Blender for Architecture: Design a Complete House in 3D

1. 00-01 Introduction: A Sala Molecum my name is Wide Mutakin, founder of Expose Studio. For more than 20 years, I have been involved with hundreds of projects, including architecture, interior design, master plans, and so on. I have worked with many clients all over the world. Besides doing projects, I have also been teaching treat and computer graphics academically since 2000. In short, I have both professional expertise and teaching experience. As you may already know, Blender is currently the most popular and widely used free software with around 20 million active users worldwide. However, few people know that Blender is also fully capable of doing architectural design and visualization. I know this for a fact because I have been using Blender for almost a decade now to tackle all kinds of architecture and interior design projects with great success. Like many others in the architecture industry, I started with the common tools such as AutoCAD, SketchUp, FilsMx, V-Ray, Krona, and the like. But after trying out Blender and seeing how rapidly it is being developed, I was often believer that one day Blender will take over the treating industry. I decided to jump ship and fully commit to Blender ahead of other people. It was not smooth sailing at first because back then, almost no one used Blender for architectural projects. There were hardly any videos or blogs discussing the topic, not to mention online courses. I had to develop my own workflow by putting all the puzzle pieces together myself. All these struggles finally paid off. Now Bender can replace almost all of my previous software. I can design directly in TD and provide my clients with visualizations so much faster compared to my old conventional workflow. Bindra has everything that I need in one place. It has robust to modeling tools. It has modifiers and geometry nodes for procedural workflow. It has cycles for photorealistic renderings. It has EV for real time rendering. It has a note based compositor for post production, and it even has a video editor built in. After years of perfecting the workflow in its course, I want to share with you how I handle architectural projects using Blender to ease out the learning curve. We will start with something simple, which is designing a small single story house. With this project, you will learn how to design a floor plan from scratch. Then you will use the floor pan to model the walls, the roof, the facade, the windows, the doors, and the rest of the house details. After that, we will add the UV mapping and then assign the materials and textures. Once the architecture is complete, we then move on to adding more details to the project so that the house does not appear empty and lifeless in rendering. We will add furniture to the front porch. We will also add furniture to the interior, which includes the front bedroom and living room. Next, we will create the lighting on the interior ceilings and then create the lighting outside the house. After that, we will add vegetation around the house area and its surroundings. We will add grasses, small plants, and enlarged trees. Please note that I'll be using two paid addons for this process. Geo-Scatter and botanic. Yes, you can replace these two addons with three alternatives. However, I want to show you my workflow as I. So these two addons are the ones I'll be using. As the final step, we will create two different camera views with two different lighting scenarios. One view will be slightly from left. This one will have afternoon lighting, while the other view will be slightly from right. We want lighting in this view to have a morning vibe. So join now and make Blender your unfair advantage in the architecture field, have fun learning Wsalamocum. 2. 00-02 Exercise files and conventions: Welcome to the course. Before moving on, there are several important things I need to mention about the course. Although you can take this course directly, if you are new to Blender, I strongly recommend you take an introductory course first. This is because there are many fundamental things that I won't be discussing in this course, as I assume you already understand them. This includes navigation, UI modification, object creation, transformation, and basic TD mesh modeling. If you're interested, you can take my Blender for essentials course series here on Skillshare. There are three courses in this series. In the first course, you learn the fundamentals of Blender before moving on to remodeling in depth. In the second course, you learn about material creation, textures and UV mapping. Finally, in the third course, you learn about lighting, cameras, rendering and post processing using cycles rendering engine. After completing the three essential courses, you may also want to take the first course in the Blender four architecture course series. This course discusses in depth the process of making floor plans using Blender. This is very important, as almost all architecture and our interior projects start with floor plans. Having the skills to create precise and beautiful floor plans can be the determining key in getting clients or winning project bids. Next, it's about the exercise files. You can download all the exercise files for this course in the resources section of this lesson in case there is a problem, as a backup, you can also download the files from the following link. Please pay attention to the capitalization of the letters, as this link is case sensitive. You can download the files one by one, but it will be easier if you just click this download button to download them all in one zip file. The text you see here depends on where you are or your language preference. It says, download Samoa because I am in Indonesia. You'll see the text, download all if you are in US or UK or other English speaking countries. As you can see, the false are named based on lesson with additional chapter code in front. Next, it's about the structure of the course. I have carefully crafted the curriculum so that everything is spaced sequentially. Each lesson you take on one level will become the foundation of lessons in the next levels. Therefore, it is important that you take the course in order step by step, not jumping around. If you take the course by jumping around, most likely, you'll get confused at some point. The second thing I need to mention is that you need to practice. For each video, please try out the lesson yourself at least once. The course is not just about theories. Most of the lessons are practical skills. So again, you need to practice if you really want this online course to benefit you. In this course, I'll be using a PC computer with a Windows ten operating system. So every shortcut I mentioned in the video will be for PC and Windows OS. If you are using a Linux OS, most likely, you won't find any difference in terms of keyboard shortcuts. However, if you are a Mac user, you will find some differences. I believe most Mac users already understand that the command key in Mac is often used to replace the Control key in PC, and the option key in Mac is often used to replace the key in PC. But the thing is about vendor. I found that most of the control shortcuts in PC in Mac mostly become this control key and not this command key, although there are some shortcuts still use domand key. Essentially, if you are using a Mac computer, you may need to check the menu or the preferences window or the official vendor's online documentation for the keyboard shortcuts. In this course, I will be using Lenard version 4.3 to 4.5. So they features and shortcuts are related to these two versions. If you are watching this video and have Blender version five or six or higher, you might find some differences here and there. In such a case, I recommend you check my course list as I might have already released a new version of this course that is better suited for the version of the Blender you are using. There are at least two things that you need to have if you want to work in bender comfortably. First, you need a standard mouse with a scroll wheel. Usually, if a mouse has a scroll wheel, you can press on the scroll wheel to activate the middle mouse button. We will use the scroll wheel and also the middle mouse button a lot for viewport navigation. You want to avoid using minimalistic mouse products that do not have any scroll wheel or middle buttons. The second thing that you need is a full size keyboard. What I mean by full size is that the keyboard should have a num pad area. This is important because a lot of Blender navigation shortcuts are placed in the numpad area. Yes, there is an option in Blender reference window to simulate the numPaed keys, but that will be at the cost of overriding other important shortcuts related to TD modeling. So again, you really want to invest in a decent full size keyboard if you want to use Blender for long term. Throughout the course, I may display images and videos. Some of these contents are not made by me. Please note that I am using them merely as references or for inspiration. I never claim that these images or videos are made by me. If I can find the owner's name, I will credit him or her by putting their names on top of the content. Otherwise, I will display image or video with the URL link of where I found them. As for stock images or videos, if I don't specifically state that they are made by me, most likely the copyrights belong to the respective owners, okay? 3. 00-03 Installing the add-ons: In this video, I want to explain the add ons that we will be using throughout the course. The term addons and vendor are basically plugins in other software. Essentially, they are small computer programs that can be attached to the main software to add its functionalities. There are six addons in total that we will use. Three of them are official addons, while the other three are external addons. Let's first discuss the official addons. Please note that Blender official addons are hosted in one centralized repository at extensions.blender.org slash addOS. All the addons you see here are free. They are developed and submitted by the communities, and each of them has gone through staff reviews and approval process. The website makes it easy for us to search and review the add ons. If you like a certain addon and decide to install it, there are two ways that you can do so. The first method is to click on the Get addon button. And then click drag this area and release it on top of your vendor application window. After that, just follow the instructions. The second method is via the preferences window. You can open it by going to the Edit menu and choosing preferences. Next, you need to open the Get extension tab. Make sure you set these to add ons and teams. You can scroll and browse the add ons. All these add ons are basically the same as what we saw before on the website. If you already know the name of the addon, you can simply type it in search field. Then to install the add on, just click the Install button that appears on the right side. The three official addons that we'll use are 123 select White Mouse navigation, and Magic UV add on. For example, we want to install the 123 select add on. Just search here 123. Then click the Install button. You can do the same with the other two addons. Now, because there will be a dedicated lesson on Magic UV addon. In this video, we will only cover the 123 select addon and most navigation addon. If you install the addons correctly, you'll be able to see them in the addons tab. The 123 select addon will let you activate the vertex mode, edge mode, and phase mode directly from the object mode using the number one, two entry keys on the keyboard. Please note that they are the number of keys on left side of the keyboard, not on the numpad. The reason why these addons is important is that by default, when you are in the object mode, pressing the number one, two, and three keys on the keyboard will isolate collection number one, collection number two, and collection number three respectively. Only when you are in edit mode, you