Blender : Essential 3D for UI and Visual Designers

1. Introduction: One of the top trend in UI design is using immersive 3D elements. The use of 3D graphics can make a content more interactive and informative. 3d for UI design may seem intimidating, as you might think. It has a steep learning curve. I am hot, shower them. And this is Claudia. Designers from India. We are here to guide you through the process of 3D design. In this class, we put our best efforts to introduce essential 3D with Blender for you, I wish were designed. In the first 30 minutes, we will directly jump into Blender and get some simple exercises done to get you comfortable with the basics. You will learn the best techniques for creating 3D icons from 2D artwork using an SVG file. And have a brief look at creating and composing 3D texts. We will have detailed lessons on 3D modeling, where we will model 3D icons to get you introduced for creating high-quality 3D models. Then we will create a simple character with the basic shapes. Finally, we will learn the methods for creating and composing a 3D scene. This class covers all the essential concepts of 3D, such as creating and manipulating 3D objects, lighting, camera, designing great looking materials and methods for rendering, followed with the required and best practices. The lessons are aimed for visual designers having no prior experience in 3D design. So all the essential topics are covered by using interactive learning methods, such as worksheets, practice exercises, and downloadable PDF guides for complex subjects. We will approach this class with a hypothetical project of creating 3D elements for home service app or website. After completing this class, you will be able to understand the process of 3D design and confidently approached creating 3D elements for your own UI projects. Jack now, and let's get started. 2. Understanding the 3D View: I know it's a really vast software. It has got tool sets for various purposes. It's used in various visualization and game development and fill them and broadcast purposes. But whatever they use is maybe the tools are still the same. Let's just look at what are the tools that is needed for user interface design. Alright, so I've just fight a blender and you can see here that we have got the first screen, which is called the splash screen. And you can see the version of current blender minus 3.2 dot one installed, but yours might be different, right? So here we can see that we can create a new file, which is the gender. And you can see that Blender by default has a cube, a light, and a camera. So first of all, we are going to get rid of all the three to me to get started from an empty file. I'm just going to select all this. So first I'll select this and right-click and say Delete to get rid of that and hold the other two objects and right-click and say delete. This way we have got a new empty scene for us to start our 3D. Here, you can see that we have got the big window, which is the main window, as you might guess, this is the 3D view and this is same as a document view, what you are used to in other 2D pipelines. And here we can see on the left that there are some tools. So we can right away get over here and we can see that there is a cursor changing and I'll just click and drag. And you can see the tools that are listed in here. So we have got move, rotate, scale, transform, and we have got some selection tools and on. So this is the toolbar in Blender and this is the 3D view port. So let's first add something in the 3D view so that we can explore it more. And here you can find the last command, which is the add q. So I'll just click on the Add Cube here. And immediately you can see that I'm getting some cursor change. And you can see that this is following the 3D view. When I moved further, it's going off and it's coming from. So it's like a real three-dimensional field of view. Okay, so let's go ahead and create something. I've got this Add Cube enabled. So I'll just click and drag. And you can see that I am able to create a box like structure by doing this. So first, let's create one more and let's see how this works. So first, what does blender asked me to do is to define the area of a square or a rectangle. And then it allows me to add the height information. Thus we get a three-dimensional cube like structure. Alright, so let's go ahead and undo this one seconds. So the shortcut for undo is controlled and z, as in all the other softwares, if you're on a Mac, it dawns on commands it. So I'll go ahead and press Control Z to undo. And we have got that and do it and we have got those single cube there. Okay, so let's go ahead and make some more cubes in here. So I'll create another cube there. And let's just increase this height. And I'll create one more. And you can see that basically I'm creating cubes and this looks kind of like a cityscape. So let's go ahead and build a simple cityscape scene so that it's easy to grab the basics. So I've created three cubes in here. I'll get over and create another one here. And now I have created four, but now you can notice that I'm losing space, right? I can't see what's going on on the other side. Now, let's introduce Viewport navigation. So this is how we can navigate around the view and create our objects. So for that, what we can do here is that you can see the right hand side and we have got some panels. And here you can see some icons, which is some a magnifying glass and a bomb. And then you can see some camera and then one more, which is the perspective or orthographic projection. Alright, so let's go ahead and click one of these to see what's happening. I'll click and drag here. And you can see that I'm able to zoom in and zoom out of my 3D canvas like that. And then the hand, which is the pan. So I can go ahead and click and drag that. And you can see what's going on. Here. I can click the toggle cameras since we don't have a camera in the scene right now, it's not working out. And this one is what is called as the toggle between orthographic and perspective view. And when I click that, you can see the perspective and I'm going to toggle that back. You can see the orthographic projections of our buildings. So this is how we navigate around the scene. Now, let's take a look at how we can tumble around the scene to see what's happening on the other side. So to make that happen, on the top you can see some colorful gizmo over here, which is the x, y, and z. And if you notice that on the 3D view, you can also see the same colors as on the top. The x stands for the red, which is this axis, and then the y being the other axis, then the z being the perpendicular 3D axis. Alright, so let's go ahead and click and just drag around here to basically tumble around our scene. And you can see I can go around anywhere that I want. Now there are some shortcuts to make this happen. You don't always have to go to the right panel to do all the same. The shortcut for all these is if you have a three button mouse or a mouse with a scroll wheel, which is highly recommended for blender, you can simply go ahead and scroll the mouth so that you can zoom in and zoom out. And you can hold Shift and then click on the scroll or the middle mouse button to basically pan. And you can simply click the middle mouse button and drag so that you can go ahead and tumbled around. Now you can see my mouse keys that I'm using on the left. And when I click on the middle mouse button and drag, which is also my scroll wheel. So I am able to click on that scroll wheel and just simply drag to go around or tumble around the scene. And I can scroll in and out to zoom. And then I can hold Shift and scroll or the middle mouse button to pan. So these are the shortcuts for it. 3. Basic Transformation Tools: We have made some boxes that resemble buildings, and we have learned about Viewport navigation tools. Now, let us go ahead and create a cylinder so that, that resembles kind of a cylindrical building. Now this is completely based on your creativity. You can create building anywhere and as much as you want, and that will basically build up your cityscape. Alright, so let's create a cylinder now. To do that, we just have to click on the Add Cube and hold, click and hold. And you can see that we have got various other shapes as well. So let's go ahead and click on the Add Cylinder. And now we're in the accident, as you can see here. It's just about the same process. Just so let's just click and drag now. And you can see that I'm able to create an ellipse here. And you might be wondering, how is it possible to create a perfect circle. It's just that we need to hold shift on our keyboard to get a perfectly circular shape. So let's get it somewhere there. And the same as how we created a cylinder. It's just about the defining the height. And just click there and you have got a cylinder or they're so great, we have created a cylinder as well. Now we have got a different forms of building being the cubes and cylinders. Okay, so now let's go ahead and talk about how we can manipulate these forms. So for example, I want to move the building closer to each other, do something like that. So let's introduce the transformation tools by which you can move things around. You can rotate things around and also you can scale things. So let's see how that's done. On the toolbar. Let's go ahead and click on the move. And let's select one of our cube. And we can just move this closer if we want, and moves closer. So you can see that this gizmo has three axis by which you can click and drag on any of the axis. And you can, you will be able to move or transform this cube or any 3D objects in general. So I'll undo that. So let's go ahead and move this a little bit like that. We can move this cylindrical shape little closer. Okay, So we have caught that right. Now Let's go ahead and take a look at the Rotate. Now we can select some of these boxes and rotate if we want. But I'm going to undo. So let's see rotation a bit later and introducing scale. You can click on this scale and you can see this gives more over here, but I want to introduce you to some other scale which is really useful in this case. So let's just go ahead and click the scale tool and hold. Click and hold. You can see that we have got a scale cage tool there. So I'll select that scale cage and you can see there are some kids that appears over my 3D box. So this is very similar to the Transform tool in the 2D world. So all we have to do is just click on one of these and drag to scale them up. So for example, we can click and drag this to scale this like that on the top. So in this way we can scale up or down and we can increase the height of the building like that. Let's go to the top view and see how that's done. So we just saw how we are able to transform the view. So how will we go to the exact front view, top view, or side view? So that also has been done by this gizmo in here. So when I click on the Z, you can see that I'm going, my view transforms into the straight top or the same, similar way. Let's go ahead and click on the X and you can see how I'm able to go to the orthographic projection of a straight debt view. And here you can see that the view displays that which we are seeing right now. It's in the right orthographic. When I click on this app, it's going to the top orthographic. In this way, you can know that in which view you are currently in. Okay, So I'm in the top view now and I'm going to use the scale tool. And I can just scale this up or down the way that I want. This works in any axis like that. You can go ahead and scale this down or up. Or you can scale this entirely in here. And you can also scale the height this way, or the width this way. Alright, so let's undo that. And in this way, this transform kids also works on cylinders and you can see how that's done. We can increase or decrease the height of our cylindrical object of there. So that's the scale tool in Blender. 4. Exploring the Add Menu: Alright, so we also have further objects than what is shown in here. So when I click on this Add Cylinder, you can see that we have got Q, cone, cylinder and UV, sphere and ecosphere. There are a lot more 3D objects than this. So let's go ahead and call some other 3D objects in here. The why we're doing this is because let's first create a plane so that all our buildings can sit on that. And then we'll also create some planes for the windows. So let's go ahead and look at the Add menu, which is on the top in here. And I can get inside the add. And you can see that mesh, the first option here, which is the ad and mesh. And in the mesh panel you can see we have got a lot more than what was there before. So we have got a plane, a circle, and then some corn tortillas and a grid. And finally, monkey. Alright. So let's create a plane. So right off the bat you can see that the plane is sitting on the ground in like that. Now since this plane has to be the base of our buildings, so we need to scale that up. So we can go ahead and use the scale cage and then simply just drag that like that. I can scale this side like that. Scale this down. Okay, so that's the plane where my buildings sit. Let's go ahead and create some more planes for Windows. For that, I'm going to again get inside our ad and inside our mesh and our plane. We have got the plane here, but the windows needs to be facing this side, right? So now let's introduce the rotate tool. Let's get inside the rotate. And you can see the similar gizmo that's appearing here as well. And you can see the axis, which is the blue, the green, and the red, which is very similar to move and skill. So let's get inside or rotate. And we need to rotate this in this direction towards the side, which is the X. So let's go ahead and click and drag it like that till it rotates that site. And immediately after I rotate, you can see that we have got some rotation here, but I want to lock this rotation to 90 degrees so that the windows are parallel to our buildings. So to do that, let's just rotate it for some amount like that randomly. And then if you notice, we have got a rotate section here, which is just popped up after we did that rotate function. So let's just open that rotate. And here you can see the angle. Let's rotate it like that and enter the number as 90. And this enables us to rotate it to 90 degrees. I'll let, let, let's now move this closer to our building. So let's put a window there. So I have this mood. And use the Move tool and go to the top view to align it. And let's move it like that. So I've got my windows aligned to this, but right now the window looks too big, right? So let's go ahead and use the scale and scale that down to something like that. Okay, Now let's position this somewhere over here and put it there. 5. Duplicating 3D Objects: We've just got one window, but it's difficult to create planes and again and again and do the same thing, right? So now let's introduce something called as a duplicate. So we can go ahead and duplicate this plane so that we can take copies of it and populate around here. So I'll exactly show how that's done. So we just have to get inside our object and get inside duplicate. Over here, duplicate objects. And it has also got a shortcut which is Shift B, which is shown in here. Let's go ahead and duplicate this once and click there. And right now you will not be able to see what's there. But when I use my move tool and move this, you can see that we have got two copies of that window. So let's go ahead and now duplicate this one more time. Let's get inside object and duplicate it. And then click and drag to duplicate that over there. And when I click and drag that, you can see that the move appears. And this is Scott movement in the Y axis of 0.4 meter. Now, make this consistent because so that you will get your windows in the exact space between each Windows, we can leave about some space. This has been defined by this. So let's go ahead and input 0.5. And it's this move this a little to the center. Let's duplicate this one more time. This time, let's go ahead and use our shortcut which is Shift D and click and then just move it on the way to 0.5. And we have molded right there. Okay, now we have got four of our Windows. Now, we can go ahead and keep duplicating one by one, or we can just select all the four and duplicate it one more time. So how do we do that is by selecting multiple objects and then duplicating them. The way how we do it is by holding our shift in our keyboard and just selecting multiple objects like that. And right now you can go ahead and use the shortcut, which is Shift B. Or you can get inside the object and say Duplicate Objects. And then you can go ahead and drag that like that. And you can see minus 0.5 in the z. And notice that we are inputting the value on the z instead of the y because we're moving it down, which is why we are also getting in the negative value instead of positive. And we can go ahead and now select the all the eight windows and duplicate one more time by hitting Shift D on my keyboard. And it's moving that like that. Now this time we have to move it doubled because we have duplicated two rows of Windows. So in this way, we can get an input value here, which is one. I've put positive one, That's why it went up. So let's go ahead and input minus one, and this comes down here. Okay, So these are our windows. Let's go ahead and select all of these now. Now there's one more way to select that is by just drawing a mercury, just like how we do it in 2D programs. It's just about clicking the select box. And you can click and see that we have got a select box and select circle and lasso. Let's go ahead and select box and just drag and drop like that. And you can see that we have got the buildings to selected. Now, we want to de-select them. The way we do this, holding Shift and clicking on the objects that we do not want. Then we have got only these windows selected. Now let's just duplicate that by hitting Shift D. And it has duplicated that. And now let's go ahead and use the rotate. And this time let's rotate around the z like that and enter this value as 90. And then let's just move this off to the next slide. Let's go to the top view and just move it like that and position this potion that like that. So in this way, we can add windows of different shapes. You can use the scale tool to transform your planes and then place them as Windows. So to practice the rotate, move and scale tool, you can go ahead and create windows for all of these buildings. 6. Creating Simple 3D Primitive Objects: Let's go ahead and look at the other primitives now, which is the cones. Or we can also use the ecosphere and a cylinder to create a simple tree. Let's go ahead and add a cylinder. And it's zoom in really close because I'm going to create a tree-like structure. So I'll just hold Shift on my keyboard to create a perfect circle like that. This is going to be the trunk of my tree. And I'll put something like that. So we have got a cylinder or they're, now, let us call another perimeter, which is going to be the ecosphere or the UV sphere, which we want, Let's call an ecosphere here. I'm going to create a sphere on top of it, which is going to resemble artery. And now you can notice that the Interactive Creation, which is here, and I click here, you can see the surface being changing so where we are going to create. So we'll create on top of this. So I'll click and drag and hold shift. And when I hold Alt, that will be my center. So I'll create something like that. And then drag it up like that. Alright, so let's just move this down. So this is our tree. And now let's go ahead and create one more. So let's duplicate this along my x-axis, and now let us create a cone instead of a sphere. Let's get inside, add cone. And then let's add hold Shift and hold Alt to constrain that. And then create a cone like that. So we've got a cone and let's move this like that. And just duplicate that by Shift D or getting inside the object and duplicate objects and then just move it off like that. Alright, so we have created two kinds of trees. Now you can go ahead and duplicate that and populate them. 7. Understanding Collections: On the right, you can see something called as the outliner which shows this scene collection and the collection. So this is the list of what are objects that are present in our scene. So you can see that there are lots of objects and this gets complicated as it grows. So to make things simple and to organize our scene, we can use a feature called as collections. So to do that, we just have to select these trees and I'll demonstrate how a collection works. I will just drag this and right-click and say new collection and call this stress. And this select our trees here. I don't want plane. I'll hold Shift and deselect that. And you can see our trees are being selected there. So all we have to do is just drag this down and put it inside arteries. Now we have got the trees in one collection. You can go ahead and turn that off and on whenever you need. So this helps us to organize our scene in a better way. In this way, you can make collections for Windows, buildings, or anything like that. 8. Creating a Snapshot of the Scene: On it. So we have created some trees, and we have created some buildings, some windows, and it's still in our WIP. You can go ahead and create whatever you feel. You can add more buildings of various sizes and scales. And you might also use our move tool to create a layered buildings like for example, this can be moved here and you can create buildings of your own imagination. Alright? So once all your buildings are done and you wish to share your view or your vision or your image here. So how would we do that? Is there are a lot of ways in Blender. So let's talk about them in detail. But right now, you can go ahead and share this image as it is with someone before, so that you can get approved on your WIP or you can share some of the best images of your scene. So to do that, we just have to get inside our view and get inside viewport render image. So when I click that Blender will render this as an image. And you can go ahead and say image and save as, and save it somewhere as an image file, which is the PNG or JPEG, whatever you want. The file format can be changed in here. So I am going to leave it as PNG and we can save it as it is. So in this way, we can go ahead and create some quick views of our 3D scene for us to collaborate with others. We have made our scene and we took a screenshot of her sin. Now let's go ahead and save this as a blend. Fine. Let's get inside File and Save as. And here you can name the file. And let's call this a cityscape. And click Save to save this as a blend. So with this, I'm going to wrap up this lesson of introduction to Blender. And you have learned the following. 