is the way to go and make sure everything is in place. And a lot of the time, when you're modeling, honestly, there is a lot of repetition. So just take that into account. I mean, yeah, you're going to be modeling lots and lots of different things, but within modeling itself, there's so much repetition, and that is the way that you actually speed up workflow. But I keep repeating things over and over again, unfortunately. And every model you come to is in the end, they're all built from hooligans, which is basically built from just pulling out edges and vertices. So it's part of the process. You're not going to come yet and build a model from just putting in a prompt or using a geometry node to build everything you want. It's not going to happen yet. So for the time being, which is a good thing, we will be doing it this way. Alright, that's that part. Now, let's keep working our way around. And I think we spent the whole lesson just doing the mirror. But I don't like to leave you guys in the lurch. I don't like to leave it so that you just kind of left, and you're just like, Okay, just get on with that part. I don't want to actually do that because I remember a long time ago. I did a tutorial from quite a famous guy, and at the end of it, it was like, Right, you're going to finish off the shoelacers now, and you should know how to do it. And, no, I didn't have any clue how to do it. It was very new. And it really annoyed me, and I couldn't find out anything on how to do it because this was probably ten years ago by now. And so I kind of left it, and I couldn't finish it. And it really got to me. So now I'm like, Well, with all our courses, we're going to make sure that we go through the entire process, no matter, you know, if it's taking up a time or anything like that, we're just going to make sure that we go through them, and that's the reason why we go through everything nowadays because there are a lot of new people out there, and they'll probably be lost if we don't finish every part off. And also, it's a little bit more comforting if you've got someone showing you the whole process through it. So I think that's important. But you can put that in the reviews if you agree or disagree with me because at the end of the day, you can always click forward, but you can't make that content again. So that is what I think about that. So yeah, if you agree with that, let me know. Okay. Go. And by the way, guys, we have got a discord channel. So if you have a struggling, then make sure join our discord channel. There's lots and lots of people there who will be able to help you with all kinds of things from geometry nodes, shading, modeling. And I think we have nearly 1,000 people at this point. So there's always hundreds of people online. Alright, so at this point, we've nearly done now. And I'm hoping that I'll try and get it in in the next 2 minutes to finish this, so mirror. So all in all, it took probably 8 minutes or something to actually get this done. So not too long. Not too long, guys. And drop this in plate, hide it out of the way. And finally, this one here. And hide it out of the way. Now, let's see the moment of true voltage, do tap the A. And there we go. Okay. That is looking really nice. And, yeah. So the reason why I did that is because I actually want to start building out this part. So this part on the bottom, I'm going to start actually building that out. So we're going to build these steps on the next one. And then from there, we can actually start with this part here. So before we finish, let's just grab our guy. And what I'm going to do is I'm going to spin him round, so Z -90. No, we're going to put it on Global. And then Z -90. Spin him round, we should be able to press one now to go into front view. And then what we're going to do is just stand him on the bottom of here. Y. Then what we're going to do now is the most complex part of this modeling process, at least, because we need to get some steps in here. We've got a big door in here. We've got so much work to do on this, but it is actually a lot of fun creating all these parts. So, lastly, I'm just going to go into modeling. And then what I'm going to do is I'm going to press Tab, first of all. I'm going to go into object mode. I'm going to save I'm going to delete these parts out of the way. I'm not going to need them, and then I'm going to save out more work, so save. And finally, I'm just going to make sure that all of this part is in here. And yes, it is. Yeah, it's all looking good there, so that is awesome. All right, so I'll see you on the next one, everyone. Thanks a lot. Bye bye. 125. Modeling a Balcony Base in Blender: Welcome back if you want to blend the building master class from concept to final render. We finally made it to the front of the building guide. So here we go. Alright, so first of all, we can see that this has got a lot of chunky parts in it. It's the main part of the building. We don't actually want that. So let's bring in another cylinder. So we're going to press Shift day. We'll bring in a mesh. We'll bring in a cylinder. And because this is pretty big, this part here it's pretty round. We might actually be better off for what we're using it for keeping this on 32. I think we will. What we'll do is we'll right click and shade Ato smooth. And then what I'm going to do is come down, bring it into place, bring it all the way out to where we actually want it, and line it up then with this one that we've already got. At the moment, it's not a cylinder. It's kind of a cynder but not quite a cylder. So what I'll do is I'll press S and X, making sure I'm on global, and then go to pull it out and making sure it all lines up from there. Now, we've pretty much got the shape now of this. So what I'm going to do is just delete the other one. So delete the other one, so don't worry about deleting it, and then I'm going to press S and X and pull it out a little bit more because I do want it right in that part there, right in there, so it fits perfectly in there. And then what we can do is we can pull this up. Right to the ground plane. So I want to pull it up right into this ground plane here. Now, I can see the ground plane is a little bit higher. So what I'm going to do is pull it up, pull it up just so it sat on top of there, and then finally, let's grab the top of it, and we're going to pull it down into place like so. Now I want to do is I want to grab this part because I'm going to use this for this part up here. And I'm going to press tab, I'm going to press Control A or transforms, where I clicks at origin to geometry. And then what I'm going to do is pull it up, so I'm going to press Shift D to duplicate it because we are going to be altering it, of course, and then I'm going to put it into the top. And from the top, then, I'm just going to delete this one out of the way. And now we've got two rounded pots. So if I press S and bring it in, slightly, like so, and there we go. Now, how far is this pot going to be coming out? It's going to be much, much more in. So it's probably, if I go over the top, it's perhaps even going to be this far in. Something like that, and then I'm going to press S and X and just pull it out slightly just to kind of level it up like so. And there we go, that is the start then of this. Now, of course, so much more work to do on this. So what we're going to do now is we're going to make this around 1.19 meters. So if I come down to the z, I'll put it on 0.19, and then I'll just line it back up again. So if I press one, I'm going to line this back up, then, wave my ground plane. I'm going to come around this way, making sure that it lines up just under my ground plane, like so such that in and there we go. Then what we're going to do now is we're going to move our guy over. Now, the thing is about these stairs is they're going to have a little bit of a lip. So let's put him on the stairs, first of all, put him on the stairs, pull him back, and his feet should just hang over because this is going to have a little bit of a lip on going up. Alright, so now what we want to do is we want to grab this, grab the top of it, and then what we're going to do is press the eye button and pull it back. So it's actually looking like a step. So something like this. Now, we want three steps, and we want them to be not 0.19. What that means is then I can go E, like so, and put it on not 0.19. So I think on here, not 0.19, I can put it on not 0.19 and then I again, but I want to bring it in as far as I did on the last one. So rather than do it this way, let's do it the other way. What we're going to do is we're going to go I, bring it into where we want it. So somewhere around here and we'll have a little lip on front, copy and paste this, so control C. And then what we're going to do is come back. We're going to press the I. We're going to come down, Control D. And then we're going to press I and Control V. So. Then what we're going to do is we're going to press Alt, shift, click Alt Shift click and pull it up. So pull it up to 0.19 0.19, like so, and then come to the next one. So grab this one, Control plus, pull it up, two, you guessed it, not 0.19 0.19, and there we go. Alright, so that's what we should be left with. Now, at this point, it's up to you if you want to pull them back a little bit. But first of all, let's pull out those lips because I'm looking at this, and I'm wondering if they're actually wide enough or not. And I think so we've got one, two, and three. Let's bring in the lips first, and then we can decide if we I'm just wondering if I want to pull them back. Can I actually pull them back? Al, shift, click, shift, click, lns? Yes, I can I can pull them back quite easily on their own. So if I pull them back, if I pull this one back, let's see. Al shift, click, lns, pull it back a little bit. Like so. Control C, and then we'll do this one. So should click Alters and then Control V, and then we go, we can pull them back, so now these should be at least, have a look. Are they? Are they the same length. I'm just going to have a look at that one. Can I pull it back a little bit further? Yeah, I'm going to pull it back a little bit further, like so. Alright, so then the third one then has got the pillars on. So I'm going to show you what that looks like. So shift desk has selected, Shift A, let's bring in another cylinder. Let's bring our cylinder out. Let's make it kind of like, you know, the size that it's going to be for the pillars. So maybe the pillar is going to be kind of this size. And then if I bring this up now, you will see that it actually goes into this part on here, which is what we want. So this is roundabout where the actual base is going to be. Once it's actually got, you know, a top on here as well, you can see that will be fitting in there, and that is exactly what we're looking for. But for now, we know that it's going to come in. It's a little bit too close to maybe the edge, but I'm going to bring those out now. So what I'm going to do is I'm going to come in. I'm going to press Control R, left click, right, click, Control R. Left click, right, click, Control R, left, click, right, click, grab them all at the same time. Press one, and then we've got a good idea that if we pull these up, the lips can then be that big. What do I mean by the lips? Well, if I come in, I'll shift, click, Oh, shift, click, Al shift, click. And then I'm going to press E, enter Alterns and then pull these out, make that little lip on there, like so, and there you go. You can see that's looking very, very nice now. Alright, so we've done that bit, and now it is time for the actual pillars. So we need to bring in the pillars, and we also need the top of here where it's actually going to go. Now, it's a little bit hard to say where that's going to go when we haven't got anything else in there at the moment. So I'm thinking that we've already measured this out, so that's one good thing. So let's start with our pillars. Now, remembering our pillars are not going to come up to the top. We've got another space in between where we've got some arches and things like that. If we come back, two, this, which is our reference. We can put this over here now, by the way. This is what we're building. So this here is what we're trying to build, which is some feet, as you can see. So I'm thinking that if this is where our balcony is going to come, we can probably start work on our balcony and from there build down and kind of join them in the middle, that's probably going to work out better for us. So I think we'll actually do it that way. Alright, so let's put this over there. And then what we'll do is, this is perfectly in the middle to where our balcony is going to be. So this bit here we can use, and I'm also thinking that maybe, maybe it wants to be a bit thicker. But first of all, if I bring this in, so if I bring this and drop this over here. So what I'm going to do is I'm going to click Alt D. And then what I'm going to do is I'm going to bring it in because what we need to do is make sure that the balcony, so this part here is larger than this. That's for sure. So let's put it on normal. And then what I'll do is bring this over. And you can see we're mirrored, which is pretty good. So kind of going 90. Yes, I can. So that's really handy. So -90, like so, pull them in into place, like so, and then I'll turn down the array. So turn that down at one count and then pull them in place, and then maybe maybe even lift them up on this or make them a little bit bigger. So go and, make it a little bit bigger. Then put it into place like so. Alright, so you can see now with this, this is still covering it. So let's actually now create the first part of our balcony. So if we put our guy or imagine our guy on there, we can see just how much room he's got to come actually out to this, which I think is actually a pretty decent amount, actually. So that should be okay. So what do I mean? This amount from the door to the balcony. I think that's about right. Okay, so now let's come in and create this bit. So what I'm going to do is I'm going to, first of all, press Control of, left click and I'm going to bring it down just to, um just to the top of there. And then what I'm going to do is I'm going to make sure or try and make sure that this part looks as though it's sat maybe on the top of here. You know what? I think I've actually gone a little bit too much with that. So what do I mean by that? I think I'm going to line it up just actually under there. I'm going to line it up with it just under there, like so. And then what I'm going to do is come to the underneath, so underneath of it and line this up. Like so, and don't forget, no one's going to see this part at least under here because it's going to be all covered up. So shift and click then. And then what I'm going to do is I'm going to press E to Alter S and pull that out a little bit, like so. And there we go. That lines up perfectly now, as you can see. So if you look from here, double tap the A. That's looking very nice. Now we've got the top part and the top part, I want to be sat on top of here. So what I'm going to do is just bring this up. You know what? I'll press Control law, and I'll put it to here, and then I'll bring it up. So if I press in the middle Control plus, I should then be able to just bring it up on top of that. Grab this, Alt Shift click, E, enter Alterns. And this time, I'm going to bring it out a little bit further along here. So it looks like it's all kind of fitting together, and there we go. Alright, that's looking pretty nice. Now, the next bit then on the next lesson, we want to get in our banister going around here. And what I'm going to do is I'm going to be using a part from here that I can separate off because I don't remember if we actually built the banisters in here or not, but what I can do is certainly separate it off from these. I can just press Shift, basically. So I'll press Shift D. I'll bring this one out before. And then what I'll do is I'll just grab one of these. So I'm just going to come in before I finish so I can grab this here, this here, this here, and this here, and then I'll just press P selection, separate them off, delete that out of the way, delete this out of the way. And there we go, now we've actually got these parts here, which we can use for this because we already know it's the right height. On the next one, though, first of all, we'll bring up this part here, and then we'll start putting these parts in actually before finishing. Bring up my guy, making sure he stood on the balcony. So making sure if I press dot at his feet or stood on there, like so, and now he wants to be looking over. Alright, let's say that'll work, and I'll see her on the next and everyone. Thanks a lot. Bye bye. 126. Creating a Curved Railing for the Balcony: Welcome, everyone to blend the Building Mass class from concept to final render. Now, we'll say on this part, as well, if you don't quite get it, just repeat the class again because this is quite difficult to do this type of modeling to get everything fitting in and all of that stuff. So, honestly, guys, it's nothing bad if you don't get it straight away. So just repeat the class, start again with, you know, that individual class, and you should be fine as long as you're saving out your work. So, you know, save out your work now and then come to this part and then we'll work through it. Alright, so what I'm going to do is I'm going to now I want to pull out this a little bit. So I want to make it basically a little bit bigger. So what I'm going to do is I'm going to grab the whole thing on here. You can see, let's hide these parts out of the way first, so we'll hide them out of the way. Let's grab then the top. No grab the top. Sorry, let's grab the whole thing, minus off the top. So just minus off the top, so like this, and then minus off the top. Like this. And then what you're going to do is you're just going to press alters, and hopefully we should be able to pull them out a little bit. Now you can see everything's being pulled out there, and that's not where I want. So I'm going to do is Alt Shift click, going down all the sides, not the top bits, but just the sides, like so, and then keep working your way down so you can see we've got a little bit of a lip under there, so Alt Shift, click, leave that one alone. At shift, click, Alt Shift, click. Now, we should be able to press lns and pull them out slightly now to make them a little bit thicker. Now press Altag, bring back these pods. And what we need