can use the number of keys to switch between vertex, H and phase mode. The problem is that we often forget whether we are in the edit mode or in the object mode. To clearly see the problem, let me turn off the add on for now. For example, you think you are in edit mode, but actually in object mode. If you press the number one key to access the vertex mode, what happens is that you end up hiding all collections, except the top collection. Pressing number two will hide everything except the second collection, and so on. As you can imagine, the default setup can drive us crazy. With this add on installed, every time you press the number one, two, and three keys, you always end up in edit mode. Number one, will activate Vortex mode. Number two, will activate H mode, and number three, will activate face mode. The second add on is the right moose navigation add on. Essentially, this addon will trigger the walk fly mode in bender simply by holding the rightmost button. It is the same navigation behavior that you can find in Andrea engine, the five prender, and twin motion. So if you often jump between the software and vendor back and forth, you will truly appreciate the add on. Please note that by default, vendor can perform Wokfly navigation mode. You have to hold, shave, and then press the Tilda key, which I think is not that convenient, especially if you need this Wokfly navigation mode very often. So to use the add on, simply press and hold right mouse button. Without releasing the mouse button, you can look around by moving the mouse and to move around, you can use the WAS ND case, W to move forward, A to move left, S to move backward, ND to move right. You can also use the Q and E case to move up and down. So basically, it is the same navigation control available in almost all Prozent three games. If you are done, simply release the right mouse button to go back to the standard navigation mode. Now, you may be wondering if you use the Mouse button to navigate, how can we perform right click then? Do we lose the ability to open the contextual menu? Don't worry. RlickFunctionality still exists. And so you can still open the contextual pop up menu. Just don't press the right Mouse button too long. If you only perform, click and release quickly, right click pop up menu will still show up, okay? I understand that not all people like this behavior that is totally fine. You don't have to install the add on if you don't want to. You can keep using the default shift till the shortcut or as the alternative method, you can overwrite the shift till the shortcut with just the WK. We will discuss this approach in the next video when we discuss custom shortcuts. The next types of addons I will be using throughout the course are the external or third party addons. They are called external because you cannot find them in your official extension repository. The three addons that I will be using are Blender kit, Geo-Scatter and Botanic. Please note that Geo-Scatter and Botanic addons are paid addons that you can purchase from superhgmrket.com. Blender kit is to be different. The addon itself is free, but some of the assets inside its library are not free. Although later, I will only be using the free once. I won't discuss these three addons in detail now, as there will be dedicated lesson videos for that. 4. 00-04 Custom shortcuts: For most inputs or the standard keyboard and most operations, I believe you won't find any problem understanding them. As I use an add on called screencast keys. This add on displays the input at the bottom left corner of the TD viewpoard. Simply pause the video if you miss the input data use. The problem is that not all of the shortcuts data will be using are default shortcuts. That is why I need this lesson video to explain these custom shortcuts. Please note that you don't have to follow all the settings that I have at least with this video, you will understand later why I am pressing certain keys or shortcuts. There are five custom shortcuts that I'll be using throughout the course. First is F five for showing and hiding the wire frames. The second one is F six for toggling the normal direction of the phase orientation. Next is W to trigger the of identification mode. Note that this can be useful if you don't like using rightmost navigation addon that we discussed previously. Next is the period key to activate the effect originally mode. And finally, the shift E shortcut to activate the to manifold command. If you already know how to create custom shortcuts in ender, feel free to skip rest of the video and just move on to the next lesson. Let's review how to set these custom shortcuts one by one. When modeling, I often need to see the edges or the wireframes of the objects in the viewport. And I also often need to check the normal directions by default. You can access the two settings from the viewport overlay panel up here. This is for turning on or off the wireframe display. This is for turning on or off the normal direction also known as phase orientation because going back and forth to access this panel can be time consuming. I want to sign F five to toggle the Wireframe display and F six to toggle the phase orientation display. To set this up, simply Rod click on this checkbox, choose change shortcut, then press the F five key on the keyboard. Do the same with the phase orientation checkbox, but press F six key instead. Now we can toggle the Wireframe display by pressing a five we can toggle the phase orientation display by pressing F six. All right. Next, we want to uprite the walk fly notification mode from Sheftiler to W. For this, we can open a preferences window. Then in the key Map category, make sure you are in the name mode and search for walk. Notice that in a TV view category, the WF navigation mode is still using the default shift till the shortcut. We can press this button and then press the W key on the keyboard. After this, every time you need to activate the W fly mode, simply press W and you are in that mode. All right. Next, is changing the effect origin only mode shortcut to use the period Key. Please note that the period or the point key that we are discussing now is the one located in the main area of the keyboard, not the one on numpad. I don't want to change the period key on numpad as it is useful to focus on selected objects in the viewport. By default, when you press Control period, you are activating the effect origin only mode. In this mode, any transformation operations such as moving, scaling, and rotating will only affect the origin point of the object, other geometry of the object because I use this feature quite a lot when modeling, I prefer to just use the period key without the hassle of holding the control key. Now, by default, the period key is used for accessing the pivot point pie menu. I use this default shortcut, as I can easily access the feature up here via the pivot point panel. Again, you don't have to follow my preferences if you don't want to. To send a period key to the edit originally mode, you can first open the preferences window. Then open the key Map tab. Make sure you are in a key binding mode, type in period inside the search field. You will see a key map entry under the object mode called Context toggle, expand it, and then turn off the Control key, so the highlighted color is off. This way, we don't need to hold the Control key anymore to access the origin only mode. Now, if we press period, we can move the origin point around. If you are done, don't forget to press the period key again to go back to the standard mode. Okay? Left shortcut we want to sign is Chief E for the abstract manifold command. I won't discuss in depth what extrude manifold does in this video. Long story short. It helps with creating clean topology when extruding pass on border areas. In certain cases, I prefer the extrude manifold over the standard extrude type, especially when modeling walls to set this up, first, you need to be in the edit mode, and you also need to have at least one phase like that. Okay, open menu, and then the extrude sub menu. Here is the extra manifold command that we want to overwrite, right click on the menu item and then choose ESN shortcut while in this condition, press Shift E, and that's it. We cannot perform extra manifold by pressing Shift E. 5. 00-05 World lighting and material assets: In this lesson video, I want to explain how I set up dot lighting and explain how to extract the material assets into your own local asset library. The first is about dot lighting. As I mentioned before, this course was designed to be the continuation of the four courses I published earlier, which are the three essential courses and one course on fool plan. So you may want to review these courses again if you need an in depth explanation, especially on lighting and rendering. For now, I just want to quickly explain how I set up the lighting so you know how to use it. In Blender, you can access to lighting via the properties editor in volt panel. But if you want more control, you can use the shader editor. Just make sure you set the mode up here to volt. Let me explain the editor a bit, okay? So these are the nodes that I set up for generating the wt lighting. I will be using the setup throughout the course to light our house project. Essentially, in the setup, we have two sources of lighting that are combined into one. This is the first light source, and this is the second light source. The four nodes at the bottom use an EXR or HDR file aterte source. Because it uses a file captured from the real world, it tends to generate more realistic results out of the box, while the two nodes up here use a procedural method to generate both the sun and skylighting. Because it is procedural, we can easily control how it looks simply by taking the parameters. The node that combines the two lighting systems is this node. If you set this to zero, the SN will only be by the procedural lighting system. And if you set this all the way to one, the N will be it only by the EXR or SDR file. I usually set this to around 0.7 to 0.6. This way, the sun will mostly be laid by an HDR XR file, but I still have the ability to control the sun's position via these parameters. All right. In this course, I'll be using a lot of materials and textures. If you already downloaded the exercise files, you can find the textures inside the textures folder and you can find all the materials inside a vendor file called materials. The first step you want to do is to move the texture files into your own texture folder. Folder can be anywhere. It is really up to you. Personally, I like to paste the textures inside a folder on Google Drive that mirrors automatically to a folder in my local drive. This way, it always sings automatically. Again, you may prefer other cloud services or prefer local network storage or just have your own way of doing things, and that is totally fine. For the purpose of this lesson, I just copy and paste the texture files into an example folder. Okay? After you have texture files in place, you want to import the materials into your own asset library or asset browser. For this, you can simply move the materials file I provided into your asset folder. If you haven't set any asset folder, you can create a new folder in any location that you like. Again, I usually use a Google Drive folder to play it safe. For now, I just use a dm folder called example asset folder. After that, you need to tell vendor that the folder is your asset folder. For this, you can open the preferences window. Then open the file pads tab. Here, you can see a category called Asset Libraries. Basically, this is list of folders that you want vendor to look for when displaying content in your asset browser. To register a new folder, simply click the Plus button and then browse to your asset folder. If you're already there, click the At Asset Library button down here. Now, you can copy or move the materials file to the asset folder. After the file is inside the Asset folder, you need to open the file. Ons that the file looks empty. But if you select the up object and then