9. Viewport Tips: In this video, let's discuss some tips and tricks with the 3D view port. Let's look at the standard views. One way we know how to navigate the viewport is by pressing these icons to get inside standard views. There is also another explanatory will select the view and get inside viewport. And here you can see all the view-port options. When you hit top, it can go to the top. And here you can see all the different views that Blender has to offer. Let's go to the front. And you can see the front view here. Framing an object. At many times we want to look around a different object other than one that is in the center of the scene. For example, the cube over here, whatever we do, we are not able to navigate around that object and it's becomes difficult because we need to pan and then look around it. But still, the navigation controls are not very intuitive. In this case, what we have to do is we can select the object good inside view and say frame selected. And in this way, Blender will zoom into that object. And now when you rotate around or tumble around the object, this object will be in the focus. And we can do that again. For that object is simply select the other object which you wish to frame. Let's get into view and say frame selected. This way, object becomes the main object. In some cases you have a huge 3D scene and you have got objects that are floating around somewhere else, and it's not visible in this view. And in this case, what we can do is simply get inside view and say frame all to show all the objects that are in our scene, split viewport. There are many cases where we would like to have more than one 3D view. Blender offers us ways in which we can split the viewport and have number of use of our 3D scene. To do that, we just have to get inside our 3D view, put our cursor to the border of the 3D view. And we need just come to the closer to the border. You can see the cursor changes here. And simply right-click and say vertical split to split the viewport into two. And in this way, you can have multiple views of your scene. And to get back to a single viewport, simply just do the same. Go to the border of our 3D view and right-click and say join areas and joined it back. And now we're back to one 3D view. And you can also do this in a horizontal way if you wish. Just right-click and say horizontal split. And you can see that there is a split appearing and simply just move your cursor and place this split where you want and click once. And this way you can get two viewports on two sides. The same way. You can also get rid of this view by right-clicking here and say join areas and put that to join that back. And now we're back to one 3D view port. 10. Tips & Best Practices for Transform Tools: In this video, let's discuss some tips and tricks to use the transform tool. Let's first talk about the origin of a geometry. When I select an object, notice that you can see a yellow dot in the middle of a 3D object. This can be seen when you select any 3D object. By default, the origin exists on the exact center of a 3D object. Now when I hit the Transform tools such as move, notice that the transform tool tends to stick with the origin of an object. This applies to the rotation as well. You can see that a simple rotation is done with the reference from the origin point. Now we understood that the transform tool tends to stick to the origin of an object. In some cases, the origin may not exist in the center and might even reside outside and object. This creates problems when using transformation tools. Like I have to move from this point instead of this. So when I use the rotate, you can see that the rotation is done from the outset the object, thus, we are not able to rotate the object in its own axis. In such a case, select the object and go to the Object menu. And say set origin, origin to geometry. This will put the origin back to the center of the object. And now our transformation tools can be carried out easily. And origin is a point of reference from where many parameters for a 3D object is calculated. Open the sidebar by pressing the arrow on the right or hit the N key on the keyboard under the Items tab, you can notice the location information for that particular object. This location information is taken from the origin point. I enter some value on the Z. You can see our object is moved up like that. Incentive back 0 here. Yes. This is calculated exactly by keeping this elbow dot all the origin. This states that the origin point has a great significance for a 3D model, 3D cursor. The toolbar on the left displays a tool called as 3D cursor. Click on it, and then left-click anywhere on the 3D scene. And you can place the 3D cursor at that location. Click anywhere again to displace the 3D cursor. Again. Once you are done positioning the 3D cursor, you can go ahead and use the selection tool to exit out of the 3D cursor mode. This way, when you left-click anywhere on the 3D scene, the 3D cursor will not move. Let's add a cube from the Add menu. Click Add, mesh and cube. Notice that the cube is created on the location of the 3D cursor. By default, the 3D cursor exists on the center of the world. That's why our objects landed perfectly in the center when we created them. Right-click anywhere in the 3D view. Find snap, and click on cursor to world origin. This will put the 3D cursor back to the center of the 3D world. Now we understand the significance of 3D cursor in creating new 3D objects. Changing pivot point. Similar to the pivot point in a 2D graphic application, the 3D cursor can be used as a pivot while transforming objects in 3D space. Use the 3D cursor tool to place the cursor somewhere on the 3D scene. Let's put it here. Select the Move tool and click on an object on the top of the 3D view port, select the transform pivot icon, and click on 3D cursor. Can notice that the transform tool has jumped to the location of the 3D cursor. And this will follow wherever the cursor goes. Again, I'll hit Move tool. And you can see there, you can now perform transform operations such as rotate, move, or scale from that pivot point. Notice that our origin point, the orange yellow dot, still stays in the center. After performing the transform operation, again, click on the transform pivot icon and click on median point to reset the pivot back to the origin. 11. Camera basics: In this video, let's look at the basics of setting up cameras in Blender. After we complete staging a 3D scene, we need a camera to capture an image of the scene. Cameras are required to communicate our vision. Cameras help in visual composition and rendering. Creating a camera. Cameras can be created from the Add menu. Add camera. By default, a newly created camera faces the same direction of your viewport. That is, if you create a camera from the top view, your camera looks down and creating a camera from the front view gets secreted camera facing front. Moving the camera around. Cameras can be moved and rotate it around by standard move and rotate tool. To view through the camera, simply click on the camera icon on the right. You can notice a border and also displays camera perspective on the top left corner. But now we are not able to move the camera from inside the camera view because we are not able to see the move tool. In this case, we can split the 3D viewport into two. Right-click on the border of the 3D view port and select vertical split and click on the middle to split the 3D view port. Now it's just a matter of selecting one viewport as camera view. Now in one view, you can rotate and move the camera while on the left. You can also see what the camera is seeing. Once you're done, simply right-click on the border again and select join areas from the drop-down. Now we're back to a single 3D view port. There is an alternative way to move cameras, that is by clicking on the arrow on the right, pressing the Enter key on the keyboard to bring up the sidebar. Then inside of the view tab, you can find a checkbox called as locked camera to view. Once that box is checked, you will be able to move the camera by your standard Viewport navigation controls. Once you are done, uncheck that box and tumbled around to exit the camera view. Resolution and aspect ratio. The aspect ratio and the resolution can be changed in the properties panel on the right. Click on the Output Properties button. And under Format, you can change the resolution. This will also impact the aspect ratio. Square composition can simply be achieved by entering the same value into both the fields. I have entered 2048 pixels on both x and y to get the results in a two k square image, perspective and orthographic camera. So blender allows you to choose between orthographic and perspective cameras. Select your camera and click on the Properties panel. Click on the object data property or the green camera icon. Under the lens. Use the dropdown to choose between orthographic or perspective. The orthographic scale value allows you to zoom in or zoom out of your view. 2's perspective. For a natural perspective camera, the focal length affects your perceive depth and perspective. You can mimic real-world camera lenses through the focal length. Multiple cameras. Blender allows us to add any number of cameras, enabling us to create multiple points of views of the same scene. To switch between cameras. Select the camera through which you want to see. And click on View. Camera. Click on Set active object as camera. Let's now see what we have learned. The importance and need for cameras. Creating a camera in Blender. Splitting of a 3D view port for camera composition. Moving cameras around, composing 3D scenes using the lock camera to View feature. Setting resolution and aspect ratio. Types of camera changing focal length. Using multiple cameras. 12. Lighting Basics: In this video, let's talk about a crucial topic called as lighting. Lighting is important because even though you have a 3D scene and everything setup, lighting is what creates the sense of depth. Lighting is what will introduce three things, which is like highlights, mid tones, and shadows. Now, only using these three things, you will be able to perceive depth without a shadow or without a highlight. You won't be able to see the three-dimensional D, or you will receive that object as being flat. Alright, so without further ado, let's see how lighting works. So to demonstrate this, I have given an file. So you can find this under your resources and worksheets and just open lighting underscore worksheet. Well, I have got mine opened. First of all, you can notice the viewport has been split into two. And then you can see that there is a monkey and that is a ramp, just like a photographic studio, how you can see ramps at the back. So just like that, I wanted to create a ramp and then you have a camera up here. So let's go ahead and take a look at how this looks when you render it. So this is the shaded view which we are present right now. Now I'm going to select the rendered view up here. So you can see here currently it's set into Viewport Shading with a solid. So let us just select the rendered view and the last button. And when I click that, you can see there is some lighting in the scene and that is some shadow. And then there is a monkey being lit like this. So on the right you can see how the scene is setup and the monkey, and then the left view is basically just a camera view. We're just seeing through that camera. And this is what is a lighter. So take a look at that. So this has got one single-point light. So this is a single-point lighting. So we can see that this is a light. And then up here on the Properties panel, you can find something called as object data properties, which is showing the light bulb icon in green color. So I've just selected that and insiders of which you can see that we have got the color and power. And this says that it's a point. Light. And bright lights are like, if you compare to the real-world, they're exactly like incandescent bulbs. For example. The usual incandescent bulbs which you find at homes. So they emit in omnidirectional, which means they emit light on all sides. And they simply create a little bit more shadows because of their size. Okay, let's go ahead and change some of the parameters to see how it's affecting our render leukemia. The first one is the power, and you can see that this is a 60 watt light. So let's go ahead and increase that to maybe 500. And on the left you can see how that's affecting your render. And immediately you can see that there is a lot more light in the scene and your monkey or the subject is getting washed out. And then let's go ahead and reduce it back to 60. And now you have a little more softer look. And then you have something called as the color. So let's go in and change the color. You can see whatever color I input here, that color is being translated to the lighting. And you can replicate any kind of an RGB light in through this way. Let's go ahead and set this back to white. I'm just dialing the saturation back all the way so that I get right back. Okay, So we have got the power and color of lights and how it affects and how to change. Next, Let's talk about the position of the light. Now, we know that this is a point light and it is an omni-directional light. So wherever you place it, the light is going to emit its luminance all around it, just like an incandescent bulb. So I'm just going to move this light in our viewport so that you can see how that affects your scene. So let's go ahead and use the Move tool and let's bring this closer. And you can see now that we're getting a more from the front light than from what it was. So in this way you can see how lighting drastically affects the mood of your scene. So let's just bring it much more closer. And then you have a much more sharper light. And in this slide, what do you need to understand is that the version of your light really affects the look of your render. What I mean is that whenever you move the light closer, you get that intensity is much brighter and whenever you move the light off, it's going much darker and soft. This is called as the inverse square law. So just like that, just like a real-world light behavior delights in Blender to behave the same. Okay, So we saw how the position of the light affects your render. Let's go ahead and talk about how this is going to affect your shadows. Now this slide is a point light. So if we are having a much sharper shadows or whenever I go and close you can see the shadows. Details on the shadows are much more darker. The intensity or softness of the shadow really depends on the size of the light. So whenever we have a smaller size light, we get a sharper and much darker shadow. While whenever we use a larger size light, we get a softer shadow. Now, just think of it or visualize or you can go around and take a look. If you have a large window in your home or in your office, just look at how it's producing a shadow. Or I'll give you another example. If you go out and if you have an overcast day, you can see that the shadows are much softer and bigger. While on a sunny day without any clouds, you can see that the shadows are much sharper and correspond. This is exactly the case. Let's go ahead and take a look at how the size effects here. So I'm just going to select that point light. And up here we can see something called as the radius, which is setup to 25 centimeters. So this is the size of the light. So I'm just going to increase the size. And whenever I increase the size, you can notice these shadows are getting lot softer even though the position of the light hasn't been changed yet. So let's go ahead and dial this back and let's see how it's affecting the shadow. And you can see how this is putting the shadows up here. So let's go ahead and put it back to 25. So you just need to remember the difference between the larger light and a smaller light in terms of shadows. 13. Area Light: So let's take a look at the outliner and let's go and switch the single-point lighting off. And now we have a black view because we don't we no longer have any lights in the scene, which is why it's dark. Let's go ahead and turn on back another collection which is called as the types of lighting. So I'll just put this on and we can go ahead and switch off one by one so we'll see how it's looking. We can switch off the eye icon here. So let's switch off the other sunspot and point and we'll just place on the area. This is contradictory to the point light. This is like an area because it emits light from an area. And this is not going to emit light in all directions. It's just going to face one directory. Want to compare this slide to the real-world. It's just like a window at your home. Or this can be a softbox at a studio. Just like our lights, we can go ahead and position this off and you can see how that's affecting. And this is also going to affect the rotation. Whenever I rotate the light. You can see how that affects because this is not an omni-directional light and it only throws up light in one direction, as you can see here. Okay, so let's switch off the area. 14. Spot Light: This is the point light which we saw earlier. And then you have a spotlight. So when I turn that back on and you can see how that's affecting our scene. You can see that there is a light on the top. So this is the spotlight. And just like traditional spotlights, where you see it on place or on stages, this is just throwing up light on, on a spot. If you go to some front view, you can rotate this to see how that's affecting light. So my camera's little zoomed in. I'm just going to click outside. And you can see how this part is actually affecting my lighting over here. And I can put it closer or farther off, just like a real-world spotlight, you can fake this and all these slides, the other parameters remains the same. We have the color, power and the size. And for this you also have a bean shape where you have the spot size and the blend. So when I reduce the blend, you can see how that's affecting the light blend between the light and the shadow. And then you have a spot size. So a larger spot or a smallest part is like that. Okay. So that's that was a spotlight. So I'm just going to turn that back off. 15. Sun Lamp: Then the last slide, which is the sun lamp. So when I turn on the sun, you can see this is just like the real-world sun. It's meant to replicate that. This is a directional light, but it does not matter where you place this because when I, when I move the sun lamp on a 3D scene, you can see this is not affecting the light of the scene here, but whenever I wrote it, Let's go ahead and rotate this. And you can see that the rotation is affecting light direction, but the movement is, isn't affecting. So wherever you have the sun lamp in your scene, all that matters is which way your light is facing, and that way you will have your shadows and highlights. Okay, so that was the sun lamp. Let's go ahead and turn that off. 16. Three Point Lighting: Let me show you how you can create lights. You just need to get inside, add and then inside of light, you have all the lights here. And you just have to create a light. And you can move that in your scene and then change the parameters here. Alright, let's delete that. So in that similar way, you can create suns. What area or any lighting of your choice. Let's go ahead and look at another example, which is the three-point lighting. So I'll just turn that on and you can see that I'll get back into my camera view. View. Gamblers, active camera, and this is the camera view here. And then you have here that there are three points of light. So this is a traditional technique of lighting, usually used in photography and in some films, where you see that there are three points of light, which is called as the key light and fill light and a backlight. So what this does is this the key light I have named them accordingly in the outliner, you can see that the key light is usually, I'll just turn off the other lights here and you can see there's just one light. The key light is the most brightest light in the scene. So if you see that we have the 100-watt setting in the skylight and it's usually smaller because it's meant to produce some shadows to show the depth. And then we have the fill light, which is usually kept opposite to the light. You can see here that it's, it's facing the opposite direction. And this one, if you see that this is the intensity of a fill light is much smaller or lesser than the key light. We saw a 100 watts and this is just 50 words. What this is going to do is that this is going to soften some shadows which resulted because of the key light. I'll switch off the field to show you what's happening and you can see what's happening over here. And then when I put on the phyllite, you can see how that's filling or how that's giving some light to the shadow, which is why it's called as the fill light, because it's meant to fill some areas that was left out by the key light. Usually this is like a lot lesser or 50% lesser than the key light. And this is much larger because it's not meant to create more shadows. Okay, Then let's turn on the last slide, which is the backlight. So what this is going to do is that it will add a separation between your background and your subjects. So let's go ahead and turn off the fill and the key lights so you can see what is exactly doing. And when I turn on the backlight, or this is also called as rim light in some case. When I turn this back on, you can see how that's giving a rim like a look on the outlines on the shallots of art object. And here you can see that you have a nice highlight with separate your subject from the background, which is why it's called as the backlight and it's usually kept at the back of the subject at an angle so that it produces a nice highlight on the edges. Let's turn back on our fill light and key, right? And this is a general three-point lighting setup. Now you don't have to do three-point lighting every time, but this is just a technique which I wanted to show. You can also find here that we are able to create more lights for this same subject, just like a real-world. And we're able to tweak individual parameters for different lights, resulting in a very different lighting outlook. 