Blender for Absolute Beginners

1. Welcome: Hi, I'm Amit Kumar Dev, a city artist and animator. Over the years, I have worked on many exciting projects in modeling and animation. Now, I'm here to guide you through your blender journey. In today's digital era, learning blender is not just a cool skill. It's a superpower from gaming and animation to virtual reality and product design. TD content is everywhere. Blender gives you the tools to create all of that for free with industries shifting towards digital experiences, having TD skills open doors to exciting careers, freelancing opportunities, and even your own creative projects. Whether you are an artist, a designer or just curious. Now it is the perfect time to dive into blender. In this beginner friendly course, we are going to make blender feel simple, fun, and exciting to use. We'll start from scratch, from downloading and installing blender to getting familiar with the interface and learning how to move confidently in TD space. You will learn how to navigate, select, manipulate objects smoothly. Even if you have never used Trad software before, then we will explore the essential tools and objects. Play with some cool features like MC gluing meshes and dip into basic materials to add life and color to your model. This course is designed to help you learn fast without skipping the important stuff. In a short amount of time, you'll have a solid understanding of blender's core features. And, you would not just watch. You actually get hands on with what you learned through small practical exercises designed to build your skill step by step. So if you have been waiting to explore the world of thread but don't know where to begin, this is your perfect starting point. Let's open blender and dive right in. 2. Downloading Blender : If you do not have blender installed on your computer, just learn how to do it. To get blended, typeblender.org in your browser. You will then be redirected to the blender website. At the top, click on the Download Link. Here you can see various downloadable links for different operating systems. Click on the link labeled Blender 4.2 0.1 LTS. This is the long term support release. Click here. You will be able to see different downloadable links for various operating systems. Here you can see options for Windows, Mac and Linux. I'm using Windows operating system. Now, click on all archive builds. You will be able to see all the different release of blender here. The Alpha version is more prone to crash, so I'm looking to download the blender Beta version. Now here you can see the most current release of blender, Blender 4.2 0.0. To download Blender, click the download link. Now you can see it has started downloading. Once it's downloaded, open the file. Now, click on the Blender application and run it. And here you can see the Blenders plus screen. At the top, you can see the current version we have. And down here, you can see quick setup options. This allows you to do things like changing the language to any language listed here. You can choose your preferred language listed here. You can choose between a dark or light theme. By default, the dark theme is selected. You can also choose the mouse selection option, left or right. It is asking you which options you are choosing for selecting objects. You can also choose the spacebar action. By default, it is set to play option. Now you can set the preferences. But remember, this screen will not appear again. If you want to see the screen again, you will need to download Blender once more. Continue with the Window. You can see the option to create a new file using any of the available workspace. Down here, we have the option to search for a file set locally. Here we have another option, which will open the last closed file. On the right side, you can see links to manuals, tutorials, support, user communities, and Blender website. Down here, you can find a link to donate to Blender. Now, when you click on a workspace, the spl screen will disappear. You can access the spl screen again by clicking on the Blender logo. And selecting spl screen. General will be the default workspace you can see here. If I change it to two D animation, you will see the enter workspace change for that purpose. Now I can start drawing into D. I'll change it to Slepting workspace. It will create a new file and redirect us to the Slepting workspace. You can see how the enter space is adjusted to that purpose. Similarly, if I select BFX, it will take us to the BFX workspace. Likewise, if I select Bedo editing, you will see the bide editing workspace where you can edit videos. We now have Blender installed. In the next lesson, we'll explore the different workspaces in Blender. See you there. 3. Understanding Blender's Essential Workspaces: All right, you just got blender and congratulations on completing this step to dive into this creative journey. I know you guys are super excited to create your first CD model, but hold on. Before that, I want to introduce you to different PNLs workspace, tools, and overlays to get you familiar with the interface. In this lesson, we are going to talk about workspace. Let me tell you that Blender is divided into several section or workspace. By default, Blender stars in the out workspace. What is workspace? Think of it as a workstation. Where do you get all the panels, tools, manipulators to create models to do clpting or animate. You can find them at the top of your screen. By default, blender starts in the layout workspace. But there are others like modeling, slub ting, UB editing, texture paint, shading, animation, et cetera. Each offering a unique set of tools and panels. Switching between these workspaces will optimize your workflow, depending on the tasks you are working on. Layout workspace is all in one setup where you can view your scene and access basic tools. The modeling workspace focus on mesh editing, perfect for when you are shaping your character. Club tins gives you access to advanced brushes to add fine details to your models. Hube editing is where you will unwrap your model surface to apply textures. Shading allow you to work with materials and create realistic surfaces. We have the animation workspace. This is where the magic happens. You can bring your character to life with key frames and movements. Up next, we have rendering Waspace where you can see the final output. We have compositing workspace, where we use nodes to composite the final scene. We have geometry nodes where you can use nodes to create dynamic objects. We have scripting workspace where we can use Python to modify objects. Here we can see there are more workspaces. I want you to go to all of these workspaces one by one. Let's go to layout workspace. Bender is divided into several sections. If I go here, you can see all of the sections and the editor times. If I can change it to if I change it to timeline, you can see this timeline here. If I change it to outliner, you see the outliner if I change it to if I change it to properties, you can see that we have the properties panel here. You can switch one editor to another editor from here. Let me go to TDPot again. I can change these edited types from here too. If I click it, I have access to all the editor types. I can go to Tpot Editor, you can see. If I click it, you can see the camera and the objects. If I can change it to outliners, you can see the same panel, you can see if I switch to properties, I can see the property step. I can see the properties editor. You can switch one editor to another editor from here too. Let's go back to timeline. Similarly, we can change from here. There are options from each editor. You can change you can switch editor from going to this icon also. Here we have three Depot, you can see. You have Properties tab, you have graph editor. There are lots of editors here. You can change editor test from here to from this icon. This is the properties type. This is the editor type icon. If I change it to three depot, you can see the three depot. If I change it to properties, it changed to properties. Now, if you want to add a section or properties here, vertically, all you have to do is just go here on the boundary and when the double key can appear, just click and you can choose the option like split horizontally, if I click it, if I choose the vertical split, and if I select this barren and enter it, you can see this Bu pot is splitted into two. I can join them by going to the boundary and when the 20 icon appears, I just click and choose the option called join areas and drag it here. Now it is joined. I can swap between the editors type, if I go here and if I click it, you can see there is an option called swap areas. If I select it, you can see the editor types is swapped. If I again click it, I choose this option swap areas, you can see it changed the position. So you can do lots of things. You can take any ita types and play anywhere you want. Now let's move on to another important edited type called outliner. You can see the outliners on the top right corner. The outliners is a vital tool in blender that help you see and manage everything in your scene. It's like a list or table of contents for your projects. The key features of these outliners are it shows all the object in your scene, like models, lights, and cameras. Objects are displayed in a hierarchy. That means that if one object is parented to another, it will appear under visibility control. Next to each object's name, you will see icons that let you control what is visible. We have the eye icon. It tuggles whether the object is visible in the Bupot. Next, we have the camera icon. Toggles whether the object is rendered and you hit the render button. If I click it and if I disable it in renders and now if I render this scene, these objects are not going to be visible in the final expo. We have some more options. If we go here, we can enable more options like this is called the selectable. It is very important option. It allow you to enable or disable selection for your objects or lights or cameras or even for collection. If I select this cue and if I disable it, I cannot select it in this Bupot. To select it, I have to enable it again. Similarly, I can do it for the collections. If I click it and disable it, I cannot select any items under this collection. To select it, I have to enable it. Next, we have the right click menu. If I right click, I can see there are more options, we can create new collections. If I select this collection and double click, I can renin the collection. Let's call it mesh. I can put any of these items under this collection. Like, if I select this cube and I drag it under the collection, now it is under this collection called mesh. Now I can select this collection and control the visibility from it. If I disable it in renders this scene render the mesh selections is not going to be visible in the final export. Next, we have the search bar. I can search any items in this scene. I can search lights. You can see I can search. If I search light, if I search light, the other items are not going to be visible. It allows us to search for individual items. It is very helpful when you have many items in your scene and you want to look for a particular items, you will use this search bar. Now, let me give you some practical tips. Use collection to organize your objects from the start to keep your scene tidy. Always give your object meaningful name, so it's easy to find them later. Use this search bar. When you scene get complex, use the search bar to quickly locate objects. Use the visibility toggles to focus on what you need to work on without distraction. Up next, we have the property spinel. It is one of the most important panel in blender. Here you have several taps. First, we have the active tool panel. It changes dynamically based on the workspace you are currently on. It provides real time options that affect how that tool behaves. As I switch to different workspace, you can see the active tool panel changes accordingly. Next, we have render property step. It controls all the settings relative to rendering you've seen, like which render engine to use sampling quality, performance, and more. Next is output property step. It is used to control how and where your renders are saved. Here we had the resolution. It controls the width and height of your final render in pixels. By default, it's set to 1920 into ten D. You can adjust this to any size, instead of 1920, I'll change it to ten ED. Now it is looking square shape. Next, we have the aspect ratio. It defines the pixel aspect ratio, not the image shape. Next is frame range. It sets the start and ending frames for animation rendering. Next, we have the output for image, we have several of them like PNG, JPEG, EXR, and more. For animation or video, you can choose FF MPEG, for MP four. For BDU, you can choose container. Like PEC four and Do codec h264. In the output quality, you can choose high quality. Next is Bayer tape. It managed visibility of object in the current Bu Lyer. As I switch to compositing tape, as you notice in nN pass, it appears in the render scene node. These are useful in compositing. We will explode them in later lesson. Next is scene property step. It controls scene white setting such as units, gravity, audio, rigid body simulations, and more. Next is world property step. It controls the environmental setting of your scene, mainly how the background looks and how it affects lighting. Next is collection property step. It shows setting for the currently selected collection. It is not an important tap. Now let's move on to object property step. It many setting specific to the currently selected object in your scene. It controls object transformations. Visibility settings in Buport or in render. Next, we have the modifiers. A modifier is like non destructive effect or operation you apply to an object to change its shape, appearance, or behavior without permanently altering the geometry. For example, the subdivision modifier here smooth the object by subdividing its phase into smaller phase. This makes low pol object look smooth and rounded. Next we have particle step where you create and control particle system for your selected object. From here, you can add emitter particle for effects like dust spark or other particle based effects or here particles for here and far. Up next, we have physics property step. It let you apply realistic physical behavior to objects so they can simulate movement, collisions, or interactions automatically. Next, we had the constant tape. These are rules or relationship that control an object's behavior relative to other object. We will look at it in a letter lesson. Next is object data property step. It shows and control setting specific to the data linked to the object, such as mesh, carve or text data. It mainly deals with vertex group, shape keys, et cetera. For example, we have here the vertex group. These are the group of vertices of your mesh. You can assign vertices to groups to control hire modifier, white painting or armature or armature bones affect the mesh. For example, here I'll choose the vertices. And assign them to this group. Now, I'll add a displaced modifier. Here you can see the displaced modifiers move vertices of your mesh based on structure. When you assign a vertice group to a displace modifier, only the vertices in their groups are affected. This let you control exactly where the displacement happens on your mesh. Next, we have the shape keys. These are used to store different deformations of a mesh and blend between them. They are often used for facial expression, lip sync, muscle movement or more. For demonstration, I'll create two shape keys and switch to edit mode. Now I'll select and rip the rtex pressing the key, and make an opening. Now, this info will be stored in the shape key. And when I slide the Vallow, it will show us the edit we did to it. Next, we have the material step. The material steps let you define how an object surface looks, including color, shyness, transparency, and more. It controls the shading and appearance of the object in the three D Bupot and render. Next is texture to add deformation on the mesh. I can add noise or other texture to deform the surface of a mesh. This conclude this lesson. See you in the next chapter. 