open the material list, you can see that the file contains a lot of materials. Again, these are the materials I'll be using in its course. Now, if you encounter materials that look purple, this is because the links to the texture files are missing. To fix all the missing links at once, you can open file menu, choose external data, and then choose find missing files. Just browse to the texture folder you said before and then press the find missing false button. Nor will try to find the files and relink them to the corresponding material data automatically. After that, you need to save the file. At this point, if you open the asset browser and change the active folder to example asset folder, or the name of your asset folder you registered before, you will see the materials, but you may still have two problems. First, some of the thumbnails are still showing purple color. And second, the assets are all inside the unassigned category. To fix the thumbnails, you can force Blender to recreate the thumbnails by turning off and then turning back on the asset option. To do this real quick, you can open the outliner editor, but change the mode to Blender file and then open the materials folder. Use the Shift key to select all of these materials. Right click and choose clear asset. And then click again, and then mark as offset, Blender should regenerate all the thumbnails. This process can take a while depending on the number of materials you have. I'll just speed up the video to save time. Okay. So that fix your first problem. To fix the category, you can create a new category by pressing the plus button up here, name it to something meaningful such as metals, woods, or walls, et cetera. Click on this icon to save the category and then dreg the material that you want from the unsan category to any category that you like. Just keep doing this until all materials are organized within the correct categories. After you are done, remember to save the file. And that's it. The next time you open Blender, you should be able to see the materials in your Astec browser. 6. 01-01 Sketching out the floor plan: In this video, we will start sketching the floor plan. Now, you might be accustomed to sketching floor plans using pencil and paper. That is totally fine. I just want to show you an alternative method of sketching four plans right inside Blender using precise measurement units from the get go. You can also use this method as the next stage process from the pencil and paper. Essentially, we will be using mostly vertex extrusion with the automorgeoption t one. Let's start by deleting the default cube. Press V to create a single vertex at at cursor location, which is currently at the center of the world. Now, I know that lens size is ten by 16 meters to draw a line for 10 meters. We can extrude the vertex by pressing E, then pass X to constrain the X root to the axis direction. Then type 1,000, which equals to 10 meters the enter. Next, press A to select both vertoss, then press E Y, 1,600, the Nenter Oops. Sorry, guys, I tucked in too many zeros. Okay, 10 meters by 16 meters. Let's activate the ware frame mode. For now, we don't want to deal with phases, so press A to select all X and then choose only phases. We now have the size of lend. However, for the main building, it only occupies a center area of 6 meters by 10 meters. We can start sketching the layout by selecting the bottom left vertex that may be with the move pull. And from now on, we will be using the automorg feature. Make sure these two options are turned on. Okay, press E Y 400. We want to have a small green area to the left of the house. Press E X 150 enter. Then extrude again xs for 10 meters. Next, we can perform extrude again, X 6 meters, plus E to extrude again, use YXs as far as -10 meters, and then we can extrude and snap it to the left vertex. Again, this will be the main building area of the house. Next, we want to spit the front area to define the front porch of the house. So type E X, 300, then enter, E again, Y 200, then press E X and snap it here. Next, we want to create the master bedroom. You can extra this vertex for pre meters and then press E X and snap it here. The room at the back, let's make it the same size. So extrude the vertex minus three needles in Y axis. Then extrude again, 3 meters index axis. Finally, extrude the vertex on Y axis and snap it through the top age. All right. Next, we want to create a bathroom in this area. For this, we can start by duplicating the vertex at the room corner. Press if D to duplicate X 120 then enter. With this, we have about 1.2 meters of space for people passing by. Let's connect the vertex, press E Y, and snap it here. Select this vertex again, press E X, and snap it here. And we have layout for the main building or interior of the house. Just to recap, this will be the living room area. This is the dining room area. This is the first bedroom and second bedroom. This will be the bathroom, and this will be the kitchen area in terms of the building size, we are creating a small or compact house. But in terms of grand size, I think it is quite spacious compared to most available lots in dense cities. Let's add more details to the outdoor area. We want to add 1 meter extended four at the front. Then pass E X and press it about here. I think I want to make this for 50 centimeters long, and then we can extrude it on y axis until it touches the front edge. I want to make a cardboard at least 4 meters in length. Let's just connect this routex to the top and then connect this one to the right border. We also want to through this vertex at the back to the right border. Now, I'm thinking of adding a planting area here. We can press E X -100, then press E again, Y and then snap it here, then E X and snap it here. And that's it. We are done sketching the floor pen. When working on real projects, you may need to spend more time sketching out different layout variations to meet exactly what your client needs. Because there are no new techniques to discuss, this is the only sketch we create. We'll use this sketch to proceed to the next stage. But 7. 01-02 Wall, door, and window lines 002: After we have the stretch of the floor pan, it is time to add thickness to the walls and then add lines for the doors and windows. Before we begin, I need to point out that in my country Indonesia, the most common wall thickness is 15 centimeters. That is why I am using this value for all the wall thickness. Of course, in real projects, you may need to adjust this value accordingly, okay? The fastest way to add thickness to the walls is by extruding similar ones all at once. For example, we can select all the wall vertices that should be thickened to the right side. Then we can press E X, then type 15, then enter. Next, we can select all wall rotoss that should be thickened to the left side. After that, press E X -15, then enter. Let's do the same with all the wall lines, taken to the bottom. Select all of the vertices. Then press E X -15. Sorry, I mean Y, not X, and then press Enter. Finally, we can select all vertices that should be taken upward. Then press E Y, 15. I forgot this wall section press E X -15, enter. All right. Next, let's fix some errors. First, we don't need a wall in this area. So select the H, press X, and choose edges. We also don't need these edges, as they all will be part of the same floor material, press X, and choose edges. These two edges are also not needed. And this small one also, we can delete it. I think we have removed all the unnecessary edges we cannot move on to adding the door lines. Et's start with the door in the second bedroom, select this edge, and then you can either plate this edge or extrude it. Let's extruding it by pressing E, then Y, 90 then enter. In my country, the most common door width is 90 centimeters, so this is the value I will be using. As for bathrooms, usually the doors are a bit smaller, ranging 75-80 centimeters. In our case. I want to make it 80 centimeters wide, so press E Y, 80 then enter. This door should use the standard size again, sub press E X, 90, then enter. Next, for the entrance door, you can raise it touching the top or bottom borders depending on the layout you want to create. I think I'll go with the top lineman. Usually, front entrance doors are wider than standard doors. But for now, I'll just set this to the same width at 90 centimeters. Next, we want to create the lines for the doors in the kitchen area. We are still missing line here. We can fix this using the vertex extrude command, or if the vertices already exist, we can select both vertices and then pass J to connect them. Okay, the kitchen door is a bit different because we want to create sliding doors. Let's say we want to have three door leads, each with 90 centimeters width, we can pass E, Y, and then 90 enter let's 35 the number to 90, multiply it by three and enter. Again, we will put sliding doors tier in its opening. Now that the doors are done, we can move on to adding the window lines. We can start with window in the main bedroom. I am planning to have an L shaped column on its corner. There is Y. I need to add 15 centimeter safety space to the left before the window opening. And then for the window itself, I want two leaves each with 60 centimeters width. So press E, X minus 120, then enter. I also want another window on each side, create a 15 centimeters bedding force. And then extrude this down -60 centimeters. Next, we want to create a window for the bathroom. For now, we can place the new edge here. The width of the window should be 60 centimeters. So press Shift D to duplicate, then Y -60 then enter. To center the opening for us, we need to turn off the auto merge feature and then move these two edges down until they snap to the bottom, then move them up, so they snap to the top and then simply divide the distance value by two. Next, the window in the kitchen can be created using the same process. We can start by extruding or duplicating the left g to the right and then extruding as far as 60 centimeters as before, we can move these two edges to the left border. We move them to the right border and then divide the distance by two to center them. As on Yoo merge icon, and let's force it to work by pressing as then one then enter. Next is the second bedroom. Later in this bedroom, we will add two beds, one on the left and one on the right. Basically, I want a window at the center on each side and another one at the bottom left. Now, besides extruding the edges, we can also create the window line by duplicating the existing window lines. Just press Shift D to duplicate the edges, X, and then press it here. To center the edges, again, we need to turn off the automorgoption first, move this to the left border, then move this to the right and then divide the value by two, okay? Next, select this H. You need to turn the automousotion back on. Later, we will add a wardrobe in this area. So let's extrude DH on axis for 50 centimeters first, and then we extrude again for 60 centimeters. Oops. Sorry, guys, I think I didn't press the enter key correctly. Let me change this to 50 for now, let's do another extrusion for 60 centimeters. All right. Now let's focus on the front side. Later, we will create an extruded post up ornament with about 40 centimeters thickness. So for the window, we need to start at least 40 centimeters from the left corner. Currently, we are working with whole numbers. So we can easily calculate that we need an additional 25 centimeters distance. But imagine if you need to work with fractional numbers. In such conditions, it is easier to just let Vendor calculate the value for us, so you can just extrude it as far as the gap. And revise the value by reducing it with dual thickness. Okay. Let's add the same 25 centimeters gap on the right side, and then we can start adding the window line. Now I want this window to be smaller than the others. Let's make it 40 centimeters wide, so it is as thick as dual ornament. Let's also add the line on the right side. Press E X -40. Next, let's focus on the main room or the central hall. First, we want to divide the all into two sections. By looking at the grades, we can quickly tell that the whole area has a length of about 7 meters. So the center line should be at 3.5 centimeters. We can press Shift D to perform a duplicate you can perform cut and slide command as we do have office on left wall. But I want to avoid commands related to phases for now, so you guys can see how it is done if there are no phases. Okay? This will be the line separating the living room from the dining room. We want each area to have large window with multiple leaves. We can start by duplicating this edge. Then extrude it as far as -60 centimeters. We want to have three leaves. So let's multiply the value by three. To place these lines at the center, as always, we can first tune off tomorge feature, move and snap them to the bottom edge, and then move and snap them to the top and then divide the value by two. Leader in living room area, I want to place a long TV cabinet at the bottom, and then place a sofa at above this location. So the window should be between these two or where the coffee table is. I think we should only create two leaves for this window. We can do puck a DH to the bottom like saw and then exclude it as far as one 20 centimeters. Move lines to the top and then move them down until just before the TV cabinet. Let's round the value to minus 160, but then we divide it by two. Finally, we want to turn the tomo ation back on and then for S two by pressing A as one then enter. 