17. Easiest Way to Light a Scene: So now we saw how we can use physical lights inside of Blender. But these techniques are great, but it takes a little time to set up, right? So I'll introduce you to a much more easier lighting technique called as image-based light or HDRI lighting in general terms. So what this is going to do is that it eliminates all the lights in your scene. But it provides an image to the world. And just like if you go outside, even though you switch off all lights, you still have this guy, right? So you have an outdoor where you have this guy and that's going to give you elimination. So similar to that, even though you do not have any lights to the scene, you can still set up a world like setting, which will give you elimination. So let's go ahead and take a look at how that's done. I'm just going to put off the three-point lighting. And then let's get inside our world property. And inside of world, you can see that there is a color input. And I'm just going to click on that yellow icon and then click on environment texture, because this is like an environment around your scene. And immediately you can see that's looking as pink. Don't worry. Now let's go ahead and put an image here. Let's get into open. And then let's get inside our resources. And inside of which you can find Studio small dot dx. But can notice here that this is an EXE image means that it is a high dynamic range image, and usually it's in 32-bits. And you can find a lot more depth than a traditional photograph. Now let's just go ahead and see how this is looking. This is also in an EQ triangular format, which means that this can wrap around us. This is just like a 360 panorama photograph. So we're going to select this so that this is going to wrap around our world, just like SPL. Let's go ahead and select that and open image. And when I do that, you can see that even though we do not have any lights in our scene, but you are still able to get that elimination. Great, right? We just plugged in one light and we are now able to see nice elimination with some soft shadows and things like that. So how do we change this is by, you can go ahead and select one of your favorite HDR is online. You can go ahead and find them. You can even buy them, or you can download them for free. There are a lot of options and there are a lot of photographers who sell or post their age just for free. And you can go ahead and download them to set up your world of your choice. Okay, so here you can see that we have a strength of one. So when I dial that to two, you can see how that's affecting the intensity of your world. So let's go ahead and send this to 1.1. And you can see that the scene darkens a lot. So this is the strength of your world. So let's set that back to one. And this is the lighting which our world has produced. 18. Tips for Working with HDRI Lighting: We just saw the easiest method for lighting, which is the HDR lighting. Now, we'll see how we can manipulate this HDR to get different lighting, that is, different highlights and shadows. To do that, go to the top of your 3D view port and just select our editor type here, the icon over there. And here you can see that we have lot of editor types here. That says get inside the shader editor. This is used for creating materials in a little advanced way, but we will not be getting inside and touching it. Lets us select the next drop-down, which is object to the world. And here you can see that we have got three different nodes here. So it's simply just select the studios small. This is nothing but the image which we used just now, which we called it over here. So the same has been applied here. And if you remember that we also selected under the background, so that same node is in here. So just leave that and select this studio small O9 star image. And under our node here, they can call this by pressing the N on your keyboard or simply just clicking on the arrow. And another node, you can see that the node properties and texture mapping hit the texture mapping. And here you can see the rotation values and simply just change the z rotation value. And you can see on the left in our camera view that the lighting is changing here. And yes, you can see how our highlights and shadows are changing. So this is basically just rotating the world around our object. And thus, since the world is rotating, the lighting of the world is also rotating and our object is getting different shadows and highlights. Let's get back to 0. And there you can see. 19. Understanding Glossy Materials: Let's talk about materials. Materials are very important in key factors deciding how your objects look. And it's going to give you a 3D objects color, the finishes, or in some cases textures. And it's also going to tell how it's going to react with the light good materials will definitely improve your quality of your 3D render. Okay, so let's go ahead and talk about it a little more in detail. So I have given you a 3D file, a worksheet for materials which you can find in the materials worksheet. So I wanted to open that. And in here you can see that we have got different types of materials as per its categories in its collection. So right now we have just opened Material, one glossy. And first of all, to explain this worksheet, you can see that there is some kind of a shader ball here. And then a shareable is just an object used to showcase your material, how it's going to look. On the right, you can see that the shader render, which is like how this is going to be looking when it's rendered. And then on the rightmost you can see there's an object which is actually put this material on it to show how it's actually looking on a real object. So to see this material in action, you just have to get inside the rendered view and just sit on rendered. And you can see how that's looking. When we're getting inside a render, you can see that there is a little bit of lag because it calculates to show you Material like that. So to avoid that, I have already pre-rendered this material to show you how that's looking. First, the material which we are looking at is a glossy material. And then as the name suggests, you can see how it's creating a nice glossy reflections of your environment. So when I zoom in, you can see nicely that we are having nice glossy surface. And this is all the reflections are very sharp in this case. So let's go ahead and take a closer look at the material, how it's defining these properties. So when I select the shader ball here, and on my right, you can see that there is a Properties panel. And on the properties, Let's go ahead and hit on the material property, which is this icon over here. So when I hit that, you can see there is a material called as glossy applied to this shader ball. And under that you can see these are the material properties are for that particular material. And first of all, you can see something called as the base color. Now, ignore these terms because they are a little more advanced and you really don't need these when you are giving materials for UI. So up here you can see that we have a base color and this is the color which decides how this is going to look over here. So when I go ahead and since that, you can see how that's changing here. I'll undo that. And then you can see the next property. If you scroll down, you can find something called as the roughness. This is what is basically deciding the factor of this material that how rough it should be. Now, if you notice that we have got a slider here, and this is saying 0.02. When I just increase this slider, go ahead and make this material refer, and thereby you get a MATLAB. Let's go ahead and reduce it back. So this is a slider which decides how shiny your materials should be. And most of these sliders here do just add. These just go from 0 to one. And they allow you to decide how each property of this is going to look. So let's go ahead and look at these in depth in the next upcoming materials. So this was the glossy material and how that's looking. 20. Understanding Matte Materials: Let's go ahead and turn off the glossy one. And now let's turn on the mat. And you can see that we have got the same shader renderer and an object rendered. And if you zoom in closer and take a closer look, you can see this particular 3D object has a matte finish with where in the last example we saw that it was shiny. And you can see how those reflections are nicely diffused and they are no longer like crisp and sharp you saw in the earlier example. And in here you can see the shader ball, how that's rendering right now. And you can see that the surface is completely mad and offer feed. So this is achieved when I select that, I'll get inside our material properties just like the same we did. And you can see this has got a mat material applied to that. And under that you can see that the base color, of course, is like a gray, a warmer gray. So we have got that gray here. And then you can just scroll down to see that the roughness parameter here has just gone up to 0.7. And you can go ahead and put it up further to increase the madness. And here also you can see it's just a value of between 0 to one and whatever value I keep, it's going to alternate between that. I'm just going to put this slider back to 0.1 so you can see that the material starts to get shinier. The reason why we're not seeing this change affecting here on the object and shader renderer is because as I said, these are just images which were pre-rendered. So whatever change you make is not going to affect these as they are not real 3D object. They're just an image to show you how that's going to look. So I undo and you can see that it's back to Matt. So right now we just saw how roughness effects and how this controlling this one slider that roughness we can achieve between Matt and shiny. And we also saw how the base color affects the color of your material. 21. Understanding Metallic Materials: Okay, let's go ahead and switch that off and switch on the next material, which is the metallic here, I've just turned on the metallic collection and you can see we have got a shader ball, the same shader ball, but in this case, it's showing like a gold kind of material. So let's see how this is achieved. You can also see the object grinder where we have got some metallic reflections happening. The key difference, what you find in metallic and non-metallic objects is that when you have a colored metal, the highlights or the reflections on that metal usually has the same color. Now if you have a goal and how you perceive it as cool is because when you see the highlights, the highlights are showing gold color. But this doesn't happen in case of a non-metallic objects like plastic or something, where you usually see the light color of that island. So let's see how this is achieved. So I'll just select that object here. And we can see that the base color seems the same. So whatever color you give, the metal will be that color. So I'm just going to reduce this value back to white. So you can see that our goal is immediately become a silver. Let's undo whatever color you give here It's, the metal is going to inherit that. And when I just scroll down, you can see something called as the metallic property here. And this is the same slider which was shown in the roughness. Similar way, you will have a value between 01. So we can get back to 0. And now immediately your object has become dielectric or it's a non-metallic object. And when I just dial that up to one, you can see how that's affecting the metal look of your objects, replicating realistic materials. This value will usually be either 0 or one because you don't have anything in the real-world that is half metal and half dielectric. All the objects in the world are either metal or non-metallic. So in this case we usually put this to 0 or one. But this slider, I can give you some artistic abilities because when we're talking about icons, creating 3D icons for UI, then our imagination is the limit, right? So we can even get this value 2.3 or 0.5 on any intermediate value. Because most of the time we can have artistic flexibility other than looking at realistic materials. So I'll put this back to one. 22. Understanding Transparent Materials: Let's now turn off this metallic material and let's talk about the next material, which is the transparent or glass-like materials. So I'll just turn that all the transparent materials, as we call it, allows you to add glass-like an element or transparency or translucency to your scene. So here you can see how our shader ball is reacting here. And this is like a glass and you can see something just like how real glass would behave. But you can also see that this is frosted. So let's see how that's going to affect. On the right, you can see the object's render or how you can use these in your projects. You can create transparent kind of themes with these kinds of materials. So let's see how it's achieved. I'm inside our material properties and we have got a material called as transparent and then you have the base color. Yes, this base color is going to affect the look of your glass-like materials. So let's go ahead and put that back to white. And then you can go ahead and scroll down to take a look at some of the things. This is not a metal, so it's got 0 as its value. And then you have got some roughness here. So this is the surface roughness which we can reduce or increase in this case. So this is going to give you a mat like glass or glossy like glass. But just note that this is not actually the frosted effect that you're getting. This is just the surface roughness of the glass. To demonstrate, you can see the highlight over here. This highlight can be changed by reducing this value when I have 0, you can have a sharper highlight over there. And then when I increase that roughness back on, you have a mat like highlight with it. So that's the surface roughness of the glass or the transparent surface. And then you have, when I scroll that down, you can see one value which gives this look of a transplant material. So I'm just going to expand this a little bit, which is called AC transmission. So when I put this all the way back to 0, this is like an opaque material and it does not play the properties for glass because of this transmission. When I just put this transmission all the way to one, you can see that this is getting to look a lot more like glass. So just this one slider will make your material look like the glass. And then you have something called as transmission roughness. Now this is where the magic actually happens. When I put this value to 0, you can see like a clear glass and this is what it's going to do when I reduce the roughness also back. This is like exactly clear glass and this is how you replicate clear glasses. So let's undo that. And let's increase the transmission here. Now usually these themes in our cases, when we talk about I designed this really less applications of clear glass because we always go for like slightly frosted look. So this handle will really help you do that effect. So we can reduce or increase this transmission so that how that's affecting the objects behind that or the frosted look of a glass which we want. And you can see the object render here that this is a nicely frosted effect where you have the objects at the back are nicely blurred because of the transmission roughness on. So with that we saw different kinds of materials and how they behave and how just changing some parameters can get you with these kind of looks. In the next video, let's see how we can create these materials from scratch. 23. Creating a New Material: In this video, let's see how we can create a material from scratch. So I have opened the same file, which we followed along till here, which is the materials worksheet. So I'll go ahead and switch the transparent off to get this off. And we have an empty scene here, but next one which is the exercise. So I'm just going to click on Open. And you can see that there is just an empty shader ball and there's nothing next to it. So let's go ahead and create some materials for this so that we can see how that's going to affect. So up here when I select that, you can get inside our Properties panel. And on that Let's hit on the material properties. And this has got the name. So when I open that, you can see that we have gotten this Shader Ball called as an exercise, which is why you have the exercise name here. When we rename it here like shader ball. You can see that the material property also shows the shader ball here. So with this, you can understand which objects are you going to create the material. So make sure you select the ball first, then get inside our material properties. And up here you can also confirm the shader ball here. So let's go ahead and create the first material. Because since we don't have any material to this blender, by default gives it a white color. And then when we create the new material, you can see that something called material appears and you have got all the properties which we just saw right now. So we'll just go ahead and call this as test material. You can do this by double-clicking here. Or you can just simply go ahead and click this and you can name this as test material. This material. Let's go ahead and seen some parameters here. Right off the bat. I want to change the base color to some blue here. And then you can just scroll down. And we want to make this a shiny surface. All you have to do is just reduce the roughness and this goes shiny like that. If you want to make this mat, you just have to increase this roughness and that becomes mat here. And then we can go ahead and change the metallic value now to get our material as metal. And we can reduce that to get a blue metal like that. And then let's go ahead and turn off the metallic and roughness. And now we can just increase the transmission to see like a glass-like effect. And we can put on the transmission roughness to have a frosted look. This is how we create materials inside of blender. I'll just go ahead and put this value back to 0. And you can anytime renamed this material here to the material of your choice. So we saw how we can create materials. Now let's go ahead and take a look at how we can remove or delete materials. To do that, we just have to select our object. And then under our materials property, you have a plus and minus icon. When we clicked click on plus, you can add on more materials. And when I hit on the minus, this material is deleted and you see that back, we have no material here and we can go ahead and create a new material there. So this is how we can delete existing materials. Now since we had created some materials earlier, they will just stay inside Blender and you can call them anytime you want. Now you can relate this to swatches. Whenever you create a color inside of your 2D program, that program, we'll save that color somewhere, right? Like swatches. Just like that. You can save up materials, new file, and you can call that whenever you want later. So in here, you can see that there's a drop-down. Either you can create a new material or you can call an existing material in your file. So you just have to click on this drop-down and you can see we have got all the materials which we used in this file earlier, which was the glossy and Matt and metallic. And we also have something called as the test material here. And then we have a material for texts which was used to just display takes there. And then you also have the transplant material. Now all you have to do is just click on one of this material to apply that. So let's hit on the glossy and we haven't got that glossy applied. So blender will have these materials in your drop-down here and you can call them like that. The one important thing to remember is that when you have these materials like this, and you can see something called as the test material. When you take a closer look, you can find that there is a 0 next to it, which means that there is a material in Blender, but it hasn't been applied to any other object. And it has got 0 objects applied, which is what that 0 means. And why I'm saying this to you right now is because if you have anything in blender that shows 0 next to it, like this, which means that when you close Blender, this is going, this material is going to be a removed. So this will just exist in your scene for that particular session of Blender. So to avoid that, you can just apply that material to any of the objects in your scene. And in that case you will not have 0 anywhere. And even if you close Blender, then lender own, delete or remove that material. So since we just created that material and we didn't apply this to anything else. We have a 0 there when I just hit this. So this is going to be applied back. Now when I click that drop-down and you can see there are no zeros here, which means that these materials won't be deleted even though you close Blender, you can recall them later in time, we saw how we can create, edit and delete materials, right? And we also saw some of the top materials which will use like metal, glossy, mat, and transferring materials. Now it's your time to open this file and get inside the exercise, which is the shader ball which we renamed now and go ahead and try to replicate these materials. And you can change colors, stained some roughness parameters, and change some properties there to find the material of your choice. 24. Best Way to Use a Custom Color Palette: In this video, let's see how we can call a custom color palette. Inside Blender, I have given a color palette in the resources section, which is the color palette. Now let's see how we can call this image inside of Blender. So we can call off these colors there. I'm inside of Blender here. To do this, we need another view. So I'm just going to right-click on our 3D view and say vertical split. And I'm going to split it somewhere there. And under our editor type, I'm just going to say image editor. And this brings up an image editor in Blender. I'm just going to hit Open and navigate to my desktop where I have saved my resources. Another of which you can see the color palette, dot PNG, and it's going to open image. And we have got the color pallet inside of Blender, but we just have to select the object to get inside its materials. I'm inside the material and you can see the base color. Just click that and you can see an eyedropper there. Click on the eyedropper and click on any of the color to change it. Let's get inside are rendered. And you can see how we can change colors from our color palette. This is a great way to get exact color palette. Once you're done, simply just right-click on the split and say join areas to get rid of that palette. 