to do now is the same thing on these. So Alt Shift click, Alt Shift click. And then what we're going to do is make sure that this one's thin a little bit better. So alterna bring them out a tiny bit like so. Alright, so far so good. Now I want to do is I want to separate this part off, so L P, selection, separate it off. And then what I want to do is, of course, I want to keep this part here. So the easiest way is just to put in an edge loop. So control left click, right, click. It will be straight because we've only put one edge loop in and then Control B and then just pull this out, like so and then press P selection, and we can actually get rid of these things now. So delete those things out of the way. Finally, then, I'm going to leave them with no ends on here because they're going to be actually stuck into the wall on this part. Now what we need to do is we need to bring this in, first of all, so I'm going to press Control A, all transforms right, clicks origins geometry, I'm going to bring it into place. I'm going to bring it to something like that. And what I'm also going to do is I'm also going to bring up this little part here. So if I come in, I want a little bit of an edge going up where all of these are going to be sitting on. But what I want to do is I want to make it part of these. So I'm going to come in. And what I'm going to do is I'm just going to grab this part and this part, going all the way around. So press control plus, actually it'll be easier. Shift D, bring it up, so bring it up very slightly. Press P selection and separate it off. Then we'll come to this part. And what I'm going to do then is just delete this edge loop. So delete edge loop, limited dissolve edges, that one there. Alright, now what we can do is I can go over the top and I can see exactly where this is. So you can see at the moment, this isn't right where I actually want it, so I'm just going to pull it a little bit forward. And then what I'm going to do then is bring in this part. I'm going to press the e button to bring it in. J slightly, like so. And then what I'm going to do is I'm going to bring in another edge loop, so I'm going to press Control of. If that doesn't work because it's a circle, instead of doing that, just press the i button. So insert, insert, insert, like so. And then what we're going to do is bring up this part. So Alt Shift and click. Let's just bring it up. So if I press E now, I should be able to bring it up, like so, and there we go. Now, I'm thinking now we've done that, we might as well add this in to this part here. So if I come in, Alt Shift click, grab this byte bit, delete and faces like so. And then what I should be able to do now is pull this down into place. Bring in this just a tiny bit, and there we go. Now, sometimes it's going to work really, really nicely like this, so you can see it's on top of that. It's going to work really nicely and other times not so well. I'm also going to just pick this up just a tiny bit, I think it's a little bit too low. Let me give you a little bit more depth to it, and there we go. All right. So now let's grab this one. Press Control A, all transforms, right, clicks at Origins geometry, and then grab this one. Again, Control A, all transforms, right, clicks at Origins geometry. Now on these, we've already got a bevel on, which is very handy for us. And what I want to do is put this over here. So I'm going to grab this one, Shift Desk, because selected, grab this one, shift Desk and selections curta. Spin it round, so hard de 90, Make sure it's span round. And then what I'm going to do is pull it up and put it. Ride in place on top of that. Now, we can see maybe, maybe on this that we should pull it out a little bit. So we'll do that, so I'll press S and Y, pull it out a little bit, giving me a little bit more thickness, like so. Alright, I press seven now you can see that's what we've got. These are the moment, as you can see, they're not going around here perfectly, and that's absolutely fine. We'll deal with that in just a minute. But first of all, let's come in. And what we'll do is we're going to array it now. So I'm going to try and get it to go round about here with an array. So I'm going to pull this over here. And I'm going to array, and I know it looks a little bit weird the way that I'm doing it, but I'm going to array it, and then we're actually going to bend this. So basically, it comes down to this. If we press one, going to front view, I'm going to pull this out then to round about here. Now, when I bend that in, hopefully, it should go nearly round there. What do I mean by that? I'll show you exactly what I mean. So now, if I come in and I bring in an array, so we'll grab this. We'll bring in an array, and we'll do this before doing the other part. So if I come in, generate an array. And what I want to do is press one, and I want to get these the right distance between each one. We don't want anyone falling through the gaps or anything like that. So let's just bring them out. Like so. And then what we'll do is turn up the count. Now, where does the count need to go? The other side. So round about here. So let's turn it up, and we're going to bring it. Yeah, maybe that's as you can see, maybe it's too many. So let's bring it down a little bit, and then we'll bring this up. So just a tiny bit up, making sure they're kind even from each side. Now, the thing is we want to now bend this. The problem is, though, when we come to bend this, we've not got the center one. In other words, we need to apply this array and then bend it. So what I tend to do when I'm doing something like this, I'll press Shift D. And I'll bring it out, and then I'll come to this one, and I'm going to apply the array. So I'm going to apply the array with Control A. And then what I'm going to do is add modifier, deform, and we're going to bring in a where is it? A simple deform. We're going to press Control A, all transforms, and we're going to right click and set origin to geometry. It's going to put it right back in the center. Next of all, we don't want to untwist. At the moment you can see this is twisting. It's very nice if you want to twist it, but we don't actually want that. What we want to do is actually have it unbend. When you first bring it in, you will see that it's bending in this way. We don't want that at all. We want it to bend either on the Y, which is wrong or the z. That's the way that we want to bend. As you can see now, it's slightly bending on. And if we bring this up, we can now see that actually we're actually getting the bend that we want. The one problem we can see is that we're very, very far off where we need this. You can see we need another actual post on here. So this needs to be more. So we need probably two more, and it probably moving over as well a little bit. So what I'm going to do is I'm going to press one and come back to this one. So I'm going to press one, come back to this one, and I can see you know, this is how it is. So let's pull it all the way over right to this part here. So right to this part here. Then what I'm going to do is now, I'm going to come in and turn my array up one. So let's turn it up one, and then I'll just drop it back just to make sure that it's going in this corner. So we're just going to come to the X factor, bring it back down a little bit. Right about there. And then, again, we're going to press Shift D. So we're going to press Shift D and bring it out. And what I'm also going to do is I'm going to come and delete this one out of the way. So delete it. I'm not going to need it. I'm going to press Control A on the array. Control A transforms, right, clicks origins geometry, adding a modifier deform, and again, it'll be simple deform. Once we've got this, by the way, guys, we can pretty much use it on most of the other things. So let's give it a try and the bend, Z, and then we'll bring it over. So seven, bring it over. And now let's see if we can get that into place where we actually want it. So now you can see we're nearly very nearly there. I would say it needs to be a tiny, tiny bit more, which means if I take off this, you will see that I press one, these two line up. So it needs to be a tiny, tiny bit more, which means I can grab this now and I'm going to put it right around there. And then what I'm going to do is move this or add in another one. So add in another one, bring it down, and we want it level with this one. So you can see just on the inside of this one, I'm going to bring it down. Not like that. We're going to bring it down. So I'm holding Shift, by the way, it's on the inside of there. Alright, I think we've got this now. So what I'm going to do is I'm going to delete this one out of the way, and then I'm going to press Control A on my array, and then I'm going to add in a modifier, and we're going to go to deform, and the one we want is simple, and we're going to go to bend, Z and let's see. Control A, all transforms right clicks origin geometry, and let's bring it into place now, and let's bend it away and see now if we've got that actual fit that we actually need. All right, so let's have a look. Can we fit this in? Let's pull it back a little bit. Like so, let's go to seven, so we go over the top. And we can see now it's pretty much fitting in place. I'm going to bend it, I think, a little bit less. So let's bring it out. And you can see that we might need to move some of these a little bit, so we can see we've got it a little bit out, as you can see. And I'm just wondering if we can get away with that, because at the moment, you can see that this part here, it's not rounded enough. And I think what we'll do to actually combat that is maybe bringing another part that we'll actually put over the top of here, put the same bend on, and I think that'll actually fix that for us and make it much, much easier with this. And I think that's what we're gonna do. Alright, but we'll leave that till the next lesson, and then we'll do that exactly on the next lesson. I'll show you a very, very easy way of doing actually that. Okay, so what we're going to do is on the next lesson, we'll save this out then because we know it's okay up to this part, anyway. And then on the next lesson, we'll work on this little bit a bit more. Alright, everyone, hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 127. Bending Railing Sections with Deformers: Welcome back, everyone to blend the building mass plast from concept to final render. Okay, so what we're going to do is we're going to, first of all, just hide or deform. And then what I'm going to do is I'm going to press one. And what I want to do is recreate this part. So I'm going to press Shift A. I'm going to bring in a plane to start with might seem a little bit weird, but we're going to bring in a plane. So RX 90. First of all, I want to get it to be this size. So I'm going to press the bone just to bring it down to be exactly this size or near enough, like so, and then maybe pull it down a little bit. Like so. And then what I want to do is I want to pull it out so it's going to go past the ends off here. So I'm going to press S and X and pull it out so it goes past the ends off here. And you can see that I don't think that the orientation let me just have a look at this. Yes, the orientation you here, so I've just missed the mark a little bit. So I'll do is grab this hit Ds, curs the selector, grab this one, shift Ds and selections cursor. And now I can actually pull it down to where I want it, and now it's even, as you can see, so it should be going in the wall there. Now we want to actually copy this part here. So we want this part and this part, and Shift H, you can hide everything else out of the way, and we'll use this as a kind of marker. So what we want to do is we want one edge loop, so we'll press tab on this, control, bring it up to the top of here. Like so and then controlar, bring it up to this one. And then what we'll do is controlar, and we'll bring this one down to round about this one here, like so. Alright, so we've got this so far so good. Now I want to do is I want to pull it back far enough so that it's actually going to go over my actual part here. So what do I mean by that? Let's press altage. Let's hide this part out of the way. And then what I'm going to do just for now is I'm going to pull this into the front. So you can see we've got this part on here. We're going to hide that part out of the way, as well. And I'm going to pull this to the front like so. Then what I want to do now is this will be the top. So this part here, once I've pulled it out, this will be the little top it. So in other words, if I grab the whole thing now, seven to go over the top and pull it just just back, so it's over there. And now I can do is I can pull it all the way out. So if I press E, I can pull it all the way out. So this is now the top where these are sat on. Now, why have I done that? Because now I can actually pull these out. But you'll see, I can bring in an edge loop and pull them all out in a minute. So if I press tab I'll take H, bring it back, I can pull it out in the way that it is now. So you can see, at the moment, this part is pulled out a little bit further, and then you've got this part pulled out here. So let's do that next. So what I'm going to do is grab this going all the way down to here, so all the way down to this bomp, I'm going to pull it out E to pull it out like so. And then the bomb part I'm also going to pull out with E. I'm going to pull it out like so. All right, the moments of truth. Let's first of all, bring in some edge loop. Control R. We want to bring in a lot of edge loop. So left click, right, click. So let's then press Control A, A transforms, and let's right click and we're going to set the transform to the same space as this one. So right clicks origin, two, three D cursor. Now, let's come in. We're going to put the let's just make sure they're lined up. So yes, let's hide this out the way, just so I can see what I'm doing. And there we go. If we go over seven now we can see they're lined up on this part. They're lined up on this part, as we can see. Alright, let's come in now. And what we're gonna do? Control L, and we should be able to because they should have a bevel on these. We should be able to grab this one, grab this one, press Control L, and we should be able to copy modifiers. Right click Shade Auto Smooth, and there we go. Now, let's delete, let's not delete this out of the way. But now what you can see is that it's completely smooth, and you can see now all of these things are fitting into place now, so it's really, really beautifully done. All of this is following exactly as we actually want to it. We can see, though, maybe maybe we're a little bit out on this one. Let's coming in. You can see maybe we're a little bit out. You can see it follows it all going all the way around there. Let's bring it back. Just a tad holding down the shift button, just to line those up just that little bit more, and there we go. Alright, guys, that's looking pretty good. Now, let's come back, and what we're going to do is we're just going to turn this off a minute, and I'm going to turn this one off a minute, so I'll just turn them off. And then what I'm going to do now, once we've done this, by the way, we can join them all together and keep the same actual one. So we can keep the same bend because we know that we're going to fit in. The five press seven now, I can come in and put this exactly over where we actually want it. So we've got these here. Let's bring it out, then into place. And this is, you know, the first major part of this actually done. So if I press seven to go over the top, make sure it lines up, like so. And then what I'm going to do now is I could probably array this and split these up as well. That might be something we're thinking about, but we'll do that in a minute. We'll do this part first. So old shift plate. Bring it over. And I want to bring it over all the way to this end here. So all the way to here, like so. Now, the thing is if I don't put any edge loops in there, when I use simple deform, it's simply not going to bend it. It's going to bend it very, very weird. So if I press Control A, transform, set origin to three dcursor, bring in a deform, so simple deform, you'll see we've got nothing to bend it with. I can't actually bend it even if we put it under z. But the moment that you come in and you press Control R, so in pressing Tab, Control R, bring in some edge loops, left click, right click, now you've got that deform. That is what the issue is there. Now, the other thing is when I was trying to bend these, why does it have a different bend from these ones, for instance? That is because we didn't set this to the center. We just moved it over. So that's the reason why that's happening. With this one, I'm not sure if we did set it to the center, but what we'll do is we'll give that a try first. So I'm going to reset all the transforms, Control A, or transforms, and then I'm going to right click and set origin, two, three D cursor, like so. And then what I'm going to do with this one, we've already got this one, actually. So now let's see if we can copy the bend from here to here. So if I press Control L, link copy modifiers, and now what I'll do is I'll turn them all on. So if a right click, shade or to smooth, let's come and turn this one on. Let's turn this one on. Let's turn this one on. Like so. Now, they're lined up. Let's have a look at this. So this one needs a little bit more of an alignment. So if I bring it in, do here, like so, double tap the A, and there you go. Now it's aligned up perfectly. All right. So now what we can do is we can join these together. The problem is though we've got a bevel on at the moment, which we don't want to actually put on yet. And the other thing is, yes, we will do that actually. We'll turn the bevel off on this one. So turn the bevel off. Oops. Like so. And by the way, turn it off means deleting it. So delete it out of the way. Like so. And then the next thing we want to do is before using the deform, so we want to close the deform down 95.9 it was on, but we'll check that in just 1 second making so the bend is okay. So we're just going to turn it off on all of these, like so, turn it off on this one as well, and there we go, everything should line up now. Now we'll join all of these together. So press Control J, control then, transforms right, click Set origin to geometry, and now we'll add in, first of all, a deform. So simple deform. It's going to