4. Chapter 1 Lesson 1 Understanding Overlays: Hello, and welcome back. In this lesson, we are going to talk about a very handy features in blender. Obs. Obs let you control what you see in the three D Bewpot without affecting the final render. They help you model more effectively by showing or hiding helpful visual guides. Let's take a look at how they works. First, let's talk about these colored lines in the three D view. The red line represents the X axis. This goes left to right. The green lines is the Y axis. This runs front to back, and the blue lines, there's the Zadexis which goes ups and down. Now let's take a look at this grid in the center of the workspace. The grid in blender is the large square pattern you see on the floor of the three D Bu pot, when you open a new scene. Blender works using the metric system by default. That means each square on these grids represents 1 meter in the three D world. So if you are modeling something in real world scale like a character or a house, you will know exactly how big it is. This cube right here sits on the grid. You can see that it occupies exactly two squares along each side. That means its dimensions are 2 meters wide, 2 meters deep, and 2 meters tall. Let's check that out. To view an object's dimension, press N on your keyboard. This reveals the right side panel in the three D B board. Here you can see the dimensions, and yep, it says 2 meters in X, Y, and Z. So this cube is exactly 2 meters in size. So these are some Obs that guide us throughout our modeling journey. You will find the Obese menu at the top right corner of your three D Bu pot. It's the icon that looks like two overlapping circles. Click on it and you will see a drop down menu with a bunch of options. Let's go through the most important ones. First, we have the floor. These toggles control the grit floor. You can see in the viewport. While it's enabled, you will see the flat grit that represents the ground plane. Next, we have axis. This options shows or hide the X, Y, and Z axis in the viewport. If you turn off axis, these lines disappear. Next is text info. Wh this in, you will see helpful text at the top left corner on the Bupot. This includes the name of the selected objects and some useful quick steps. Next, we have the statistics options. This shows you detailed info about your scene in real time. When in world, you will see vertices, edges, and face counts, triangle counts. This is really helpful for keeping your model optimized, especially when working with complex scenes. Next, we have extras. Extras control the visibility of extra objects in your scenes like camera, lights, et cetera. Next, we have warefames. This overlays the warefame on top of your solid model. It let you view the underlying topology without switching to full warefame mode. Now, let's explore some really helpful tools and tricks to navigate your TD Vwpot and work comfortably in blender. Let's start with the gizmos, a little widgets, showing the red, green, and blue arrows. This represents the X, Y, and Z xs, and they help you quickly change your viewing angle. Next, we have zooming in and out. This helps you get closer to your model for detailed work or zoom out to see the whole scene. Next, the hand icon is called move the view, also known as pen view. Next is Trogal camera view. The shortcut for this is zero. This shows what the camera sees. You can also log the camera. Under the view log, check log camera to view. Now when you move the view, while inside camera view, the camera will follow. This is great for framing shots interactively. Lastly, let's explore useful shortcuts. Sometimes when you are working in blender, your object might seem too far away or maybe you have lost track of it in the scene. For that, there is a quick fix. Just select the object and then press Period key on your num pad. This will instantly zoom the view to focus on that object. It's called frame selected, and it works like magic to bring your object back into view. There's a quick overview of overlays in blender. They might seem simple, but once you start using them smartly, your workflow becomes much cleaner and faster, and that's conclude this lesson. Thanks for watching. I'll see you in the next one. 5. Lesson 2 Meshes, Tools & Tricks: Hey, everyone. Welcome back. I'm Amit and in this lesson, we will learn about object mode. We will understand what a mesh is and explore the basic manipulation tools and view switching options in blender. These are the foundations for any three D modeling work. Let's dive in. Before we explore different tools in object mode, let's first learn about mesh. In three D, any object that is comprised of vertices, edges, and faces is called a mesh. For example, this cube right here is a mesh. Each point on the corner of this cube is called a vertex and the lines connecting two vertices are called edges. The flat surface enclosed by edges are called faces. A mesh object is made up of many vertices, edges, and faces. In object mode, we do not have access to its vertices edges and faces. To see them, switch to edit mode. In this mode, you can access vertices, edges, and faces. Edit mode has three submodes. Here we have the rtex selection mode. It allows you to select vertices. Next, we have the a selection mode to select the edges. Lastly, we have the phase selection mode. It allows you to select phases. We will explore the more in later lessons. Let's switch back to object mode. Now, let's explore the different tools we have in object mode. First, we have the selection tool for selecting objects. If we keep pressing on the icon, it reveals different types of selection tools. For example, first, we have the tweak tool, the tweak tool let you click and drag to move things instantly. In object mode, it moves whole object, but this tool is more useful in edit mode. To show that, I'll switch to edit mode and subdivide the mesh a few times. Now in aval tech select mode. I'll select that tweak tool. Now I can tweak a few of these vertices. It works great for shaping your model. Now, let's exclude the select box tool. Which is the most common selection tool. The select box tool is used to select multiple objects or mesh elements like vertices edges or faces by dragging a rectangular selection area. If you want to deselect a selected object, just hold the shift key and click on the object, you want to deselect. Or if you want to add more objects, just click on that object while holding the Shift key. Now let's explore more selection tools. We have circle selection which allow you to select multiple elements like vertices edges, faces or objects using a brush style circular selection. Than dragging a box, its shortcut is the C key. You can control the radius of the circle using the slider on top. This tool is specially used in edit mode. Next, we have select eso. It allow you to freely draw a selector shape with your mouth to select object or mesh elements. Now let's move on to next tool related to cursor placement. The cursor tool in blender is used to position the thread cursor, which act as a reference point in your TD scene. It let you click anywhere in the TD Buport to place the thread cursor. The T D cursor is not an object, but a reference point used for many purposes. For example, when we add a new object, the new object is placed at the Carsal location. I can place the cursor anywhere. A newly imported object will be placed at the ersa location. Another use of the cursor is aligning geometry. To demonstrate if I want to place or align it on top of the cube, I can use the cursor's heal. For that, first, I'll place the cursor on top of the cube. Then I'll deselect the cursor tool. Then I'll select the object. I want to place on top of the cube and press the shortcut key ship plus S, which brings up pop up options. From the options, choose selection to cursor. And here you go, the icospere is now placed on top of the cube. This way, I can place any object anywhere precisely using the cursor. You can also place the cursor on a selected object. For that, select the object where you want to place the cursor, then press ship plus ST time, choose cursor to select it and it will place the cursor at the selected objects location. This technique is quite useful and we use it often. Now let's move on to different manipulation tools. First, we have the move tool. The mop tool in blender allow you to change the position of an object or mesh elements like buttss edges or faces in three D space. It let you drag object or element along the X, Y, or Z axis. You can grab and move in any direction using the shortcut GK. Or log the movement to a specific axis. To do that, press G to start moving, then press Y to move only along the y axis, front and back or press X to move along the X axis. Left or right, or G to move only along the Z axis up and down. Next, we have the rotate tool, which allow you to spin or turn objects around X, Y, or Z axis, changing their orientation in three D space. For that, press R to activate the rotate tool to a specific axis after pressing R, press G to rotate around the Z axis or press X to rotate around the X axis. Next, we have the scale tool. The scale tool let you resize object or mesh elements, making them bigger or smaller along X, Y, or Z axis or uniformly. Press S to activate the scale tool, move your mouse to scale up or down uniformly. To lock scale to a specific axis, after pressing, then press G to scale only along the Z axis or Y to scale only along the y axis. Next, we have the transform tool. It is a combo tool that lets you move, rotate and scale objects, all in one place. The transform tool gives you move, rotate, and scale, all in one, so you can quickly adjust everything from one spot who want a visual way to manipulate objects. Next, we have the invitation tool, which let you draw on a screen directly in the three debut port, making nodes, markups or guards for yourself. Each has different modes. We have the line tools. It allow you to draw a straight line between two points. It is great for precise nodes or structure guides. We have the Polyline tool. It draws connected straight lines. For that, keep clicking to add segments and press Enter to finish. Next, we have the eras tool. It erases your ination strokes. Just click and drag to remove drawn lines. Next, we have the Mar tool. It let you miser distances, angles and thicknesses directly in a thread Bupot. It is super handy for accurate modeling, especially when you need precise proportions. Lastly, we have the A cube tool. It creates a basic cube mesh in Tredsin. It's a starting point for many modeling tasks. F there just drag and shape it the way you want. Beside cube blender gives you multiple primitive shapes to choose from. Like cone, it tapers to a point. It is great for hairs and spikes. You can also make the added cube smooth by increasing the vertices slider on top. Next, we have the cylinder, I add cylinder. It is good for pipes, arms, legs, and columns. Again, to make it appear smooth, increase the vertice sliders. Next, we have the UBI spear. Click and wreck to add a UBI spear to the scene. Again, to smooth it, increase the segments and ring sliders allow. Now let's explore some important shortcuts. For selecting all objects in the scene, we use the A key. It selects all the object present in the scene. To delete an object, we use the shortcut X and choose delete from the pop up option. Now, let's learn how to join multiple objects. To do that, select the object you want to join. Then press Control plus J to join them into a single object. Now, these are one objects. Another shortcut you often use to duplicate object is hip plus DK. It let you duplicate selected objects. Lastly, let's explore shortcuts for switching different views. Press Numpt one to switch to front view. Here, this is the front view and the shortcut for it is numpt one. Now press num ped three to switch to side view and press nupt seven to switch to top. Let's wrap up the shortcuts. Press nupt one for front view, plus three for side view, seven for top. Now, if you want to switch to B View, which is the opposite of front view, press Control plus num ped one. Similarly to switch to left side view, which is the opposite of side view, press Control plus num pet three for bottom view, which is the opposite of top view, press Control plus Num pet seven to switch to bottom view, and there sit for this lesson on object mode and understanding mesh basics. Practice these tools and I'll see you in the next lesson. Back up. 6. Lesson 3 Understanding Blender Objects: Hi, there. This me Amir and welcome back. In this lesson, we are going to talk about one of the most fundamental things you will do in blender, adding objects to your scene. Whether you are building characters, environments or abstract arts, it all starts with adding your base objects. So let's jump in. First, let's learn how to add any object into the scene. In blender, everything starts with an object. Whether it's cube, a sphere, a light, or even a camera. To add something new, make sure you are in object mode. Then go to Air menu on the top bar. And click on the ad option. You will see it reveals a menu that lists all the different types of objects. You can add to your blender scene. Let's start with the mesh. These are basic three D building blocks, solid shaves you will use for most modeling works. It includes plain, cube, Ubispire, CoSpare, cylinder, cone, Taurus, grit, monkey, and mode. These are all editable in edit mode, and they are your go to shaves for creating three D models. We also can add two D and three D curves used to create smooth flowing shapes. Next, we have surface. It is similar to curves but used for creating smooth nerves based surface. It is useful for advanced modeling techniques. Next, we have metabols. These are blobs like shapes that merge closer together. They are great for abstract art or creating stylized liquid forms. We have more on the leash like grease pencil, armature, which is a bone, light, camera, and so on. We will exclude them in a moment. Let's start with the mesh objects. You can also access this menu using the shortcut Shift plus A. Now, let's begin by adding a plain mesh