25. Rendering Basics: Once we finish setting up the 3D scene, that is, we are happy with the 3D models, cameras, lights, and materials. The final step is to extract an image or an animation of the scene. This is where the process of rendering comes in. Rendering helps you convert your 3D scenes into shareable image or animated formats. Render can be an image or an animation, and is the final output from a 3D software. You can preview the render in the viewport by selecting the viewport shading method to render it. Selecting the render engine. Our render engine defines how blended calculates your Image. Blender offers cycles and EV acids render engines. Getting inside the random properties allows you to select the render engine from the drop-down. The Cycles Render Engine is preferred for realistic rendering. Two cycles from the drop-down. Choose GPU for rendering with your graphic card. This method is faster than CPU rendering. If you have a powerful GPU, render samples, random samples define the quality of an image. This can be changed under the render sampling property. Hi samples results in higher quality and low samples result in lower-quality. Make sure you're looking at render samples and not viewport samples. Because we put samples doesn't control the output image and only applies to viewport rendering. The recommended samples for most cases is 512. Remember, increasing render samples can also increase the render time. Rendering with transparency. Oftentimes, we need only the 3D element with the transparent background. Rendering with transparency enables us to use the rendered images on compositions later. Under the Render properties, scroll down, fill them, and check on the transparent checkbox. This will produce an image with a transparent background. Color management. Color management defines how blender treats your colors and contrast. Under the color management, choose to look too high or very high contrast to get an image with a good contrast. The final step is to render the image. This can be done under the main menu. Render. Render Image. Blender opens up a new window showing the render output. You can notice the image getting ready here. Once the image is done, you can save the file and Save. And Save As choose the image format you want to see. And make sure to select PNG if you want an image with transparent background. And also ensure that RGBA is selected. Give a name to your image and click Save. I have provided a downloadable PDF in the resources section that explains the process of rendering for your future reference, Let's see what we have learned about entering. Our Render can be an image or animation, and it's the final output from a 3D software. We need to have 3D objects, lights, camera angles, materials ready before we move on to rendering Cycles, render engine produces realistic results. Rendering samples, rendering with transparency and color management. 26. Importing an svg File: In this video, let's see how we can make a quick 3D icon using SVG file. For that, I have opened the blender file. If you'll notice here, that is the default camera, cube and light. So I'm going to select all and delete it. Simply selecting everything and delete it. Perfect. Now, the first step is we have to input our SVG file. For that, I'm going to go inside file import SVG. If you notice in the resource file, we have icon dot SVG file. So I'm going to open it by selecting on it. If you see on the top view, we have our file ready here. So I can nicely zoom in so that we can see the file. So first step, we are going to rotate it in the x-direction so that it will come on the front orthographic view. I'm going to select all and then click on the rotate icon and rotate it on the X direction. So let's enter 90 degree so that it is perpendicular to our front view. That is front orthographic view. Now we can nicely zoom this in. So if you notice this design, we have three elements. In this. One, it's a rounded square with a circle cut and a drop water top shape. And the final one is the Spanish sheep. So what we're going to do this, this is a 3D icon for plumping services. So we are going to use all these three elements. That is the spanner, the rounded square with a circle cutout, and the drop, water drop. Then we're going to give some depth to it and have, and make some playful orientations. That is rotations and positioning it in such a way that it will have a nice shadows and very playful 3D icon using all these three elements. So let's get started. 27. Extruding from a 2D Artwork: So how we can convert any SVG file to a 3D into a 3D icon. So this can be done using three steps. First one is adding ten. That is, we're going to use all these three elements and extrude it. So in this way we can add the first step that is adding depth. And the second step is we're going to change the orientation of individual elements and that is the spanner. And they drop and change it in such a way, it will add a 3D depth to it and then position it. The second, third step is to add layers. So once we add the depth that is extrude it and change the orientation. And the third will be arranging it and layering it. And finally, we are going to composite. This is the three steps we're going to follow. Let's tap into the first step that is adding thickness there, extrusion to individually elements, how that can be done. So for that, I'm going to select one shape of our SVG file that is rounded, square with this circle cutout. So I'm going to select it and go inside proper object data properties. Here you can see in this also we are going to do a major three operations. First, we are going to fill it. Second, we are going to add extrusion to this, and we're going to add Bevel to this side. I'm going to select this rounded square with a circle cut up. And let's go inside the object data property. And then shape. First step is to select the 2D shape under shade 2D. Then if you can notice on the bottom there is a full mode here, selected none. So we're going to change the mode to both. If you notice here, we have filled this. So the next step is we are going to add extrusion to this. That is how we can do that in the same object data property panel. You can notice a tab called geometry. I'm going to select on that. If you notice that there is first one offset, the second one is the extrude. I'm going to slightly rotate our scene in this way so that we can see how much extrusion to add to our rounded square with a circle shape. So I'm going to add extrusion. So this is a very rough way of adding it. I'm just going to add the depth as adequate individual elements. We're going to add individually different wearing extrusion values. So I'm just going to keep this as it is. The third step is to add the bevel value. So in the same geometry panel that they're opening, you can notice other thing called Babel. In that round is makes sure the round is selected. And in-depth, we can add a bevel value. So you can notice here how it is getting changed when I increase. So I'm going to just type in one m, m. So this is enough. This is the bevel that I was looking for. Now, if you notice, our 2D SVG file, that is the rounded square with a circuit is now having a nice full and an extrusion value with a bevel to it. So in the similar way, we are going to work on this panel and the droplet, we are going to follow the same process. I'm going to select on these spanner icon and then go inside object data property. Inside that, Let's change the shape into 2D and then Fillmore do both. If you notice the first step is done, that we have filled it. Next we're going to go inside the geometry panel and then add some extra cushion to it. Yes. So perfect. You can hold Shift to control the extrusion you want. So I'm going to hold Shift key on the keyboard and then slightly increase it so that we can control it in Much better way. And then let's add some bevel to it. So the previous icon, we have added one of them, the same. I'm going to repeat one. Perfect. So now we have our Spanner also ready with the extrusion value and the bevel detail, the similar way, let's select our drop and then repeat the same process. So now we're going to go inside this shape 2D set on 2D fill mode to both. Then extrusion value. I'm going to hold Shift and then slightly increase it so that we can control it in a better way. And then finally we're going to add Bevel two. It makes sure that it is selected on the round and then add a depth to it. Perfect. So now if you notice our first step is dead. That is, we have added extrusion and Bevel detail for all the elements in our object. The next step is to change the orientation and position it in such a way that it will add more detail to it. That is, add a little bit more drama to this scene. 28. Rotating & Positioning the Icon: I'm going to select these spanner first. And then let's select the Move icon here. And then let's move it down here. So now if you notice one thing, so far, our according to our SVG, when we imported it to the blender file, the origin was here. So if you notice here, if I want to move this panel, the origin is somewhere else, right? So first step is do we have to control our origin? That is, we have to change your origin to the geometry. In this way, we will get a better control to move or rotate. All are individually elements that we imported from our SVG file. So let's do that. So for that, I'm going to select this banner and then object. Set origin to trauma tree. So if you'll notice there is a difference, if I move now, I can directly control on the region of the span. In this way. We can do that for the drop as well. And all the elements. If you notice here, the rounded square is there with a circle cutout, but the origin is somewhere here. So let's change that as well. I'm going to select the object first, go inside object, set origin, origin to geometry. Now, it's very easy. We can individually control it in a better way. So let's do the same for the drop as well. I'm going to select the object and go inside object, set origin, origin to geometry. Perfect. Now, if you notice we have all the three individual elements that we had earlier, but we have a better control on them. So now let's arrange our icon. I'm just going I'm just placing the positioning the spanner in that We're at. It is little bit on top of the rounded square like this. Now let's, let's rotate it. I'm going to select and rotate. Let's rotate on the y-axis first I'm going to grab the green color ring over here and rotate it like this. Perfect. Now, let's rotate it in these taxes like this. So now if you notice, we have our Spanner coming out from the rounded square, that to the circle cutout we have created. The concept is very simple. We wanted as Spanner to pop out from inside like this. If you notice it's coming out of the frame that, that is the rounded square. So now let's move it a little bit insight in the y-direction. Perfect. So now let's work on the drop. Let's move on top and in the y direction and give some rotation to it. In the z axis and the y-axis. Perfect. So now, if you notice, we had a very simple 2D shaped elements that is a spanner droplet and a rounded square with a circle cutout. Now, if you see we have arranged in such a way that individual elements or each name, each and every individual elements and having a unique orientation. And also it is positioned in such a way that it adds much more depth to the icon. The next step is I'm going to give us light rotation in the y-axis for the rounded squared. So that it will add much more trauma to the icon. Perfect. So the next step is to write now we have, what are the things we have done is we have added the extrusion and we have changed the orientation and position of the individual elements. Then next step is to compose it. That is, we have to add a camera inside the scene and compose in such a way or how our final 3D icon will look. 29. Composing the 3D Icon : I'm going to go inside friend orthographic view and then add and add up camera to the scene. Perfect. Now, we have added a camera to the scene. Let's select the camera and then change some values here. What is the resolution value here over output properties by selecting the camera. Here, if you notice we have the resolution x and y. So we're going to go with a square format. So I'm going to type 20482048. Perfect. So now we have our camera ready. Now let's change some changes in the render properties. That is, we have our render engine selected to EV. So let's change that into cyclists. Perfect. So now we have changed our render properties as well. Now, let's compose the scene by looking inside the camera. For that, I'm going to select here on the arrow and go inside view. Lock camera to view. Once you select this, this will enable new navigation within the camera view. So let's select that and then go inside view camera, active camera. Now, right now we are inside our camera view. So let's navigate our scene. Now. We can position it, we can rotate and we can change any direction. We want a 3D icon to p. This will be our final render. Once we render it out, this will be our final view that we will be seeing the 3D icon. So let's do that. I'm going to position in such a way that I wanted to be. So if you notice here how I wanted these details in the inner circle, here, the step, and we already have a spanner in that position. So that is also good. Great. This is the view I wanted to freeze side. I'm going to, once this is freeze, I'm going to again uncheck locked camera to view. Because if you don't uncheck this icon, you this view. Anytime if we change this by accidentally, then it will change composition. I'm going to uncheck it. And this way we can preserve our composition right now we have, so we can lock this. So next step is to select the drop. And then I wanted to position a little more. Just change the orientation and y direction. And the, is it a little bit in the x-direction so that we can see the drops bottom area. So this is our final 3D icon. This is the look. Now, if you want, we can change the scale of this panel. I'm going to select on the skin. And then click here like this. Perfect. Now, also we can change the rotation of this panel. So this is the final image, right? So it's up to us however we want to change, this is the right time that we can change it. Slightly. Move this a little bit like this. Yeah, perfect. 30. Adding Lights & Materials: Now let's add some lights to our scene. So let's go inside the wall properties and then click on the color icon here and add texture. We can open our image texture. Open Desktop resources, studio small, 09. This is the file that we are going to use. An image. If you go inside the render view, can notice how are seen as slit. So now you can notice here how I seen is lit and how our shadows are falling. And it's adding a great depth to the anti 3D icon. So the next step is to add colors to this. So let's add materials to all the individual icon, that individual elements. So I'm going to select one by one. I'm going to exit out of our 3D render view. So let's switch to 3D modeling view. I'm going to select the wrench icon first and go inside material properties and click on the new. So now we have created a material. So I'm going to simply change the color. I wanted it to be a gray color like this, dark gray. And let's go inside a rounded square with a circle cutout in the similar material properties and add a new material and then base color to something like a blue. And I'm going to make it little darker. And finally the droplet, Again, same material property and new and then lighter blue like this. Perfect. Now let's see inside our render view and then tweak the colors we want if in the latest stage. So let's go inside our render view. Perfect. If you notice here, we have a very nice blue color as panna non gray color. And our droplet in a lighter blue. I want to tweak only this blue a little bit. I wanted to make it much more whiter. Now if you notice here, we have changed the orientation of our individual elements. And also we have played with the layering. That is, we have first place the rounded square with a circle cutout and then Spanner. And on top of the last layer we have our droplet. So in this way we have added a nice step. And as also after adding the lights and colors, it has a very nice shadows as well. So in this way, we can easily convert SVG file to a 3D icon by using Blender. 31. Rendering the 3D Icon: Now let's quickly take a render. So for that, we want to make go inside our render properties. I wanted a PNG image. So let's go inside our render properties and then click on phlegm and check the transparent. In this way, we can obtain I extract a PNG render. So let's do that. Now. Let's go inside our lightest perfect, our orientation. Let's make sure everything is perfect. Now, it's the time for rendering it. So before we click on the Render Image, Let's increase or decrease the sampling under Render properties. If you notice there is a render tab here, you can notice max samples. I'm going to keep it five-twelfths. Now, let's go inside our render. Render Image. Religious getting rendered. So in this way, we have come to the end of this lesson that we have extracted 3D icon from a simple SVG file using Blender. And also we have rendered it right now. 32. Best Practices for Importing svg Files into Blender: In this video, let's discuss how we can prepare our SVG file for importing into Blender. For now, if you notice here, I have opened the icon dot SVG file using Inkscape. So this is the file that right? No, we've worked with in Blender for making this into a 3D icon. I'm going to select this. And then if I fill this using any color, so this is the file that we will be getting in Blender. The circle on the end of this banner doesn't have any color. So this is the same value that we can expect in the blender file as well. So now next we will try the rounded square with a circle cutout. So if I select that and this is the full value will be getting inside Blender as well. So we have to keep two things in mind while we prepare the SVG file. First thing is, when we fill these any shape, it should be closed. That is, when you fill this rounded square with a circle inside, we can exactly see where is the area. So if you notice here, the red color is wanting the rounded squared and it is not inside the circle, so it should be in one shape. So the same shape is going to get filled in the blender as well. So while we design or while we meet the SVG file, the fill exactly the fill layer, we have to define it inside any 2D program that you are working with, right? Next thing to keep in mind is to give one Liddy outlined while you save the SVG file. That is, I'm going to close this fill value. That is sin, removed it. Before. I'll save this into the file that we're going to import in Blender. To practice this. In Blender. That is, we have provided an exercise file with the different icons in an SVG file that you can use and feel free to work with it and extrude and C. And you can use a different extrusion value. And the value as you require an experiment with it. 33. Creating 3D Texts: In this lesson, Let's go ahead and look at how we can create texts and make them 3D and assign a camera to it, and how we can render texts. Alright, so let's get started. So to create text, first of all, we need the font of her choice. The font which we are going to use. For that, Let's get into creating a text object. We can get inside our ad and get inside the text here we have got something called a sixt. So I click on Text. You can see that we have got a text object here. And you can also see the outliner showing that text is being created in here, create some text here. We can get inside our edit mode of this text and we can go ahead and edit the text. So let's get inside the object mode to edit mode, and you can see a cursor that's appearing over here. So let's get backspace and you can type it in here. Since that we're going to create a home servicing app. I'm going to create some texts, which is, which has some contexts over home servicing. So for that, I'm going to create something called as metropolitan home needs. Right? So let's go ahead and enter that. So first I'll enter home. Let's get to object mode. Now let's create three different texts for this, which is the metropolitan and home and needs. So to do that, we can go ahead and create another text object and do it. But first, I want to freeze our font so that I can see how this is going to look. So I click on the text. You can see here that we have caught the properties panel here. And if you look at the left-hand side of this, you can see an alphabet that's appearing here, which is the text properties. So when I click that, you can get inside of which you can see the resolution preview, which is set to 12. And I recommend this being 24, at least. Let's add a granite foot. So this is just going to increase the quality of your texts. Well, it's rendering. And here you can see a thing called as font. Let's open the font. And here you can see bold, regular italic and bold and like so let's go ahead and link the font for this file. So I'll go ahead and open this folder. So we need to select the font which we have. So it's going to source my fonts from Windows fonts. Now if you have got your fonts installed somewhere else, you can call the same from that place. So for example, I've got my fonts in my Exercise Files, which is the resources, navigate to my desktop. And inside our resources we can see the folder called Fonts. I've included an open source font called as the urbanist black. So let's go ahead and select it and say Open Font. You can see that the home immediately changes the look of all aspect the font. So now we have got the farm, but you can see that it still looks flat and it does not have a dimensions. So to do that, let's go ahead and open the geometry panel here, which stands for the geometric properties of our font. Here you can see the geometry offset and extrude. And then we have got some beveling options here. We can go ahead and extrude this to somewhat like that. Let's go ahead and rotate this so that the font is facing us, not the top. Let's open our Rotate tool and color rotation like that and enter 90 degrees here so that it's constrained. And we have got home there. Now I wish to move this up because I want to create a needs here. And then some metropolitan text is going to come on the top. Now, we can go ahead and call another text object, or we can go ahead and duplicate this text and edit that later. Alright, so let's first of all give this some beveling because it looks really sharp and crisp right now. And I was to increase the beveling here. So for that, we have under the bubble property, you have the round and you have the depth in here. So let's just increase the depth to 0.01 meters. And it looks pretty nice. 0.02. And you can see the more bevel you give, the text starts to crumble because the beveling are overlapping on top of each other. So be sure that you give babble which also has around and which is not overlapping on the nearest edges. So let's go ahead and 0.01. And we have got that bevel happening there. And you can see some of the intersection that's happening on the E. Now, when I put this to 0, you can see that the E is not touching. But when I put the sum bevel, you can see that that's happening because the bevel is actually happening on the outside of the text. And that's why we are getting the extra space over here. All the extra volume is being created. How do we reduce that is by, we can see that we have got