be on bend. It's going to be on the Z axis, and it's going to be on 95, something like this. Let's just see now if I need to pull it back. So let's press all tapes, bring back the main bit. And I'm just looking if I need to pull it back a little bit, which I don't think I do what I think I need to do, though. Is, let's see if we can increase it's not that one. Let's see if we can increase this. And I'm thinking now I'll have to probably pull them out a little bit. So if we go back, in fact, if we go to this and we just press S and X, we should be able to pull them out a tiny bit and then bend it a little bit. So bend it a little bit more and get them in place. Now, let's just hide both of these parts out the way. I think we've got another part in there. So, look, there we go. Hide it out the way, and let's make sure everything then is fitting in. So this is the main thing that I want to make sure. This part is fitting in plates. Now, there is one. Just looking. Let me just go and have a look on this. I'm looking why. This part hasn't come out. I don't think I pulled that part out, so I think I need to pull that part out. On here a little bit further than the other part. So I'll just put it on Object mode. Turn off. Yeah, it's on the object mode because we've got the simple deform on. So what I'll do is you can still work with this. By the way, it just makes it a little bit harder if you're going to work with it. You know what I'm going to do? I'm just going to turn this off a minute. Turn it off. Yeah, it's this part here. I'm going to pull this part out a little bit and have a look what that looks like. So Control click, press the Ebne and pull it out just slightly further than the other one, like so and then put back on that, and there we go. And I'm looking now where it's going. Above here, if I'm happy with how that is, or if I want it actually, I double tap the e or if I want it. Yeah, it's just above that pot there. That's what I'm looking for. Now, the other thing is, I have bent this round enough. If I press seven, go over the top now and grab the pot, so grab this part. You can see that's how it's bent. I think I need to bend it a tiny, tiny bit more, so I'm just going to bend it a little bit more in like sowing now. It's fitting in there a little bit bet as you can see, so it fits down there. It's not crossing over there. I think now I'm happy with that. Now, let's press altage before finishing. And of course, we're not going to need this part in here. So this part in here, we can let out of the way. This part in here now, as you can see, it's nice and flat against here. So if I grab this part, you can see, it's nice and flat in there. We've got a bit of a walk, a bit of a ledge on there. And on the next one then, what that means is then, we can actually come in and just add this gold leaf that's going to be on here. And then we can actually start probably working our way down to here because what we're going to do is the main thing we're going to do. Oh, you can also see this bit, as well. So this bit in here is a little bit too big. Though, I think I'll do this a different way, actually. I think we'll use I'm just wondering if I should or not, 'cause it's going to alter the bend going around here. So the bend needs to be exactly the same is what I'm trying to say. You know what we'll do on the next one. What we'll do for now is we can look at this all day. We'll save it out, and I'll see you on the next and everyone. Thanks a lot. Bye bye. 128. Advancing the Curved Balcony Modeling Workflow: Welcome, Macon to Benda Building master class from concept to final render, and this is where we left you off. Now, at the moment, I'm really not happy with this part here. It means I can mess around with it, you know, bring it in and all of that stuff, but we've also got all of this on the outside, anyway, which is not exactly very clean. So I'm actually going to fix that. We will fix that. And yeah, that'll look then much better. So let's delete it out of the way. Then what we'll do is we'll come to this part. We're going to go to where it says tape and we're going to actually click that off. I'm going to press Shift H just for now so you can see exactly what I'm doing. Okay, so let's come in. Let's press tab, and now we've turned it off. What we want to do is grab this part here. So Control select these parts here, press Shift D, and then press P selection. And we've just got this band here, like you can see. Now I want to do is I want to actually select it. So I'm going to select it by coming to here, and then I can select it like so. And then what I'm going to do is I'm actually going to turn on the bend on this. So I'm going to turn the bend on like so. And then what I'm going to do is I'm going to press A on this part so you can see it's on here. In fact, you know what? I'm not going to do that. What I'm going to do is apply the deform. Apply the deform. Then I'm going to press A and then E and bring it in. So I'm going to press E, enter lns and bring it in. Like so. Now we can still press Alterns, but I'm going to show you, first of all, what we actually did there. So tach, bring back everything, and there we go. You can see now that has been brought in perfectly. So if we come back to this now, press tab, Alterns, bring it in a little bit further, like so. Come back to this part, then, turn on a taper and simple de thom sorry. And then there you go. Now that's in perfectly. Now the thing is, why is that a good thing? Because, first of all, when I bring this in, so if I press Control off, I can bring it in there right where I want it. You can see this line now if I press seven, go over the top, follows this line here perfectly. It also means underneath. If I want to bring this down, for instance, it's also going to follow this line perfectly, which is really great for doing the actual underneath because we're going to be working on that a little bit in the future. Now, what I want to do then is I've brought a line here. That's fine. I want a little bit of a gold trim. So what I'm going to do is the compress Control B now, pull that out. And the gold trim needs to be either in or out. I'm going to try going down, so I'm going to go E and then z and then z again to line it up and then just bring it down very, very gradually like so. And there you go. Now you can see you've got that gold trimming there from this point. And it looks very nice, as you can see. Alright, so that is that bit dk. Now we're on to the actual pillars. So the pillars are going to come up. But maybe before we do the pillars, we should actually come in and build those archers that are going to go around because we know if we click on here, these are just in. We can see just on this side and just on this side. They're just in, so we can actually use this to actually create that because we can just turn this on and off now. It makes it incredibly easy. The other thing is for something like this now, you can send it through to your resource pack if you want. You can just press Control C, grab this, send it through to your resource pack, Control V, and then put it into your asset manager. You can also do that. I'm not going to do this because obviously this is part of the course, and I'm just showing you how to do that, but you might want to do it so that in the future, you can build this how this Pn too, or even put this on something else if you wanted to. Alright, so let's start then building out these parts going on here now. First of all, what we're going to do is we're going to come under here. Now, if you click this on, you should then be able to alter this now with this clicked on, which means I can now alter this mesh, bring it down, and it will keep in line with my curve. If I click this off see, you'll be trying to work with it like this, which is handy in some ways when you're doing the archers but not handy in other ways. So that's what we need to do. So if I come in and just click this on, what I'm going to do now is I'm going to come under here, and I think I'll start pulling down because we absolutely need some thickness on this because we want to pull it right back into place. So the first thing I'm going to do is I'm going to grab the back of and I'm going to come right from inside here, right to the inside of this other bit. Control click in here. Then what I'm going to do them is I'm going to bring this back and then pull it down because this again, will be hidden. So if I press E, Enter, alter Ns, and bring that back like so. That then is going to enable us to have the thickness to bring in, if I bring on my reference. So if I bring him a reference, bring it over to have the thickness to do these bits here. So you can see these bits here. This is very complicated, by the way. So again, if you struggle, don't worry about it. It's all part of the process. So let's put that over there, and that's why I'm actually building it, too. So you can see now that I need to bring this part down in a slightly behind it. So if I pull all of these, let's try this. What I'm going to do is I'm going to press come from here and I'm going to come from here, and then I'm going to come from here and come from here. And what I'm going to do is I'm not just going to extrude it down. I'm actually going to shift D, so duplicate it, and then bring it down. So I'm going to press E and bring it down into place where I want it. And then what I'm going to do is press L, P, selection, and just separate it off because I really don't want those actually joined together. Next of all, then what I'm going to do, it's going to make it a little bit easier for me to bring these parts in. So I'm going to press Control R left click right, click Control B, and pull that out so. So we've got a little bit of an inner part in this part here. Then I'm going to I don't want to bring the whole thing in. I just want to bring these parts in. So I'm going to grab the front up here with face slept and grab the side up here. So control select, heat ter Alone, and bring that in then. Be so, and maybe yeah, that's far enough in. Alright, so far so good. Now we're actually on to another of the difficult pots, but we can, if we want to turn this off, which is going to make it way way easier. Trust me, guys, way way easier. Now, what we need to do now is we need to figure out where these pillars are going to come. So we need to kind of make these archers in here going along. And the way that we're going to do that is, I think, we'll probably put in three edge loops going around. So if I press tab, you can see we've already got our edge loops in actually. So maybe that's not the right way to do this. What I'm going to do instead is I'll bring in a boolean and we'll boolean them and then we can work out where everything's going to fit because at the moment, we've got three arches one, two, and three, and we've got four pillows to think about putting those in place. So quite complex stuff. What we want to make sure is that this azathd is much thicker on this part. So let's do that next. So what I'm going to do is I'm going to come to this part. I'm going to grab it, go in all the way around because we want to actually pull it down. So basically, what have we got? We've got up to this part here so far. Let's just have a look. Roundabout here. So you can see here we've got this part, which is the two top parts. Then we've got the part underneath, which is this part here, which we've got. So if we pull that back over there, you can see now we've got this part here, and now we need to pull it down from this part. Alright, so let's come over here and ship select all of these. And because I've got this pot in, I might as well separate this. So what I might as well do is press Shift D. And then what I'll do is I'll press E and Z and pull this down, following the z, like so. And then what I'll do is I'll split this off. So P, split it off like so. Now we can still obviously put that back there like so. Now, what we also want to do is then we want to pull this back. So if I come in, grab all of this part, going all the way over to there, I should then be able to pull it back like so. Now the problem is, when I come in and try and bend this, it's not going to bend correctly because of the fact that I haven't got enough edge loops in there, really. So realistically, I want to put more edge loops in, so I'm going to press, You know what? I'm actually I'm actually going to leave it like that because I think we can actually get away with that without doing that. So what I'm going to do turn this off. I want to press Alt Shift and click going all the way around here. So Alt shift, and click and then dissolve edges. So dissolve edges, and we should still get, if I click on this one, this going rounded, like so, and then this one going rounded, like so, and it should should bit under there, perfectly. Now you can see, we need to bring it back a bit because it needs to have that little bit of a lip going under. So we've got this bit pulling out, and yeah, it needs to go back just a tiny bit. Went in, and I'm going to grab it going from all over there. Do all over here and I'm going to press lns and just bring it in now, like so, and then we've got that little bit of a lip on there. Alright, now we need the actual arches in, which means where are these gonna come up to? I'm thinking probably this needs to come down a little bit further. So grab this, grab this one. And then what I'm going to do is just pull them down a little bit further, like so. And now we should be able to get our archers in now because we've actually still got our deform on simple deform, we can actually come and actually place that around there. Now, the thing is about this, this doesn't have nowhere near enough subdivisions on. It needs even more than what we've got here. So what I'm going to do is just press A, delete, limited dissolve, and then Control. I'm going to bring in many, many more. So let's bring in even this many. So right click, 32. Let's even bring in 40 just to make sure. And why are we doing that? Because when we come and bend it and we've got a boolean in at the same time, it's going to make incredibly complex topology, and we need to have enough topology to make sure this can bend. What we're going to do now is we're going to come. We're going to save our work, and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 129. Modeling Arch Supports with Curved Deformers: Welcome back, everyone to Blender building master class from concept to final render, and this is where we left off. Now what we want to do is I want to, first of all, bring in our Boolean. So I'm gonna press shift day. Come down to where it says mesh, I'm going to bring in a cylinder. The cylinder, I'm going to put on 24, something like this. I'm gonna then rotate it round on the X. So let's rotate it round. So X 90, and let's bring it into place like so. And we want it Js just above here. And then I'm also going to make it a little bit bigger, pull it down a little bit. And I'm wondering whether I want to keep it rounded, because at this point, you can either keep it rounded or you can pull it out a little bit. So if I press this the next, I can pull it out a little bit like so. Alright, this is looking pretty nice. Now the next thing you need to do is we need to kind of um get these to be the same either side. That's harder than it seems, okay, because if you press one, it's going to be if you put one here, you want one right in the center, and then one on the other side. So let's see if we can do that now. So all I'm going to do is shift D. I'm going to bring it over to this side, like so. So how far do you want these points? So you can see this gap here is going to be around about the same as so I'm probably going to have it here for now. And when it comes to this one then shift desk, cursor selected. Come back to this one, Control A, all transforms right click, set origin, three D cursor, adding a modifier, and we're going to generate then a mirror. So put it on the other side, press Control A because then we can move them, join them all up together. I'm just wondering if I need to actually do that. You know what? I'm not going to actually apply my mirror, but I will. I can't actually join them all up together, either. So you know what? We'll give it a try. We'll give it a try like this and see if we can actually get it to work. So what I'll do is I'll grab all three of these, grab this one last, and I'm going to press Control and minus. And you can see there that I've not got my boolean in, so let's have a look, see if my booleans working. You know what, we'll just grab this one. Grab this one, press Control minus. Yeah, for some reason, my booleans not in. I don't know why that is. So let's go to add ons. Let's put doll and see if the ball tool, it's turn itself off. That's handy. Handy guys. Let's turn it back on. Now, we'll grab all of these. We'll grab this one last, press Control minus, and there we go. That is what we're looking for. So you can see now, first of all, these have gone way too far back, so it's a good job we did that. So what we can do now is we can grab all three of these and we can press S and Y and bring them really, really far forward because we want to a nice gap at the back of these. Now we can actually press Control minus and then boolean those all. We can also write click and shade Auto Smooth, and that is what we're going to be left with. Now the moment of truth. Now, before we do this, we can come to this one and put on simple deform, but what's going to happen is it's going to go back without the boolean, so we don't really want to do that. So we've got another option. Can we come to these and put on simple deform. I don't think so. So what I think we need to do is, I'm sure that we need to apply the boolean to this. So if I apply to the Boolean, so you can see, Yeah, I've got two Bollians on. So let's go Control A, Control A, and now turn it on, and there we go. Now you can see what you're going to get. And you can also see on this, for instance, you've got them roughly around the same. Now, we don't really have that at the moment. You can see that this gap here is a little bit, um, small in comparison to this gap over here, which tells me I can press Controls E now, bring back my booleans. And what I can do is I can grab these Booleans. So these two here, press tab, and I can move it slightly over like so. Now I can go back again. I can come back to this. I can apply these again, and then I can go to simple deform, pull it back, and