or object. Now, here is something really important. Whenever you add in mesh object, Blender pulls up a small pop up menu in the bottom left corner of the scene. This is called the adjust last operation menu and I let you edit the object right after adding it before you move, rotate or start editing anything. Let's go through the options you get for each common shape. For the plane shape, we have the options to adjust the overall scale of the plane in all directions. It's just a flat to D square, but very helpful, especially for ground background shadows or starting at terrain. Next, we have the option to generate UBs W in a world, blender automatically creates basic UB maps for your object. This is useful if you plan to add textures later. Next, we have align options. It let you decide how the object should align to the world, to the view, or to three D cursor orientation. Next, we have location. The location options let you place the object at a precise spot in three D space by changing its value for the X, Y, and Z is. The rotation options let you rotate the object right after adding it by changing its value for X, Y, and Z is. These are some creative options we have here for plane. Let's move on to another object. Let's add a cue. For, we have the options to control its size by dragging the value in or out or by writing the exact number other options are the same as we saw for the plane object. Let's now add a circle. When you add a circle mesh, it looks like a ring of connected edge. By default, it does not have any faces. Here are the options you will see in the bottom left panel. First, we have the vertices. This sets how many points the circle is made of. More vertices means smoother circle. Fewer vertices means more angular useful for styler shapes. We have the radius. I controls the size of the circle from the center to the outer edge. The fill type decides whether the circle should have a phase in the middle or be just an edge loop. By default, it's set to nothing, meaning only the outer edge, no phase in the middle. Changing it to gon fills the circle with a single flat phase. Triangle fan fills it with triangular phase from the center out. Useful for some modeling techniques. Other options remains the same as before. Now let's move on to another object. UB sphere. When you add a UB sphere, it's made up of horizontal and vertical loops like the lines of latitude and longitude on a globe. In the bottom left corner, you will see these options. First, we have the segments. It controls the number of vertical lines. The rings controls the number of horizontal lines. Next we had the radius. It sets the overall size of the sphere. Now let's move on to another mesh called icospere icospere is a sphere made up of triangles instead of quars or circles. When you add an icospere, the adjust last operation panel shows the subdivisions that controls how many times it is subdivided to add more details. Next, we have the radius. It sets the size of the sphere from the center out to the surface. Now let's move on to another shape, a cylinder. A cylinder is like a TD can or tube. When you add a cylinder, these options appear in the adjust last operation panel. First, we have the vertices, it controls how many sides the cylinder has around its circular base. The radius sets the size of the cylinder's base and the depth control the height of the cylinder and other options remains the same for all objects. Next, let's add a cone. A cone is like a cylinder that tapers to a point on one end. When you add a cone, you will see these options in the adjusted last operation panel. First, we have the vertices, it controls how many sides the base of the cone has. Next, we had the radius one. It controls the size of the base of the cone and the radius two controls the size of the top of the cone. The depth controls the height of the cone, means how tall it is along the Z axis, and other options remains the same as before. Next, we have tours. A torus is a doughnut shaped TID object. Options we have for it are first, we have the major segments that controls how many segments make up the large ring around the tours. The minor segments control how many segments make up the small circular cross section of the torus means the thickness of the ring. The major radius sets the size of the big circle. The minor radius controls the radius of the tube itself, the thickness of the doughnut ring. Next, let's move on to another mesh object. We have here the grid. A grid is a flat two D plane made up of many small square faces like a checker wood. It is useful as a base for landscapes, floors or even slopting. When you add a grid, you will see these options. We have the X subdivisions. It sets how many cards or divisions are made along the X axis. Why subdivisions sets how many cards or divisions are made along Yxis. Next, we have the monkey. The monkey is Blenders build in mascot mesh. Her name is Suzanne and she is often used for testing materials, lighting, and modeling techniques. Lastly, we have the landscape mesh as I enable the anti landscape in the addon tab. The landscape mesh is a powerful addon in blender, used to create natural terrains like mountains, hills, valleys, or even alien planet. It comes with a lot of options to control and customize your shape, perfect for creating environment. To use it, make sure the anti landscape addon is enabled in your preferences. Once you add a landscape mesh, you will see a detailed panel full of options. Here an overview of some key settings, we have here the noise types and noise basis. These options control the style and structure of the terrain. You can experiment with different noise pattern, which gives a different loop to terrain. We have here the offset X and Y. It moves or ship the noise pattern in X or Y direction. Next, we have the size that controls the overall scale of the landscape. And the noise size adds the scale of the terrain features, like how large the hills or valleys are. The depth influence the level of the noise details, like how many layers or levels of details the terrain has. The dimension affects how rough or smooth the terrain looks. Now let's explore a powerful features in blender, which is curves. A curve in blender is a type of object used to create smooth flowing shapes, unlike mesh objects which are built from buttices edges, and faces, curves are made up of control poins and handles. To view these control points, switch to Edit mode. Now, you will see the control points and the handles. You can move these points using the G key or rotate them for more control. To access settings related to curves, go to the object data property step. Here, under the geometry section, you can control the depth, which gives the curves volume. Although it may now appear like a mesh object, it's still a carb, not a mesh. I'll enable wareframeode to show you the topology. As you notice, a curve does not have vertices edges faces. I only has control points and handles to manipulate the shape. Calves are incredibly useful for modeling, flowing or organic shapes such as tails, pipes, and similar forms. You can control the thickness of the calves and using the shortcut t plus a, hold plus as and drag in or out to adjust the size of the calves opening. You can also add more control points by selecting two handles and choosing subdivide. This gives you finer control to achieve smoother and more refined shapes. One of the most interesting features or curve is that you can convert them into mesh object. To do this, switch to object mode, then right click the curve and select convert to mesh. Now when you enter Edit mode, you will see it's composed of buttics and edges, just like any mesh. Now that we have exploded the bezier curve, let's take a quick look at some other curves like we have here, the path curve. It looks similar to the bezier curve, but when you go into Edit mode, you will see it behaves a bit differently. There are no visible handles like in bezier curves. You can still increase the depth under the geometry section to add thickness by giving it a circular bevel automatically. Just like before, you can adjust the shape using control points or change the thickness at the ends. Now let's move on to another object type text. A text object allow you to create and display two D text directly in the three D Bu pot. Once died, switch to Edit mode and delete the default text by pressing Backspace multiple times. Now, type your desired text. Here I'll type blender. Now go to object data proprieties step and under the geometry section, you will find the Weble option. This gives you text thickness, making it look tidy. You can also adjust the extrude value, which gives the text depth along its local Zaxs turning flat letters into TD solid forms. Now let's move on to another important category. Lights that's essential for illuminating your scene. Adding mode, realism, or artistic flair. Without lights, you render scene will appear completely black. Lender offers four main types of lights is serving a specific purpose. But before we add a light, we need an object in the scene to reflect the light. Let's add a plane. Scale it up by pressing S then type eight to scale it eight times. Next, I'll add a camera. And position it properly. Right now, the plane still appears small in the camera view, so I will scale it again to fill the background nicely. Now, select the camera, then go to the top menu and click View option. Here from Aline View, Select align active camera to view. This aligns the camera with the current view port. You can adjust its position using G to move it. Now switch to render view mode. As you can see, the scene is dark since there are no lights yet. Let's add our first light, a point light. A point light emits light equally in all direction from a single point, like a light bulb. It's ideal for general light sources like candles, fairy lights, or small lamps with the light selected, go to the object data property type. Here you can adjust the power or color, et cetera. You can also change the light type from the panel. Now let's try a sunlight. A sunlight emits parallel rays from a specific direction, just like sunlight. It does not lose intensity or distance, so it lights the entire scene evenly. It is ideal for outdoor scenes. Control its power and color in the object at a propriety step to create warmer or cooler tone. Next, let's add a spotlight. A spotlight emits light in a cone shaped beam, like a flashlights or stage spotlights. It's perfect for focusing light on a specific part of your scene. You can adjust its power, color, and size, making it ideal for dramatic lighting, like illuminating a character on stage, you can also duplicate light by pressing Ship plus D or switch between light types from the object data property step. Finally, let's look at the area light. Aera lights emit light from a flat surface. It is much like a soft box used in photography. When added, it appears as a rectangular shape in the T debut port. You can scale it to change its size. The larger the light, the softer the shadows it produce. All right, let's wrap up this lesson. By now, you should have a solid understanding of blenders object, including curves, text, and lights and how each plays a role in your creative process. In the next lesson, we'll put all of these into practice and start building something fun using the techniques we have just learned. Take a break, maybe a stretch a little and I'll see you in the next one. Let's keep the creativity rolling. B. 7. Lesson 4 Helping tools: Hey, dear. Now that you are getting comfortable with navigating inplended, let's dive into some transform tools. That will make your modeling experience much smoother and more precise. In this lesson, we are talking about transform orientations, snapping tools, and proportional editings. Let's break each one down. First, we have transform orientations. But before that, let's go to object property step. Under Bupot display, first, I'll enable its axis. From here, you can enable more properties like name in front visibility, axis, et cetera. Let's enable axis. Now, I'll take the move tool. And try to move the object along its axis. As this object's direction is the same as the world axis, we can easily move it along its own axis. But if I rotate the object a little, now its direction is changed. Now, if I take the move tool and try to move this object, it's moving along the world axis direction. But in modeling, in some cases, we need to move partices, edges, faces or object along their own luca lexis. For that, we have to switch from default global orientation to its normal orientation. Now I can move it along its phase normal. Ocal mode also act here the same. There are more options like you. It shifts its directions based on your camera angle. Next, we have cursor. In this case, blender align the transform tools to match the orientation of the three D cursor, not the object. These are not so useful. Most commonly, global and normal mode is often used. Next, we have transform pivot point. It determines the reference point used when you move, rotate, or scale objects or mesh elements like vertices, edges, or faces. For example, you can see the dots in the center of the queue. It is the pivot point of this cube. That means when I rotate the object, blender considers the pivot point as a reference point while rotating it. In object mode, you can change the pivot point of it. Like if I want to place its pivot point at the location of the cursor, I can go to the object tab in the top bar. Now from the set origin menu, I can set its pivot point or origin point at the cursor. Now if I try to rotate the object, the object will rotate centering the three D cursor where its pivot point is placed. Or if I try to scale the object, it will scale using this reference point. Another way to change the pivot point is by going to edit mode. Here I can take the move tool and move the cube up. Here you can see the pivot point is not following the object. This way, I can place the pivot point anywhere I want. Now let's look at the options we have for the pivot point. Here we have several options. Let's learn them one by one. But before that, I'll subdivide the mesh a few times to demonstrate these options. Now I'll enable phase selection mode. Now we'll look at the first option called bounding box center. I'll enable now I'll select three phases and take the rooted tool so you can see the pivot point location. As I am rotating it, you can see the pbet is placed at the center of the bounding box surrounding these three phases. It is useful when working with multiple elements. Next is thread cursor. Here, the pivot point becomes the location of the thread cursor. It is great for precise controls, for example, placing the thread cursor at a joint and rotating limbs around it. Next, we have individual origin. Here, each selected object or element like pass transforms around its own center. It is ideal for scaling or rotating multiple objects separately at once. Next, we have median point. Here, the transformation pibot is the average center of all selected elements. It is good for standard transformations when working on multiple vertices or objects. Up next, we have active element. Here, the Pebot point