8. 01-03 Creating the floors: In this video, we'll create the floors. Basically, we want to add faces and then add some thickness using the extrude command. Now, before we start, the phase creation process works best if the areas for rectangular shapes. You want to avoid complex shapes such as letter L or letter U shape. In my experience, Blender may fail to create pass if the shapes are too complex. In our case, this area, this area and this area are considered complex shapes. So let's extra this vertex to left border and then let's extrude this one to the right. And I think we also need to extrude this vertex to the right. And finally, extrude this vertex to the bottom. Don't worry. We can remove these temporary edges easily once we have the phases. Now, before we add the phases, you also want to make sure that we don't have any existing phases to do that. We can simply press A to select, then press delete or X and then choose all phases. Okay. Now that the model has no phase, we can press A to select and then press F on the keyboard and here's the result. Please note that this process does not always deliver clean results. If you activate the solid view mode and then you see this flickering surface on the model, you can be sure that there is an overlapping phases issue in the model. This usually happens vendor creates one large phase that covers the entire silhouette of the model. If that is the case, simply click on the center of the model to try to select the large phase. Noice so the selection highlight covers the entire model, then press X and two phases. Now that large phase is gone, you can easily select individual phases belonging to each of the areas. Next, we can combine phases that should belong to the same object or have the same material. For example, this phase and this phase should have the same material, so we can merge them together. Merge or combine multiple phases like this, the shortcut is the same as we created the phases before and that is by pressing F on a keyboard. An example, we can strike all areas there should be grass and then press F to combine them all. Then these phases should be the same material press F to merge them. For this phase, I think I want to have a unique material, so I'll just leave it like this for now. The next step is to separate the pass into independent objects based on their materials and also their heights. For example, we can select these faces. I'm going to use the same material throughout, and also their heights should be the same. As you can see, I also selected the faces at the doors. Oh, sorry, guys, this is the wrong phase. It should be this one. Again, you also want to select the faces indoor areas, all right? And then pass P, and you selection. Another example, we can select the bathroom four and then the faces at the sidewalk in the front porch, they will have different materials, but they should be at the same height, press P and then choose selection, then we can select the grass phase. Separate this also into a new object, and for the carport, we can first combine the two phases using the F shortcut and then press P selection. Then this phase should be a separate wall. Next, we can hover on this phase and then press L. This will select the whole element, and then we can separate this phase. Sorry, on second thought, I think I don't want to create a high wall in front of the house. So let me select these two faces and then separate them as an independent object. Now we can hover on its face, press L to select the whole loose part, and then press P and then selection. Basically, the only part left on this object is the wall on the inner or the main building. If we go to object mode, we can see that what was originally a single object, our fall pen is now divided into multiple independent objects. Please note that at this stage, I usually don't jump into the modeling by the way. In real project scenarios, I use these models to generate a conceptual floor plan for something that I can show and discuss with my client. Usually, the floor plan design of the room layout process takes the longest time compared to the other processes. It is an iterative process where you try to come up with the best layout solution for your client. If you are an architect or an interior designer, you should already be familiar with this process. However, in this course, I need to skip the floor plan creation process, as I have already published a course that focuses on this topic. Feel free to check the course out if you are interested. As for the course, I will assume that you have already passed this floor plan design stage with your client. And so now you are ready to move on to designing the house in ready, okay? Now we want to assign different heights to each of the floor objects. For example, for the bathroom and the outdoor floors, we can set Z coordinate to be at -5 centimeters. As for the grass area, that sets the Z value to -10 centimeters. For the carport, we can start with -5 centimeters. But then we bring down the front heights. Let's first remove these additional vertices by selecting them and then pressing Control X to dissolve them. And then we can select the front edge and set the height to -15 centimeters. Oh, sorry, we still have this one vertex that gets in the way press Control X again to dissolve it. Next, we can move this phase down to -5 centimeters. Okay? I think we are now ready to add thickness to the objects. Essentially, in this process, we need to extrude the pass so the bottom parts are at least at -50 centimeters. For example, we can activate the phase smooth, select the phase, press E to extrude about here, and then while the bottom phase is selected, we can set the global Z coordinate to -50. Of course, you can set it to any number you like depending on your project requirements. Remember that if you extrude the phase in minus direction, the resulting phases are usually flipped. So it is a good idea to always fix the normal directions after that. You can quickly do so by pressing A to select and then pass shift and to apply a uniform normal direction. Now, if you want to add thickness to tilter surface, such as the cardboard phase, after pressing E to extrude, you want to press Z several times until the blue axis that you see is perfectly vertical. Otherwise, the extrude direction will also be tilted following the phase direction. To flatten out the bottom surface, we can first press S for scale NN Z, and in zero. Finally, we can set the global Z value to -50 centimeters. We will extrude the main building leader, but for now, I want to extrude just the outer wall so I have something to compare against the front wall. So make sure all the faces are selected. Press E, 200 then enter. The slack one of the faces at the bottom, Shift G, and choose co pranar. This will automatically select all the bottom faces. Then press E, bring it to about here. Set the global Z coordinate to -50 centimeters. This should help us determine the height of the front wall. We can start by dissolving this H, then select the face, extrude and strap it to the bottom. So it should be at -50 centimeters, also, just like the rest. Select the top face, and then extrude it to about here, and then set z coordinate value to 30 centimeters plus A to select, and then press shift, and to make the normals uniformly facing outside, let's check the normal directions. I forgot to fix the carport, select all of the faces, and then press shift, and Okay. Next, we can work on the outdoor floors. I think I just want to create two types for the outdoor floors, so we can just combine these two phases by pressing F and then press P to separate the new phase into a new object, then select the bathroom floor, then press P to separate this into new object. So again, these are now independent objects, although they are all at the same height. Next, we can select these three objects, press tab to go to edit mode, select all of the faces, extrude and snap it to the corner vertex. This will make the bottom faces exactly at -50 centimeters, press A to select, then shift and to make the normals uniform, let's check the normals again. Everything looks fine. Finally, we can edit the indoor floors. We can press the fourth slash key on a numpad to activate local view mode. Just as before, we can select all of those faces, press E to extrude, then set the global Z coordinate value to -50 centimeters. Then press A, shift N. Press the fourth slash key again to go out of local view. Because the video is already quite long, we will continue the process which is extruding the wall in the next video. 9. 02-01 Extruding the walls: In this video, we will extrude the inner walls and then move on to fixing the door and window openings. Select the wall object, press four slake on the numpad to activate local view mode. This way, we can work on Wall object with viewer distractions. Select all by pressing A, extrude the faces for 50 centimeters first, and then extrude again for one 60 centimeters, and finally, extrude again for one 40 centimeters. Make sure that the total height of full is now at 3:50 centimeters. The reason we perform multiple extrusions is so that we have global or common lines for windows and doors. Essentially, I want the top line of windows and doors to be at 210 centimeters. Let's check the normals. Just to play it safe. Okay, all is good. Let's move on to fixing the door openings. To connect the top wall of the door openings, you can do this in two different ways. The first method is to select the two faces on the opening and then click and then choose which faces. This method is cleaner as it does not leave you with interior pass. Okay? The second method is to use a simple phase extrusion. Note that you need to have the atomrg feature turned on. To do this, you select one of the pass, press E to extrude, then snap it to the wall or face in front of it. This method can be very helpful when you need to connect a lot of door openings of the same size. Basically, you simply select one phase, then press Shavar to repeat the command, and you just repeat the process, select a phase, Sitar, select a phase, Shavar, and so on. Unfortunately, we cannot use Shift R for bathroom door because the size is different. So for this door, we can press E and you snap it manually. The drawback of this extrude method is that it will leave you with many interior faces, but don't worry. You can quickly remove all interior faces in the model, even if you have hundreds of them, simply open the select menu, then select all by treads. And then choose interior faces. With this, all interior faces get selected automatically. The