an offset here. Now, when we offset this offset, this text, you can see that E is coming back into shape. So let's just go ahead and reduce that offset. Now be careful that this will also sometimes crumble your texts, so just make it a little bit of a negative value. For example, here it's minus 0.007 meters. So whatever, maybe your value, you just have to play around with that. Now, you can see that there are some sliders here which will give the value like that. Or you can hold Shift and just drag on these sliders to give our value. So I'll undo. Yeah, So we have got the home texts there and the texts looks rounded and nice. Let's go ahead and duplicate this text so that we can create another one is going to hold Shift D or you can get inside objects and duplicate objects. And we have got that duplicate it. And you can see that there are two texts in our outliner. And I'll just bring this down here. And let's get to our edit mode. And now I can just erase and write and needs and E. And this, I wanted to keep it as caps so I'll hold Shift and needs. Yeah. So that's our home needs texts. And now let's create another text here. Now, you can see that the needs has copied all the information from the home because the same object was duplicated and we just went inside the edit mode and we wrote off the texts from scratch. Now, imagine that you have to create a text again. Then you have to basically copy all these values into this text again so that you get the similar look. And you also might have to rotate the text, like what we did, the home needs to escape this or to bypass this. We simply just duplicated the home texts and we went inside the edit mode and we just wrote off the text from scratch. Thereby, the texts has copied all the properties and we don't need any kind of tweaking here. Okay, So let's create another text. And this time I'm going to create a new text because I wish to keep that text a little smaller than home needs. So let's enter another text. Let's get inside of that and say text. Call this as metropolitan. Okay? So as you can see, this text is really large, so let's go ahead and put the font, select the text and get inside our regular. And this time since we have already loaded the font inside of blender, you can click on this drop-down. And you can see that the big font, regular and the urbanist black has come inside of planet. So I'll just select that. And you can see that this text has got the same font as in here. So let's rotate this. And let's move this off here. And we can scale this down by getting inside the scale. And scale that down and move it till we have come to live and we can position it like that. Scaled it up just a little bit. Something like that. Okay, so now let's give this some extrusion so that we have some 3D look happening. So while again get inside our extrude here and just extrude this slightly. And let's give it some rounding again. Increase the rounding like that. And let's reduce the offset. So I'm just holding Shift and dragging the slider so that I'm able to do really small values in here. Instead of having a really wild values like that, this need to hold Shift and we can get the precise value of what we need. Okay, so right now this looks good to me and we have got metropolitan home needs happening. So that's great. We have created a text object using the text create function. And then we saw how we can scale texts up and down. And we also saw how we can position texts together like that. So in the next video, let's see how this text can be further detail to add a simple effect which will catch the eye a little more. 34. Adding Details to a 3D Text: We have created the home needs texts. Now I wish to create this a little more emphasis for the needs text in terms of design so that it catches a little more I, for the needs texts. So how do we separate that? So one way is to give it more catchy materials, but that we'll look at in a later stage. Right now, I wish to offset this text and create a kind of an outline, a 3D outline so that, that stands out a little more. So let's see how that's done. So to create an outline, I need a little more space, right? So for that, I'm just going to select the home and metropolitan and use the Move tool. And by the way, I'm using Shift to select these two together and then just move it off a little more to the top. And now we have got the needs here. And we just saw how we can offset text, right? So we solved that offset tool to counter the rounding effect so that we get the text cleaner. In this case, we're going to use the offset to actually offset the text and given effect. Alright, so to do that, let's go ahead and select the needs. And I'm going to duplicate this. I getting inside the object and duplicate objects and make sure that you don't move that object. So it just needs to overlap one on top of the other. I'll do it one more time because they accidentally move my object. Let's get inside objects and duplicate and click that once. We have got now two different texts. Now to avoid confusion, let's go ahead and rename it in the outliner. So let's double-click on the text and call this as home needs. Let's create needs underscore one because we have got two needs which is overlapping on one on top of the yellow. So let's call this as Metro. And this will be our needs underscore two. Okay, So make sure you select the needs underscore two, or they need to underscore one, whichever way you just need to select the text and extrude, we can see the offset. And now I'm just going to offset this a little outside like that. Hold shift and offset that. And now I do not want the rounding here, so let's go ahead and put 0. And immediately you can see that we have got some offset happening. To emphasize the outlines. Let's go ahead and reduce the extrusion of this text so that our inner text looks like it's jutting out of our of our outline. So let's go ahead and reduce our extrusion like that. So you have something reduced. And I was to increase the offset a little more by just increasing this value. And you can see how our text is getting upset. And now you have more catchy texts which is the needs and just increase the offset and a little more like that. And you can also give this a little rounding if needed. So let's try that. Get inside depth and just increase a little bit of rounding. And yeah, that looks sweet. So we have just added another level of detail to our text. Now, while I'm giving materials, I can simply give another material to the outline and the separate material to the inside. And that way this text will stand out a lot. 35. Composing the 3D Text: Okay, So we have detailed or text now. Now let's go ahead and create a camera so that we will be able to compose this text and we'll be able to give us some perspective for the viewer to look at the text. Okay, so to do that, let's create a camera here and get inside. Add. And you can find camera and click on the camera. And we have got the camera here. Okay, So let's get inside the camera view. By getting inside view and seeing cameras and active camera. And we have got that. Right now. The camera is looking innovate and let's go ahead and push this camera. So I open up the sidebar and in here, Let's open our view and say lock camera to view. This here. Camera view and just use my scroll to scroll out and pushing my camera the way I want. So let's put it somewhere like that. Now, once I'm happy with the composition here, I can see that the text is nicely. We can see the depth in the texts because of extrusion that we have given. And I think this will come out well for this view. So let's go ahead and turn off the camera to view so that we can exit this camera. And you can see how that camera is positioned in the 3D view. With this, we come to the end of creating the text in the final project, Let's go ahead and give this text some materials along with some other 3D elements. And then we can light and render out the scene. 36. 3D Modelling Tools Part 1: Hey, I hope you're enjoying the class till here in the upcoming set of lessons, Let's look at a very important and fun topic which is 3D modelling. So we're going to learn about 3D models in a fun way by following a learned while you do approach for which we have provided you some worksheets. So let's go ahead and open that. So Horwitz, I'm just going to get inside File and Open. And I'm going to navigate inside. Exercise files are the resources folder inside of which I can find worksheets. And I'm just going to call the modelling underscore worksheet dark blend. So mine, I have already got mine open, so I'm not going to open this. I'll hit cancel. So this is the worksheet which you're going to see. This is just like a normal worksheet, but just it's in 3D form. Now just following this worksheet and doing the exercises will get you comfortable on how 3D models generally work, and how you can manipulate them. What our faces, vertices and edges, and how you can change them to get the desired form or the shape that you want. Okay, so let's get started. Let me go ahead and tell you how this worksheet works and what you have to do in here. When I zoom in here to take a closer look, you can see that this is just a table with some rows and columns. And if you take a closer look at the first row over here, this will tell you the function, and these are all these common modelling functions in Blender. And on the right, the next column here you can see the form which needs to be done on the last final column is the form which is incomplete. We just have to mimic the left form by using the modelling techniques which is shown in here. So that's how this worksheet works. So the first command right here is the vertex move. And any 3D objects in general has like three different elements to it, or sub objects inside of 3D model. Let me explain. So I've just put one 2D surface here. I know that this is not a 3D because I wanted to illustrate the similarities between a 3D and a traditional vector to the pipeline. Okay, so if you recall, how is a 2D shape done in a vector tool of your choice? It may be Illustrator or Inkscape or whatever. If you recall that it will have some Bezier curves or it will have some points are the segments using which you can define a 2D surface, right? For example, a square may have like four different points on the corners. So you get the square and a circle maybe done through some curves. And whenever you want a curvy shape, we will use Bezier curves, right? So similarly, if you take 3D, we have three different elements to it, which is the vertex and the edges and office. So let's go ahead and take a closer look now you will be able to understand the first one is the vertex move. For example, this shape is actually defined by four different points like that. To get the kite shape, there are four different corners to it. So each corner can be represented by a point, what we call in 3D as vertex. Okay, so how do we see this? So if you recall that in your vector program, most of what we just double-click a shape to get inside and to see to reveal the points of the shape, right? So similarly in Blender we have got two different modes, being the edit mode and the object mode. Now, let me explain. The object mode is what you see. It's like just the objects as a whole. And it won't display the contents of the object or the sub objects inside of the object. To reveal the sub objects of an object, you have to get inside edit mode. So let's go ahead and take a look how that's done. So I'm just going to click the first shape. And now let's just go to the top. If you notice here that it says object mode, just open that drop-down and then it says something called as an edit mode. So when I click that, immediately, I am having some more tools to my left. If you see. Now, I can just go ahead and drag to show them. And now you can see that we have got a lot more tools going on. These are all the tools which are specific to edit mode and it doesn't appear on object mode because these tools are all something that can define a shape and it can manipulate your edges or faces are your vertices thereby, you can get a form of your wish. Okay? So right now, when I zoom in closer to take a look, you can see that blender shows four different corner points here. Now let's zoom in to take a closer look here. So when I click each point, so that's a vertex, vertex or just corners or points. When I just click that, I can get to the move tool and I can change the form of debt. So let's undo and let's get back to object mode. Now, let's just mimic the shape to get this here. So let's just click that and get inside the edit mode. And on the top you can see the first one being selected. This is the vertex select, all the points select, and then you have the Add select and you have the face select. So I'm just going to click on the vertex, and I'm just going to click this point which is in the mid. And make sure you have the Move Tool and you just have to move this down this axis to get the shape which we want. You saw that, so that's how you manipulate. Shape inside of Blender, one way is to use the vertices and move, or you can move this in any access to move the shape. But we are this mimicking this warm, so I'm just going to undo that. So that's it. So we have completed the vertex move. So this is how our text can be moot. Okay, so let's get back inside our object mode. Now, if you are inside of an edit mode, you cannot select any of the other objects. You can only select the elements of the object in that, in that way, if you wish to select any other object, for example, I want to go to the next exercise, which is the edge mode. I won't be able to select this object because we are inside the edit mode of this particular object. Let's get back to the object mode by getting inside the edit mode and selecting the object here. Okay, so let's select the edge mode. And here if you see that the single point is not moving, but the entire edge is like larger than what we have in here. So we can select an edge, which is this. And we can just simply move it to get this shape in here. So let's go ahead and do that. I'll select this and get inside our edit mode. And now this time instead of vertex, let's select the edge, which is the second option. So I'll just click that. And let's select an edge here and make sure you are in the move tool and just move it to get some similar shape of what we have in here. So we saw that we can manipulate vertices and we saw we can manipulate edges. Okay, so now let's go to the next one. I'll go to the object mode again to select the next. So in here you can see something called as vertex Merge. Yes, this is very self-explanatory. It's just going to merge two points to one so that you can get forms like an arrow or something like that. So let's get inside our edit mode and get inside our vertex because this vertex command, so I'm just going to select the vertex. Let's just select one vertex here. And this mood closer. Let's select this vertex here and moved closer like that. Now, we wish to merge these inside the exact center, right? So how do we do that? Is we just have to select both the vertices like that on the top menu. You can see that once we are in the edit mode, we have got a lot more menus displaying than it used to. And we can see that there is a vertex, edge phase and UV and mesh. So let's just get inside our mesh here and you can see something called as merge. And this has also got a shortcut M. So if you don't usually remember to get inside Mesh and then merge, it's very simple. We just have to hit M on the keyboard to have this display here. So let's get inside merge and say add center, that emerges in the center like that. Okay, That's great. So we have just merged two vertices like that. And then let's go to the next exercise, which is the edit mode scale. So I'll get back to object mode and select here. You can see this is like 3D form, which we are going to edit. So you can see that it's, it's like a dumbbell. So, but our exercise here has got one number being the small and one being a little bit lunch. Okay, so now let's go ahead and scale this up. So how we'll do that is I'll select this right side of dumbbell, get inside our edit mode. And right now we have to scale this up to match this shape, right? So to do that, let's go ahead and select everything by. You can be in any of the mode you want. You can be in vertex, edge or phase, whatever. So I'll just click on vertex because we're going to select all these objects of this object and we're simply going to scale it up. So the way we do that is get inside, select and say all this, selects everything. And you can see you have got a nice orange highlight on it, meaning that this has selected every sub object in that. And now we just have to use our scale tool, the Select All, and just use this outer ring to scale that up like that. Let's go to the top view to see how we're scaling, scaling up like that. Alright, so we have scaled that up and you know right now that you can also scale your sub objects to grow your objects are larger. And this time we have selected everything and we have skilled. Okay, so let's go to the next one which is going to be dealing with a face or insert of an edge or a vertex. So I'll get back inside of object mode and I'll select this plane here. Now this is simply just a plane we have created, and now we have to have this shape. So how do we do that? Let's get inside edit mode. And you can see that we will not be able to create this frame without doing a command called as an inset, which what it will do is it will just add a frame like a structure here, and then we can delete off the inside face. So let's do it. Now. I'll get back inside of move. And now let's insert this by getting inside our face, since it's a face command, and get inside of inset faces. So I click that once and I can just move my mouse till I get a frame. And we have got a frame there. And immediately you can see our one faced plane has now got more faces than one. So it is right now got 51234. Fifth phase is in the middle. We've got five phases now we can just select that face and we can get rid of this face like that. So how do we do that is just right-click and say delete faces, and that will get rid of it. So in this way, we have basically created a frame like shape from our simple plane. So now we just saw the basics of the three different sub objects, which is the vertex, the edge, and face. We saw how we can make use of them and do some things. Now, in the next video, Let's go ahead and take a look at how we can push this further and let's learn the tools such as Extrude and loop cuts, etc. 37. 3D Modelling Tools Part 2: In this video, Let's go ahead and continue our worksheet and let's see how we can turn the story into 3D. The most important one, which is called as the extrude, which basically converts your 2D shapes into 3D and it gives an extra depth to our object. So let's go ahead and take a look at that. So this is the face Extrude command. So if I just stumbled around, you can see that this frame shape has got some thickness and it is a 3D object and it's no longer 2D shape. Okay, so let's go ahead and take a look at how that's done. We just have to get inside our edit mode. And we are inside our edit. And you can go to the face. And you can just select all the faces like that. And we're just going to extrude that to give us some depth. So let's get inside face and you can see something in the first, which is the extrude faces command. So I'll just drag like that and we have got an extrusion then even after you make that operation, you can still go ahead and control that extrusion by here, which says, which has just come after we made that extrusion, it was absent before. And this shows that extrude region and move. And here you can see the z being the zero-point for now we can just go ahead and move this up or down to control the extrusion after you have done extruding that. So I'll just put it something like that so that it looks a little bit similar to my shape on here, right? We just saw what is an extrude. Now with this, we can do a lot more complex shapes. So let's see how we can make a shape like a flower pot or a bucket or like that, which you can see it here. So let's get to on object mode, and let's select a face here. So this is just a 2D form with the help of an extrusion. We are going to make this shape like that. And we will also use some scaling so that you can scale that up. And let's see how that's done. So I'll select the shape and get into art edit mode. And now we'll select this face like that. Then let's just perform an extrude by getting inside face and extrude faces and just pull that up like that. Now to see the height, we can put it somewhere there and let's move it a little bit down like that. Okay, so now we can see that our shape is flaring out on the top, but we have just made an extrude, right? So we need to flare this out by how we can do that is by using the scale. So let's just select the scale and drag this up so that now you can see the phase is basically scaling up like that and it's flaring out to the shape that we want. Okay, So now we'll, we will also combine a tool which we just saw, which is the inset to create that thickness there. So how we can do that is by again getting inside face and say inset faces and just make an inset like that. Then we can perform another extrude if you have guessed it right. So let's get inside face and extrude faces and just pull this down. You can see that when I pull it down, the phases are coming out because of the flattening shape. This is happening. So this also we need to scale this down and this point. So make sure in the Scale tool and scale the inside faces like that. And you just saw how easy it was to just transform a 2D shape into a completely 3D form by simply using extrude an inset features. So let's go ahead and take a look at next example. Get back to object mode. And here you can see it's like a window. We just saw an example on how you can make one, but here it's three. So how will we do that by using just a plain? Now if you get into edit mode, you can see this Scott, just one phase. You need more phases to have this kind of look, right? So if you notice that we need something called as a loop cut, so that you'll be able to divide this space into like the number of cuts as much as you want. So I'll show you how that's done. So to do that, we need a function called as a loop cut and generally look at is an edge feature. So you can find that under the edges. So I select all my, you can be in any mode here. You can even be in edges, but as long as you select everything like that. Okay, so now let's just get inside our edge and get inside a loop cut and slide. And now I'll be able to put a cut there like that. And I'll just click once. And after I click it there, you