is set to the active element, which is the last selected elements. Here you can see this phase is highlighted brighter. This gives you more control over how transformations behave relative to one specific element. Up next, we have Snap. Snapping is super useful when you want to align objects or vertices exactly. To turn it on, look at the magnet icon at the top of the three D B pot and click it to val snapping. Next to it, click the drop down to choose the snapping type, closest increment. It snaps object to the grid. It is super helpful when you are working with architectural models, hard surface objects or anything that requires clean mezard alignment. Now, when I move the cube, you will notice objects move in steps instead of smoothly. That's because they're snapping to blenders grid, which is based on meters by default. Next, we had the grid. That means aligning your objects, buttics or other elements directly with the visual grid lines in the three DB ports. Blender grades represent the foundation of your TD space. Is square by default is 1 meter in size, so snapping to it means your objects stick exactly to these divisions, allowing perfect alignments. Next, we have vertex snapping. This snaps your selection to the vertex points or corner of other object or geometry. To demonstrate, I'll add a cube. Now, I'll enable vertex snapping. Now, I'll move the cue. As I move the cube with snapping in a alt and hover over the vertex, Blender will pull the selected element right onto that vertex. Same goes for a snapping with a snapping. Your selection will snap to the edge or lines objeometry not just the corner. Next is phase snapping. Phase snapping allow you to snap objects on mesh elements directly onto the surface of another objects phase. These are some useful options related to snapping. Now, let's move on to another important option called proportional editing. Proportional editing is a super useful tool. W you want to make smooth organic changes to your mesh to demonstrate, I'll delete all. Then I'll add a spear. Now, rotate it a bit. Now, I'll switch to edit mode and enable proportional editing. Now, when you click on the arrow next to this icon, it reveals various types of proportional editing. By default, smooth is selected. Now I select the center vertex, then I'll take the move tool and move it right. As you can see, it is pulling the surrounding vertices gently with a smooth fall off. You can control the proportional size using the sliders on the bottom. Next we have spear. It creates stronger fall off in the middle, softer at the edge. It is good for round shapes. Next, we have the root it creates quick fall off near the center, very slow towards the edge. Next, we have the sharp. It affects a tight area. It is great for sharper control. Next, we have the linear. In this case, inference drops off in a straight linear manner. Next, we have the constant. In this case, everything within the radius moves the same, no fate. So these are some useful ones. Let's set it back to smooth, which is the most preferred one. In proportional editing, there is an option called connected only. When connected on the inner, proportional editing will only affect partices that are physically connected to the selected elements. Ignoring any nearby geometry that is not directly linked, and that's conclude this lesson. Play around with these tools. They will help you model more confidently and creatively. See you in the next lesson. B. 8. Lesson 5 Modeling Your First Scene In Blender: Hi, dear. Welcome to the lesson. In this lesson, we will make our first complete illustrated scene using all the tools available in object mode. We will use our creativity to make a simple yet appealing scene. Let's begin. First, I'll press A to select, then press X and delete all. Now I'll press one for front view and begin by adding a UB spear. Here we will make a simple car model, and this spare will be the head of the cow. Now press Shiplus D to duplicate it. This is going to be the body of the cow. Now, select the head and duplicate it again to create the I and position it to the I region. Now, with shiplus D, duplicate the sphere to create the other I. Now add a cylinder and scale it and position it on the face for the mouth. Now, select the spare and duplicate it. Now position it at the end of the cylinder. Now for the ear, duplicate the sphere and scale along the Z axis and make it thinner by scaling it down along the Y axis. From the tab, rooted the ear and position it properly at a place where the ear should be. Now duplicate the ear and position it to the other side. Now, select the spear on the nose area and duplicate it and put it on top. Now, import a cylinder for the leg, scale it and position it nicely. Now press S, then Z, then three to scale it three times along the Z axis. Now adjust the scale and duplicate it for the other leg and reposition them in the side view. Now select both legs and with Shipless D, duplicate them for the other two legs. Now for the tail, duplicate a cylinder and scale it up. Then position it at the tail region. Now, I'll adjust the position of the nose and rotate the head a little. Continue fixing the alignment. Once done, select all and shade it smooth. Now, select both the eyes and duplicate them to create the eyebrow. Now, scale them down along the axes to make them flat and position them behind the eyes. Once our model looks ready, I'll now select all the parts and move it up. Now I'll place it in a simple background. Let's add an kospere. Now scale it down along the Z axis. Now I'll scale it up and routate it a little. Now place the cow model on it. Now I'll duplicate the icospere and place them at the back. Now import a camera. Once added, go to the view option. Here in the Align view option, choose Align active camera to view. Now adjust the camera by pressing the GKey. Now in the camera settings, adjust the focal length and shift the camera so that the chi model is placed one third into the camera view. Now reshape the icospheres and position them properly so they fit nicely into the scene. I'll place some of them far away to create depth into the scene. I'll now duplicate it and scale it and position it in the scene. Once done, put the threat cursor onto the icospere that are far away. Now I'll add a cylinder. We will create a simple house. Now I'll add a cone for the roof. Now press period key on the numpad to zoom in. Now I'll add a cube and scale it down along the YXs for the window. Now place it on the wall. Now we'll continue with modeling the wooden barricades. For that, I'll add a cube and scale it along the Zaxs now I'll keep duplicating them to create the barricades. Rotate some of them to create unevenness. Now, I'll align them properly. Once done, select all join them by pressing Control Pla J. Now place it on the ground. Now, I'll duplicate it to create more. Now I'll duplicate once more and now place it in front. I'll put it behind the cow. Now in the camera view, I'll reposition it. Now we will create some small plans to make the scene feel more alive. To start, I'll import a UBI sphere. Then press period key to zoomin. Then I'll scale it down along X axis to flatten it, and also scale it along the Y axis to shape it like a leaf. Next, select the object, then press Shiplus S and choose cursor to select it. This places the three de cursor at the center of the selected object. Now, import a cylinder to serve as a mid rib, the central thicker vein of the leaf. Scale it along the Xaxis and position it along the length of the leaf blade. Now select the mid first, then holding the Shift key, select the leaf blade. Then press Control plus P and choose set parent to object. Now, both parts will act as a single object. Now, let's position it on the ground and start duplicating it to create more leaves. I'll vary their scales and arraignment to add some natural variation. I'll continue duplicating and shaping them to build a more natural look. Once I have created a bunch, I'll select all of them and duplicate them and place them behind the barricades. With the scene laid out, let's begin adding materials. First, switch to camera view, then enable material preview mode. Now, I'll start by adding colors to the cow. Go to the material step and apply a basic color. I'll select each part of the model one by one and assign colors accordingly. From the material slot drop down, you can access all previously created materials. You can reuse them as needed. For the pupil, I'll duplicate the eye object and place it on top. Then I'll click the duplicate material icon, so we can change its color without affecting the original. Now I'll set the color to black and repeat the process for the other eye. Now I'll continue coloring the rest of the model. To work on the legs without distraction, I'll temporarily hide the ground. Then I'll select all four legs, holding the Shift key, then select the body, then press Control plus L and choose link materials. It is a useful trick to transfer material from one object to another, and it saves time. Now, I'll press plus H to unhide the icospere. Now, let's add colors to the ground elements. I'll assign slightly different shades to each icospere for variations. For the barricades, I'll use a wooden color. I'll continue coloring any remaining objects. Now for the leaves, I'll assign slightly varied green tones to keep them visually interesting. Now, I'll delete all these unnated leaves and replace them by duplicating the colored ones. I'll add even more duplicates to give a grassy loop and align them properly on the ground. Now, moving to the house, I'll add basic materials to For the window, I'll duplicate a cue, scale it down and place it at the center. Then I'll change its color accordingly. Next, I'll position some leaves behind the cow to enhance the grassy field. And duplicate them as needed. To add more depth to the scene, I'll place a few leaves in front of the camera. This is a useful trick to enhance the sense of depth. Back in camera view, I'll resize and reposition the front leaves carefully, deleting a few if it feels too cluttered. Once positioned, I'll switch to render mode to set the lighting. I'll add a sunlight and rotate it to nicely illuminate the scene and increase its strength for brightness. Then I'll add an area light above the cow and raise its power to highlight the model. Now I'll duplicate the area light and place it elsewhere for balanced lighting. Now, I'll select the front lips and smooth them by right clicking and choosing shade smooth. I'll do the same for the house. For the sky, I'll import a plane and scale it and rotate it along the ax axis. Now, in camera view, I'll position and scale it to fit behind the scene. I'll apply a simple dull green color for the sky. Now, let's adjust the camera settings. For that, select the camera, then go to the camera tape and enable the depth of field. Use the Pia tool to set the focus object and choose the car model. Now, reduce the focus distance to around 0.003 meter. This will blur the background and brings focus to the main subject. Now we are ready to render the scene. But before that, I'll routate the camera slightly to create a more dynamic composition. Now in the render properties step, I'll keep the render engine set to AV, and I'll set the sample count to 250. Then I'll scroll down to color management and choose RGB as the color mode. We are all set now. Go to Render Menu at the top and choose Render Image. Rendering may take some time depending on your computer's performance. And here you go. The final scene looks beautiful. Now you know how to build and render a complete scene. I hope this gives you the confidence to create your own. Try it out. I can't wait to see what you come up with. See you in the next lesson. Happy blending. 9. Chapter 2 Lesson 1 Editing Vertices: In this lesson, we will explore edit mode and how to edit mesh. To edit mesh, we have to understand vertices, edges, and phases. In this unit, we will look at the tools for editing vertices. To model anything we need or want, we have to understand how to edit meshes. In this video, we will look at the option to edit using buttss. I have added some objects in this scene. For this example, we will use Monkey, the Suzanne. To edit anything in blender, you can just hit tab to go to Edit Mode. Or you can manually select this option. In edit mode, we can use buttss edges, and faces that make up a mesh. Within buttex select in the toolbar, we have a series of additional tools that we will look at during this video. From the moment we go to Edit Mode, we have total control over our mesh. If I take any of their tices, I can change the position and modify it. For example, if I take this ptices and if I take the move tool, now I can move the vertices just like this. I can select multiple vertices. If I hold the shift key, I can choose multiple ptices. Now I can alter the region. Another important thing is when you want to select the object like this, notice that the selection is only limited to the front sides. It would not select what's behind. That's because of blender system for selecting butticsT select everything with one swap, we have to turn on the Togol X ray that allow us to see through it and select entire object. It may seem complicated first, but that's how it works. We can also use a keyboard shortcut or Plus chat to quickly access this button. All plug Jet again, and we will go back to how it works. For example, if I want to select half of it, press A Plug jet, then go back with A Plachet select the MPT. And now I can see what I'm selecting better. One of the operation we will use most frequently when editing vertices is MRT. If I take a pair of batices and I will go to the MRS function, which will mark the Btices. To do that, I will hit the MK, and this menu will pop up with all the options. First, we have the at center. It will mark the selected tics as center. Next we have at cursor. It will mark the selected tics wherever the cursor is located. Similarly, we have the collapse, which is similar to the center. Next, we have the at first. At first, we marge them at first selection. We have at last, it will mark them at last selected tics. Now, let's take this option first at center. If I select these two tics and if I press, I choose this option called Center. It marks the Btices at center. Control Z to go back. If I choose this option called cursor, whereb the cursor is located, it will mask there. If I change the cursor location, if I put the cursor here, and now if I press, I choose this option called Acursor, it will mask the berticsEdcursor. Next we have the option called collapse. Collapse is similar to Air Center, but it has an interesting option. Now when I select these vertices. Now in the marge Option, if I choose collapse, it will look for the closest point and merge them. Next, we'll look at at fast. At first means all the selected vertices will be merged into the first vertex you selected. For that, I'll take the move tool now I'll select this tex first, then holding the shift, I'll select the second tex. Now in the merge option, I'll choose at first. You'll see that it merges the two vertices into the first tex you selected. Next, we will look at the next option at last. At