only thing you need to do now is to delete them, press X and then choose faces. Now, I just realized I made a mistake in this area. This should be where the sliding doors are. Let's fix this really quickly. We can select the two faces on each side and also select the two faces on each side, right click and then choose Bridge faces. So yes, the bridge faces command can be used to connect faces as well as to create holes. In fact, it is the command that we will be using later to create window openings. But let's first deal with this phase. I think we should separate it for now, as we may need to use it later to patch the floor model. I don't think there are any more doors to deal with, okay? We can move on to fixing the window openings. Again, we will be using the Beach faces command in this process. First, you need to select the faces where the window is located. I usually use IFrame mode in this process, as I can easily select both faces in one go. And then White click and then choose Beach faces. Let's move on to the next window, select the two faces. White click Breach faces. Because I'll be using the same technique for the rest of the windows, I'm speeding up the video to save time. I Next, we need to deal with windows that have unique sizes. For example, the bottom part of the window in the bathroom should be higher. To edit this, it will be easier if we first turn off ato merge option and then move this up until it touches the top border and then move it down as far as 40 centimeters. Okay, another window that we need to add it is in the kitchen area. The bottom part should be at 100 centimeters. This is because we will add a kitchen counter and stove just behind this window. Then select the top face, snap this to the bottom, and then move it up by 40 centimeters. You can also just type in Z coordinate value if you want to. All right. I think that is all for the window openings. We can press the board G again to go out of local view mode. Oh, sorry, guys, there is still one thing that we need to do. We need to extrude the world downward to prevent gaps. So let's go back to the local view mode. So like one of the bottom faces, press Shift G, and choose coplanar. Then press E to extrude the faces. Let's set the Z coordinate value to -50 centimeters. Go back out of local view mode, and here is the result so far. 10. 02-02 Roof base: In this video, we will create the base model for the roof, but before we do that, we need to quickly fix the floor in the kitchen. Remember that we left one phase at the door area. Let's select the phase object and also the main floor object, activate local view mode. Well we have both selected with the main floor object set as the active object, we can press Control J to join them. There are multiple ways to fix the model, but I will just redo the extrusion process. We can select one of the phases, press Shift G, and choose coplanar, in the selection by pressing Control I, and then lead these phases. Currently, the phase is not yet connected to the main floor passes because we have the autonomous option active, we can force it by pressing for scale, then one then enter. Now that the phase is connected, we can press A to select all faces, press E -50, then enter. Because we are extruding with minus value, Bender usually creates flip normals. So press A and then shift and to fix the normal direction. It is done, we can now go back out of local view mode and move on to creating the base model for the roof. To create the roof, it will be easier if you start from the existing vertices at the wall. Let's start by selecting this vertex and then this vertex, then this one, and finally, this one, press F to create a new phase, go to phase mode and make sure the phase is still selected. Press P, then selection to separate this into a new object. Go to object mode and select the new object. Go to vertex mode. Let's move this vertex on the X axis. So it is aligned with this vertex. Basically, we want to make DH straight. Okay? And then press Shift D Y, and snap it to this vertex. On second thought, I think it should snap to this point instead. All right. Next, select the two vertices, then press E X, and snap it here. So now we have the lateral L shaped phases. Let's activate local view mode for now. Besides using the measure tool, you can quickly see the length of selected edges via viewport overlay feature. To access this feature, make sure you are in edit mode and then click on this icon, which will bring up the Edit mode overlays panel. Now, if you activate this edge length checkbox, every time we select edges, then will display their length automatically in the viewport. It says here, three 15 centimeters. Let's check this edge. This one is also three 15 centimeters because the two edges have the same length. It will be easier if we need to create tilted troof with a uniform angle. Let's turn off the edge length of lay. Next, we can select these two vertices and then press J to create an H that connects the two. And I don't think we need this g for now. So let's just select it and then press Control X to dissolve it. Okay. Later, we want to create gutters or rain water channels along the outside border of roof. The easiest way to do this is by using the inset command. Go to phase mode, select these two phases, press I for inset. We want the gutter to be 15 centimeters wide, so type 15 then enter. Next, go to He mode, and then move this He along the y axis, so it snaps to the front border. And then we can move this edge on the x axis, so it snaps to the right border. Again, this works because we have the automous option turned on. To create a center line, we can press Control R and click here. Then right click to cancel the sliding. Next, we want to create a roof that is tilted exactly at 40 degrees. To do this, first, we need to hold the shave key and then right click and reg to move the tre cursor to this location. And then we want to use the T cursor as the pivot point or the center of rotation. Select these two edges. We want to duplicate these edges and rotate them right the way as far as 40 degrees. So press hit D, then press R Y, and then 40, then minus the Nana. We don't need this vertex, so let's resolve it. Now that we have a guide of where 40 degrees is. We can select these two edges, and let's change the pivot point option back to median. Because the width and the width are the same, we can easily make all roof faces tilt at the same angle, but don't forget to turn on edge snapping, move these vertices up onto the axis, and snap them to this edge. Now, we have a tilted roof at 40 degrees. Lead this vertex, and this vertex should already be attached to the guide age due to the amerge feature. To prove that they are all at 40 degrees, we can try creating a box on them using the AD cube tool. You can see that it has a 40 degree rotation. Don't worry about these small numbers as we can ignore the effect. Let's create a box again on each side. You can see that it is at 40 degrees. Again, this is also at 40 degrees, last one, this is also at 40 degrees. So all is good. We can lead these boxes as we don't need them anymore. All right. Next, we need to detach the center roof from the gutter. Select these phases. Press P selection, go to object mode, and then select the roof object. I think it would be easier if we first set the origin to the center. Then we can press G, Z, ten, then enter. Next, we can select the Gutter object, then select all the edges at the outer border. Then press E Z, 20 then enter. On second thought, I think 20 is a bit too high. Let's revise this to 15 centimeters. Next, we want to select all the edges in the inner borders. Press E Z, and strap it to the bottom part of the roof object. To add thickness to the gutter model, we can add a solidified modifier. I always use the complex mode as it gives more consistent or uniform thickness throughout the surface. That's like all of the faces, and then press shift and to make the normal facing outside uniformly. I think the gutter model is done. Finally, we can also add thickness to the roof object, as before, we can use the Stif modifier, change the mode to complex, and then set the offset value to positive one, and that's roof based model is done. We can go out of local view mode and here's the results so far. 11. 02-03 Scandinavian facade: In this video, we will create a Scandinavian ornament for the house front facade and also on the side because later, we will also have a concrete slab in this area, and the height of it should be at this line. I want to revise the height of roof, select the gutter object and roof based object, press G, Z, and then type 30, then enter. Next, we can start with the front facade. It will be easier if we start with one of the existing edges on it corner. We can select this ge, then press E, Y -40, select the face, then press P, and then selection to separate it into a new object. Go to object mode, select the new object, go to edge mode, and select the bottom edge. Move it down and snap it to one of the edges on the front floor. And then we can move this edge up until it snaps to the top part of the gutter. Next, we extrude this edge in a negative X direction. Basically, we want to rotate this pace 40 degrees just like the roof angle. Hold shift, white click and rag and snap the precursor to this vertex at the corner. Sorry, we need to change the snapping back to vertex. Snap the tree cursor again so it is at the corner. Go to phase mode and select this stop phase. Use the tree cursor as the pivot point mode. Press R, Y, 40, then enter. Set the pivot point back to median. Now, I want to move the origin to the center of roof, press control period to activate the edit origin mode. Then press G and snap the most cursor to the top vertex of roof, press control period again to go back to the normal mode. Now we can assign a mirror modifier and turn on the bisect option. Let's also add the solidify modifier to add some thickness. Change the mode to complex, set the thickness to 40 centimeters, and then change the offset to one so it goes in I think it is done. You can apply all the modifiers one by one or simply press Control A, and then choose visual geometry to mesh. Okay? For the side facet, we can duplicate this object by pressing Shift D then Y, and then press R, Z, 90 then enter. Change the snap base to active and then move and snap it to this vertex. Now, we want to snap the border to the border of roof. So let's change the snap base option back to closest, move and snap the ornament to one of the vertices at the border. As you may have already guessed, we need to move the roof border back a bit. So also the gutter object and then activate the lf mode, go to vertex mode. Select all fours and then select all the vertices at the right border, and then move them on the x axis and snap them to the vertex at the back of the ornament. Alright. The last thing that we need to do is to fix the model so it does not penetrate the wall below it, activate local view mode. Next, we can strike all the interfaces then press X and choose pass. Next, select the edges at the bottom, and then press F. Then hold out and click on one of the edges at the back, press F to create a phase, and then I'll click on this front edge to select the whole edge loop. Press F again to create a phase, and then we can select all of the faces at the bottom. We can go out of Local view more first to see the other objects and then move the faces up and snap it to the border of the main wall. 12. 