now let's have a look. Now, I would say that I've probably gone a little bit too far the other way. So let's go back again. So let's press Control E. Control E, Control E, come back to this. And let's pull it over just very slightly this way, like so. And again, now come back to this. Control A, control, simple deformon, and there we go, now we're about right. So now we're about right on each of these parts. So you can see they are quite thick. Now, how would we widen them up? The thing we can do here to widen them up is, again, we can press Control Z, come back to the and instead of doing that, what we can do is come to all of our booleans, like so. And I can come in and go to individual origins, press S and X, and just pull them out a little bit, like so to make them a little bit thinner. And then finally, again, we'll do the same thing. So control A, Control A, and then we can put this on. And there we go, now we've got a thinner amount. Go in here and I actually think this now is probably going to work. Now, you will see that we've got some shading issues as well. Don't worry about it. Let's first of all, though, come to these booleans. So I'm going to delete them out of the way now. I'm not going to need those, so they're all deleted out of the way. And now what I'm going to do is I'm going to show you how to fix those shading issues. So we're going to do that next. So I'm going to do is come in. I'm going to press A, make sure you're on Face select, and what you want to do is you want to triangulate faces. Then you want to press right click and tries to quads, and now all of those shading issues should be fixed. Alright, so now they're all fixed. Now we need to look at our reference again. So we can see we've got this coming out here. So we definitely don't want to take away this simple deform because we want to make sure that we've got, you know, the archers coming in front. These are the difficult bits. These parts here are pretty simple, and this part here is also pretty simple. So let's go with this. Now, the one problem we're gonna have with these parts in here, as you can see, is that we need to actually take these parts. So let's go to simple deform, turn it off and see if we can actually create those parts that we want. So if I come in to this, I need to grab all of this here, and I want to actually keep on these parts. If I press INw, can I bring it in? You can see we do have some problems. I'm just testing here, guys, so I'm just going to go in, test it, put my simple deform on, like so, and there we go. So we can actually work with that. We absolutely can. So let's come back and we'll go back in. And then what I'm going to do is I'm just going to. The other thing is, if we can't we need something to bend them with, and having them coming down like this is actually pretty handy for us. You know, if they came down perfectly down like so, that would make it even better for us. So that might be the way that we go. So how would we actually do that? So what I'll do is I'll come in to all of these. You can see I've grabbed it going all the way through there. I don't want to do that. So on a shift select this, Corn chow select this, and I'm thinking, you know what? There's actually a better way of doing this. Let's just try Alt Shift click or grabbing it from here. Concho clicking, all the way around here. To here, and then doing the same on here, here, and going all the way around here, and then coming round to here and doing the same thing, grabbing it, grabbing it, all the way around here, soap. Now, let's at the moment, just turn off simple deform, and we should end up with something like this. Now what I can do is I can press Shift D like so, and I can pull these out. Then what I can do is I can actually press E and Z and split these off. So E and Z and pull them down. And now you can see we've got a perfect cut here. Now, let's zero these out. So S, Z, zero, let's zero those out. Hold them up then into place. So this is roughly where they're going to be. And then what we'll do is now is we'll press the button on each of these, press one, and we just want to make them smaller. Make sure they're smaller on individuals, and I should then be able to pull them in, like so, making them a tiny, tiny bit smaller, like so, and I can also probably go away with just pressing S and E and bring them down, like so. And finally, then let's pull them out. So if I pull them out with E and then let's grab each one of these and put them in place, and I'm hoping I'm really hoping, guys, that when I put these in place now, I'm making sure that they're in place, like so, and I've also got a lot of control over those now. If I press the tab but, put it onto simple deform, right, click shade or to smooth. There we go. They are looking amazing. Now, the one problem, let's have a look. The one problem I've got is, of course, that this one isn't on the other side. So if I just turn this off a minute, just wondering, why didn't I do that one at the same time? Sure, I brought that one out. Maybe I didn't I don't actually know what I did then. What did I do then? Let's have a look. Yeah, for some reason, there we go. That's the reason why. Why is that one not there? Why is it not there? Let's press Tage. Why does it disappear? Have I got something else set on here? Right, click, shade Auto smooth. There we go. Why is it disappeared? I don't know. Anyway, let's turn this off before finishing. Let's pull them all back into place. Let's put it back on. There we go. Alright, that's all fixed now. So really, really nice. Now, what it does give you the ability to do when we come back, is it gives you the ability in fact, no when we come back. Let's actually have a look now, see if we can do it. It gives you the ability now to bring these in. So I can actually turn this off. If you want to, you can make it even more elaborate. So what you can do is you can grab all of this one, for instance, going from here to here to here. And then what I can do is press the Ib. No I bring it in. And I need to join these updo if I'm actually going to do this. Let's just try it with let's try it with this one. Coming to here. Let's press the i button. There we go. And from there, then what we can do is bring it in. So let's actually have a look what that looks like. And there we go. That looks even nicer, perhaps than what we had. Maybe it would be better if we brought it out instead, making it even more elaborate, like so. You know what? I think that looks even better than the first one I actually created. But I think, You know what? I'm going to do that on the next one, so I'm going to press Control Z. And then I'm going to save out my work. So file, Dave. And then finally ready for the next one, I'll just turn this off, making sure they're all there. All right, on. So I hope you enjoyed that again. You didn't get it. Go back, start again. Not going to take too long and just get the hang of it. All right, thanks, Live one. Bye bye. 130. Designing a Brick Pattern for Curved Arch Structures: Welcome back, everyone to blend the building master class from concept to final render and building this really is a master class. So let's now come with each of these. So we'll come into this one, making sure we're not selecting that side one because that side one will causes a few issues. And then what we're going to do is we're going to press the IBn to bring it in, and then the EBO to bring it out there is slightly like so. And now, if we use the bend, that is what we're going to be left with. And again, looking very nice. Now, let's work on so, we turn this off. Let's work on these parts here. Now, the problem with these parts is they're kind of really bumpy and we don't really want that. So what we're gonna do is we're going to actually bring in another. Let's bring in first of all, and we'll just line it up. We'll line it up to make it really easy for ourselves. So if I bring in another cylinder, I'll do the middle one first, because then I can drop it into each of these. That should be easy. So if a first of all, press R and X and 90, spin it round. And then what I'll do is kind of line it up so that it's lined up near enough. If I grab this and this, then put on a wire frame. I should then be able to come to this. Now you can also see, you know what? Let's put it on object. Let's grab this and this. Press Shift H and put it on wireframe. Now I should be able to see exactly what I'm doing. Okay, so we can see that this is the outside. So this one here is the outside. So if I grab this, press the S button, and I want, basically have it going over the top of it, and then S and X and pull it out so that it's going evenly all the way round because we don't want these to actually be touching, but we do want them to be coming out. So now we're going to do is make it a little bit bigger. I'm going to pull it down who ran about here. Maybe maybe drop it back in a little bit more. So S and X, play around with it a little bit, and then we're going to end up with, you know, kind of stones coming down to here, having a little bit of a gap, and then we can actually create, you know, the stones, sorry, these blocks that are going to come in here on the other side. Alright, so far so good. Now, what we actually going to do with this? Well, first of all, we're going to come and we're going to make sure it's a lot thinner, so SNY is bringing it down. And then what we're also going to do is we only want our stones realistically to be dropping through, maybe even into there. So maybe maybe I can press EN'sEd and pull it down a little bit and then just pull it up. Like so, and then just let me check now again to make sure how far are we off. So we're still nearly the same distance. So let's pull it up a little bit. So now it's nearly the same distance going all the way around, so I'm looking from here, and then I'm looking from here to here, something like this. Okay, let's put it on. And what we're going to do now is we can actually get rid of the front, or we can just grab it going all the way around here, like so, press P selection, separate it off, grab this bit. So just this bit here, press delete, and we should be left with something like this. And now, finally, what I want to do is and grab this press Control or transforms right click, set origin to geometry. Add in a modifier, and we're going to generate a solidify. And then what I'm going to do is bring the solidify out this way, so making sure even thickness is on. And also, I'm just looking to make sure that I'm actually happy with how far or how thick this actually is. And I don't think I'm happy. I think I need to bring it in a little bit. So S and Y, let's bring it in. Let's make it nowhere near as thick as what we had it. And the other thing is, I want to zero these out as well. So I'm going to come in. Zero the bombs of these. So I can probably come in. I'm just thinking I can grab I can't grab both of these ends, as you can see. I need to really bring these down, but I can't bring them down until I brought in my solidified. So let's actually see if this works. It might not actually work. I might have gone the wrong way around with this, so let's press Control Aid. And then what I can do is I can come in to the botms up here and I can press S z zero, zero those out. And let's just have a look if we're happy with how that is. You know what? I think I am. I think it actually looks I think it looks good if we bring them up a little bit. Yeah, something like that, I think. Now, we need to split these off now. So all I'm going to do is I'll grab the bob off here, press delete bass, and then I'm going to go Alt, ****, click, Alt, ship, click, going around these, like so. And then finally what I'm going to do is, I'm just wondering whether actually one, two, one, two. So if I've got, I'll have one and two, and then one and two, and then one and two. Yeah, I'm going to split them off like that. I'm going to press Y. And then what I'm going to do is I'm going to I'm just wondering whether I need to bevel these out before or after. You know what? I think I'll split them off first, and then we'll try the bevel on them after. We'll do it that way. So I'm just going to press Y. I'm going to press A, split them off, and then mesh, and I'm going to come down to clean up and fill holes. I should fill in each hole on there. So now, I'll just test it. Let's generate a bevel, and there you go. If I put this down to note point, not note three, now we've got that we're actually looking for note point. No, not five. Just try that. That's exactly what I'm looking for, right, clicking Shade Auto Smooth. Okay, so I'm looking for that. Now what I need to do is I need to put them on this side. So I'm going to take off my bevel for now. I'm then going to try and grab these. So you can see this in the center. I want it right bang in the center of this one, as well. So if I grab this, let's say, I should be able to press Shift Des curse to selected and then grab this one and press Shift Desk and selection to cursor. And now I know it's right in Do I know it's right in the center? Probably not. Probably not in the center. Maybe I should put it down. On the bottom of here. So if I come to this one, I'm going to press Shifts, cursor selected, and then I'll right click and set origin to three D cursor, like so. And now I want to put it over here. So can I actually get it down here? So instead of doing that, what I'll do is, I'll now come in, grab the bom off here and the bomb off here. Making Shop grab the bott one, Shifts cursor to selected, and now I'll pull this over here. So if I press Shift D, shifts, and selection cursor, now it's there, I think. Let's pull it out. Is it there? Press one? No, it's not. It's a little bit out. You know what? I'm just going to pull it down. And I think it's actually in the center of there. So let's put wire frame. And yeah, I think I'm just looking now if it's the same each side. And yes, it is the same. I'll put on object mode. And you can see here the gap, as well. This is the gap that we've got now. And I'm also going to go over the top seven and just pull them out. Like so. And then what I want to do now is I want to come back to this one, shift desk, curse to slip to come back to this one, right click SurrogenTD cursor, add in a modifier, generate and add in a mirror. And there we go. And then what I'll do is I'll apply the mirror, join these together. So Control and J, join them together. And then what I want to do now is join them with this. So I can join them with this, or I copy the bend whichever's the case, 105. So let's see. Let's see if we can. So I'm going to grab these, grab these, press Control L, and I'm going to copy modifiers. And then I'm going to press Alt age, bring back everything, put my modifier on, put this modifier on, and you can see it's a little bit out. So I would say, probably better off joining these together. So let's go back. And let's join this with this press Control J. And now let's see we've got that bending. There we go. Now we've got what we actually wanted. And finally, then let's try adding in a bevel, and that is exactly what we want. Now, you can see everything is lining up perfectly as we wanted. We can bring in now our pillars on top of there. So underneath here. So you can see now if I bring my guy down, just how high these are, let's actually have a look at that. So if we're bringing down to the floor, right on the floor, you can see now that is our height. So we're going to have a big block under here, under here, and over here, and then bring in our pillars. So let's actually do that next. So we're nearly there on this bit. Now, the bottom bit, we're actually going to put in a really, really nice vaulted ceiling in here just in case you're taking a shot from here. But of course, we'll actually get to work on that once we've built out these pillars these pillars are going to be the next, you know, hard thing. So here we come in now, for now, just turn this off. We actually have somewhere now where we can actually put those posts in, making sure they fit. And once they tht, then we can put our pillars in. So we'll do that. Yeah, we'll do that next. Alright, everyone. So I hope you enjoyed that. Making short, we save all work, and I'll see you on the next one. Thanks a lot. Bye bye. 131. Modeling a Stylized Pillar for Balcony Support: Welcome back, everyone to blend the building mask flass from Concept final render, and this is where we left it off. Now, what I want to do is I want to bring in these pillars that are going to be supported on here. So let's do that first. So what I'll do is I'll come into this part. We can see that these are not centered, but these ones pretty much are. So I can grab one of these, one of these shifts cuss or selected, and then tab Shift A and bring in a cue. So let's start with a cue. Let's bring it in. We can bring it out, you know, in just 1 second. So and E. Let's pull it down to where it's going to then what I'll do is now I want to pull it out on the Y, or is it the X, the X? There we go. S and X, bring it out, like so. Now, the other thing is how far do I want it coming back. I pretty much want this squared. So I can actually square it around. You can see here the X, if I pull this out is not the one. It's which one is it? So the X is that way. So that's 1.28. So I also want the Y on 1.28, like so. And if I pull that back then, let's see how that's going to look. And that's going to look from here, actually, that's going to look pretty nice. You can see that this is probably going back a little bit far. But yeah, I think, like starting like that with it being 1.28 on each of these, so 1.287, so control COs. Control Z, Control C, then come to this one, Control V. Try that again. Control C. Come on. Control C and then Control V, and it's not doing it for some reason. Why is it not doing that? That's a bit weird. 