can see the number of cuts being shown here. So let's just increase the number of cuts to two. And you can see that blender divides this phase into like now three. And we have got three phases divided them. So that's what we want. Now you can also change the factor here. So this will simply just offset that cut of where you want. Now, I'm not going to do this in here, so I'll just put it to 0 so that, that lies exactly in the center. I just wanted to show you that there is something called as the factor, which will offset that slide. Okay, so now once we have done that, the next part is pretty simple. If you get into object mode and let's just take a look at the first example. Let's get into edit mode and you can see that all these are simple insets and then extrusion. So just like how we did the initial frame, we just have to insert this one and then x. So let's do that. Get back to object mode, and now get into edit. And now let's select all the faces like that. And let's get inside our face. And then say insert phase and click. Now you can see that our faces are all inserting like that. And this is like a frame or a border for the entire rectangle and we're not getting the frame which we want like this. So how do we get that is by just clicking the individual of checkbox here and I click that, you can see how that's happening. And I take it off, all the phases are extruding as one. And when I just click that, check that it's, the phases are getting inserted as an individual. So that's how we do it. And still you can go ahead and define the thickness if you want a thicker or thinner frame like that. Okay, So let's put it something that now let's go ahead and get rid of the faces because these are all holds. So I'll just go ahead and right-click and delete faces. And we have got that off. Now, all we have to do is select all the face and simply extruded given same phase and extrude faces and get back to object mode. And we have got the shape which we want in here. Okay, so let's look at the next example, which is what we already did. But this has also got another loop cut and a feature of the loop. So when I zoom in here you can see that this part or this flaring shape or frustum has got an edge or a lip on rounded. So how do we do that is by first adding a loop cut, then extruding that look good to have that lipid. So how we can do that is by getting inside our edit mode. And this time let's add a look at. So let's get inside edge and say look at and slide and click once and click again. And now you'll be able to slide it off wherever we want. So I'll position this somewhere there and click one time. And now we have basically performed that cut in there, thereby dividing our faces like that. And now let's select our face. And we just have to select all the faces on all around. Now, you can go ahead and hold Shift and select these faces like that. Or just hold Alt and just hold Alt and double-click on the on one of the edge. I'll repeat, do it one more time. I'm just holding Alt on the keyboard and I'm just double-clicking on the edge like that. Make sure you have got the face selected and you'll do that by this. We can select this ring like a selection there. Now once we have got that, this is really simple. We just have to extrude this time. If you notice that this shows that it is extrude along normals, it's not a simple extrusion. Now, I'll show you what happens if we simply extrude this. So let's get inside our face and say extrude faces. Now you can see that we're not able to extrude it along its normals, but we're extruding along Something like that, which we do not want. So I'll undo. This time. I'll introduce a new command which is face and say extrude along normals. And by doing this, you can see that we are able to extrude along the lip, the normal, and it gives us something like under which we want. So I'll put it like that. And you can see we have got that lip. So let's get into our object mode and we have got what we want like this. Alright, so let's talk about the next feature, which is the edge bevel. And this will give you rounding on all your shapes. So this is just like a bevel. So you can see that we have got a nice rounded triangle on top like that. So let's go ahead and create the same here. And this is sharp over here because you can see the edge. And let's get inside our edges. And I will select the move. And you can see this is just one edge. But when I get inside our object mode and select the first one, get inside the edit mode. You can see we have got a number of edges versus one edge here. So how do we do this is by introducing a tool called Edge. So let's go ahead and do it. Let's get into object and zoom in and get inside edit mode. And select your edge and select one of your edge there on top. And just get inside edge and say bevel edges. The second option. And you can see that this is making my shape a little weird. Now you can see this is forming a wedge like shape. I'll just click somewhere there. And you can see that we have got segments and the width here. So this is width controls the width of the bevel. How much we want this bevel to happen? Let's keep it somewhere there. And as soon as I increase the segments, you are able to get that rounded form back again instead of that wedge. So we have almost accomplish this. We can go ahead and still control the width of it, like how much we want. I'm happy to somewhere over there. Now you can also control these segments to get it more rounded. So I'll keep it around five. Let's get back to object mode. And you have got a nice rounded shape going on in there. We have come to the end of understanding the common modeling tools. Now, I think that was fun. You just have to go ahead and do this to understand how a basic 3D model works and how you can manipulate this. But 3D modeling is really fast than what is shown here. But this will definitely help you get your feet wet and understand 3D models and ginger. Alright, so with this, we conclude this exercise in the next set of lessons, Let's see how we can model using modifiers, which is a non-destructive way to 3D modeling. 38. Understanding Modifiers: In this lesson, let's look at understanding modifiers, which is a non-destructive approach towards 3D modeling. Now, whatever we saw before, the traditional approach where you manipulate something and you cannot go back in time. But modifiers is like a non-destructive approach where you can simply get rid of that modifier to get back your original shape. So let's take a look at how these are done. In here you can see the understanding more understanding modifiers sheet. And the first one is what is called as a subdivision surface modifier. Now this is a really essential modifier. It's being used almost what every type of modelling. So let's take a look at that. And you can see that we have got a pot like shape. And the first shape is much more smoother than the second shape in here. And this shape is like faceted. And the similar way how we did the initial worksheets, we just have to mimic the form in here. So the difference between these two is like when I get inside our edit mode, this has also got the same number of phases and vertices and the sub objects. And the other object has also got the similar number of phases and sub objects. So how is it that these both shapes have so much of difference? That's because we have added a subdivision surface modifier to the first shape, to the first form here. So when I click this form, you can get inside our properties here and you can find a wrench icon or a spanner, which is called as the modifier properties. So when I click that, you can see that this is showing some modifiers here, some data here, which is like the subdivisions. Now when I hit the second part here, this modifier column is empty. It just shows add modifier and there's nothing beneath it, which is the major difference of what you see. Now let's go ahead and add the same subdivision surface modifier. Let's add the add modifier. You can see that there's a whole, whole lot of areas of modifiers to choose from. So we just have to select the subdivision surface under the Generate. So you can see that the modifiers are actually divided as per their categories into four, which is the modify, generate, and deform, and physics. So these are just basic categories so that you can find your modifiers with ease. Let's just select a subdivision surface. And immediately you can see that our shape is being a little bit deformed and you can see it's getting smoother. But this is a little more smoother than our shape here, which is just because we can see the levels which is set to one. And I just go ahead and increase that. Now that I've put 22. And you can see this moving increase when I increase that. Now, you can not give a random arbitrary number here because B, be aware that modifiers like these subdivisions are heavy on the RAM, so you cannot go ahead and put some value like 78 or nine. So that becomes very high resolution for your computer to calculate because that adds a lot more geometry. Now if you zoom in close, you can see what the subdivision surface modifier basically does is it makes calls. It just subdivides a face. When a face is like, you will have one phase, it's simply goes and subdivides it. And it divides the face into a number of new faces, thereby giving you much more resolution for your shape. And that's how your quality of model is increased. And you see the mounting in here. Now both the shapes are now almost identical. So this has got two subdivisions, and this has also got two subdivisions. Now, the point of modifiers is that if you do not want this, you can simply go ahead and delete this subdivision and you get the same shape, which was before adding the modifiers. Now, I think you must, you might understand what it means to model in a non-destructive way. So let's go ahead and undo. Okay, let's take a look at the next modifier, which is the solid. If I, now, if I select this and let's get inside our edit mode. And you can see that we can only see the edges of the outer lookings cylinder and not the inner bit because this new geometry or the thickness is added by a modifier called as solid. If it's a non-destructive modifier. Just like that, when I select our object mode and I select it, you can see under the modifiers, you can see something called as a solidify modifier being added to this. When I go ahead and close this, this becomes the same as the other. So I'll undo. To get this back, you can see that this is showing some thickness of 0.39. When I go ahead and dial that thickness up, you can see how that cylinder gains thickness or a solid like appearance, thereby its name called as solidifies. So I can increase the thickness like that. And now let's go ahead and add the same modifier to this, the other cylinder. To mimic this form, I'll select that cylinder, I'll add a modifier. And this time under degenerate you can see something called as solid if I. And now we just have to increase the thickness by giving it a solid if I like feature. Now this has also, you can go and remove this whenever you do, do not want. I'll undo and in modifier so you can also keep them, but just hide its effect, which is the height effect here. And in the viewport, when I put this off, you can see that the modifier is still present, but it just won't show in your 3D view port. So this is a way to hide your modifiers in the view port if you need. Sometimes. I'll go ahead and unhide. Let's take a look at the other modifier, which is the mirror. The mirror is, as the name suggests, it just reflects the shape of whatever is on the other side. This enables you to just model one side and we'll get the other side in an exact symmetry. So this allows us to model any shapes that has true symmetry on. So let's go ahead and take a look at this. So I will select this shape here, and let's add a modifier and get inside mirror. And you can see we have got immediately a reflection happening on the other side. Now whenever you have the mirror turned on, you can always go ahead and enable this clipping for best practices. This allows you to get past most of the small errors which is caused by the mirror modifier. Let's look at the next modifier, which is the bevel. So I'll select that. And you can see that this is a cube which is nicely rounded. Now if you recall, we just looked at an example of bevel. We made a rounded triangle a little before. That was made by the bevel edges feature, right? So, but this is a modifier which allows you to do it in a non-destructive way, which allows you to change that bible anytime you want. So when I select that cube, you can see we have got a bevel modifier applied. And you can see the amount here when I just drag that, that shape becomes a little more rounded and ultimately it ends up like a sphere. So we can just go ahead and reduce it. And you can have sharper or a rounded cube like that. Let's go ahead and create that bevel here. I'll select that cube and let's add a modifier and say bevel. And you have got some babbling here, and you can just go ahead and increase that amount. And if you recall that this, the same wedge shape is happening where there are edges, you can just go ahead and increase the subdivisions so that you can see some nice rounding going on in there. And still anytime you can go ahead and close off this pebble to get your initial shape back, or you can go ahead and change the values in here. If you recall that, you will not be able to change the value which we did in the edge bevel earlier. Because when I get inside our edit mode, you can see that these edges are baked or they're frozen here, and there's no way to get back the sharp result without getting to multiple steps. So this is what is the power of modifiers. So, but here, when I get inside our edit mode, you can still see that we have got that same set of edges and faces which we saw earlier. But still we are able to get the effect of that bevel happening. So we saw the power of modifiers, the non-destructive approach, and the ability to customize called change the models anytime in the future. Now, let's see that we can also combine modifiers to increase the effect or to build on the effect will we get the desired outcome? So I'll show you how that's done. So here you can see that we have combined that mirror plus subdued model as the name calls. This is understanding a modifier stack. So as the name suggests, you can stack up modifiers to increase the effect or connect the effects together to create a new effect. And it's also got a correct order to get you the right results, what you want. So let's see how that's done. If you select the first option which says the mirror plus subdivision modifier, you can see when I switch off the middle, you can see that I've just modeled 1.5 of my pot and the other half is simply done by the mirror modifier. And then we can turn off the subdivisions to get back our original form like that. So now when I hit the middle off, you can see the original shape which I have here. And the rest of the things are just stacked. And you can see the effect building up first, this is being mirrored and then this is being subdivided. Okay? But on the other hand, if you compare the next form here, you can see that the modifier stack is already there. You can see that the order of modifier is a little bit different than the initial one. Now let's take a look at, again, just note this carefully and pay attention to the modifier stack. So when I click that, you can see the mirror modifier exists first and then the subdivision comes next. But here you can see that the subdivision exists first and then the middle comes next. So what's basically happening is that even though you have got the same set of modifiers, since they are combination order is a little bit different, you get a different effect here. Now you can see that This is not closed properly and it is having a seam in between because this is being subdivided first and that's why when I switch off the mirror, you can see that we're getting the curve as in any subdivision, we get a smoother form, right? So first, since it's being smooth and you're losing that sharp edges there. And then it's being mirrored so that places getting apps and thereby you are having that same over there. So how do we correct this is, you can see that there is some dots here which will just allow you to move these modifiers up or down. So and I just move the mirror modifier up immediately. You can see that as being gone. When combining modifiers, the order of modifier needs to be logical. To get this right, you just need to think in your head that how this would work. And if you analyze logically, you will understand modifiers a lot better. Okay, so let's look at another example, which is solid if I plus bevel modifier. So when I see the first example, you can see that it is simply just a plane. When I switch off all the modifiers, you can see it's just a plain, but it's just adding a thickness first, thereby you're getting like a queue and then this thickness is been beveled next. And thereby you're giving, getting a rounded like a cube. But you're still having just a plain in your edit mode. So how this is done is by just to modify its right. But here in the next case, the same modifiers are already put where the bevel is there and then this one device there. But why aren't we getting the same result like this is because the order is again in a different form. So let's go ahead and arrange that. So if you look at this order, first of all, it's being solidified. It has got two MM thick. It has got two meters thick. The first is this being solidified and beveled. While in the next example, first it's being beveled and then solidified weight. Here's the catch. If you do not have the edge to bevel, then how will you Bevan and right, when I switch off the solid, if I, you can see the bevel only exists on top since there are no edges to bevel. Blender doesn't know which edge to bevel, then we're solidifying it. So we're not getting this effect here. But when I just changed the order, I'll just move this up. Now, Blender has got the edges because we haven't got the solidify modifier. And then we are getting the bevel. Thereby our software knows which are the answers to bevel and we get a nice beveled here. Still, you can go ahead and change this and you can increase the thickness and the modifiers that works like a charm here. Now, in the initial phase, these modifies might be a little strange or confusing to understand, but it's not magic at all. It's just pure logic. If you just think in a logical form and approach the modifiers, it'll be really easy for you to grasp and get ahead with non-destructive way to modelling. So through these worksheets, we looked at various types of modeling and the different kinds of modeling tools available in Blender. And I advise you to go through this exercise a couple of times so that you will get understanding and hang of the tools what is present. So we saw the basics of objects, of 3D objects. What makes a 3D object is the vertex, edges, and face. So from our understanding, we can go and manipulate all these three to get the form which we desire. And we also saw some of the tools like insert, phase and merge and some other tools. And we also saw about the non-destructive ways to model something in Blender. So just go through this modeling sheet a couple of times to understand the tools and tricks in a better way in the upcoming lessons, Let's apply these tricks and let's try to model some simple forms. 