02-04 Creating the roof slab: In this video, we will create the roof slab and also the supporting side wall. We can start by selecting one of the edges at the top of the wall. We can extrude it in the X axis direction and snap it here. Go to phase mode and then select the new phase, press P to separate it into a new object. Go back to object mode and then select the new object. Make sure we are in edge mode and then select and move this edge to the border of the main wall, and then move this edge until just before the front ornament and then move this edge until the back ornament. Press Control R, click here, and then snap it to this vertex, select the edge at the back, and then extrude it in Axis direction until its vertex. Next, select these two edges, and then extrude them in Zaxis direction until they snap to the bottom vertex. Currently, we have some overlapping pass. To fix this, we can select the outer wall object and then activate the face smooth. To select several phase loops, you need to hold the key and sheaf keys, and then keep clicking on edges perpendicular to the direction of the phase loop you want to select. After we have a selection like this, we lead the phases. Now we have some holes in the model. We can first fix the front part to patch the hole. We can activate the edge mode. Hold out and click on any of the edges around the hole. And then press F to close the hole with a new phase. Go to phase mode and move this phase, so it snaps to this vertex. Next, let's fix the hole at the back. Just as before, we need to select the edges at the border of the hole and then press F to patch it. The position is already correct, so we don't need to move it go back to object mode and select the concrete slab object. Now we need to add thickness to this model. Previously, we used solidify modifier. I want to show you an alternative method, which is basically using a variant of the extrude command. Make sure all of the faces are selected and then press out E to open the extrude panel and then chooe extrude faces along normals. And then we can revise the value to 40 centimeters. Now, this is very important. You need to turn on the offset even checkbox. Otherwise, the surface thickness will not be uniform. All right? You may already understand that having a roof slab with a 40 centimeter stickness can be quite expensive to build, especially when there is nothing on top that needs structural support. We can create an inner area and make it thinner to save money on construction. For this, we can selack all the faces on top and then press I to insert them. Then type 15. Let's activate the local view mode for now. As you can see, the inset command created a base for the parapad, but we do not need any parapaths near the inner wall. So let's move this edge, so it snaps to the left border. Move this edge also to the left border. And then move this edge to the back. Next, we can select all of these phases and then use the extrude manifold command. Besides using the extrude panel, you can access extrude manifold by using the tools panel. Just bring these pass down four -25 centimeters. So again, now the real thickness of the concrete strap is only 15 centimeters. But because we have a parapd, it looks thick from the front at 40 centimeters. Let's check the normals, okay? Go back out of local view mode, and here's the results so far. 13. 02-05 Fixing the upper wall: In this video, we are going to fix the upper wall, so it fits with the new roof and concrete slab. Currently, we have this wall penetrating the concrete slab. We can select all the faces on top of this wall. You can hold shift and just keep clicking on faces. Or you can also hold control to select phases using a closest path algorithm. I still have the extra manifold tool active from the previous lesson. So just make sure it is active and then drag this handle down and snap it to this vertex. Now we have a nice flat slab. Let's check again just in case something is still broken. Okay. Next, we want to patch the hole in this wall. With the same object, we also want to patch the entire upper wall. Select the wall object, press the forward slash key to activate the local view mode. Go to face mode and select one of the faces on top, press Shift G, and then coplanar. We only need to fix the wall, so we select these phases and we also don't need these phases as they will penetrate the side ornament. Now we can press Shift D to duplicate. Right click to cancel the movement and then press P and selection to separate the pass into a new object. Go to Object mode, and then click or click again to select the new object. Go to phase mode and then press A to select all faces. Remember that before we move the roof 30 centimeters upward, so let's press E, then 30, then enter. Next to patch the whole, we can select this phase, then extrude it until it's vertex and then extrude again until it's vertex. Then select these two phases then Right click and choose Bridge pass. Next, we can select the three faces at the bottom. Press E and strap them here. Let's go out of local view mode and check the right area. We have pass overlapping with side ornament. Go to phase mode. Select the two faces and then move them so they snap to the back of the ornament. Next, we need to fix the wall hole in the front facade. Let's first select both the upper wall object and roof object and then activate the local view mode. Currently, we don't need all these extra edges. We can select them by holding out shift and just clicking on the edges to select them and then press Control X to resolve them. Next, we will need one edge loop at the center. For this, we can press Control R, click here. Then click to cancel the sliding. Select these two phases, extrude and snap them to the bottom of the roof object. Finally, we can select only the center edge, move it and snap it to the second vertex at the top, and I think we are done. Let's check the normals just to be safe. A is good. Go back out of local view mode, and let's check again, just in case there are some errors. I believe the upper wall is already correct. 14. 02-06 Creating the skylight roof: In this video, we will create a skylight at the sidewalk on a concrete slab roof. I want to skylight to light the back area, not the front area. Select the slab roof object, go to edge mode, and then select this edge. Press Shift D to duplicate the edge, Y, and strength A to this vertex. Please note that leader, we will add a side gate with a swing door below this line. So we should move this back a bit. I think 50 centimeters is enough. Next, let's select the edge at the back Shift D Y -50 then enter. Next, to create a space from the side, we can select these two edges. Shift D X, 40 the enter. The same with the other side. We can select these two edges, Shift D X. But first, we need to snap them to this vertex. Only then can we move them only X axis as far as -40 centimeters? All right. The next step is to create holes in the roof. We can select the two phases. Let's activate the local view mode. Now, to create holes out of these phases, there are actually multiple ways that you can do it. For now, I want to show you the intersect knife method to do this. First, we can extrude the phase until it penetrates the bottom area and then press Control plus to expand the phase selection. Next, open the phase menu and then choose Intersect Knife. We just created a hole, but there are still pass blocking it. To see the hole, clearly, we can select these left over faces and then delete them. These two phases also, we can delete them. One onside of this method is that we usually get double verticies around the whole area. We can fix that quite easily by pressing A to select, and then press M, then B or by distance. Notice down here, Landra says that it just remove 12 vertices. So basically, the concrete part of the Skylot is done. Next things that we need to create are the metal frame and a glass panel. For this, we can make use of the existing rotoss on a concrete proof model. Select the for vertices, press F to create a new phase, and then select the phase, then press P to separate it as soon as you independent object, go to object mode, select the new object, and then set the origin point so it is at the center of the object, and then we can move this up a bit, press Shiv D to duplicate Z and move it roughly here. We will need this object leader photo glass panel. Let's go back to the first object. We want to use this phase to create the metal theme. In my country, we often use hollow metals for this type of construction. We can press I, then five, then enter, and then we can delete the center face, move these pass and snap them to the bottom vertex of the slab. Next, we can extrude the faces upward. It should be higher than the slab thickness, say -25 centimeters. Okay, I think the height is just about right. Let's check the norms. They are red, meaning that they are flipped. We can press A, then shift N. All right. Next, we want to divide the frame into eight sections or in other words, create Stephon grills or gratings. We can start by selecting the face on the side. And let's turn off the automrge feature. So Brutss and edges one merge or cut automatically. Shift D, Y, and move it here. Extra the face four 5 centimeters. Select the hose element by pressing L. Move these faces so it snaps to the right border, and then press Shift D to duplicate, Y, and snap it to the other end. Divide the distance by and then pass shift R six times Dis like, and then move the most cursor on top of this element, and then pass L, and then lead to phases. Currently, these gratings are to take. To easily define its dimension, we need to first separate it into an independent object, selecophas in each of the gratings. And then press Control L to select the whole parts. Press P then selection. Go to object mode and select the new object. Let's center the origin first, press Control period to activate the edit origin mode. Move the origin up until it snaps to the top part of the object. Don't forget to turn off the dit origin mode again. Now we can easily control its size using the dimensions input fields. Let's try 15 centimeters or perhaps 10 centimeters. I think 10 centimeters looks better, okay? Next, we can select the object we duplicated before. Again, we will use this photo glass panel, extrude the pace as far as 1.2 centimeters. We don't want the glass panel to be the same size as the metal frame below it. We want it to be 10 centimeters wider on each side. To do this, we need to select all the side faces, hold out, and then click on this corner each. Now that we have the side faces selected, we can then flatten the faces using the out as shortcut. If you ever forget the shortcut, you can go to the mesh menu transform and then shrin fatten. After that, you can move your mouse to shrin or flatten the side faces. That's revise the command by first activating the offset even checkbox. This is important to make the offset uniform and then change the offset value two times c ceimals. Now we can move this down and snap it to the top vertex of the frame object. And that's it, we now have a skylight on the sidewalk area or on a concrete slab roof. 15. 