1.2 8257, 1.2 8257, and there we go. All right. Now, the other thing is, I think, while we've got this, we can't actually bring in an edge loop because I would like I think we'll pull this back a little bit. You can see at the moment, this is probably a little bit too far forward. So I think I'll grab it from here and grab it from all the way back here. So all the way round to this side. All the way up to here, so control select. And then all I'm going to do is just pull it back down here to here just so this is in front of it. Now just press simple deform, just make sure. That's actually going to go in right. The problem is with this, if I put simple deform onto this part, as you can see, it's not really it's going to actually deform it or put it in place. So let's have a look at that. Let me show you what I mean. If I put one here, and then what I'll do is I'll just quickly show you. So if I put one over here, like so, and then I'll put one over in the center here, let's bring it over. And then I'll put one over here. You're sticking through there, so join them all together. And before I do that, I'll just save out my work so I can actually load it up pretty fast. Control J. And then what I'll do is, I'll join it to this. So Control J, join it to this. Simple deform on, and there we go, that's what we're going to end up with. Now, you can see because I've actually done it that way, I'm actually going to end up with a little bit of bending on the inside. So if you come under, you can see it bends slightly on the inside. So we have to be careful with that. So what I mean is when we bring in our pillow, we need to take account of that. Now, you can see at the moment, just how nice this looks, it looks really, really nice. Now, can I just turn this off for a minute? Because I think, you know, even now, I've not put them in exactly the right places, so I'm going to do that in a minute. And I'm just looking at this part here. So should I bring it down slightly to just under there, and then let's give it a try with simple deform on? Yeah, you know what? I think that's actually going to look there. Okay, so we've got our main one, which is this one here. Oops that off. We've got our main one, which is this one here. So what I'm going to do is just I'm thinking, should I leave them in or should I actually do this I think I'll do this properly. So I'll split these off. I'm going to come back I'm going to press L, L and L, delete versus, and then L on this one, and then P selection, split it off. And we're going to also take off all the on this one. Control and z and going to come to this one then, press tab. It's not split off, so L, P, split it off, come back to this one then and just take off the bevel and the simple deform. Now I'm going to do it. I'm going to come in. Grab the bomb because I've leveled it up now. I know exactly where it needs to be, and then I'm going to press the Ib and bring it in and then press the E button and bring it out like so. Alright, something like this. And now I want to do is bring in my pillow. So my pile is going to be round about here. Now, this should be on enough. So if a Right takes shape smooth, you can see, it's already nice and smooth. What I can do now is I can, first of all, come and just hide this flow out of the way because it's getting in a way. It's quite annoying. And what I can do is press Shift desk, cursor selected, grab this one, shift desk and selections Cursor. That then should be right in the center of there, and it is. And then what I'll do is I'll pull it out a little bit, so it levels up, press S and z and bring it down, like so, and then maybe maybe pull it in a little bit more. And pull it down just so it slots into there nicely. And I also want to round this up a little bit. Now, I don't think I'll round the top of it off. I think I'll just round off this bit, so I'm going to press Control B. And you can see it pulls out like that. That's just because we haven't reset the transforms. I'll set origin to geometry, and then I'll press Control B and round it off a little bit like so. And I'll have one actual shop on here. So this one going here, I'll shift and click, right click and marker shop and there we go, now, that's looking about right. Now I need to bring this down. So what I'm going to do is I'm going to come into here, and I'll bring you all the way down to nearly to the bott. So we can see at the moment how far is it going to come down to. So it's going to come down to this part here. And remember, This is not where it's going to go. You will see if I come back to this. So don't get confused and put the taper on. You can see now that it's going to shod, grab both of these, hold them back. Rotate them, so are the individually. They are individually. So let's control A or transforms right, clicks origin geometry, and now it should be able to rotate them, rotate them round and just get them in place. And you can see now where actually they're going to come on our step. Now, when we're doing things like this, as well, it's important to think, you know, where are our steps going to come now? Because at the moment on the original, I had them on the platform on here. So I think that having them on here or having them on here is entirely up to you. So in other words, if I want to bring these steps out, I can and have them, you know, like this. I can bring them out certainly like this. I can bring back my terrain. You can have them like this and we can cut it away along here if we wanted to. And we can do it that way, or we can just leave it as we've got it now and put the stone slab on top of there, which I think is also a good idea. So I'm just going to press Control's before I twisted all that round. I'll bring it out to there. And then what we'll do now is we'll have a smaller part on here. I think to do this, we'll come in and we'll grab this part here. And then what we'll do is press Shift D. Shift space bar, bring in my move tool, right clicks Origins geometry, and I'm going to bring it down to here. Now, of course, where do want it. I definitely want it slightly above this step, this one here. And I also want to bring it in. So I want to bring it in. Like, so round about there. And I'm also thinking, then, if I spin this round, it might make it a little bit easier. So y 180. Y, 180, spin it round. Let's make sure it's on that step. Like so. And I don't want to rotate it yet because if it rotates, it's going to make everything much, much harder to do. So we don't want to do that yet. But what we want to do is first of all, get this into the place where we want it. So I'll come I think I'll put in Control art, left click, right click. I'll press Control B. So Control B, pull it out. Bring back your bevels, just so you've got something like this. Alt. So E, Alt and S, and let's pull it out, like so, making sure offset even is on. And then, you know what, I've gone a little bit too far then, so alter this. Pull it out, offset even on. There we go. That looks better. And then finally, let's think about maybe, maybe we want this to be kind of a little bit higher, maybe. So control plus, so it's in line near enough with our top step, like so, and that's all fit in place. And now we just need to be careful of this bottom. So do I want it where it's, you know, slightly into the floor like that? That means it's going to be then in slightly into the floor, slightly into this stone. Do I want it like that? I don't think so. So let's pull it up, so it's a little bit higher, and then we'll press E, pull it up, and then S, bring it in, like so, right click, shade oro smooth. Let's bring in a sharp. So l shift and click, right click. And mock shop. Alright, so far so good. Everything about this is looking good now. Now, at this point, I can actually rotate it round. I can join it altogether. I can see here as well that this one maybe maybe we should make this a little bit smaller. So a little bit smaller, so S, squeeze it in a little bit, like so, making sure it's still fitting in. I can also see as well that this bomb part probably needs pulling up, so I'm going to pull it up. To where it's going to go, so we're not wasting anything. And now let's join it altogether. So Control J. Join it together. Now, what I want to test now is if I bring out this. So if I bring out this, turn it off, and I join this to this, let's press Control J. Save out your work before, so file, save. Join this to this, so Control J, and then put under bend and let's see what that actually looks like. And there we go. You can see that. Actually, that is fitting perfectly. And yeah, that is looking very, very nice. I'm just wondering about this bit. I think this bit here needs to come up a little bit. I'm going to grab all this going around here, a ship clay control plus and then pull it up just so it's below that bottom step, and there we go. Perfect. Todd is looking very, very good. Alright, so now we need to do is I think also I will pull this part up as well. So Control plus. I don't want to pull all of that up, as you can see, so all I want to pull up is really this part here. So if I pull this up just a little bit, just to make it a little bit thicker, yeah, and I think that looks way, way better. Now, the other thing is, you can see, it's not really bending this. And the reason is because we need to add in some edge loops, and there you go. Now, you can see you've got a bit of a bend on there. I think that looks better, actually, personally. Now, if I turn this off, we can actually carry on working on this, test it out, and then move it over here once we've got everything in. So again, let's save that'll work, and I'll see you on the next and every one. Thanks a lot. Bye bye. 132. Detailing Pillars and Modeling the Curved Entrance Staircase: Welcome back, everyone to blend the build in master class from concept to final render, and this is where we left it off. Alright, so now we want to do is we want to bring this part down, bring in another part on here. So we'll do that now. So all I'm going to do is press Control R, bring up an edge loop, press Control B then. And then what I'm going to do is pull it out. So if I come in, E, enter old and S, so lns, pull it out. Like so we've got a bevel on there, which is making it a little bit easier. That looks good so far. Now, we want another bit that's going to go in here. So what I'm going to do then is I'm going to want to grab this going all the way around. So let's come in, first of all, and we'll grab it going all the way around. Thinking the best way to do this is probably to grab this part, Alt Shift click. And then Alt Shift click, Alt Shift click, Alt Shift click, Alt Shift click. I'm just wondering as well about that one because at the moment, this thing is a little bit too thick. So if I press Altnes I should then be able to bring it in. Like so, and then I can put a bottom part on this part here. So that's what I'm going for. So now I can bring up this part here. So control law, bring it down. And then what I'm going to do is I'll bring it up a little tiny bit, Control la, bring another one in. Then bring this down. Alt Alt Shift and click going all the way around, Alt Shift, click, going all the way around, E, enter Alt and S, bring it out now back to nearly where it was. And then finally this top bit then, I should be able to press S on and bring it in like so. There we go. That's looking nice. And now I'm just wondering about this top. Can I bring it back? There we go. That's looking better. And now, finally, we'll have one more edge going round here, so control R. And then Control and B. Like so, and then E enter lns and bring it out. Like so. Okay. Now we've got our columns on. We've got a small one. We've got a big ring. And now finally we want to point those little square things on here. So the way that we'll do that, first of all, we'll just isolate this off from everything else. And then we'll press Control R right in the center. Press one, press Control B. Where do we want to come in up to? Probably somewhere around there. Like so. All right. Then what we want to do is now if we measure this up, we should be able to come in. So the center is right here, as we can see. So if we come into these, one, two, three, four, like so. And then I'm not even sure what this is. I think it's got four on. So if I press Control Shift and plus, no pair found, so we can't do it that way. So four. And let's see if we can do four. So how many sides is this? One, two, three, four, and then one, two, three, four, and then one, two, three, four, and then four there. So it's worked out pretty nice for us. And then what I'll do is I'll press the Ibn to bring them in, like so, and then I'll press E ter alters and bring those in. Like so. Now, let's have a look what that looks like. Now, we might want more of them. So you might want more cause at the moment, there's only four on there. And I'm thinking one, they've gone in a little bit too far, and another one, there's not enough of them. But let me just see how many vertices are in here. So if I grab this one, two, three, four, five, six, seven, eight, nine, ten, 11, 12, 13, 14, 15, 16. I think it's 32, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 32. So there's 32 vertices. So let's try instead going four and two. So if we go to the center, one, two, three, four, and then miss two, and then one, two, three, four, and then miss two. I'm opening these line up. They might not. If they don't might have to go. We're just missing out the same amount, one, two, three, four. Yeah, there we go. We've got four in there, so we don't really want it to do that. So I'm wondering now, you can do it the other way as well. You can go three. And then four and then miss out, what are we doing missing out three and four missing out three, and then four missing out three, and then four missing out three, and then four and then missing out three. And then can we do four? No, we can't we can't do it that way either. So you know what we're going to do? We're just going to do I think we could do two, as well. Let's just see how they look when we've brought two in. But if we bring them in slightly, and bring them in. What they're gonna look like. If we bring in two on each, so we've got a miss of two and then bring them in, that might actually work, actually. That might work out better. So we can definitely do that. We know we can do that. So, again, if we come in and miss two, same on here. Let's go back. And they are two. Like so. And then two. I'm really hoping they'll line up. Yes, they do. So there we go. Now, let's bring them in. We could even bring them in like they are now, even, so we can just press E enter Altere and bring them in, like so. Yeah, and I think that looks the best way. That looks way better, actually, way better than what we had. Alright. I'm actually happy with how that looks. I'm actually very happy with how that looks. Okay, we press lth, let's bring everything back. This is what we've ended up with. Now, we need to put this over to each of these sides. So what I'm going to do is I'm going to select this, select this one, select all of this. Like so I'm going to press P selection and separate it out. And what I want to do now is make sure that's the same each side, which this one is. Now, if I grab the center of here, this should be the easy one, actually. I should be able to grab the center of this or the center of this, whichever is the case, so shifts cursor selected. Let's come to this one then. Right click origin, two geometry. No, origin, two, three D cursor. Let's take off the bend off here. Let's go in now add in a modifier and bring in a mirror, and there we go, that's the easy one. Now, can we do it on the other side? So what I'll do is I'll come in, grab this, this and this, and then I'm going to press Shift D. And I'm going to drag it over like so. And what I want to do is make sure that this is round about the same. If I can get away with it, can I get away with it? So if I put it there, you can see that's round about the same, that's round about the same. Now, we've got this has got a mirror on. I can't join it with this, so I'm going to have to apply my mirror and do it that way. So again, I'm always going to save. I'm going to apply my mirror and then join it with this. Join it with this, press Control J, and then let's put our bend on, and there we go, that is what we should end up with. You know what, guys? That looks really good, except this part here, which is not to do with this. It's more to do with these steps on here, which we're going to fix. And we did these steps, but I think actually we might want to come in and just grab this and bring it down to where we want it, and then we'll have steps in. So let's come in to this one and then shift and click. Let's press Shift Deep and bring it down there. And as I said, you can see now now this fit in perfectly in there because we've still got the bend on. So we can actually probably build these steps with this bend on. And I think, You know what? I think I'm going to actually do that. So if I take off this simple deform for now, and I just come in and I just get rid of all of these going round all the way down to here and all the way down to here. So delete and bases. And then I can come in now and bend it like so. Then what I can do is now I can, first of all, start with this part here. So I'll bring it out a little bit. Let's see if I can actually split this up. So L P selection, grab this part, press the S but. Well, actually, control A all transforms right clicks origin to geometry. And I'm just looking if I need to bend that a little bit now, which I think I do because I want it all to be exactly the same, like so. Now you can see why this is not working with our steps. It's not working because it's not actually even. And we've also now as well, if you look on here, we've got something now which looks way better than this, because if you look on this, look at the gap between them, so where the edge loop is and look at the edge loop gap between these. They just look way, way better, guys. So what I think I'm going to do is I'm going to pull it to here, I'm going to make sure, though, that it's going to be in because at the moment, you can see it's not actually in there, and we really need our steps to fit inside there. So I'm going to first of all, pull it out a little bit just to make sure that it's in. And then what I'll do is increase the bend now, like so, making sure that it's level with all of them. So you can see now if I bring that out just to there, it's just level now going all the way around, as you can see, and we've got them in place. Okay, let's now then come in. So we're going to come to this step first. So if I press SN E, I can bring it down. To this bomb step here, and making sure then I come to this top step. So if I come in, I can make sure I put this on that I'm going to come in and Alt Shift click, turn this off and make sure that I can come to this top step, so you can see now I can come to that top step. Now, where is so I want one, two, three, and, you know, I can bring it out, pull it down for the next one. But we'll do that on the next one