last merges all selected vertices to the last one you selected, which becomes the active vertex. For example, first, I'll select the vertex, then holding Shift, I'll select the second one. Which becomes the active vertex. You can recognize the active vertex by its slightly brighter orange color. Now I'll choose at last. You now see that they merges into the last selected active vertex. Another interesting tool that gets use of N is the knife tool, which basically make you cut. We'll press the letter K and the icon change to a small knife. That will detect a tex and start to make you cut. To accept it, I hit Enter. And the cart has been made. Now I can continue the cart. Hit K again. Hit Enter, and the cart has been made. This is very interesting tool, and we often use this knife tool in modeling. Another function we can carry out by editing tics is called Twik. You can find the Tweak tool under the selection tools. We have already gone through it earlier while discussing object mode. In buttex mode, with the tweak tool selected, I can simply click and drag a buttex to move it instantly. It's perfect for making quick shape adjustments during modeling without needing to constantly switch tools or to use keyboard shortcuts like G for Grab. Now I'll show you another interesting merging option. There is a small icon here, that's a O to merge buttss. If I enable it, and now when you join two vertices, it will automatically merge them. To make it more precise, I'll enable this option called the snapping option and choose this option called tex. Now, if I take this tweak tool, and now if I take these buttices to the closest buttices, it will march them. This tool is very helpful and it will make you can merge your buttices very fast with this tool. If I have otomrg and sniping option enable, I can merge but this is very faster. So we have this option when we are modeling and we want to separate vertices or if we need to merge them, we can select them with Shift key and choose this option called at center. It automatically merge and close the points. Now, let's move on to vertex separation using V key. When you press V with a vertex selected and drag your mouse, it reaps or separates the selected vertex from its corrected geometry, creating a gap. It is useful for splitting geometry and creating open edges. Now if I want to fill the hole, I'll select all the surrounding vertices and plus F to fill it. Another interesting thing you can do with vertices is duplicating them using ship plus D. For that, I'll select the vertex and plus ship plus D. Now I can extrude the duplicated vertex using the shortcut EK. Then I can join the extruded vertices with the main shape by selecting multiple vertices from both the parts and pressing F to fill the phase. This is one of the most useful operations you can do in vertex select mode. You now know how to edit vertices. In the next lesson, we will look at tools for editing agents. 10. Lesson 2 Editing Edges: In this lesson, we will look at mesh editing using only edges. Let's go to Edit mode by pressing Tab on the keyboard. Now go to this mode called the S selection mode. When we are in a selection mode, we have some tools to edit our mesh. First, we have this tool called the Bible tool. The shortcut is Control V. If I select it, and it gives me this icon, and now if I hold it and drag it bibbles the edges. And now I get this floating menu where we can change some of the settings. Like we can increase the segments we can change the width. We can change the profile type this way. So this way we can edit our mesh using this tool called the Babel tool. Next, we have this tool called the loop cut. If I select this tool, if I select this tool, it creates a preview of the cut it will make. Now, if I click and hold it, it gives me a bidirectional arrow. And if we drag it, we can bring this to where we want our cut to be. Now, if I click it, it gives me a floating menu where I can change some of the settings. Like I can increase the number of cards or I can change the smoothness. I can change some of the settings like the fall off, so these are the settings we can do here. Another cool operation I want to show you is called marging edges. If I have two object and there is a hole inside, I can merge them together. Let me show you what I mean. If I select this object with pressing A, I can select this object, and if I duplicate this object with Shift D, and now if I want to mark them, first, we have to delete these two phases. Now, let's go to the phase selection mode and select these phases holding the Shift, press X to delete the phases. Now we have the hole inside our shape. Now we can merge these two shape by selecting these edges. If I select the whole loop using the Old key, I can select the entire loop, and now press Shift and Alt and click this edge. You can select this loop also. Now if you have to press F three, to start a tool called the Bridge edge loop. And if I click it, now you see it bridges the gap. Now we have some more option for this tool. I can twist it like this. I can increase the number of cut. There is a sliding tool. It slide the edges. We can also change the profile type like this. Now you see these two objective marched together. If I hit Control C, I can go back. I can achieve this using the Butte selection mode also. If I go to this mode, now you see there are four buttiesselected. Here is also four buttes selected, five press F three, and such this tool, go shortcut is Control E. If I click it, you can see it bridged the gap. Here, I want to point out there, you can achieve this type of march using the bridge Loop tool only when these two shapes are joined. And secondly, both the shares should have equal batices or edges selected. Like here, you can see that we have these four buttices If I select again with the Alt pressing the lt key, if I select this group, you can see there are four tices. Similarly, we have here to the four buttices. The number of batices or edges for each object should be the same. If this object has five buttices or this object has four buttices, this kind of merging with this bridge edge loop tool is not possible. Now let me introduce you some more tools that you should know. We are in a selection mode. If I select these edges, I can get more option related to these edges. If I go here, you can see, there are lots of options for this edge. I can subdivide this edge using this option. If I click it, I can make subdivision. If I go to edge mode, you can see, we have created more subdivision. Now I am in tech selection mode, and I can delete the Btices if I press X. Instead of selecting the Btices, I will select this option called Dissolve tics. It will remove the Btices from here. I can do the same I am in edge selection mode. If I click these edges and if I select these edges, I can dissolve these edges. If I press X, I will choose this option called dissolve edges. If I select it, you can see this edge is dissolved now. This option is very important. When you're modeling, you will use these tools many times. I can dissolve these edges if I press X, I can dissolve these edges. I canisolve multiple edges if I select this edge, if I select this edge with holding the Shift key, I can dissolve these edges again. So these are so important tools that you should know. In the next class, we'll know how to edit mesh using the pass. See you. 11. Lesson 3 Editing Faces: In this lesson, we will look at tools to edit mesh using phases. Join me. I have died three objects in our scene. Select the three object and hit tab to go to Edit Mode. Now we will enable this option called the phase selection mode. In this mode, we can take some faces here and do something different. For example, most commonly used operation for pass is extrusion. I can select some faces and I can extrude these faces. To do that, I'll select this option called the extrude region. The shortcut is E. If I select it, now I can extrude. I can scale these faces. If I hit S on the keyboard, I can scale it. I can extrude it more. I can scale it. If I hit G, I can move this part anywhere. Another useful tools that we often use in this phase selection mode is called the inset faces. It enable you to insert pass in your mesh. If I select and if I select this phase and drag it inside, I can insert the faces. If I drag it more, I can insert more. If I select this, I can insert the faces. And again, I can do this as well. The shortcut is I. If I take this tool, and if I hit I on the keyboard, I can insert the faces. If I hit I again, I can insert the faces. So these are the very useful tool that we often do in phase selection mode. You also can use the Bb tool if I select this and if I press Control B, I can bevel the edges. You can find the Bb tool here and the shortcut is Control B. And we got this option, I can increase the segment. I also can use the knife tool. If I hit K, I can use knife tool to cut the faces. If I select a pass, I can subdivide the faces. If I right click, I can subdivide it. You can see you can increase or decrease the number of card from here. We even can triangulate the faces. If I select the faces, if I go to this menu call the pace, if I click it and expand it, you can see there are lots of options. And if I select this option call and I select this option called triangulate faces. If I click it, the shortcut is Control T, you can see it triangulate the faces. I even can delete the triangulate border. If I choose this option call, trace to quars it will delete the triangulate edges. These are the most important tools that we often do in phase selection mode. You can delete these faces also if I press X on the keyboard, I can delete these phases. Now if I select these four edges in S selection mode, if I select these four edges with Ship key, I can select multiple edges and if I hit F, I can feel the faces. I can cut the faces as well. If I go to phase Selection Mode and if I press Control R, I can add a loop cut here. Or if I want cut only for these faces, I can do it using the knife tool. If I enable the knife tool, pressing the K option, if I hit K on the keyboard, I can enable the knife and now I can subdivide the faces. It enter, and it will make a cut. There are another option that I want to tell you if I go to object mode, and if you notice the faces is not smooth. The faces are not smooth and the edges are very rough. You can smooth it in object mode. If I click and use this option called the Shade Smooth option. If I click it, you can see it make the surface smooth. These are the most important tools that we can do in phase selection mode. In the next class, I'll be going through some of the important modifiers that we will be using in this course. S. 12. Lesson 4 Modifiers: Hi there. Im Amid. In this lesson, we are going to explore one of the blenders most powerful tool called modifiers. The modifiers are operations that automatically affect an object in a non destructive way. This means you can apply, adjust or remove them at anytime without permanently changing your mesh. You'll find them in the modifier step, represented by a wrench icon in the property spanel. But before we can add any modifiers, we need an object. Let's begin by adding one. Once added, I'll go to the modifier step and click the Add button. Here, you will see a list of modifiers organized under different categories. For example, under the generate category, we'll find several useful modifiers. Let's start with the subdivision surface modifier. It refines a mesh by subdividing its faces, creating a smoother and more detailed surface. After adding it, you can control the subdivision level for both the viewport and render using the arrows next to each field. By switching to Wireframe view, you can observe the subdivided mesh more clearly. Now, I'll switch to edit mode. You can see the original cube surrounding the inner smoothly subdivided version. By enabling the edit cage display, you can preview the model with subdivision applied. Now I'll switch back to object mode and apply the modifier. At this point, you can see the actual mesh updated with the changes. This is one of the most commonly used modifier for creating smooth surface. Next, let's explore another essential modifier called the mirror modifier. As the name suggests, it mirrors a mesh along its local X Y or Zaxs across the object origin, making it easy to model symmetrical shapes. To demonstrate, I'll enable Xtra mode, then select half of the sphere and delete it. Then I'll add the mirror modifier. As you can see, it mirrors the mesh along the x axis. In the mirror modifier setting, there is an option called clipping. Enabling it ensures the mirror mesh connects seamlessly at the axis. Now, if I edit one side of the object, the other side updates automatically. This modifier is especially useful in character modeling. Let's move on to another important modifier now called the solidify. To demonstrate, I'll delete the current object and add a new cue. Then in edit mode, I'll delete its top phase. In the modifier step, under the genetic category, you will find the solidify modifier. Let's add it. The solidify modifiers give any mess surface thickness by adding depth. You can adjust this using the thickness slider or control the offset using the offset slider. Now let's take a look at another interesting modifier, the build modifier to demonstrate, I'll add a cylinder and set its gap fill type to nothing. Then I'll apply the build modifier from the generate category. This modifier causes the phase of the mesh to appear or disappear sequentially over time. A great tool for animation. After hitting play, you will see the cylinder being constructed gradually. It includes two options. One to set the start frame using a slider, and other to define the length, which control the animation duration. Now let's explore the Boolean and remesh modifiers, which allow us to create new shapes by combining multiple objects. To demonstrate, I'll import a cube. Then I'll import another mesh object. I'll join them using Control Pache turning them into one mesh. However, if we enter Edit mode and enable the warefame view, you will notice the two objects still are not truly merge. You can select a portion of one and separate it. By pressing P, then choose selection. Back in object mode, they will now distinct objects again. To fully merge them, you can use the Boolean modifier. Add the modifier and switch to union operation and select the second object using the dropper tool. Once applied, the two shapes are joined seamlessly into a single object with no overlapping geometry. Now let's move on to another modifier called the reimage modifier. I'll again add two object and merge them with Control Plj. Then I'll apply their scale and add the image modifier. This modifier regenerates the mesh topology, converting it into a new clean quad base mesh while preserving the shape. You can control the boxel size and eruptivity using their respective sliders. There are four modes, Boxel sharp, smooth and block. After adjusting these settings, you can apply the modifier. Now in edit mode, you will see a completely new mesh with clean quad topology. It is ideal for slopting workflow. Let's continue with another scupting friendly modifier called