02-07 Creating the ceiling: In this video, we will create the ceiling for the whole house. Now, if you go inside the house, especially inside the whole area, the architecture is actually a good candidate for a full height ceiling or a ceiling that follows the triangular shape of the roof. But in this case, I don't want to do that. I want to show you guys how I model drop ceilings. That is why I prefer to have a flat surface ceiling. Okay, the easiest way to create a ceiling is to start from the floor object. So select the floor and wall objects and then activate local view mode. Make sure the floor object is selected. Go to phase mode, select this phase. This phase and this phase Ops, sorry, guys, I forgot that the bathroom floor is a separate object. We'll add that in a moment. Let's continue by selecting this phase. Next, press Shift D, Z, and move the new phases to about here. Press P to separate them. Now we can go back out of local view mode. And then try to find the bathroom for object, select it, and then activate bloc of view mode again. Select the top phase, duplicate it and move it up, separate the phase as a new object, and then we can exit from local view mode. Now that we have the bathroom sealing object, we can select it along with the main sealing object and also the wall object, activate the local view mode. We need to align the bathroom sealing object, go to phase mode, and select the phase. Move the phase up, so it snaps and it's aligned with the main sealing object. Go back to object mode. Shift select the main sealing object, and then press Control J to join them. The center the origin, as I mentioned before, I want to create drop ceilings in the whole area. I want to create two drop ceilings. One should be in living area, while the other one should be in a dining area. Select the He at the front border. Oh, sorry, guys. Notice that currently the model has so many vertices that we don't need. This will make modeling the drop ceiling harder. We can fix this really quickly by pressing A to select and then press X and then choose Limit solve or just press L on keyboard. Now we are left with only the important vertices. We can continue selecting the edge at the front border. Make sure the automos option is turned on. Chef D to duplicate, then Y and then snap it to the vertex at the center of the hole. We also need to extrude this vertex to the back so that the pace in the whole area forms a nice rectangular shape. Again, this is so we can make the drop ceilings easier. Next, select this phase, press I to perform an inset command. Type 50 then enter. Let's do the same with left phase. We can perform inset for 50 centimeters. Next, select both of the interface, press E to extrude, and let's make it 10 centimeters. Extrude again for another 10 centimeters. Next, we need to select the face loops of the upper areas. We can hold out, and shift and click on the upper edge. Press out E, and then choose extrude faces along normals. Turn on the offset even checkbox to make the effect uniform and then set the offset value to 15 centimeters. And now we have two drop ceilings in the whole area. Next, let's add a recess ceiling in master bedroom. Select the H on white border, press Shift D, X, and type ten the nenter. I think 10 centimeters is enough for our purpose. To add the void or recess, we can select the new phase, press Y first to split the phase into se part. With this, we can move it independently by pressing G, Z, 15, the Nanter. To connect the surface, we can select these two edges and then press F let's do the same with the bathroom ceiling. The gap should be on the side. So select the edge, press Shift D, Y, minus ten, then enter. Select the new phase, press Y to disconnect it. Press G Z, 15, then enter. Go to edge mode, select the two edges, and then press F. I don't think we need to add any recess lighting in the kitchen. As for the bedroom at the back, we can add a recess light on each side. The process is basically the same. We can start by selecting the edge, duplicate and move it by 10 centimeters, and then select the new face, press Y, and then G, Z, 15, select the two edges, and then press F to connect them. All right. Now, for the ceiling object, we may or may not add thickness to it. If you do want to add thickness to it, you can use the solidify modifier. But if you prefer to just leave it as one surface like this, you may want to fix the normal direction. Currently, the bottom area is all red or flipped. This is not good, as this is the side fixing the camera we meaning to create interior renderings. To fix this, you can slack all of the faces and then press out nos flip. Now, we can see that the bottom side is blue. Obviously the ceiling is currently too high. We want it to be at 280 centimeters. So let's just input 280 insive coordinate field, and that's it, we are done. Let's walk around inside the house just in case there are still any errors. The rope ceilings in the whole area look good, no bed gaps or anything like that. Let's check the second bedroom. There is a ceiling in this room is also correct. Et's check the bathroom. This is the recess ceiling where we can lead place along AD strip. Finally, we can check the master bedroom. The ceiling looks fine. This is where we will place the bed leader. And I think the side window is too big. Well, we can fix the leader if we need to. Let's press the home key to go back out and let's exit from local view mode. No 16. 03-01 Adding the windows | Part 1: Starting from this video, we will model all the windows and doors of our house project. First, we can select the wall object and then activate the local view mode. Let's start with the front window in the master bedroom. Make sure we are in a phase mode, hold out and click on this edge to select the whole phase slope, CFD to duplicate, and right click to cancel the movement, and then press P to separate it into a new object. Go to object mode and then select the new object. Go to phase mode, press A, then out E, and choose extra pass along normals. Turn on the offset even option, and let's make it 4 centimeters. Now we need to divide the frame into two sections. We can start by selecting the side phase. For the next operations, we need to turn off the auto merged feature, shift D X, and then pass E four. Then Control L to select all linked phases, move and snap this to the left and then move and snap this to the right, but we revise the distance value by dividing it by two. We have finished the main window frame. Next, we need to create the frame for the leaf. We can select this edge and this edge, and then press F to create a pace, select the phase and then insert it for 6 centimeters. Separate the centerfas. We will use it later for the glass, and we also need to separate these phases. This will be the leaf frame. Okay? Now we can go back to object mode, select the leaf frame object, go to face mode, press A to select. Extrude them to the back side as far as -3 centimeters. Let's fix the normal direction by pressing Shift N. This will make all pass pace outside. Next, we can select the glass object. We can extrude the face to the back as far as minus one centimeters. Press A, and then Shift N to fix the normal directions, go to object mode. We need to move the glass object to the back a bit. We can press G Y and move it back slightly. Revise the value to one centimeters. Before we can start duplicating anything in vender, it's a good idea to first name the object properly and also applied materials. This can save us time from having to name them one by one or assign the materials to multiple objects. For this project, I want all the window frames to have a black aluminum material. So just drag the material from the offset browser to the main frame object. And for the left frame, we can pick the same material from the list as it already exists in the scene. For glass window, we can use material called glass dot Window. To make the window glass look more realistic, I usually add a rubber border around the glass. You can create it as a different object, but I prefer to just assign the material on faces created via inset, select the face in front and also the face at the back. Press I to perform inset then type one. Essentially, we have 1 centimeter gap for the rubber. To assign rubber material, we need to invert the selection first. We can do that by pressing Control I. Now that we have the border faces selected, we can create a new material slot, press the sign button, and then react rubber black material to the new slot. All right. That's center the origin point of glass object, the leaf frame object, and also the mainframe object. This will make it easier when we later need to duplicate or move them. Now, we can duplicate the leaf frame by pressing ShifD X and then snap it here. I don't have any pen to create an animation where the window is opening or closing, so it's better to just join other frame objects as one object, select all of them, and then press Control J, and let's strenm the object to something more meaningful. To find the selected object in your liner, you can press the period key on the numpad. Let's rename this object to window.001, or any name that makes sense to you. Next, select the glass object. We can rename this to window glass.001. Now, to copy the glass object, we can use the dubicate instance method, which is by rushing out the nut shift D, having instances in your scene can save your systems memory. We can look for another window that has exactly the same size and vision as the current window. For example, the window in the living room is the same size. I believe that is the only similar window to the front window in this project. Select the two glass objects in the frame object, press out D X, and then move them to about here, and then press R Z -90, then enter. Next, we can press G and snap it to this vertex. We have two windows done. We will continue adding more windows in the following videos. 17. 03-02 Adding the windows | Part 2: In this video, we will continue working on windows. Please note that because I will be using the same techniques as in the previous video to save time. I won't explain each step in too much detail. If you find the video a bit confusing, you may need to rewatch the previous video where I go into everything in more detail. Okay? Let's first focus on a small window in front of the living room. Select the whole object, and then go to phase mode, hold up and click on EH to select the phase loop at the window opening, Shiv D to duplicate, and then click, press P to separate it. Go to object mode, and then select the new object, go to phase mode, and then press A to select all phases, press out E, and then choose extra pass along normals, activate, offset even, and set the offset value to 4 centimeters. Apply the dark aluminum material just like the previous window. And let's also center the origin point. Premium the object to window single tall.001. Personally, I prefer not to have a live window here as the whole area already has plenty of air flows from the side windows. Basically, we don't need to add any additional frame to this window. The only thing we have to do now is to add the glass, and easiest way to do this is to just copy the existing glass that we have created. We can select this glass object, and then we should use ordinary duplicate, not instance duplicate. This is because we will edit the glass so it fits into the new frame. So press Chef D, hold control, and snap it to this vertex. And let's move this back as far as 2 centimeters. Okay. Next, we want to edit glass object. We can first select the frame and glass objects, press the fourth slash key twice. Currently, only the bottom left corner is correct. We need to fix the other corners, go to vertex mode. Sorry, to play it safe. We only want to edit the glass object, go to vertex mode. Select only these upper vertices and then move them and snap them to the top, we select all and select only the vertices on the right side, move them to the left a bit, and then move them to the right and snap them to the left border. Go back out to object mode. And I think this window is done. Let's rename the glass object to window glass single tall.001. Now, select both objects. Go out of local view mode because the left window is exactly the same. We can use the Instant duplicate command or CD to duplicate the objects then X and then snap them here. And now we have the two small windows in front. Next, let's walk on a large window at the side. Again, the techniques are basically the same as the front window in the main bedroom. The only thing that is different is the number of sections. This window will have three sections instead of just two. Let's start by holding out and then clicking on this age, press Shift D, white click, then P, go to Object mode, select the new object, and activate the local view mode, select all the faces out E, and extra pass along normals, turn on, offset even and make this 4 centimeters deep. To create the sections, we can start by selecting this phase, shift D, Y, and move it here. Extra the face for 4 centimeters. Let's check the normals. All right. You can press Control L or hover with the mouse and then press L. Let's move this to the back and then move this and then snap it to this vertex, then press Shift D, Y. But then we press B first, so we can select the base point for the snapping feature, click on vertex at the back, and then click on this vertex, so the base point snaps there, and then we can divide the distance value by three. Press Shift R to repeat the duplicate process. Next, we can then