guts because I definitely need to, you know, give this some thickness. So the moment I'm just getting the height, I definitely want to pull it out and bend it round. So I definitely want to pull it out to this point here, but I'm not that. Pull it out to this point here, like so. But it's just in front of it, like so. And then what I'm going to do is, I'm thinking, do any delete this yet, or should I keep it? You know, I think for now, we'll just keep it just to see how this goes. I think it's going to go perfect, but we will see how this goes. Alright, everyone, so I hope you enjoyed that. Let's save our work, and I'll save you on the next one, and we're nearly actually done with this. There's not a lot more to do on this. We need the inside of here, but I'm going to show you how to do that to make it look really nice. But I think as far as everything else goes, we're pretty much pretty much done with this really, really difficult part. Alright, everyone, so I'll speak to you on the next one. Thanks a lot. Bye bye. 133. Enhancing the Curved Front Entrance with Stylized Details: Welcome back, everyone to blend the Building master class from concept to final render, and this is where we left off. Okay, so now let's come in, and what we'll do is we'll press Alt Shift click, and then we're gonna press Enter Alter NS. And hopefully, nope, we can't pull it back like that, so let's just press the Sbn and that's not going to come back either. So I'm just wondering if I just need to pull it back like so. So if I pull it back like that, will it pull everything into place? Can I then lift it up and is everything gonna be in line? That's the main thing. So Es Ed, bring it up. Like so. And then E enter S, can I bring it back? No, I can't, but can I bring it in? Let's have a look. So we're just going to hide these stairs that way, and then we're going to come back to these. You know what? That is going to work much, much nicer. It looks way, way better than what we had before. So lth, let's bring it back. And then what we'll do is we'll come back to, not this part, this part here. So I can grab this, and then I'm going to grab this front of it, so I'm going to come in, put this on. So Alt Shift click. And then what I'm going to do is E enter S. Nope, it's not going to let me pull it out, so I'm going to pull it out like so. And then I just want to make sure where is it coming out up to, and it's coming up to there. So maybe now I can pull it down. So E and Z, pull it down into the ground plate. Now, at this point, let's get rid of this. We're not gonna need anymore. This is what we're left with. Now, one thing we did have on the other one, we had a little bit of um of the taper coming off of there, not taper, a little bit of a ledge, and that's something that I actually want to keep. The other thing is, at this point, you've got a choice how far you want to pull up each of these. In other words, old shift click, going across, old shift, click, going across, old shift, click, going across. And from here, then you can pull them up and make them slightly higher if you want to. And I think for me, they look actually a little bit better. The next thing is, you want to press Control law, left, click, right, click. Control law. Left click, right, click. Control, left click, right click. And now we're going to give them that little bit of a ledge. Now, you can see every time I've done that, it's dropped down a little bit further. So all I'm going to do is manually bring it up and put those into place. Like so. And it's up to you whether you want to measure them. You know, you can actually measure them out, as you know, and I'm going to put that just above there. And then what I'm going to do is come round and Alt Shift click, O, shift, click, O shift, click, and then going to press E to lanes, and pull them out where I actually want them. So is that too far. Let's have a look. Yeah, that's way too far. So alters, I'm gonna pull it out just before it goes into that part there. So just before it starts coming out of there, have a look, and there you go, there's your actual ledge on there now. Okay, so now let's carry on on the inside. So we do want another piece in here. So what I'm going to do is I'm going to press Control R. Can I press Control R? Yes, I can, and I can bring that out right where I want it just in front of these, and then I can press Control B, or I can press another Control R. You know what? We'll press Control R again. I'll bring it out then to here. And then what I'm going to do is I want to isolate this out, so Shift H, isolate it and we can see, actually, it's really great because it's one flat piece. It's actually perfect. So, you know what? That's perfect. So what I can do is I can come in now and not have to worry about extrusions or anything, 'cause all I can do is I can just come in and pull it down slightly, like so. And there you go. It's really, really beautiful how we've done this now. Okay, so the one thing I'm thinking is now just on these parts, I should probably just lift them up a little bit just so they're more in line with her. That's the only thing I'm thinking. So to do that, I'm going to grab all of these, so Alt Shift click, and then Alt Shift click, and I should if I bring this up. Yeah, you can see I've got to bring it in on the edge as well, so Alt Shift click, and I bring it all up now. And there we go. If we bring up like that, that's going to make it look even better. So I know the little funny fiddly things, but I think we might as well do this scene as we've come this far. So Alt Shift click. Oh, shift, click, all shift, click. And then on this one, O shift click and O shift, click, and shift click, like so. Now, let's bring them up, so. They're under there, like so, double tap the eye. And there we go, perfect. Absolutely, perfect. Up to you, have a look what they look like if they were actually up above there. Now, I don't know. Now, I don't know if they look bad like this. I actually think they'll look better like that. I'm going to leave mine like that, guys. They'll look better like that. Alright, so now we need to do the inside of here. Now, it's actually really, really easy for us to do that, as well, because all we're gonna do is bring in bring in, drop it down. One of the things is, though, let's bring in our door first. So, again, we're gonna save out of work and make sure that our doors gonna fit before doing anything else cause then we're gonna have a real good idea where we actually want to put this. But let's first vote. Come in to where I'm a asset manager. Let's come to doors, and the one door we want is this one here. So let's bring that into place. So Joe's going to bring it into place. I'm going to grab this part here, I'm going to press Shift Desk, cursor selected, grab my door, Shiftsk and selections cursor, pull my door out where I want it. And then what I'm going to do is just put it down like so. Now, the other thing with this door is, I actually don't want it to, you know, just sat on the front of there. We're not really doing anything like that. We want to pull it back into place. We want to make this intracu. So if I now press Shift Desk, cursor selected, bring in a cube. There we go, bring it in and then bring down the bob of it, pull it down. Yours too, nearly the bottom of the door. So just to there and then what I'll do is I'll grab my cube and make sure it's in place. Grab this part here, press control and minus, and then just put that in there and then grab my door. And I should be able now to put my door back into place like so. Let's then grab this part, make sure our booleans attached, and then grab this and just delete it out of the way. Now, there is the makings for our door. So now what we want to do with our doors, we've got pretty much this part here and some columns. So I know that I can come in now and happily bring these parts in. So I'm going to press Control left click like so, and then I'm going to come in, grab this part, and then press E to Alter Ns. And bring it in. Now, if all of that is coming in, which we don't want, by the way, let's just before we press S E, press Controls and go back, and then all you're going to do is press Shift D and P and selection. Now you've got this part in here. So we've got this part in here, and you can see why it starts to come back is because we've grabbed it all around there. So let's just isolate it off and see where we're at. So we've got it coming up to there, which is perfect, and we need to bring it in. So let's come in, first of all, and delete this coming all over here just so we don't end up with any manifold edges or anything like that. So delete and faces Ops. So not coming all the way over there. Let's take that off. Shift Control. Delete basis. There we go. Now what we can do is we should now be able to press E. In fact, we'll resell the transforms, first of all. So l transforms, right click origin to geometry. And now let's see if we can press A, E, ter Alternate and bring it in. Now, let's come back underneath. So lng. We can see as well. Let's put this not point non three. Let's press Altag and now let's go under so under here, there we go. Now we can see Dad is looking beautiful. So what I'm going to do now on this part is I'm just going to be focusing on the actual ceiling now. So I can bring this to here, and what I want to do is I want to drop it down, drop it down, drop it down. So what do I mean by that? I want to now bring in another part and bring it down. So I'm going to press E, enter, alters, and just bring it out slowly like so. Then I'm going to grab this part of here. It's going to go all the way around there, unfortunately, and that's not what we want. We want it to come from this part of here. So if I press dot, I should be able to zoom into there. Maybe, though, maybe that's made it a little bit hard for me. It's a bit tricky seeing in here. So you know what? We'll just hide this out of the way. Now we can see what we're doing with this. So this is this point here. You can see now we've got all of this point. And then what we can do is we can drop this down. So drop it down a little bit, like so, or even not even that far. Then what we can do is now we can grab this part coming round to this part in here, and then we can press E enter Alons and bring that part in like so, and then we can have one more part maybe on top of you. So we'll bring this down. So I'm going to press E, enter Alons and bring this part in. And then finally, I can come grab this one, grab this one all the way over here, press the E button, and bring it down, and then we can have a beautiful pot on top of here, which I'm going to show you in just 1 second. But first of all, let's make sure then that we have one more ledge on here. So what I'm going to do is just grab the inside of here, or just the inside, He enter lnas tiny bit, and then grab this part, and then grab this part, we're going to press E, just a little edge like so. And then finally, we're going to go from here, right from here with our edge elect all the way over to here, with our edge select that's in control, like so. And then all I'm going to do is E enter lns and if that's not working, just press the s button. And if that's not working, just pull it back into place like so. Then we just going to press A, shift and end, spin everything round. And there you go, guys. Alright. That is looking cool. Now, if I press Altag, bring back everything. Even if you're taking a shot from over here, it still looks beautiful. You know what we'll do? We'll do one more part. I love this part. Press Control B, and then we'll pull a little bit down just to show that we can. Okay, grab it on the inside here, around the inside of here, and then press E, and just pull it down. Make it even more intricate. All right. There we go. Now, on the next one then, I'm going to fix this part. I'm going to bring it in to make that more intricate. I'm going to bring some columns in here. And then what I'm going to do is I'm going to put in a round bit on here to make this as ornate as possible. It's the entrance to the whole building, so we actually want to make it as ornate as possible. Alright, so we'll do that on the next one for now. Let's save our work. There on the next one, everyone. Thanks a lot. Bye bye. 134. Inserting Doors and Windows in the Entrance and Balcony Area: Welcome back everyone to blend the building mass class from concept to final render. Now, let's come in to this part, hide the other way. And what I want to do is I want to put some columns going up here, but these columns I want to be a little bit different. What I'm going to do is I'm going to look to see if I've got columns, which I have, I'm going to bring in then a large column. So let's drop it not there. I want to drop it on the ground plane, which is there. And then what I want to do is I want these columns to be pretty much uniform. That's one thing I do once bound so first of all, I'm going to bring them down. Like so. I'm going to make them exactly how I want them. So I'm going to put them into place, and it's going to be holding up this part, like so. And also, if you think about it, let's just press Shift H on this and look where this goes up to. But the moment, you can see, we're definitely not going to need this top, this bomb. We're definitely not going to need this bomb either because that's going into the ground, and we're definitely not going to need the bag. So no one's going to see that either, so we might as well then delete and pass. So delete all of those out of the way. And now let's come back, press SaltaH and I'll just hide this out of the way just once more, so hide it out way. I want my column to fit perfectly in there, and I want to have a little bit of a ledge over here. And I also want to make sure there's enough room for a lamp or something like that in that place. Next of all, then I want to come over to the right hand side, and at the moment, we've got length on random. So let's turn this down to zero. Let's increase the length, so we've got a few more in there. And let's also turn down the width down to zero. So zero. Let's also turn the thickness random down to zero, and we'll end up with some nice stone blocks there, which look like they're actually going to be doing something. Right click then set origin to three D cursor, and let's then add in a mirror. Add in a mirror, like so. And now you can see they're both kind of uniform. Now, the next thing I'm going to do as well, is I'm going to put some parts into here. So if I grab both of these parts, press the ebon, can I bring them in? That's the question. You can see and bring them in in this way. Now, is that because I'm grabbing the whole of the back. So if I press Shift yeah, I shouldn't really be grabbing all the back. I need probably an edge loop or something like that there just to make it a little bit smaller. So you know what I'm going to do? I'm just going to press AaltH. I'm going to hide this out of the way. And then I'm going to grab this, this, this and my do Shift and now I can see exactly what I'm doing. Now, if I grab this now, I should be able to press tab A to grab all of that and bring a bisect into here and into here. So let's do that now. So bisect into this part here. Like, so remember to zero out, always zero it out, and then I'll do it again. So, a, bisec so mesh bisecTol into just above these parts here because they're on the ground. I'm hoping. And then we'll go to the Is that I I zeroed it out already. I think I actually zeroed it out already. Really? I'm surprised they actually zeroed that out. Okay, we got something like that. And now, if we come in, this press controle transform set Origin, greedy Curtser. And now we should be able to come in and just bring in these parts. So if I bring in these parts now, it should work very nicely for us. Now, if we press voltage now, just bring everything back and then just come back to here, and we should then be able to just bring those out, like so. Now, the one thing we anchor on here is a bevel, and beveling these is probably going to be better for us. So if I just come in, add in a modifier generator and a bevel, so let's put it on Not point not note three, we might as well do that while we've actually got everything here. Lastly, then, I want to actually put something on this part here. So what I'm going to do I'm going to press Shift day. Let's bring in a let's bring in a plane. I think that's going to be the easiest way. X 90, spin it around, and I'll just grab this one, this two, this door, and then I'll press. I'm hoping I've grabbed this as well. So yeah, there we go. Shift H, we should end up with something like this. That is exactly what I want. Then what I want to do with my plane now, if I press one, I should be able to press N's and bring it down. I want my plane, this part here to be coming out probably just around the edge of here. So around the edge, maybe even drop it down a little bit, something like this. Then what we'll do is we'll also pull it out. So if I press S and X, you'll be able to pull it out to here like so. Now I want to do is put in a center, so control, put in the center, so make sure it's always got a center. I'm going to put left click, right click, nine edge loops on there. And then all I'm going to do is grab the center of here, proportional editing on, and let's have it kind a rounded. Let's see if I can get it rounded, bring it out, bring it out, bring it out all the way to the edge, and we can round that off pretty easily. If we pull it out there, be careful with it, should be able to round it off pretty easily. Let's turn it off then, grab the whole thing, and then pull it out wherever you want it. So I want it probably out to something like this. And then all I'm going to do is press E Y, pull it back, like so, and then press S, Y, zero it out, like so. Finally, then, A, shift and then, spin everything round, and you should be left with something like this. From there, then, right, click, shade Auto smooth. And now I want is just to put something on the front of here. So all I'm going to do is reset all the transforms. And then we're going to come to this part here, grab it all the way to here, I'm going to press the Ibar to bring it in, like so, and then we're going to press heat to Alteres and bring it in, like so, and there we go. Now, the other thing is, we need to put a bevel on here. So I modify not juncture known as bevel, put it onto Noeint note three, like so, exactly the same as the door, exactly the