the multi resolution modifier. This allow you to add details to a mesh by subdividing it into multiple levels. Add more details, click on subdivide to increase the mesh density. Once done, switch to slap mode. And begin sloptingFiner details. It is a very powerful tool for high resolution slopting work. Now let's explore one more fascinating modifier, the screw modifier. For this, I'll add a bezier curve. Then I'll enter Edit mode. Then press X and delete the default segments. Now using the draw tool, I'll sketch the profile of half a glass shape. The screw modifier generate a hella shape by rotating a profile around a specific axis. Once the shape is drawn, I'll smooth the handles of each control point. For that press A to select, then press V and choose automatic to smooth them. Now, I'll add the screw modifier. As you can see, it forms a glass shape. To refine it, you can adjust the position of control points. With a beat up practice, you can achieve any shape you want. Just draw the outline and then tweak the control points after applying the modifier. Now let's continue learning about some more modifiers. We'll start with the array modifier. But before that, I'll model a simple room to demonstrate it. For that, first, I'll import a plane. Then I'll switch to edit mode and create multiple loop cart along the boundaries using Control plus R. This card will form the base layout, and we will extrude them to create valves. Next, I'll enable phase selection mode and select the phases we want to extrude into valves. Then I'll press E and drag along the Z axis to pull the valves up. Now I'll add another loop card on the front face to prepare for the doorways. Again, I'll switch to face select mode and select the two inner faces for the doorways. Then I'll press F three to open the search menu. Now, I'll type and select Bridge edge loop. As you can see, it connects the gap perfectly. I'll repeat the same process for the other doorway valve. To create the roof, I'll add another plane and scale it to fit the top of the room. Then I'll add a solidify modifier to give the roof some thickness. After adjusting the thickness allow, I'll apply the modifier. Now, I'll select the entire room and roof and press Control plJ to join them into one object. I'll also change the met cap shading to better visualize the structure. Now it's time to add the array modifier. For that, I'll go to the modifier step and select array. The array modifiers create a series of duplicates of base object offset from each other. In the count field, I can control how many copies are created. You can also adjust the direction of the duplication using the factor settings under X, Y, or Z axis. For this demonstration, I'll reset the X and Y values to zero and set the Z axis factors to 0.8, which takes the rooms vertically. The array modifier is incredibly useful for creating repetitive elements like buildings, road segment, fences, and more. Now, let's continue explore another modifier. We'll be looking at the boolean modifier to create the windows. To make windows in our building, I'll add a cue and position it where one of the windows should go. Then I'll duplicate the cube a few times and move them to the other window positions. Once applied, I'll select all the cubes and press Control J to join them into one object. Now, I'll select the building and go to the modifier step. Then I'll add a Boolean modifier. Now, I'll set the operation to intersect and use the hydropa tool to select the joint cube object. Once selected, I'll apply all the modifiers from top to bottom. After that, if I move or hide the cube object, you will see the windows are now cut out exactly where we place the cubes. To finish up, I'll add a large ground plane, and I'll scale it up about six times to act as the environment floor beneath our building. Now let's explore some deformed modifiers. I'll start with one of the most common and visually interesting ones, the displaced modifiers. This modifier deforms a mesh vertices based on the intensity of a texture, creating a displacement or bump effect. To demonstrate, I'll start with a mesh and subdivide it about 50 times to add enough geometry for smooth deformation. Next, I'll press C to enable the circle selection tool and select specific areas where I want to add bumps. Once the selection is done, I'll add a displace modifier from the modifier step. Now, I'll go to the object data property step and create a new vertex group. I'll assign the selected vertices to this group. Then I'll return to the modifier step, and in the displaced modifier settings, I'll select the vertex group from the artisGroup field. Next, I'll click New under the texture section to add a new displacement texture. By default, it creates a texture with high intensity. So let's reduce the strength for a more subtle effect. To refine the texture, I'll click the show texture icon, which will take us to the texture property step. Here you'll find various texture types. I'll choose the noise texture to give our selected areas a natural bumpy fill. Then I'll return to the modifier step and fine tune the strength value. One important tip is there, hold the shift key while adjusting the sliders for precise control. To smooth out the surface, I'll add a subdivision surface modifier. Now let's move on to another powerful tool, the skin modifier. I'll demonstrate this by modeling a simple tree. For that, first, I'll add a Q and position it on the ground. Then I'll press M to merge all the vertices into a single point and choose collapse in the merge options. Now we are left with a single vertex. Next, I'll add a skin modifier, followed by a subdivision surface modifier and set its Buport label to two for smoothness. In aval vertex select. I'll press Control plus A to address the thickness of each vertex. This is how we scale geometry using skin modifier, not with the SK then press E to extrude upward and create the trunk. I'll keep pressing E to extrude and form branches. I can press G to move points. You can continue building the entire tree shape this way. Once you are happy with the shape, switch back to solid view mode and enter object mode. If you are ready, you can apply the skin modifier. I'll leave the subdivision modifier applied for now. Switching back to edit mode, you will see the clean topology the skin modifier has created. This mesh is now editable like any standard model. The skin modifier is powerful and great for building organic or character based shapes. Next, let's take a look at the late modifier, which let you deform an object using a control cage to demonstrate, I'll hide the previous object and add a UB sphere. Then I'll add a late object and scale it so it completely covers the sphere. Now, I'll select the UB spear first. Then holding the Shift, I'll select the lattice. Then press Control plus P and choose lattice deform to parent the sphere to the lattice. Then you can check the modifiers tab on the sphere. You will see the late modifier has been automatically added, referencing the late subject. To deform the mesh, go into edit mode on the lattice and move its control points. The sphere will deform along with it. You can get smoother control by going to the object data property step and increasing the U, V and W resolution of the lattice. This gives you more control points for finite deformation. Let's now explore the syn Rp modifier. I'll start by importing a UB sphere and shedding it smooth. Then I'll add a plane. I'll rotate it along XExis and scale it down. Then I'll move the plane so that it touches the surface of the sphere. Switching to edit mode, I'll subdivide it several times to give it enough geometry. Back in object mode, I'll apply the scale of the plane using Control plus A and choose apply scale. With the plane selected, I'll go to the modifier stab and add a string crape modifier. In the target field, I'll select the spear. Then I'll slightly offset the plane to prevent any overlay. Lastly, I'll shade the plane smooth. As you can see, the plane now perfectly conforms to the surface of the sphere. The sringrape modifier is super useful when attaching one object to the surface of another. Lastly, let's explode the wireframe modifier. With the same UB spear selected, I'll add a wireframe modifier. Instantly, the mesh is transformed into a skeletal wireframe. It replaces the spaces with lines and create a net like structure. You can control the thickness and offset using the slider. Or you can even subdivide it further for more complex effects. Optionally, I'll add the build modifier to the waeframe for a fun effect that makes it animate as if it's being built over time. That's wrap up this lesson on blender modifiers. I hope this gives you a much clearer understanding how to use different modifiers to enhance your modeling workflow. Keep experimenting, and I'll see you in the next lesson. Happy modeling. B. 13. Lesson 5 Object Constraints : Hi, dear. Welcome to another lesson. In this video, we are going to learn about object constraints. So what is object constraint in blender? A constraint is a control mechanism that let you restrict or influence an object transformation like its location, rotation or scale based on another object or specific conditions. It helps automate behavior, maintain relationship between object, and is especially useful in animation and rigging. So what are object constant, let's find out. To add a constant to an object, first, select the object, then navigate to the constant tab in the properties panel and click on ED. Here you'll see that there are lots of constraints we can add. Most of these are self explanatory. To demonstrate, let's input another object. Here, I'll add a sphere. Now, select the cube object, and in the constant tape, I'll add a copy location constraint. In target field, I'll select the sphere, and you can see the cube copies the location of the sphere. So this is very simple. Now, let's add another constraint. I'll add a copy rotation. And here in the target, I'll choose the sphere. Now here I rotate the sphere and the cube object will rotate as well. This way, you can control another object rotation using these constraints. Likewise, we have another constraints, called the Copy scale constraint. For that, select the cube and add a copy scale constraint. In the target field, I'll choose the sphere. Now if you scale the sphere, the cube will scale as well. Now let's explore another important constraints called maintained volume. It maintains the volume of an object when it scales. Like here, when I scale it without any constraints, you can see the volume is not maintained while scaling. So if I want to maintain the volume of this object, while it scales, I'll add a maintained volume constraints. Now, when I scale the sphere, it will maintain the volume. It is very useful one, especially for animations, like in the case of animating a bouncing ball. Now let's explore another important one called the child of constraints. I'll add it to the cube object. Now select the cube and add a child of constraints. And in the target field, choose the sphere. Now when I rotate the sphere, the cube will rotate centering around the sphere. It is the same as parenting. It copies all the parameters of the parent, like the scale, rotation, and location. Now, let's explore some constraints useful for cameras or lights. To demonstrate, I'll use a path curve. Now, realign it by pressing R then Z, then 90 to align it along the Y axis. Now select the camera and reset the location to one and rotation to zero. Now navigate to the object constraint tape and select the flow path constraint. Then select the curve path as a target. You can select the axis according to your need. If the camera is not aligned, manually align it and position it on the curve. You can rotate the camera towards the target object according to your need. Now, from the offset parameters, you can animate the camera's location. You can add a keyframe to for animation. You also can edit the path. For that, I'll select the path and go to the edit mode. And here, you can edit the path. You will see the camera follow the edited path. This way you can animate the camera using the follow path constraints. Now let's explore another useful constraint called the track to constraint, called the track to constraint. For that, I'll delete the path and the camera. I'll add a spotlight. I'll position it towards the object. You will see it takes time. That's when the tractor constraint come into play. To do that, select the spotlight and add a tract to constraint. And in the target field, select the cube. Now, change the target and the owner to local space. Now, you will see that when you move the camera, it will track to the cube object. This is very useful constraints, especially for cameras or lights. This is the overview of object constraints. I hope you got an idea of what they do. This conclude this lesson, ICU in the next one. 14. Modeling a low poly house practice lesson : Hello and welcome back. In this lesson, we are going to practice a simple styilized low poly house using all the techniques we have learned so far. Let's get started. First, press A to select, then press X to D. Go to front view by pressing one, press Shift, add a Q, press, then two to scale it two times. Enable the snapping option, so it snaps to the grid. Take the MO tool and move it up just like this. Now, scale it along the X axis by pressing, then X. Do the same for the YXs. Now press TF for the it mode. Now enable the phase selection mode, and select the top phase. Press equ ext. Now, select the vertex selection mode and select these two vertex, press and march at center. Do the same for these two vertex as well. Now select these two phase, press B, and separate it by selection. Press ta for the mode. Rename it. I'll call it row. Now press ta for the Health mode, select these two phase. Go to the phase, tap and choose extra phases long normal and drag it up. Now select these two phase. Now go to the phase action and extrude pass along normal. Now switch to object mode. Then select the base house, then switch back to Edit mode and select the bottom face and move it just like this. Now press Control R, at a Loop cut. Select press E to extrude. Now select the selection tool, select the H and move it down. Now select this phase, press P and separate it by selection. Press select the phase, press step again for the mode, press E to extrude, disable stepping option, and go to the normal phase orientation. Now, move it slightly. Now select this phase, go to the phase option, extrude phases along normal. O down. Now, press or Object mode. Select the base house, then switch back to Edit mode, press Control R, add a loop cut, select all of these phase. Press E, then has to scale. Now press one for the front view, select this phase, press E to extrude. Now press t for the object mode again. Now press one for the front view, the ship ta, add a Q, scale it up along the Xaxis, press three for the side view, mop it up, move it along the axis, scale it down along the axis as well. The press one for the front view. Now, press Control A, apply the rotation scale, do the same for the house base. Control A, apply the rotation and scale. Now select the house, go to the