39. Tip for Creating Quick UI 3D Panels: In this video, let's see how we can create panels or Windows using planes combined with some modifiers. So to do this, I'll just get inside, add and say Mesh and get a plane there and simply add a modifier. This time we will add a bevel and hit on vertices and just increase the amount to have that rounding which you want and increase the segments to have a much more rounded look. Let's go to the top view to get a better view. Fixed. And then let's simply add a solidified and just increase the thickness here, but visually desired amount. And let's increase the segments even more to get a smoother look. Yeah, So now we can just get inside our edit mode. And now this simply move your vertices to change the dimensions of your panels. I'll just go ahead and duplicate this object and duplicate and move that up side and reduce its scale. I getting inside our edit mode and selecting these two and just moving that like that. And moved here the way we want and just position it somewhere, which you like, something like that. So this way you can create multiple panels of your choice by just using these modifiers. And they are completely interactive and can be changed anytime as you wish. 40. Modelling a Map Icon: So in the previous videos, we saw how modeling works. And in this video, let's apply some of the tools which we learned and create some basic 3D models for which I want you to open a file. So let's get inside fight and get to open and just open the file creating underscore 3D model started blend. And I have got my opened already. So let's see that we can find a map like a 3D icon here. This has got a map and it has also got a geo-location icon there. So let's go ahead and recreate this. So first of all, I wish to get this out of the way because this is an example of what we're going to do for I've just put it there for your understanding. Let's go ahead and pull that out somewhere out of the way so that our center is available for us to model. So let's get back to modeling. I'll click outside. Now first of all, if you notice that this is like a Jaggard plane, if you notice, we can get a plane and we can sub-divide it to get this shape like that. So this will help you get an understanding of how 3D models are done. And it will also give you a little bit in understanding of the approach of how you can change shape to get the desired form. So let's create a plane now. I'll just get insight on Add and mesh. And you can see a plane there. And we have got a plane. I've just created a plane. And now you can find that this plane is really small than what we've got there. So we have to scale this upright so we can go ahead and use this scale to scale this up. But there is a unwritten rule or it's a tip in modelling that whenever you're getting inside 3D modelling, whenever you're scaling things like that, you can. The best practice is to scale that in the Edit mode. Let's get inside our edit mode and select all of our vertices there. Let's get inside our scale tool. And just scale that up like that. Let's go to the top view to see how that's looking. So let's scale it up till here. And you can see that this plane is little longer than what we've worked. So I'll select that and say scale cage. And just pull this out a little longer so that we get a kind of a map like shape. Increase that like that. Someone like drill there. And now let's go ahead and divide this into sections so that will be able to manipulate this like a mat. Let's get inside, inside our edit mode. Let's go to the move, and we don't need this scale anymore. Now let's go ahead and select the edge. And let's use our loop cut and slide to add the cuts. They get inside edge and say loop cut and slide here, and click there. Once we have got a loop there, and click one more time. And let's open this loop, cut and slide. And let's just increase that to three so that we have got cuts like that. So immediately now you'll be able to understand that how we're approaching this. I'm just going to select the first edge and the last edge like that and use my move tool. And just grab this and move this up to get like that Jaggard kind of an effect. So now you can see that how we can manipulate a plane into a map like shape by just following a very simple commands in Blender. Okay, So let's get back inside of object mode and we have got that map shape done. Now the next shape is that we need something like this. Now let's see how this is done in the first place so that we can copy that. And let's give that approach, get inside our edit mode. Now whenever you want to see how a model is done, you can always get inside your edit mode to inspect closer on what's there and how it's been done. Doesn't have modifiers or anything like that. Here you can see that this is just a queue, but it's just squished in the bottom, or it's a scaled down the button. And then if you click on the modifier, it's just added a subdivision modifier. When I turn that off, you can see how that's done. So it's just a cube that's shrinked in the bottom. And then on top of subdivision modifier, you can see that we're getting like a geo-location kind of an icon. So that's very simple, right? So let's get into our object mode and mimic that. Let's now create an add mesh. And let's add a cube. We have got that cube there, and you can put it somewhere there. And now this is small. Again, let's get to scale and let's follow the same rule. Now we're modelling, so we are going inside our edit mode to scale things up. Let's get into edit mode and make sure everything is selected by just getting side select and selecting all. And now this scale, this up using our scale tool. I'll use my Scale tool and scale that up like that. Let's go to the front view to see how big it is. So we can keep it something like that. And now we will need a scale gauge because we want to like, pull this out like that. So let's get inside scale cage and just select all and just pull this point down to scale this up like that. So we have got it, Something like that. Okay, so let's get inside our face mode and select this face and just scale this down. And this time we need scale. So let's get into scale and this, scale, this out down to something like that. And we have got that box kind of a shape. But this is also squishing on the bottom. So let's go ahead and give it a subdivision to see how that's looking good inside add modifier and say subdivision surface and increase the levels. We'll put 22. And you can see that we have got it here. And now you can also go ahead and manipulate little more. I'll get inside our edit mode and select the top face and scale that up a little more so that I get that prominent kind of a shape there. Let's get back to object. But you can see that the first shape is smoother than the shape, even though it has got the same subdivisions and everything. So why aren't we seeing those facets is because blender allows us to different kinds of shading mode, which is flat shaded and smooth shaded. So when I click the first shape and right-click and say shade flat, you can see that this is a flat shading, but this has got three divisions, even though you got to, this will still show you the spaces there. So I'll go over and say straight smooth. And now we have got that smooth shading enabled. So let's create the same, select the shape and right-click and say Shade Smooth, and you have got that smooth shading there. Now, even though you have this smooth shaded still this outline will show you that facet that look. So to increase that, to improve the quality of it, Let's just dial up the levels viewport little more so that now you have a more smoother kind of an outline on the outset. So let's do it here as well. We have got that geo-location icon there. Now, anytime you can get inside our edit, just manipulate the shape and get inside move and just pull it down a little more. Scale it up and scale this down a little more so that I have a little more prominent icon there. Alright, so we just saw how simple map can be made by using some simple tools like a loop cut and slide, and just moving those edges to get the map shape. And we also used a modifier called a subdivision surface to get a nice, rounded and smooth GO icon. In the next example, Let's look a little more complicated form, which is like a bell icon, but it can also be done by simpler tools. So let's take a look at how we can create a bell in the next video. 41. Modelling a Bell Icon: In this video, let's take a look at how we can model a bell. And I'm still in the same file, but you can see that we have got the collections. Now let's go ahead and drill down the map, which we no longer need. I'll put this off. And you can see that the map which we have created is still here. Or we can just go ahead and move this aside so that we can have some space for our bill. I was just like that. Now, we can just go ahead and turn on the bell here and you can see that there's a bell I can do. Now, I wish to move this off a little on the top so we have some space. Do that. Now, if you notice this bell, Let's go ahead and get inside our edit mode. You can see what's happening on that. And this is just a simple cylinder, but it has got the loops so that you will be able to transform it and modify its shape. Thus giving you like a bell, like a structure. So if you just click the edges, you can see that this is an edge which is going like that. And this edge is defining the flaring out of how much it's flares out. If you remember the example where we did a port like a structure, we just scaled up the edges of a cylinder, right? We just extrude it a plane and we just scaled up. The same technique is, what is it we are going to use here? So first of all, let's go ahead and create a cylinder. So let's get into object mode. And let's get inside, add and Mesh and say cylinder. And we have got a cylinder there. And now I want you to pay attention to the Add Cylinder property here. And you can see the number of vertices. Now this is just like a polygon tool, like where you input three and you get like a triangle. And when you just improve the number of points, you just get a more rounded like a polygon, right? The same way here also, you can adjust this when I put three, you can see that we are getting a triangle and 456. So this just adds up with a solution to shape there. So now let's just put this to around 12. Now I know this looks faceted, but we're going to use the subdivision surface modifier to have a nice rounding there. So whenever I'm working with cylindrical forms and circular forms, I usually go with 12 or 244 simpler forms like this. So only structures that are much more complicated need something like 32 or 64 or not. But as a beginner, or if you want to model something really simple, then I would always recommend you to keep something around 12 or 24 and then use the subdivision surface modifier to have that nice rounded effect. Okay, So we have got this to 12. Let's go ahead and manipulate this. I'll get inside our edit mode. First. What I want to do is to scale the top surface down. So let's go to the faces and select that and use the scale tool and just scale this down like that. Okay, so now we have got something that flares out like that. Okay, so now let's get inside our object mode and move this up like that. Now you can see in comparison how our existing shape is and how how are, how they shape which we want Looks, okay, so I just wanted to add some more loops in here so that we can go ahead and scale it up. So let's get inside our edit and get inside our edge and say, look at slide and add a loop cut over there, and then slide it down like that. And then just scale this up so that you have a shape like that. Now I think you guys are getting an idea of how the shape is done. So let's repeat it one more time. It's good insight, edit and look at and slide and create a loop cut over there and just put it there and use the scale tool and just scale that up to get that effect. Now, I want to scale this down just a little bit, so I'll hold Alt. And if you remember how we selected faces on round, the similar way when we hold Alt and have the edges and double-click, we can select the loop or we can select a ring of faces there. And let's just scale that down like that. And let's scale the last phase. I'm holding Alt and clicking that and just scaling that up like that. And this time I want to move this up, use the Move tool and just move that up there. And now we are not having enough geometry to do this, right? So now we can extrude this to get more geometry, makes sure you're in the face and just come to the front view and perform an extrusion here, Let's get into phase and extrude face and just drag that down like that. And you have got a nice flat out. It's kind of getting there, right? So to make this form even more smoother, we just have to add some more loops here. So let's do that. Get inside our edges, edge and say look at and slide and add an edge there. And just use the scale tool. And then scale that up even like that. I wish to do one more. So again, I'll get inside edge, loop, cut and slide, and put an edge there. And just scale that up like that. So now we have got a nice bell-like shape. Let's go ahead and give it a subdivisions to see how this is looking. Let's go inside the object mode and add a subdivision surface. And you can see that this is what we get over here. Now, you can see after we added our subdivisions, we are losing some volume. And again, we need to get inside our edit mode to now tweak this Till we match our shape. Now, blender offers us different modes, right, to see our model. Now, we can get inside our wireframe so that we can see how this model is looking. You can see through the model so that you can see all the faces on the back as well. And you have these solid view which doesn't show you what's lying on the back. And then you have the rendered view, which will show you the view with the lighting. Okay, so let's get inside our wireframe. The reason why we're getting inside our wireframe is because we want to select the edges on the back as well. Now selecting the edges on the back is only possible in wireframe mode when you're using the marquee selection. Now you will understand that I'm just going to select all these edges like that in the wireframe. And this selects everything on the back as well. Now when I'm in this solid, I'll deselect and now I'll draw a marquee. And now if you see that we are only able to select the edges on the front and not on the back. But of course you can use shift to again select this and go like that. Or there are alternative ways you can hold Alt and then double-click and hold Shift and select that. But using the wireframe is much more easier as it allows you to do it in just one shot. So let's do it again on Wireframe. And it's good insight on selection and just select all our edges there and get inside the front. And now let's go to this solid and you can see how that's comparing to the initial form. Now let's use the scale tool and just scale that up a little bit like that till we get alpha. Okay, So now we have got the form little more defined. Let us add some more loops in here. So that'll get inside edge, loop cut and slide. And then when I slide this edge closer, notice that when two edges are closer, we are getting a sharper look than when we are having two edges far apart. That's how the subdivisions work. So when I move this really close there and when I add one more loop here, I get the edge loop cut and slide, and click there. And as you can see that we are getting a sharper result than a softer one. Now let's go to the shade smooth to see it clearly here. So that's how you get sharp edges, is by just adding close edges next to each other. So let's undo that. Let's get inside out front. So by using this, we can define our form little more. I'll add an edge loop, cut and slide, and put an edge over there, till there. And then let's add one more over here. The bottom again inside edge, loop, cut and slide. Now if you notice that we have a shortcut called as control R that is shown here. So let's go ahead and try that shortcut out. So I'm just going to press Control R on my keyboard. And this shows up my loop cut. And I'm going to create a loop cut somewhere. Okay, so now let's define the bottom part. So here you can see that our bottom is a little more hollow than what we have here. So let's go ahead and do that. Now if you recall, let's use our inset and then extrude to give that depth in the bottom. So let's select our face and select this face. And let's get inside faces and inset little like that. And then get inside face and extrude faces to move that up like that. Now if you wish, you can scale that down like that to get a nice shape. Now, let's see how this is looking in the smooth shading. So let's get Shade Smooth. And yes, we have got a nice bell like form. Okay? So if you want this to be sharper, all you have to do is just get inside up, edit and add some loop cuts here. I'll add control that is getting sharp there. And I'll add a loop got there. And we can also add loop cuts to the bottom so that we get a nice sharp or form over there. Okay, so that's how we got a bell. Cool. So we have got this shape. Now, we can just add some more elements are somewhat basic primitives so that we can define our belt better. As you can see that we have got a spear on top and then we have also got a spear on the bottom to give that a bill like look. So let's go ahead and do that. We'll just add a sphere. Let's get into sign, Add and mesh and see UV sphere. And we have got a sphere there. Now let's give it a modifier, which is the subdivision surface. And say Shade Smooth and just bring this on top. This is a large spear, right? So we just need to scale this down. Let's get inside edit mode and make sure everything is selected by getting inside select all. And then use the scale tool to just scale that down like that. And get back to object mode and move this to where it has to be, something like that. And let's just copy this or duplicate the spear down and scale that up to get the ringer or that. So let's just hold this. I'll select this and get inside our object and say duplicate objects. And just move this down. Let's go to the side view so that we will see how this is looking. We need to scale this up. So let's again get to edit and make sure everything is selected by getting inside Select All. And just scale this up to find the satisfactory. I'll move this up little bit to the top. And let's see how that's comparing to perform. Yeah, great. Then we have finally made a bell icon. Now you can see that we have got three different objects here. And in the outliner, it's a cylinder, and then spear and then SPL. So we can go ahead and combine all these three together so that we will be able to move it as one object. So how we do that is by just selecting everything or just select 12 and the final object which you want to combine with. Now in this case, there are orders in which you can combine, right? You can use the primary object, which is the bell. This is what I'm going to use to move this object. So I wish when I move this bell, all the others needs to move along. So in this case, what we can do is first we can select the top part or the bottom part, whatever. So let's select this spear and then the next peer, and finally, our main belt objects so that you can see blenders shows a slight difference in color. The last selected object is an orange, and the objects which were selected previously are in more reddish tone. Thereby, it is showing you that the last selected object is this. So when we select that, I'm just going to say object and say join here. This has also got a shortcut called Control J. When I select that, all these objects are now one. So I can just select this and move it. And I can move this along that. You can also see here that we have got a cylinder and now we no longer see the other objects in here. Now when we get inside our edit mode, all the objects are there and there is one cylinder and then this peers. But in our object mode, this appears to be one object. With simple tools like extrusion, insert, and a loop cut. We have created an object like a bell. So all the objects, all the 3D objects with UC is all just created by this very simple tools. They're just done in that combination to result what we need. So you can go ahead and have your own experiments. You can try to recreate some objects that are lying around at your house or at your table. Just use simple tools like extrude an inset and loop cuts, scaling and moving things around. And you also saw how it is easy to add up to an object, like just adding a spear to our bell has created a nice look. So that's really simple. You just have to add primitives to your existing object to add more details to it. Try using the subdivision surface modifier to get really nice, smooth curves and nice model results. So with this, we come to an end of our simple modeling exercises. Now, if you're really interested in modeling, I highly recommend you to check out my other classes that are completely dedicated on modelling so that you can explore this tool even more further. 42. Understanding Character Design: In this video, let's learn how to model a cute little, adorable character using blender. To get started with it, Let's open character underscore reference dot blend file from the resources. So now I have opened it. First. Let's discuss the design and the parts of the character that we are going to model today. So if you notice here, this is a character inspired from a small bird, which has wings, legs, and some head detail. To model any simple character using Blender, we have to do two things. First, we have to list out all the paths that the character has. And the second step is to analyze from what a basic geometry that we can start blocking out the model, the head detail I haven't written, it's pure. So we will start with this pure to placode ahead detail. In this similar keys, it is a very approximate, rough idea, each part which basic geometry that we can use. So this is a 3D model as a reference that we have ****. But this can be a drawing or it can be anything. So let's get started with the first part. That is here. We are going to start with the body first. So that will be our primary details. And then let's create ice beak head detail. That will be our secondary deviance. Finally, we will attach wings and the bottom part and the legs. 43. Blocking the Base Form with Proportional Editing: So first, let's add as pure and then mesh UV spiel, let's use Move tool now. And then move it and then scale it a little bit. So I'm going to go and say Edit mode and then select all by pressing Select. And then slightly scaled it this way. So now we're going to use a new tool called proportional editing for enabling that. We have to go on the top, there is a ring with a circular dot inside it. So we have to click on that. So I'm going to click on that to enable it. If it is enabled, it will show as a blue color. Let's go inside the edit mode of this pier and then use Move tool to match the shape. So if you notice when I'll use them, when I'll click on the Move Tool and drag on top, you can notice a circular ring that is the radius of the proportional editing that we're using. So we can use the scroll wheel and increase or decrease the radius to shape out our peers to our existing prints. So if you notice, you can see how we have changed pure shape using proportional editing tool to smooth out this, we can right-click, click on Shade smooth. We can name it. So I'm going to name this as body. So in this way, this allows us to edit anything in organic methods. 44. Creating the Eyes for our Character: We can start adding the ice adults pure, add mesh and spear. So if you see the scale of the eyeball is really small. So I'm going to go inside the edit mode and then select all. I'm going to press on the scale icon. And then you sit nicely like this. Let's go to the grant orthographic and then go inside wireframe, move this using Move tool. And then exactly place it where you want. And then I'm going to use scale tool and exactly match it like this. Now if you notice, we have to move this forward. So we have successfully added, want to add one more either side, we can use mirror modifier. For that. I'm going to go inside the object mode and go inside the modified properties by selecting that object and add mirror modifier. Now you can notice we have added the eye well nicely. Now let's add these smaller details inside that I have one most pure. So let's add that. I'm going to press on object, duplicate objects and click outside. Now, let's go inside the edit mode and then reduce the scale over there. And then let's move it forward. Now we can notice we have added that detail over here. 45. Creating the Head Detail: So the next is we're going to add the head detail. So asset, as mentioned here, I'm going to start with this pure add mesh and UVs, pure, right-click Shade Smooth. I'm going to go inside the edit mode and reduce C-scale. We're going to use the scale tool and then reduce it like this. So let's position it there. So anyway, we have to work on to head detail. So let's duplicate right now the stage and keep it here. Later on we can change the shape of it. So I'm going to go inside object, duplicate objects, and then place it here. So now let's again turn on the proportional editing to enable it. Go inside edit mode and select one vertex on the top, make sure that proportional editing is turned on and we can reduce the scale of the radius and then slightly move according to wherever you want. This. So in this way, we can just simply edit. I'm just holding one vertex on different positions and I'm using Move tool. Now let's go and work on the second head detail edit mode. And then I'm going to select on one vertex, pull it down. Once this is done, let's go ahead and say our object mode and use Rotate to position it that way. So let's rotate it on the y-direction. By going inside the edit mode, we can edit using proportional editing. So I'm going to hold it on top and then I'm just matching it. So it can be very random. It's a very organic shape. Let's just hold it and match the drawing on the backside. Now, let's go inside the front orthographic view and checkout our eye and the head detail. What's this is done? Let's rename it here. So I'm going to select it like this type pad detail. One. The second one would be head detail too. Now let's select all the elements in our character. Add new collection. I'm going to give a name as new character. Now we saw how we can add head detail, ice, and base shape of the character in the next video, Let's add furthermore detail for this character. 