same as this part here. And finally, is it the same as this part here? Yes, we've got a bevel on. Let's press saltaH, double tap the A, there we go, guys. Let's go to File, Save everything out. And just looking at that, that looks amazing. Now, one thing I'm wondering, you know what? Actually, that little bit of a ledge doesn't look too bad. Now, what else do we need to do then? So we're going to have a plant here, a plant over here. We're going to have a window in here. So we need a window, so we can bring the windows in. We can get those on here. Now, we've already got I think we've got the walls on here already. Let's just check that because once we've got those in, then we're going to have to start bringing in all of the materials and things like that. But let's just check. So here we go. We've got all This is what we've got right now, so let it load up. He shade load up. So this is what we've got with this part underneath. So I think we'll actually start, you know, getting all the materials and everything in, and then we can really see what we're doing. And then from there, we can probably take a break and work our way around here a little bit, I think. That will be the best thing. And then from there, we can actually start probably building up this dome pot. But I think it's important that we just take a break, maybe build this part, maybe go in and build our couple of chimneys, maybe do that. I think that might be worth it. Alright, but for now, let's actually stop doing this and put these windows in. So we've got these windows here. We know these are the windows that we want. So it is one of these windows, and we've also got one so one's the bottom, one is in the top. Now, in my original, one was bigger than the other one. Completely up to you if you want to do that. What I would say, though is, so as we've got this, let's just press Old D, and let's bring in our I think it's this one. So I'm going to press Shift D on this. And then what I'm going to do is spin it round, so there 90, and let's line them up. While I'm in there, I might as well line everything up because if I'm making them smaller or bigger, it's going to save me a lot of time. So I'm going to come to this one, shift desk, Custer selected, come to this one, shift desk, and selection curta. Now, let's make sure these line up perfectly. So if I press three to go inside view, bring it down. There we go, making sure it's in the wall then, and then I can grab both of these now and I can bring them over. So if I bring them over, and now I can put them into object mode because it's going to be easier to work in that anyway. And then what I want to do is I want to spin it around. So's head spin it all round, like so, and you can see at the moment, they're not spinning the right place. Let's put it on medium point. So ars head spin it round. And we want it all -55, like so. And now I'm hoping is it going to go in. Let's have a look. Put it on normal. Yeah, it's not right. So let's have a look. Where's the angle? Oh, that's why we're turning just this one round. Let's spin them round, see why. Why that isn't right. So 51 degrees. I'm just wondering why maybe it's this it's 55 degrees on here, and this isn't for whatever reason. I'm absolutely certain though we should have been able to level them up. I'm just wondering why they can't level them up. But, you know, even this one look, you can see us out, as well. So let's just go back before actually twisting those. So we'll go back. And there is where the point where things start to go a little bit pear shaped. So if I pick this up, and I press seven to go over the top. We're going to twist these. I'm going to line them up near enough perfectly, so. Bin them both at the same time, and there you go. You can see the lined up, and it's 192 point something. Is slightly weird. If we're bringing normal now, I'll be able to bring them in. I'm just going to line them up because as soon as I've got lined up, I could use snapping course, but there is two of them. I don't think I'm going to use that. What I'm going to do is I'm just going to line them up to where I want them and then bring them down. And I'm looking at where I actually want this. I think I want this one, probably a little bit over. Like so. And the other thing is these have still got the mirror on. So whatever I do to this one is going to happens down, which is great for us. And then what I can do with this one is now once I'm actually happy where that's going to go, maybe a little bit further this way. And then what I'll do is I'll press Shifty or should I press Alt D. Let me think. Probably press Alt because I'm not going to be changing the mesh or anything. I'll press Alt, then what I'll do is bring this down to the bottom one, which should line up then with it. So down to here look as you can see. And you can see now why I made it a little bit smaller. So I can make it a little bit smaller, like so, and I think that looks I think it looks a little bit better like that, and I'm still happy with this window being on there. The one thing I would say is, we're just going to pull it back, Tad, like so. All right. Now we've got Windows. Let's come then. We'll grab this. We'll press Control and minus. And then what I'll do is now I'll apply that. So Control A, and then I'll delete this out of the way. Also, the window is the wrong way around. So if I spin the window around s 180, spin it round and just make sure then I'm happy where it is. Like so, and now we'll do the same thing with this one. This one and this one Control minus, apply, delete your bevel, grab your window, Z 180, spin it round, and there we go. Now we want to do is we want to mirror these over the other side as well. If I grab both of these, hopefully, if I grab this, yeah, we can't join them together because if a join them together, it's going to change the windows and stuff. So I need to be careful about that. So what I'll do instead is, I'll press Shift desk cursor selected. I'll grab both of these. Right, clicks Origin three D cursor, and then I'll add in a mirror. So we'll come in, add modifier, generate a mirror. You can see now it's not actually going over there, and it's because right clicks origin to three D cursor. Still not going over there, so you know what we'll do. Do what we did last time. There we go. And now I'll come to why is this one moved out there? Let's actually, that's the point. You can see what's happened there. We actually moved this in because we moved the origin. So SiginTDcursor. You can see we don't want to do that. We really don't want to do that. So instead of doing that, we'll come in. We'll add in a mirror, so bring in a mirror, and we'll put it onto this point here, and then we're not going to mess around with any of that stuff. We don't want to do that. So let's do the same thing here, add in a mirror. And we're going to put it on here. Double tap the A, and there we go, guys. Alright, lead that load up. And, yeah, that's looking very, very nice. At the moment, it's looking a bit, you know, raw because we haven't got all of our things in. But I think once we have this point in, so you can see this here, it's going to line up on there, hopefully. It's going to look way, way nicer. Now one thing I'm worried about, yeah, this is just shadow, so that's just shadow going under there. When I've got materials in there, we'll be able to see, much better what this is going to look like. For now, though, we're going to leave it at that. We're going to save our work. And then when we come back, we will definitely be getting all of these materials in and things like that. All right, everyone, so I hope you enjoyed that. I'll see you in the next one. Thanks a lot. Bye bye. 135. UV Unwrapping and Texturing the Front Entrance Area: Welcome back and run to Blend Building Master Class from concept to Final Render. Now, before we leave the asset manager just for now, let's bring in a new material. So what I want to do is I want to unwrap this. So you SmartUVPject, I'm not actually sure what's under there. And let's come down to the asset manager and go down to Resource Pick. Let's press tab. One we're looking for is going to be materials and shaders and we're looking for marble. That's the one we're going to be dropping on, and there we go. And we can see it looks a mess. And the reason it looks a mess is because we need to go to UV Editing and we can see this is what we've got. Let's zoom into it, then. Let's press A, and let's come out. Now, sometimes you will see on here, this isn't looking like what we want. The reason for that is if I go over to the shading, probably, if we're going to object, not got this selected. So if I select this, maybe then I'll do it, and if not, there we go. That's the reason why it doesn't show up and is showing up as normal. So now you know that little trick, and now what we can do is pull this out and make it way, way bigger without though looking like it's repeating. So there you go. Something like this is looking very, very nice. Now, from here then, we will do this one here because the steps has also got the moble on. So I'm just going to grab this one. I'm going to press Control A O transforms. Set origin to geometry. That's the problem, though, because I'm going to go back actually before that, and I'm just looking this part here. So let's pull this part out because that's definitely not right. Like so. And I'm just wondering whether I need to pull it out even further because or I can bend it in a little bit. So let me just go back. We'll fix that before doing this. So let's go back to modeling. Let's come to this because it's actually got the bend on. We need to apply the bend first, so I'm just going to pull this back tiny, tiny bit. I don't want to go over this part here, so I need to be very, very careful what I'm doing here, guys. You know what I'm going to do? I'm going to pull. You know what? Instead of doing that, can I actually apply this? Pull this out a little bit. So if I pull this out a little bit, like so, and maybe I can get away with just deleting this edge, let's have a look. I could bring in an edge loop and then delete it. Let's see. Control, left click, right click. And I think it's gone through there, so we don't actually want to. Let's have a look. Yeah, that's that one. You know what? Just going to pull it to the side. N out of the way. Yeah, I'll just do it like that. Let's have a look at this. Let's press and X, bring it in. There we go. Yeah, we'll just hide that there. All right, no one saw that. That'll be okay. Now, of course, we still need these parts in but now now we've got that. What we'll do is we'll come on to this part of it. We'll apply or simple deform. Now, remember, if I actually take this off, you can see this what it's like. If you're going to save this out in your resource pick, make sure that you keep the simple deform on because when you bring it in, then you'll be able to deform it even further, not this far, of course, even further if you wanted to. So again, just make sure you keep this on, Control C, Control V, and then send it through. Alright, for me, though, I'm going to press Control A. I'm going to press tab A, U, smart UV project. Click Okay. Is it going to unwrap properly. Let's actually have a look at that. Let's put it onto rendered view. And there we go. So let's grab this one and this one. You can see we're struggling a little bit, probably because I've got a lot of blend files open right now. Control and L. And let's go to link materials. There we go. Now we'll come down to this. You know what I'll do is I'll just come over to Object. I'll save out my work just so we don't get a crash because sometimes that will cause a crash. And then what we'll do now is we'll come to this one. And what I want to do is put this on material view. There we go. And I want to make sure it's the same size as this one. So what I'll do is I'll come over to UVditing and I can see it's nowhere near the same size this one, so let's bring it up. Let's actually have a look at this one. So if I grab both of them, you can see if I'm grabbing this one, this is the size of it. If I'm grabbing this one, you can see nearly the same size. So let's just grab this one, make it a tiny, tiny bit bigger, like so, and there we go. Now, they're the same size, and that now should look pretty nice. Now, let's go back to modeling. So we need these parts in here. Now, these parts in here is actually going to be stone. So I should be able to grab all of this. I've got my bevel on. I should be able to put this on Global, and I should be able to U Smart UV Pj, click Okay. And then let's bring in our stone. So I'm going to come down. It's got ambient occlusion on. Let's go for our stone. Stone, where is it Stone Light This one here. There we go. Now, is that unwrapped well enough? I'm not actually sure 'cause I need to check it. Let's have a look against our other stone. You know what? That'll do. Now, I think one thing we can do on here, though, is grab both of these, press Control plus, click the plus button, click the down arrow, and let's have a look at stone light or lighter, like so, click assign. There we go, Yes, I think that looks better. Now let's work our way over. So the actual columns are going to be either on stone light or all the other stones. So let's come in. We'll minus this one off, and then we've got them on stone light, or we've got stone lighter. So stone light, stone lighter. We haven't unwrapped them yet, so don't worry. You could have them in marble if you want to. I think, actually these probably going to be better off on you know at the moment, we've got all of these like this because it's all the same thing. So I think for me, I'm just going to come in, and what I'll do is I'll apply my simple deform, like so, and then I'll come in A U, smart UV project. Click Okay, like so, and there we go, now we've got something like this. And now we can actually work out where we actually want our Stone light or Stone dark. For instance, you know, on these, let's just go back. We've got Stone light of the moment. So let's change this to Stone Light. There we go. And then let's click Plus Down arrow, Stone Lighter like so. And then what I'll do is I'll just come into these columns, like so, and I'll put stone lighter on. Yes, and I think that looks great. And then we'll do the same on these. So we'll go on all of these, like so. And we'll put these also on stone lighter and see what that looks like. So stone lighter, click Assign. There we go. And then on the inside of here, can we click on the inside? Because we did separate these out? We should also be able to put those on Stone Lighter, as well. Like so. There we go. That looks pretty good, guys. Now, let's come on the inside of here. So let's press A, U, smart UV project. Click Okay. Let's also make sure that we've not got simple deform. So if you got it on, just apply it. So come down. Clip controle A, apply that. And then what you want to do is just make sure then that you put it on stone double up minus this off. And then we've got stone lighter. We don't want that one, so let's put it on stone light. There we go. Now, the other thing is, if you've got all of these materials at the moment, if you've got loads of materials in here, sometimes it happens like brick normal 01. Sometimes these materials aren't applied to anything. So what you can do is you can actually come to file, clean up, purge unused data, and it says, 18 meses, which are supposedly in here not being used. You've got linked data blocks, and you've got recursive. You just click Delete, and it actually will get rid of anything that's left behind. No, materials that are in the list, but not actually on anything. So you just press delete, and there we are 18 data blocks deleted. So it's a good way, a really good way, actually, of tidying up your scene. Okay, so now we've got all of this. We've got the underneath. We need this part here. So all I'm going to do is grab this part. A. I'm just going to make sure got nothing on there. So, Mart U V project, click Okay, and then grab this one. Sorry, this one, and then this one, press control L, and we'll just link materials. And there we go, Stone light. We don't need stone lighter unless unless it's just on here. So we'll just go stone light to click a sign. There we go. We can just make out that. That's exactly what we want. Now, we've got everything on here and very happy with how that looks. We've got a little groove on there, as you can see. Now on the top, I'm going to put this little groove that you can see here. So we're going to come into this little groove like so, and we're going to click I'm just looking at what else I've actually gone here. Can I take these off? I think I can. So minus off, minus off, plus down arrow, and the one we want is gold. Ab. We've grabbed them all, click a sign, and there we go. We've got that little bit of gold on there. Now, let's come to these parts. So we'll come in, first of all, we'll apply our simple deform. We've got no bevel on here at the moment, so we'll add in the bevel, so generate a bevel. We'll just go to object modes to make sure that bevels on there. So if I come on and put on geometry, sorry, geometry and turn off clamp overlap, let's put it on note point note note three, like so, and we should end up if I increase got that little bevel on there, and that is looking perfect. And now back to RenderView. Onto material. And what we'll do is minus this off, and there we go. We'll grab everything at the same time. U, smart UV project. Click Okay. So on the wrap, and there we go, guys. Now we want these to probably be stone Light, but we run have time on this one. So what we'll do instead is, we'll get that done on the next lesson. Alright, everyone. The one thing is, actually, you know, the one thing on these is, I'm just going to look I'm just wondering whether I want all of that on stone light or whether I want this part on dark. So, in other words, if I grab, you know what? I'm going to do that. Before I actually finish, I'll put this on stone light, a sign, and then all I'm going to do is come to the front of these, so it's easy to grab them. So shift click Control click. It's up to you if you want to mess around with this. Con throw plus, and then stone light to click a sign. And it just brings it out a little bit more, as you can see. So, yeah, that's looking much, much better. Again, now let's come in. Say a work. Let's move our guy over because he's stuck in the in the column there, and save our