modifier step, add a Boolean modifier and select the door as a Boolean object. Then apply it. Select the door. And rename it. I'll call it door. Then select it press H to hide. Select the house, press tap for the edit mode, press X, and delete all the faces. Now, press tab for the obit mode and unhide the door. Select the house base, press H to hide. Select the door. Then I'll delete the blackface, press X, and delete the pace. I'll do the same for the bottom face, press X and delete the pace. Now select it, press I to inset in the inset phase, visible boundary. Now press tab for the object mode, press tech to unhidt. Now select this dot, press tap for the edit mode, press E, and drag it inside. Now, press tap for the object mode. Now press shift at the cylinder, and in the vertices, choose. S R X 90 to rotate along the Xxs es tap. Now select the phase, E to extorte has to scale. Eat to extorte, S to scale, Eat to extrude, and has to scale. Us tap scale down. Position it on the door. Align it inside view, then go to front view and reposition it again. Now we will model a chimney For that press ship plus A, then add a Q. Now select it and scale it along the Z axis. Now switch to edit mode and select the phase. Then press E, then S, and scale the pace. Then press E to extrude. Now press I to insert the phase. Then press E to extrude and move it down. Now back in object mode, scale down the chimney and position it on the roof. Now let's move on to Window. Add a cube. Now press one for front view and position it where you want the cut for the window. Now scale down the cube along YXs and position it so it intersects the front ar. Now go to front view, then scale it down. Now press Chip plus D to duplicate and move the cube to the other side of the house and position it where the other window will be. Now, let Joan both window measures together. Select them, then press Control plJ to Joan. Next, select the base house, then go to the modifier tab and add a Boolean modifier. In the boolean settings, set the cube as the target object. Once done, click Apply to apply the modifier. Now select the cube and delete it. We don't need it anymore. Now with the base mesh selected, press tap to enter Edit mode. Now select both the pass where the window was cut out. Then press P and choose selection to separate them into a new object. Now switch back to object mode, select the newly separated phase, then go back into edit mode. Now select the phase, then press I to inset. Now in the inset phases menu, eval boundary, so you can see the inset clearly. Now press Control plus R to add a vertical loop cart in the middle. Increase the number of cards to two and scale the loops down along x axis. Then add a horizontal loop cart. Again, increase the cards to two as well and scale them down along Z axis. Now switch to phase select mode and select all the new faces created. Press E to extrude. Repeat the same process for the other window. Select the phase, then insert the phase, add a vertical loop cut, increase the cut to two, scale the loop down along Y axis, then add a horizontal loop cut with two cuts and scale those down along Xaxis. Now select all the faces in the inset area. Now let's add stars to the house. Select the base house, then press tab for the edit mode. Add a loop cut where you want the stairs, then increase the number of carts to two. Scale the loop along sexes, then move them slightly along X to position them. Now, select the face where the stars will come out and press E to extrude it outward. Then press K to activate the knife tool and make a horizontal cut across the face. Then press Enter to confirm. Now select the bottom part and extrude it again to form a stair step. And that's it, the modeling phase is complete. Now let's move on to coloring the house. Since we will cover materials in more details in a future lesson, we will keep it simple for now. First, I'll switch to random mode. Then I'll add sunlight. Then rotate it to adjust the lighting direction. Now, select the light, then go to the object at a property step and increase its strength to two. Now, let's start assigning materials. First, select the roof, then go to the material step and create a new material. Now I'll pick a bluish color for the roof. Scroll down to specular. I'll engage the anisotropic below for more reflective highlights. Then I'll choose a soft blue tint. Don't worry about these settings now, we'll exclude them in detail later. Just follow along. I'll reduce the roughness slightly to give it more shine. Now to apply the same material to the other roof part, I'll select the uncolored roof then holding the shift. I'll select the colored one, then press Control plus L and choose link materials from the pop up. Now select the base house and assign a simple materials to it. I'll also assign basic colors to the other elements. For the window frame, go to the edit mode. Now holding the Shift, select all the frame phases. Then create a new material and choose a color and click to assign. Now do the same for the other window. Now, let's fine tune the lighting. Lower down the sun large strength a bit and rotate it to get better light and shadow angles. Now I'll add a spot light above the roof and set its strength to 10,000. Then I'll rotate it for better direction. Now add area light and put it over the other side of the roof. Then scale it up and increase its strength to around 2000. Then adjust its position for overall elimination. There you go. You have just model and colored a simple low poly housing blinder. I hope this gives you confidence in working with basic mesh editing tools. That's conclude this lesson. Thanks for watching. I'll see you in the next one. 15. Chapter 3 Introduction To Materials in blender: Hi there. Welcome to the lesson on materials in Blender. Materials are what brings life and realism to your three D model by defining their surface properties like color, texture, or how they interact with light. In this lesson, we will dive into how blenders material system works and explore the essential tools and setting you will use to create stunning material for your projects. To demonstrate this, I have added several objects in the sea. The simplest and easiest way to add any materials to the object is just by going to the materials property step. But before that, select the object you want to add a material. Then go to the materials property step in the properties editor. Click on the materials properties stare and here, click on New to add new materials. Now, here you can see the name of the material. If you double click, you can change the name like red and choose a base color. But you can see the material that you created is not showing here. For that, you have to go to the materials preview mode. This mode allow you to preview the material onto the surface. Now, let's look at the panel and several options. First, we have the plus sign. It allows you to add a material into the slot. If I create a new material, hit on plus sign and click on new to add a new material in this slot, and I can choose any color I want. If you want, you can create many material from here. And if you want to remove any material, just click on the minor cycle and the material will be removed, but it is not completely removed. You can find the material here. And if you want to replace the material with the drop down color, select the color, and it will replace the existing material. Now let's see some more properties of this material. Now we have here the metallic option. A value of zero makes the material look non metallic like plastic or wood, while the value of one makes it look fully metallic like chrome or aluminium. These properties are not very noticeable in materials preview mode, especially the metallic property. Material preview mode is ideal for basic shading and lighting, but does not fully represent how light interact with metallics. To better visualize metallic effect, that's switch to render mode. Here, you can better preview the metallic effect on the surface of the objects. Now, let's switch back to material premium mode to explore the next property, roughness. Roughness property control how smooth or rough the surface appears. A value of zero makes the surface perfectly smooth and reflective like a mirror. One creates a completely rough or mas surface like unpolished stone or chok. Take your time to play with both the metallic and roughness slider to understand how they work together to define your materials appearance. There are several properties in this material, and we will look at them in a moment. For now, let's explore a very useful options, how to transfer a material from one object to another. For that, first, select the object you want to apply the materials to. Then with holding the Shift key, select the object that already has the material you want to copy. Now press Control L to bring up the pop up menu, and from there, choose link material, and there's it. The material is now transferred to the second object. I want you to practice this method as it saves time when working with multiple objects, sharing the same material. Now, you will notice something important. Both objects are sharing the same material. This means if you change the materials color or other properties, the changes will apply to both objects. But what if you want to create variations such as different colors for each object to do this, you need to duplicate the material. Select one of the object, go to the materials properties panel. You will see a small duplicate icon, click on it, and now it will duplicate the material. Now you can modify the duplicate materials color or other properties, and it will only affect this object, allowing you to add variety while keeping the workflow efficient. From the property penel, you can adjust basic material settings. But if you want to create custom materials or texture, you will need to switch to the shader editor workspace. To switch to a shader editor, click on the shader editor tab in the workspace bar at the top of the blender. But before that, select the object. And now let's switch to the shaded editor workspace. The shaded editor is a crucial workspace in blender, where you can create and edit materials using a node based workflow. Here is a structural breakdown. Top, we have the three dB port. It allows you to preview materials applied to your object in real time. At the bottom, we have the shaded editor. This is the heart of the material creation, displaying the node based system blender used for its material. Blenders materials are node based, meaning they consist of interconnected nodes define how the material looks. Each node performs a specific function like adding color, texture or effect like transparency or reflections. The materials that has been created by default is called the principal BSDF which combine all the properties into a single node. But previously, we had to add different panels to get this color. Like if I go to the ad and here in the sider, you can see we have the diffuse BSDF which set the color and we need to add a glossy before and one another called the subsurface scattering. Previously, we had to combine all the three panel to get this color. But in the resin version, we do not need to combine all of this panel to get the color. Now, let's explore the key properties of the principal BHD shader, starting with the base color. The base color defines the overall color of your material. You can select any color directly using the color picker in the base color tab or if you have an image texture and if you want to use it as color, you can do it too. To do that, press Shift plus A in the Shader Editor to open the Ad menu. Search for image texture and click to di. With the image texture node selected, click Open to browse your computer. Choose the desired Image file and click Open Image to Lodi. Connect the color output of the image texture node to the base color input of the principal lat Shader. Here we go. Now you can preview the material using an image texture as the base color is a powerful way to create more complex and visually rich material. It adds realism or stylization to your model. Next, we had the metallic property. Increasing the metallic slider value makes the material appear metallic. For the metallic effect, it's also recommend to lower the roughness value. Metallic materials are best reviewed in render mode to see the realistic appearance. Here, you can absorb the object now. It looks like a polished metallic surface. Next, we have the roughness. The slider starts from zero and goes all the way to the the value of zero makes the surface completely reflective like a mirror. A value closer to one result in a mere surface with minimal reflectivity. Now let's move on to IR property, which stands for index of refraction. Ioa define how Lile bends as it passes through transparent object. To demonstrate its effect, I will use a mirror like object. First, select the object, then assign a bluish color to its material. Then go to the transmission option. The transmission property, control the transparency of the material, perfect for creating glass or similar effects. For these, increase the transmission value to one, which will make the material transparent. Lower down the roughness to make the surface smooth and glass lie. Now here you can see the material. Lastly, set the IR value to 1.45, which is the typical value for glass. Note that the oR varies depending on the material. For example, water has the IR of 1.33 and the diamond has an IR of 2.42. This way, we have created a glass material. Next, property is Alpha. It controls object visibility. The Alpha parameter determine the visibility of an object invited to demonstrate a select an object. Now decrease its Alpha value. Notice how the object gradually become invisible. A value close to zero makes the object fully transparent, while a value closer to one makes it entirely visible. Alpha also support texture based control using black and white image. For instance, I have prepared a painted black and white image. By connecting this image node to the base color input of the principal HDF shader, you can see its structure. Next, I'll connect the image to the Alpha input. You notice the black area of the texture rendered the corresponding object part invisible while the white areas remain visible. This technique enables creative way to hide or reveal part of an object based on the texture structure, providing endless possibilities for material customization. Next, we have the normal, the normal input allow you to simulate surface deformation, giving your material a more detailed and realistic appearance. To demonstrate, I'll start with the cylinder. Adjust the material's roughness to make the surface less reflective. Then I'll assign a wooden color to the material. Next, I'll use a node called wave texture. I'll also need a bump node. Then connect the wave texture color output to the height input of the bump node. Then linking the normal output to the bump node to the normal input of the principal LD of sheer. The cylinder surface shows deformation. You can adjust that deformation strength using the bump node strength slider. Additionally, I'll distort the property of the wave texture to create