46. Creating the Beak: Let's see how we can add the detail. Let's add a cube, add mesh cube. Let's go inside the edit mode of this and reduce the scale. I'm going to use the scale gauge and then scale it on the Y-direction. A bit like going inside the object mode. Let's move it. Make sure that proportional editing and stand-off, otherwise it will move other elements. Also, I'm going to move the B can position it like this. I'm going to go inside, coincide face and select the front phase and scale it. And then we can use the scale To like this. And scale are no overall top. So it will be like a beak size. I'm going to go inside modified pen and then add a subdivision surface and give the levels is too. Let's go inside object mode and right-click Shade Smooth. Now we have a beco here like this. 47. Creating the Wings: Next let's add the wing on this side. So I'm going to add mesh cube. Again, the scale of the cube is very big. So let's go inside the edit mode and then decrease the scale, something like this. And let's use scale gauge ado sit in the x-direction, and then increase it in the z direction like this. It's like a very thin surface and use Move tool. And let's position it on this side. Have to add mirror modifier because we have two wings. So I'm going to first add the murderer. Now we have two wings. Then let's add a subdivision surface and then increase the levels on viewport to two. I'm going to go inside the edit mode and select on the face mode, and select on the top face and go inside scale and increase it like this. Perfect. Now let's go inside object mode and right-click it and say **** mood so that we'll get a smooth surface. We can still edit the bottom part of the wing. So I'm going to go inside the edit mode and then select on the bottom face, and then click on Scale and reduce it like this. So now we have got that shape. 48. Adding Extra Details for our Character: I'm going to select the shape and then go inside the wireframe and go inside edit mode. And let's select the vertex. So let's select the parts here so that we can extract that shape. Now once you select the required vertices, let's go inside Mesh and Duplicate. Click on nodes height before clicking on any other thing. Let's go inside the mesh and click on separate selection. So in this way we have duplicated our bottom part. That is, we have extracted our bottom part by duplicating from the base mesh that we have already. So this is the bottom part that we have created just now. Let's go ahead and add some modified to this. So I'm going to add solid if I modify it so that we can create a separation from the base part because it's the exactly same shell or add modifier, liquids solid if I add a little bit thickness to it. So the next step is, we're going to give this Jaggard effect here. We're going to go inside the edit mode and select the alternative points. It can be a very random selection all around the shape. Let's go inside the wireframe and check whether we have selected only those points. Now if you notice we have selected the bottom points that we don't want to edit. I'm going to de-select it by holding Control and selecting on that point. Now if you notice we have selected only the top points to grab those alternative points, then we're going to move like this. Again, lose some random edits and selecting very few things. And we can give our own heights so that we'll get much more irregular field. The next video, let's see how we can create the leg detail. 49. Creating the Legs with Skin Modifier: Now let's get started with the leg. I'm going to go inside, add mesh plane, go inside the edit mode. I'm going to select all the points and then hit on M and center. It means we have just merged everything. Now let's go ahead and work on this. What takes point. So I'm going to move this snake this side. I'm going to extrude it. So for extruding, I'm going to use a shortcut that is E on your keyboard. I'm going to press E and press Z to lock my extrusion in the z-direction. Then extra detail here. We'll go inside left orthographic view. You can notice how we can position it. So I'm going to give a bend over here. And then again extruded in the z direction. And since we use extrude a lot, so it is always better to use the shortcut key E for extruding anything. Now, let's extrude the fingers. So I'm going to again use the key, extrude in the y-direction. Again, I'm going to select the same boy and extrude it in the y-direction. And then let's move it the x direction and position it. So we wanted like a three fingers from 1. So I'm going to again extrude it in the y direction. And then once it is done, let's use the Move tool and then move it towards the x direction and position it like this. So now let's add skin modifier to this. I'm going to select on Add Modifier you skin under Generate. Now, if you notice here, you cannot see anything other than this cuboid shape. So I'm going to again use the shortcut Control a to access this. That is to reduce the size of the thickness of the skin and then make it nice. Now, let's select all the vertex inside, select and press Control a, and we can adjust the thickness of the skin modifier. I'm going to keep it somewhere like this. If you notice the reference, it is very smooth and rounded. So let's add a subdivision surface. So that will get rounded effect. So I'm going to increase the levels viewport into two. Let's select all these three points and move it like this. The y direction to increase the length of the fingers, we have created one leg. So let's go ahead and create one mode. For that. We can use mirror modifier or we can simply duplicate this and keep it. So I'm going to use mirror modifier and make sure we'll add the mirror modifier on top of the Modify stats. Go ahead and select all points. And then let's move it like this. Perfect. Now we have got our legs. 50. Rendering the Character: Now let's quickly create a background. So I'm going to click on Add mesh, cube and then edit mode. And let's scale it nicely so that we can use this as a background and move it towards the grid, go inside our edit mode and select on phase and delete all the four faces and keep only this, these two, this is the friend and the bottom. And delete other things by right-clicking on it and delete faces. Now, if you notice we have our background. So let's go ahead and give a bevel to it. I'm going to select on the edge here and then click on edge, beveled edges. And then let's add Bevel like this. Go inside the object mode, right-click Shade Smooth. So let's add a solid if I do it, so I'm going to select it and add modifier, go inside modified properties and then add solidify. So let's add a thickness to it. Now since we have added solid, if I modify, we have thickness. So I'm going to slightly move it here in the bottom so that our legs of the characters visible. Now, let's go ahead and add camera to see. So I'm going to go to the front orthographic view by clicking on this minus way to add camera. Let's check this lock camera to View and then go inside view camera, active camera. So now we can rotate it and then compose our scene. Hello, want like this. So I wanted something like this. Now I'm going to uncheck this law camera two views so that we can retain our composition that the frame that we have done. Now, if you notice our background is we have little less so we can edit it. Now. You can go and say Edit mode and slightly make it big. So I'm going to select these two points, the side points, and then let's increase the size. Let's move it towards the x-direction. So again, we can check it by going inside view camera, two camera. Now, if you notice, we have everything covered so our background is perfect. Slow, Let's go ahead and exit edit mode. Perfect. Now the next step is to add lights to this side I'm going to go inside world properties, open sources, studio small. So I'm going to click on that. Let's open it and strength to two. Now, if we go inside our view and camera active, you can go inside our render view. We can notice we have lights and shadows here. The final step is to add materials to this. So now we are not going to add any new materials. We have already materials building this file because we have already had a reference character. So we're just going to call the materials relevant materials to this. I'm going to call select each and everything. And then just go inside material properties and then just connect the materials which is also named. So this is head details. So I'm going to give a head detail so we can now exit from this rendered view. So I'm going to solid view and then just select on the materials with the names on it. So let's just match the materials. Now it's the beak. This is the bottom part, so I'm going to click on the bottom parts. And this is c, body and made material. So this is the outer and this is the INR, and this is the lake. Lakes, and the background is the background material. Now let's check whether we have added all the materials to the elements so that we can go inside are rendered view and then check. Now if you'll notice we have our head cures and then we have a low colored body, and then we have the bottom part and a blue shade, and also the leg. And we have orange color. So now it's perfect. Now let's go ahead and click on the render. So now we have completed taking a render. So let's wrap up this class on how to build a character using simple, basic shapes. 51. Creating a 3D Scene: Alright, so we have come to the final part of our class, which is creating a 3D scene. So I want you to open a file which is called as final UI project. So we are inside of the scene. I opened mine here. You can see that we have got some elements of everything. So you can see there are some 3D models floating around. And we have got the text which we had created earlier, which is the metropolitan home needs text. And you can see that we have got different elements of 3D models. So we have got some hammers, some sauce, and there are some saloon elements, and we have got some cleaning elements as well. So all this is just conveying that they have different services available. Whatever we are, the app which we are creating. Alright, so we have imported different models here. So let's talk about how we can call different 3D models into our scene. Now the reason why we are calling different 3D models is because even though we have the ability to model, there are some times that it is a lot more efficient to purchase or to download our model online. In many cases, you will have to download a stock 3D model online and use it in your blend file. So let's talk about the different ways by which you can import some 3D models into your existing file. Okay, so to do that, there are three different ways available. One way is to download your file as a dot OBJ format. The other way is to copy and paste from a blend file. And the other last way is to append from blend file. So in these three ways, the last two ways, which I told about append and copying from another blend file. Both these options require you to download it as a blend file or to purchase your model as a blend fight. And the first option is an OBJ option where you can purchase any model. Almost all the models available online will have different formats linked to it. And OBJ is being dominant format. I'm sure you'll be able to get a model of your choice in OBJ format. But if you could download a model in blend file, then nothing like that. That's the first option which you should choose because blender is our software of choice. And we can easily link those materials and we can easily link those objects into what blend. Alright, so without further talking, let's go inside and see how these done. So first of all, I'll show you how you can import an OBJ because that's the dominant file format which you will find online. So let's go ahead and get inside file. Just like any software, you can import some files into blend and you can see that as an import and export menu. So let's get inside input. And we can find something called as a dot OBJ file, which is right here, which is the wavefront. Click that lender will show us a window. I'm just inside the resources. I have linked and OBJ file for you so that you can go ahead and import that. And we have a hammer dot OBJ. Now this is just like I'm pretending that I have purchased this model online or somewhere through the OBJ format. So let's just click that and say import OBJ. And immediately we have got some model here, which is a hammer. And on the outliner you can see that hammer under skewed, skewed dot 001. Yes. When you are importing or BJ's, oftentimes that you will get weird name sometimes because this is being exported and then put it back on so you can just go ahead and rename that back to hammer. But since we already have a hammer in our scene, I'm just going to rename it to hammer 002, which means that the second hammer, because I already have one of them. Alright, so let's see the materials. And you can see we have got two materials in here. And since this hammer was exported as an OBJ from blender, you have got the materials coming out, right? Let's see how this is looking on the rendered. Yeah, so that's the render loop which we are getting. This has got some really big scale, so we just need to scale this down. And then I'll just open my scale in my toolbar, get inside scale and scale this down and use it wherever I want in my scene. So this is one way to import your model as an OBJ, but there may be some issues in your model. For example, when I, when I import this, you can see that the materials might not come well. There might be some different materials, but all you have to do is you just need to remove those materials and you might have to assign those materials back on, and thereby that file will look fine. And also you might need to change the name properly because since this is an export from another software, there may be different or weird filenames or weird materials here. So whenever you use OBJ is make sure that you have got the right materials assigned and you have got the name check. Alright, so let's go ahead and delete that. Since I already have a hammer here. Let's take a look at our second example, which is like copying from another blend file. Now this is really simple. If you have got the source file which you download, or sometimes you have a model which you had done in the past and you wish to call it now. And in this way, Let's see how we can copy that from another blend file. We just have to get inside our window and say new main window. And this opens a copy of our initial blend. You can see that there is a blender on the back. And we have got a new blender open here. So we can just go ahead and say Open. And I'm going to open recent because I had opened it recently, but you can find your file on our resources and then you can see something called as 3D icon models underscore final dot blends. So you just have to open that. Alright, so I have got to Blender opened here. One is showing the file of my final icons and the other is showing my previous scene. This is one way of opening another blender. The, another way which is much more easier, one is you just have to get inside the resources and this simply double-click on another blend file. I will also open that file in a new blender file as long as you are in windows. Alright, so let's go ahead and see how we can copy and paste this to there. And you can see that we have got the same hammer over here. And this hammer has got some materials which is 62. Now all I'm just, I'm going to do is just click this hammer and press control C on my keyboard to copy that. And once it's done this file, this object is being copied. Now I just have to click on our previous blend file and press Control V to paste that hammer from that file to this file. And you can see that we have got the hammer and the materials too has come with it. So I'll show you that. I'll click on the hammer and you can open the materials and you can see we have got both the materials from that file. So this is another way to copy something from another blender. So let's go ahead and delete that. And let's take a look at the final option, which is appending something from another blend file. So to do that, I'm just going to get inside file and say append. And blender allows you to append different things such as appending materials or appending lights, appending world, or you can append or even objects from another blend file. So let's go ahead and navigate into resources. And we can see something called as 3D models final. And just click that and double-click it. And inside of which you can see that blend file being opened into many different categories. And you can see that we can append cameras from another blend. And there is a collection. So you can just import a whole lot collection from another blend file into this if you wish. And then we can see that we can append materials. So if you've got your materials in another blend file, say for example, you are just going to use maybe four or five major material categories. All you have to do is just create a file and create those five materials in that. And you can always use those materials in the future, thereby reducing your time and using your existing resources so that way you can append materials. Do you have something called as an object? So I'll just double-click inside of an object. And you can notice that when I get back, you can notice all these are like folders, which means that they contain those specific objects of its category. For example, when I get inside object, you can see all the different objects from that blend file being shown here. In that file. If you open that file, you will be able to notice all these objects as 3D objects in the world. And here they are showing as files here. So I can just click on the hammer and say append, append those hammer. But where is it here? We are not able to see it because Blender will copy the same location and rotation from that file. In that file, or a hammer was not in the center. And it goes a little bit off. So let's go ahead and zoom out and we can find our hammer right here. So this is what is being appended right now. So I'll go ahead and you can position this as a normal generic 3D element and you can rotate and scale to fit in as per your need. So we just saw how we can call another 3D object inside of Blender. One way was to append it. The other was to copy and paste from another blend file. The one more option was to use an OBJ file format. Now the key difference here is that the OBJ file format works when the 3D model was created from another software. Pipelines such as 3ds Max or Maya or Cinema 4D. And when the objects or models are created in Blender, the later two options, which was append or copy and paste from another blender, works like a charm. We just imported some 3D models and now it should make much more sense for you. You can see that how, this is how I was able to call different 3D models from another file. And I have given you all these models for you. So you can go ahead and try importing, copying and pasting it into our blend. So you can see that we have got different models here and each offered has got some materials. I have kept a unified color palette from which I have chosen different colors for all these materials. To see that, let's go and hit are rendered view. And you can see how that's looking. And yes, I have used a different color palettes and I have used some, a little bit of metallic materials to show my design in a puppy and attractive color. So let's get inside our camera view to see how that's looking. And here you can see I have got a ramp on the back. And then I have got one light. And then I have also got a world where I have plugged in the same HDR which I had provided. And then I have a camera view here, and then I have one source of light on the back because I wanted to show some Rim like lighting on the back and you can see it on the camera view. So let's get inside our camera view by hitting this icon. So we're inside of the view. And you can see that how we have positioned elements are how we have positioned our 3D models and we have layered them. And we also have created a camera to compose. And we have created a text object the way how we discussed it before. And you can see how everything is coming together in this picture. So all we have to do now is to just go ahead and hit Render to get our image rendered. So now it's your time to create your own 3D scene. Or you can also use the same scene and you can tweak around to get the look which you want. You can say, feel free to change the colors, change the camera angles, and seeing the transformations of different objects by using the move, scale and rotate tool. And feel free to experiment with the lighting to see what kind of different looks you can achieve in the same scene. You can also go ahead and download some 3D models online and try to get it in them in here to see what are all the different looks you can achieve for your scene took. To wrap up this video, I'll go ahead and give you a summary of what we've learned. Now. We saw how we can create some simple icons right in the beginning. And then we saw how it is possible to create texts. And then we also saw how it is possible to model or to import 3D models from online sources. And finally, we just bring everything here. And we also saw how materials works. And we gave some simple materials. And we set up a camera angle, and then we set up the lighting by using the HDR technique, which was the simplest among everything. And we also kept one physical light to show some rim lighting here. So in this way, we can utilize our skills to create a 3D scene of our choice. 52. Conclusion: Thank you for joining this class. I hope you have learned something new. A good class is about discussions. So go ahead and shoot your questions and queries in the discussion section. I'll be really happy to receive your reviews and feedbacks. So please feel free to share what you thought about the class in the reviews. I'll be really interested in looking at what we have done on the basis of this class. Please share your work on the projects section. Thank you. Cheers.