work finely, and I'll see you on the next one. Thanks a lot. Bye bye. 136. Adding Supports and Wall Ornaments to the Entry Section: Welcome back everyone to plan a building master class from concept to final render, and this is where we left you off. Now, we've unwrapped all these. We've done all of that part. But let's come in and change at least the pillars. So let's change the pillars and see what they look like. Now, of course, we could make them marble or something like that. But I think what we'll do is we've got stone Light and stone lighter. Let's put them on Stone lighter and see if we can get a little bit of distinction between them. So stone lighter, click a sign. Let's have a look at that. Now I think that looks a little bit better, and I think we can also do the same on here. So old shifting click Control plus. That's not working out. So we'll just go from here all the way around to here. Control plus. Do Control plus. Like so and then come over Stone lighter, and there we go. And I'm going to leave this part here. I think that part looks great. What I'm going to do though, is grab this one now. I press U Smart UV project, Unwrap coming over, making sure simple deform is on with Control and A in object mode, so Control A. Simple deform is on on this one. We haven't got a bevel on this one, so all we'll do is we'll copy modifiers, and we'll also control link materials. And then what we'll do is unwrap this. So we'll unwrap this part now, and I'm J looking at the little edge. I think I need to pull it out tiny, tiny bit more just to go over there. But for now, let's do SmartUV unwrap. I'm J looking. You can see it's different, and I don't want that. So what I'm going to do is just go to UV Editing. Let this load up. And there we go. And now let's come in, press the little dot on. And what I want to do is pull them out or pull them in. Pull them in a little bit, I think. Let's pull them in, making sure that they are the same. Let's press Control, actually, the origins geometry. And then let's try that again. So you MU V project look okay. Let's bring them in. There we go. Dad's looking much, much better now. And yeah, now, the one thing I said I want to do is just bring this out a little bit. So I'm just going to grab all of that. I'm gonna press Altern I should be able to just bring it out just giving this a little bit more of an edge on there. Now, let's go back to modeling. Let's have a look we've got. Now you can see that's looking very nice. Now one thing is, I'll put this also on light, go to materials, er, let's click Assign, and there we go, now that is looking. Perfect. That's exactly water one. Yeah, I'm very, very happy with how that looks. Now, I'm just making sure everything else is done. Now, there's two things that we need now in here. We need these parts here. So I want to go back to object mode. I want to press Old D. And then what I want to do is spin these around. Now, I'm just wondering if it's because they are normal or something like that, why they're not going around 50 degrees. At the moment, these are on 50 degrees. So yeah, that's probably it. What is the if I click on this. I have a reset now. I think I've reset that can't look on there anymore, it's 55 degrees. What is this one now? Let's have a look. 325 degrees. If I press Control C, let's see if we can spin those round with Control V, spin them round. Do the same thing on here, Control V, spin it round's C. If I can grab these and drop them into place under there like so. The other thing is, you need to come out a little bit. So that the window is actually on here. Now, that means then I'm going to have to move this a little bit, or I can pull them back, probably better off pulling this back a little bit and then grabbing both of these. I think, though, as well, that these are still not rotated, correct, so I'm just going to rotate them to something like that. Looking like there now. I can also rotate this as well just to make sure. You know why I'm not going to rotate that because I think if I go in, I think that's about right, actually. I think it's more to do with just bringing this forward a little bit, so I'm just looking making sure. The issue we've got now is the bomb of here, as you can see. This bomb part is really stuck out here, and I want to make sure that is not the case. So I'm just going to hide this out of way. I'm going to come in, and what I'm going to do is press control law and just pull it over to there, and then all I'm going to do is old **** click delete and faces I'm gonna get rid of it. Who was bugging me delete faces. Let's just hide it out way, see if there's anything else there. Yeah, there's some little bits left over, as you can see, we really don't want those little bits, so I'm actually going to take the time just to delete those out the way, delete faces, tab old age, bring back everything, double tap the eight. And now it's looking much, much better. Now, let's go to this side and just make sure everything is in there. And that's also looking much better. The final thing, this part here, I'm going to press S and X and just bring it in a little bit and then move it over and bring it in a little bit more and move it over just to make sure that it's fitting in a little bit better. The other thing is, we could really squish this up to bring it in. But you know what? I think if I put it on here and just have another look, I'll let it load up. Let's get it on here. Yeah, I like so. You can see now. How they're fitting into place. And we could. Let's just have a look. If I press SSNs E and really squish them up, or they're gonna look any better like that. You know what? I think they do. I think they do. So E's, let's squish them up a little bit more. Like, so bring them up. Into place, double tap the A. I'm also going to just move them. They're not quite in place. Move them to there, double tap the A, like so. And now the one issue we've got is just this part here. You know, sometimes that's going to happen. But what I'll do is I don't want to alter the mesh on here, of course, but I do I want to make sure I'm covering that part. Now, I do have an issue. If I pull this part back or this part on the other side, it's going to kind of mess you up for me, and I don't really want that. So I think I'm just wondering what to do here. I think what I'll do is I will press Shift D. This is already facing the correct way. And then what I'll do is I'll just grab this part here. So Alt Shift and click Shift and D. Bring it out. Oh it's on normal. Is it going to come on local? Let's have a look. Yeah, there we go on local. And then I should be able to bring this part into here, like so. I'm going to pull it back into place, like so. Then I'm going to press EnsE and pull it up. And finally, I'm just going to go to mesh, clean up little holes. Like so let's have a look at that. Let's delete this part out of the way. So I'll delete zs. And let's have a look, see if I've actually done a good job of dodging it. Which is what we've done. Let's see. We'll put that into place, and we might even pull it out a little bit more even. So let's pull it out a little bit more. Let's also unwrap it again. That's one thing that's actually missing on there. UVditing Hicks this. Let's zoom in. Let's press the Sb. Like, so double tap the A. Now, that's looking good there. Now I can shod. I can't actually join up to that, but what I can do is where is the mirror on here? Of course, it's going to be set there. So I want to put this on the other side now. So I can grab this like so, I should be able to copy the mirror. So I can grab this, grab this one, press Control L, and we're going to copy modifiers. Now, let's go back to modeling, and let's have a look to see if if it's copied that over there, which it has, let's just make sure then that this part over here, so press tab, I'll apply my mirror, actually. So press Control A, apply my mirror. Let's turn off the array because we're not going to need that. And now I should be able to press tab, zoom into this one, and there we go, that's what we've got. I'm just wondering if both of these are unwrapped correctly, because I don't think so. So let's press Control A or transforms. There we go. Now they're unwrapped correctly. Are they? Yes, they are. Double top the e. And there we go. I think that looks way better now, way better than what it did before. And yeah, I'm happy with how that is. Now on the original, I actually put a little bit of, you know, something there, but I don't think I think I've done this one so well. I don't actually need that. So what I'm going to do is gonna put it on Object mode, and then go to go to file. I'm going to save it out, and I'll see you on the next one, everyone. On the next one, then I think we're going to move on to this side. So we're going to move on to this side and the next one. We'll build this out a little bit. And yeah, we're really moching along now. Alright, everyone. I hope you enjoyed that, and I'll see you next one. Thanks, lot. Bye bye. 137. Designing Roof Decor and Managing Roof Intersections: Welcome back, everyone to Blend the building master class from concept to final render, and this is where we left it off. Alright, so what we want to do now is basically come in and do probably these roofs. So I'm thinking, if we do this roof, we might be able to do this one and this one and this one, and then it's all the roofs done and out of the way, and that might be the best way to go. Once you've done the roofs, then we can get the tops of these in. So all of these tops here. And then we might work our way down the side or do this top. I know it's a little bit different, but it's a new day today, and I'm thinking that might be the best way to go. So what I'm going to do is just put these up, and we're gonna go to my Boole them out of the way. And then we're going to drop into object mode. I'm going to grab this, I'm going to press Shift D because we don't want to press Alt because we can't alter it then. And what I'm also going to do is put this on Global just to make sure we're punting it in the right way. Alright, so now what we want to do is we want to grab this and this. And what I'm going to do I'm thinking this one is all the block. So you know what? We'll sort these out first. I'm going to grab this one, shift H, and then what I'm going to do is delete this. Now, you can see here that this front, we do have a problem. So you know what? We're just going to make sure, first of all, that this is correct. So I can see here that this is a little bit of a mess. If I come in and press tab, you can see it's a bit of a mess. It's bending over there. So you know what I'm going to do. I'm going to just press Alt Shift and click, delete and faces, and then I'm just going to come in, Alt Shift and click, and I'm just going to pull it so it's in line with that, like so. What I can do is I can press Shift H and come to this bit. So you can see here this is where the bit of a mess is actually pulled out. And you know what? It's actually also messed around with that. So we'll check that out in a minute. Let's first of all, though, come in and sort this out. So if I delete this one, I'll delete the inside one. I'll delete the top of this. So this going all the way along, like so. So delete and faces. I'll then come in and delete each of these because we don't need these parts underneath. And we certainly don't need this at the back as well, so delete those and delete these, delete faces, and we should be left with something like this to start with. Now what we want to do is we want to also delete all of these. So all of these going round, like so and delete and faces. And what we're left with is these two and this one, not that one. Sorry, and delete faces. And now we're left with something like this. Now, I might as well also come in and just delete all of these, as well. So all of the bottoms and the sides because we're definitely not going to need those press delete and faces. Now, I've got all these now. I've still got these. I'll delete those as well, so delete faces. And now what I should do is just pull these over. So if I grab these, I should pull them more in line because I know then they will be in for press three. They will be in line. With my roof, which means now if I press tab, ltH, I should be left with this, which is exactly what I want. Alright, so that's that part. Now we've got, I might as well come in and actually do them all. So I've got a you can see here, I need to keep everything on here except the back and the bottom. So shift H, so the back, which is here, so three to go into facele and the bottom like so, and also this top bit here, as you can see. So delete bases, and there we go. Now, let's press Altag, bring back everything, so we're onto our next one now. Again, with this one, it's the back and the bottom. So shift H, let's delete the back and the bottom. So top, back, bottom, delete bases, tab Altag, and there we go. And now we've got this one here. This one here, if it's got any going through it, then we need to delete those and the bottom. So shift H, let's take a look. So if we come in, we can delete this one, so delete faces and this, which is this one right up here. So delete and faces. Go underneath it, let's have a look at this one, delete faces. And now we should be all the way up to top, as you can see. Now, the other thing is on here, we might as well, split this off, so control and plus because I think, as far as I'm aware, this, if I press G is still attached to it. So all I'm going to do is P selection and just split that off, and there we go, now if I press lth so tab, AlternH, bring back everything. This is what we've got left. And now let's actually fix these. So we don't need the bottoms on these because we're going to be hiding them, and we don't need the insides as well, so we'll press Shift H. Now, the one thing about this is if we delete the backs on these, you know, actually, before we do that. We delete, let's say, any of these, we'll turn it into a two D object. Instead, this will be two D because it'll just be a plane. And when we do that, it might mess around with our boolean. So we need to be very careful of that, actually. So, you know what? I'm going to just leave those. Now we're going to move on to the last one. So Shift H. Remember, it's the back on this one. So we're going to go the top, these two, and the bottom. So delete and basis. And let's press Tab ltH and just make sure now nothing can be seen. So we've got no holes in there or anything like that. Alright, so let's come to this one first. So what I'll do is they'll just press Shift and like so. And I also want, actually, I need to go back a minute. I also want to grab this roof tile, so I'm just going to grab this as well, shift and and there we go. Now, let's come in then, and what we'll do is we'll bring this seven to go over the top, and I'm just going to line it up. And again, these, I think they're pulled out a little bit different. I'm not sure if they're level or not. So all I'm going to do though, is just bring it in. So if I press one, but on the wireframe, I should now be able to see what I'm doing. So I'm just going to pull it down to there, so I'm going to bring it up once I've rotated it, so R Y, rotate it round, so maybe bring it up a little bit more. Like so and then coming over and we just going to raise that vertical count all the way up. Now, I can see if I put it back on object mode, is that top of there too high? And yes, I think it is. So all I'm going to do is just shrink it down a little bit like we've done many, many times before. So just something like this, and now it's going to fit in perfectly. Now we need to do is just raise up the horizontal count. I'm just going to raise that up, so I'm going to pull it into the center, and then I should be able to just keep raising it, so just so it's in place. Like so. Now, I'm going to see if I can alter it, so it goes over the other side and see if it actually fits in because it's going to make it a ton easier for us. So I there 180, and then let's bring it into place. And I'll rotate it and just see if it's actually going to fit. It might not fit, but we can we make it a little bit smaller? Let's just see if we can do that. So if I press Control one, put this on wireframe. This is the one, so you can see, look, it's too big. So instead of doing that, what we need to do is we just need to press Shift D. And unfortunately, we'll have to do them both together. So now if I press R s 180, let's get it in the right place first, so I'll just pull it over here. And then what I'll do is I'll rotate it round, so Y, rotate it round like so, and then let's put it into place. So if I grab this, I'm going to put it into place. Just at the bottom of there like this one, maybe that's a little bit too close, and maybe this one needs to moving a little bit closer. And then what I can do with this one is take off the vertical count, so take down that by one, and then I should be able to press R and Y and bend it over like so. Alright, let's have a look at that then. So that's what we've got so far. Let's move it over a little bit, just so it's in place. And there we go. Now, if I press Alt H, this is what we should be left with. I'm going to grab this one. I'm going to press Alt D. I'm going to press Ads and 90, and then I'm going to go over the top with seven, press the G button, and bring it into place. And what I want to do now is just pull it up to make sure that it's in line with those and there it is you can see, it's a little bit out on this. So all I'm going to do is I'll come into this again, grab the two tops off here. So if I grab this one and this one, I should then be able to press Shift desk, cussor selected. Pretty much the same things we've already been doing. So selections cursor, ups, that's the wrong way around. So you can't actually press Control's head and then it moves the cursor back. Unfortunately, that doesn't work. So shift desk, cussor selected, grab this one again, Shift desk and selections cursor and there we go. Now, let's pull it up into place, and let's see if it's going to line up with everything because this is pretty long, and this is another reason why we put this in blocks like this. First of all, it keeps it so that, you know, we've not got to keep wrapping it. And second of all, you're never going to have a piece of, you know, a top piece like this all the way along. It's just not going to be like that. It's going to have some breaks in it. So now we can turn up