irregularities and tweak the scale slider for finer control over the texture pattern. This method effectively enhance the materials realism by simulating intricate surface details. Now we will be looking at another property called subsurface scattering. It is a material property that simulate the way light penetrates the surface of an object. This phenomena is essential for creating realistic organic material like skin wax and marvel. To showcase subsurface scattering, I'll use Suzanne, the monkey model in blender. Press period key to zoom in. Next, click on New in the material tape to create a new material. For the base color, I'll select a skin tone to better demonstrate the effect. To enhance the surface appearance, I'll use subdivision surface modifier. Navigate to the modifier tab, select subdivision surface. And increase the subdivision level, right click the model and select Shade Smooth for a smoother surface, which will improve the visualization of subsurface scattering. Now, go to the subsurface scattering section in the material setting and increase the weight slided to one. Switch to render mode to see the effect clearly, reduce the material roughness to enhance the appearance of light transmission through the material. At this stage, the skin like material becomes more apparent with subtle light scattering beneath the surface. Under the subsurface scattering, you will find the radius slider which control how light scatter through the material along different color channel. For red color, we have channel. Increasing the slider makes red subsurface scattering dominate, producing a reddish glow, but the green we have Y channel. Increasing this slider emphasize green subsurface scattering. Similarly, for blue, we have Z channel adjusting this slider and has a blue subsurface scattering. Remember, subsurface scattering is a vital tool for creating lifelike material, especially for organic object where light interaction is a defining feature. Next, we have specular, this control the intensity of reflections on the surface of object. To demonstrate, I'll use this cube object. Select it and click New in the Shady editor to create a new material. Select a base color for this object. Under the specular, we have anisotropic property. To better see its effect, switch to render move. Before adjusting the anisotropic value, set the metallic value to one, as anisotropic reflections work based on shiny materials. Lower down the roughness to enhance the reflective surface. Now, increase the anisotropic value. You'll notice how the reflection stretches along the surface, creating a brush or directional commonly seen in metal like aluminum or steel. But what exactly is ansotropy? It defines how reflections stretch along the surface, simulating materials with uneven or directional surface patterns. Below the isotropy, we have anisotropic rotation. This controls the direction of the reflective stretching. Adjust this value to rotate the reflection pattern to achieve the desired. To visualize the effect better, adjust the roughness value. Notice how the reflection stretches directionally. By utating the anisotropic effect, you can achieve a wide range of realistic materials suitable for shiny objects like metal, plastic, or even brushed surface. Next, we have transmission property. We have already seen this effect while creating the glass material. But let's recap. Transmission control how much light passes through a surface, creating a transparent or glass like appearance. Now, let's move on to the coat property. Coat add a reflective glossy layer on top of the base material, simulating a varnish or clear coat finish. To demonstrate this, I'll use this cube object. Select the cube, create a new material for it, and choose a wooden color for the base color. Increase the metallic value slightly and adjust the transmission value to add that hint of transparency. Now, return to the core property. If I increase the wet value, you will notice a shiny reflective layer forming on the surface, similar to a painted or varnished wooden object. Let me remove the notations for a clear view. To show a better and after comparison, I'll duplicate the object using Shift plus D. Now, if I change the wet coat, you'll notice that both object update because they shared the same material. To create variation, let's duplicate the material. Now as I increase the coat ware slider on one of the object, you can see the difference. Its surface now looks like painted wood with a glossy finish. This is what the core property does. It airs a reflective shiny layer, perfect for creating materials like varnished wood, coated metal or glossy plastic. It's commonly used in furniture design, car paint, or any object required a polished high end appearance. Under the coat property, we have tint. This property allow us to add a tin color to the coat layer, influencing the final appearance of the material. If I change the tin color to orange, the material will reflect an orange tint in areas where coat effect is applied. Tint is useful for simulating laquid surfaces, car paints or other layer reflective materials that have a colored top coat. Next, we have normal. We have already seen this normal property in prepous lesson. It controls how light interact with the surface of the material by altering its surface orientation. The next, we have the shin property. It simulates the soft scatter highlights found on fabric such as velvet or satin. Let's demonstrate this using a cloth object. Select the cloth object. Create a new material. Here, I'll choose a sky blue base color. Now, head back to the shin property. Increase the shinut. This intensify the soft highlight on the fabric. Increase the shin roughness, this makes the highlight more diffuse and scattered. With white selected as the tin, you can see white highlights on the cloth. If I change the tin to blue, the highlight will now appear blue. Change it to red, and the highlights will reflect a red tin. You can choose a tin color based on the object base color or the surrounding environments lighting. This creates a more realistic fabric appearance. Under the shin, we have the roughness. It controls how sharp or diffuse the highlights. H. Lower value creates sharp highlights, while higher value creates soft scattered reflection. By adjusting the skin and shin roughness, you can create realistic cloth material in vendor. Use this setting creativity to add authenticity to your Trad model. The next property we will explore is emission. This control the light data materials emit, making the object glow to demonstrate, I'll select the spare object. Create a new material. Now, I'll scroll down to the emission property in the principal BHD of shade. Before adjusting emission, let's check the base color. You might think the base color would affect the glow, but it does not. It is because the emission color completely override the base color when active, making the base color irrelevant in this context. I'll switch back to the emission color and I'll choose a bright blue. Notice that nothing has changed yet because we need to adjust the emission strength. This value determines how intense the emitted light is. I'll set the strength to 30, and now you can clearly see a glowing effect on the sphere. The higher the value, the brighter the glow. Emission is useful when creating glowing objects like neon sine, Sci Fi effects, magical grows, or any light source that does not rely on external next, we will explore the thin film property. These features simulate thin transparent layer that create colorful reflective effects, similar to L slaks or soap bubbles. To demonstrate, I'll select the spare object. First, reduce the roughness value in the material setting to make the surface more reflective. Then I'll set the IR value to one ensuring light passes through the material correctly. Next, I'll increase the transmission value to one, making the object fully transparent. Next, switch to the render mode to see the effect ind action. Under the thin film option, I'll increase the thickness value to 600. Notice how the surface now has a rainbow like iridescent effect similar to so bubble. The thin film property is useful when creating realistic materials like soap bubbles, oil sleaks or any surface with a layered reflective appearance. It add a beautiful dynamic color shifting effect, depending on the viewing angles and lighting. One important thing to emphasize is that render has two types of render engine cycles and EV. Remember that not all the materials are compatible with both render engine. Right now, we are using the cycle render which is considered the premium option for rendering realistic materials. EV, on the other hand, is faster real time render engine, but may not support all materials as cycle does. Keep this in mind while working on your project. Also remember that EV is continuously being developed, and so its compatibility and futures might improve in the future. Now, let's explore some operation that can be performed with the base color. To get started, navigate to the air menu. Select the colored sub menu here you will find several nodes related to color manipulation. For instance, if you want to adjust brightness or contrast, you can use the bright contrast node. Simply place this node between the image texture and base color by dragging it along the yellow connected line. When the line turns white, release the node, and it will be automatically connected. Once connected, you can use the available slider to precisely control the brightness of your image or maybe the contrast to achieve your desired effect. Additionally, there is similar node called Gamma, which also alters the brightness of the color. To add the node, press shipls A and search for gamma. Insert it into your node setup, the Gamma node allows for subtle adjustment to the brightness, providing more control over the final appearance of your material. Another essential node for color adjustment is the hue saturation node. To add it, go to the color menu, select the hue saturation node. Connect this node to your setup, and you will gain the ability to modify the hue saturation and value of the material's color. These controls are incredibly useful for fine tuning the looks of your material. One of the most powerful color related nodes is the RGB card node. For that, go to the color tab and choose RGB car nodes. This node allow you to manipulate individual color channel, red, green, and blue, throw carves. By adjusting the calves, you can achieve precise control about the tonal range and color balance of your material. For example, with the individual channel, you can manipulate the color independently, depending on your needs. This makes the Archiv calves nodes indispensable tool for creating complex and visually appealing color effect. Another color node that we often use is called color RAM. You can find it in the converter sa menu. Plug it to the color note tree. The colorRamp node, create a black and white gradient by default. It allows you to remake bells between black and white or any custom color range. Now, if I click on the small icon on the white area, I can choose any color. Sliding the black area, create sharp gradient. This way, you can alter any existing color. To use the same information to create bums, press Chip plus A, add a bump node and plug the color output of the color M into the strength input of the bump node. Connect the normal output of the bump node to the normal input of the principal HDF shader. This setup generates a realistic bum texture, making the surface more detailed. Let's delete all the color nodes now and we'll be exploring some of the texture nodes available in Blender. To create a texture, go to the texture sub menu. Here you can find all the texture nodes. Let's explore them. Textures create pattern. For example, we have the Bornoi texture. If you want to preview the texture, plug it to the base color input of the principal VT shader to review the pattern. Next, we will be using a mixed color node. Pick the color that we will blend according to the texture pattern. Use the texture information to create a pattern from the mixed color node. Plug the textures distance or color output into the factor input of the mixed color node. And connect the miss color output to the base color of the principal Betf shader. Now, here you can preview the pattern from the texture node, tweak the properties like scale, details or roughness to get desire pattern, increasing the details, enhance the texture complexity. Additionally, you can use the bum node to generate surface deformation. Plug the texture information to the strength input of the bum node and connect the normal output of the buk node to the normal input of the principal Betf shader. This combination creates realistic surface details. Remember, texture create patterns while bum create deformation. Combining both allow us to craft highly realistic materials. Another useful texture node is the noise texture, which generates a different kind of pattern. Plug the noise texture output into the factor input of the scular node. This will display its unique pattern on the material. Adjust the node texture properly, such as scale details or distortion to create various effects. Experiment with this setting to discover how they impact the final look of your material. We have more textures like the wave textures which generate wave like patterns. Similarly, we can use the mixed color node and plug the wave texture output into the factor input of the mixed color node to create the interesting pattern. Choose a wood like color and adjust the scale and distortion parameters to achieve the desire low. Here, you can use the bump node also with the wave texture to add surface deformation for a realistic now let's explore some of the procedural textures. We have a brick texture which generate a brick like pattern. This texture is useful for creating floor materials or architectural designs. From the big texture node, you can adjust properties like scale, mortar size, or even color to achieve a customized appearance. Another similar texture is the checker texture, which creates a checker boot pattern. Use this texture to create checkart surfaces. Adjust parameters like scale or choose custom colors to personalize the loop. We have explored various texture nodes and how to use them effectively. And that's conclude this lesson. Thanks for watching. I'll see you in the next one. 16. Class project: As your class project, you will be modeling the same lo poly house we create together in Blender during the lessons. The project is designed to help you practice everything you have learned from navigation and object tools to materials and emissive elements. Don't worry about perfection. Focus on following along, applying the techniques, and heaving fun building you scene. Once you are done, take a screenshot or render of your final locally house and upload it here in the project gallery. I'll be personally going through each project, and we'll give you feedback, suggestions, and a few words of encouragement. I would love to see your unique touches. Feel free to customize the house if you would like. Let's build something awesome together. I can't wait to see what you create.