select office on first column part, Control L to select all of the connected elements and then press X and then faces now the window has three sections. Let's create the leaf frame by selecting this edge, and then also this edge, press F, select the new phase, press I, the proform inset, make it 6 centimeters. Next, we can separate this phase by pressing P, then hold out and click on this edge, and then separate these phases also. Go to object mode. Let's create the glass first. Sorry, guys, on second thought, I think it will be faster if we just duplicate the existing glass. So let's delete this subject for now. Select the frame object, go to phase mode, and extrude all the faces for -3 centimeters, press A, and then shift and to fix the normals. Before we duplicate this frame, press first center the origin. We can center the origin of the main frame also. Again, for glass, we can duplicate a glass object that we have created before. We can use this one. Remember, we need to use the ordinary duplicate, not insens duplicate. So press Shift D, Y, and snap it here. At the glance the glass fits inside the frame, but it does not. We can activate local view mode again and then press three to see the model from the right view. We can see that there is still a gap between the glass and the frame. Make sure the glass object is selected and then go to vertex mode, select all the vertices on left side. Move them so they snap to this vertex. The third part should already fit into the frame, so we don't need to do anything. Next, we can assign the dark aluminum material to the leaf frame model, and let's do the same to the mainframe object, select both the leaf frame object and glass object. Press out D Y and snap them here, and then just press shift to repeat the command. Again, we are not going to create any animation where window leaf is opening or closing. That is why we can join all the frame objects as one object by pressing Control J. Finally, let's name this object windows 001. Sorry again, guys, I forgot to name the glass object before duplicating. Let's fix the names now. We can name this glass object window.glass.triple.001. For example, select the name and copy it so we can reuse it for the next glass object. Select this one, edit the name, and just space the name we copy it. But you need to change the trailing number to 002. Usually, if you just page the same name, Blender automatically changes the number at the back to the next available number. So if you just page with Control V, then press Enter. This time, Blender will change the last numbers in the name to 003. 18. 03-03 Adding the windows | Part 3: Before we work on a window at the bedroom, let's first finish up the skylight. We can rename the glass object to skylight dot glass. As for the frame and gratings, we can join them using the Control J shortcut and then rename it to skylight dot frame. So again, this is skyletGlass, and this is skylight. Okay. Let's assign the materials. Oops. Now, if your UI areas are connected like this and you want to disconnect them, you can click on the header area of the bottom editor and then choose move straight area. Hover your mouse cursor up until you have a preview like this and then click to confirm. Now each area becomes independent again just like before. However, if you are using vendor version 4.3 or below, and you have auto connector areas like this, when you try to right click on one of the header areas, you won't find the split area option. In such a case, you can move your mouse to the top border instead, right click gos horizontal split, and then you can right click on this border, slat join and move the mouse cursor up. Okay, let's continue with the material assignment. For the glass object, we can assign the glass window material. As for the frame object, we can assign the metal aluminum drag material, and that's it. The skylight is done. Next, we can work on the window in the second bedroom. Again, you already know all the techniques. So I won't explain them in too much detail in this video. Select the phase slope at the opening, Shift D, right click, and then press P, go to object mode, and select the new object, select all of the phases, perform extra lo normals. Turn on offset even and set it to four. Select these two edges and then press F, select the new phase, and set it for 6 centimeters. Delete the center phase, select these phases and then separate them *** object, go to object mode and select the new object, extrude all of the pass -3 centimeters. Shift and to fix the normals. Next, we can assign the dark aluminum material to the frame objects. And then we can select both of these objects and then press Control J to join them. Let's center the origin point and then rename it to window.single.001. As for the glass, we can duplicate the glass object on the right by pressing Shift D Y and snap it here. The upper and bottom vertices should already fit the frame. What we need to fix are the vertices on the right side. We can activate the local V mode. Make sure you only select the glass object, go to vertex mode, select only the right vertices, move them to the left a bit and then move and snap them to the frame border. Let's rename the glass object to window.glass.single.001. And this window is done. Currently, we have two more windows that are the same size or exactly the same type as this window. So make sure both the frame and glass objects are selected. Press out D to perform duplicate instance Y and move them here. Press R Z -90. Move them closer and then press G and snap them to this vertex. Next, we can place the same window here at the main bedroom, press out the Shift Z, and move it roughly here. Let's zoom in so we can clearly see the window opening. Press R, Z -90. Move this to the right a bit so we can see the target vertex, press G and snap them here, and that's it. We will add the window in the kitchen and bathroom in the next video. 19. 03-04 Adding the windows | Part 4: In this video, we will create less two windows of our house project. First is the window in the kitchen, and then after that, the window in the bathroom. Before adding the frame or the glass to the window in the kitchen, I changed my mind on how white the window is. Currently, it is 60 centimeters wide. I want to make it 1 meter instead. We can select the face on left and then press G X 20 the nenter. Select the face on the right side, press G X -20 the enter. Next, we can select the glass and the frame object in the bedroom. Press Sif D X and then snap them here, move them up a bit, and then move them down and snap them to this vertex. While we have both objects like that, we can activate the vertex mode, select all of the vertices on the right side, move and snap them here, and then select the vertices at the top, move them down, and then move them up and snap them to the top border. We can center the origin points of both objects. Rename the frame object to window dot Kitchen. As for the glass object, you can rename it to Window dot glass dot Kitchen. All right. Next, we want to add window to the bathroom because it will not have any lifts. We can create it by duplicating the front window in the living room area, activate local view mode, so like only the glass and frame objects, press Shift D, then Shift Z, and then move them closer to the bathroom opening. Then press R Z 90, then enter. Move them on Y axis and snap them here, and then move them on X axis and snap them here. Go to IFrame mode and activate the vertex mode. Select all the vertoss at the bottom, move them up and then move them down and snap them to the bottom border, and then select the vertoss on left, move them to the left, and snap them to the left border. Well centered the origin points let's rename the frame object to Window Dot toilet. I don't think we need any numbering as there is only one toilet in this project, and then we can rename the glass object to window glass dot toilet. Okay. Next, we need to edit the glass so it forms a zig zag, select both the glass and frame objects, and then press the fourth slash key twice, so we can focus on these objects, select only the glass object, go to edge mode, press Control R to perform a loop cut, and then right click to cancel the sliding. Now, to split the glass into two parts using the edge selection, we can press out M and then choose pass by edges next, we can go to phase mode, then hover the mouse on the top part and press L to select it. Move it back. You can use an exact number for this, but I'll just e bold for now. Currently, the glass object has holes. To fix this, we can activate the edge mode, hold out, and click on one of the edges, and then press F to patch it. Do the same with the top hole. I'll click on the edge. Empress have, and that's it, all the windows in this house are done. In the next video, we'll start working on the doors. 20. 03-05 Creating the sliding doors: We have done all the windows, and from this video onward, we will start working on the doors. But before that, let's preview what the windows look like in rendered view mode. Now, if you ever encounter strange pink colors like this in your rendered viewport or rendered results, this is because by default, Blender replaces all missing textures with a bright pink color because the color comes from the background or the surroundings. I'm pretty sure this is due to the missing environment texture. To fix this, you need to open the shaded editor. Make sure this is set to word and not object. Here, you can find a node that loads the environment texture. To relink or replace the texture, simply click on folder icon. Then open the exercise file folder that I provided inside, you should see a folder called EXR. If you go to that folder, you can find a file called Straw Rolls field. As a disclaimer, I did not create this EXR file myself. I don't load it from plyhaven.com. Okay? So this is what we have so far. Notice that only the windows have the correct materials. The walls and rests are still using vendors default material which is colored in white. Notice also that because the skylight glass object already has the correct material, the sidewalk area looks bright with the gratings casting nice looking shadows on the side wall, alright? Now, let's focus on sliding doors in the kitchen. As usual, for a glass object, we can duplicate it from an existing one. Say this glass on a bedroom window, let's go back to the solid view mode so it's easier on the system. Select only the glass and the main wall objects. Press the fourth slash key to activate the local view mode. We can start by creating the frame, select the wall object, turn on the web frame overlay, go to phase mode, select this phase, hold Control, and then keep clicking on the other faces until this phase. We don't need to select these button pass as they are located underground. CFD to duplicate, then Right click to cancel the movement, then press P, and choose selection to separate the pass into a new object. Go back to object mode. And then select the new object. If the first click did not select it, you can click again until the frame object is selected. And let's also select the glass object. Press the fourth slash key twice to focus only on these two objects. Now, if you strike the frame object, you can see that the origin point is too far away. Let's center it. As for the material, just like the other frame objects, we can apply the existing aluminum rock material to this object. Next, go to edge mode. We can select this edge and edge. Press Control X to resolve them, select all of the pass by pressing A, and then dE, choose extra pass along normals. Turn on offset even, and then set the offset value to four. All right. If you open the item tab, you can see that the frame object width is 270 centimeters. It means that it should fit in roughly three doors, each with a 90 centimeters width. But for sliding doors, you always need a bit of overlapping between the doors. So instead of exactly at 90 centimeters, we will create each door to be 6 centimeters wider or at 96 centimeters. We can start by selecting this edge and then press E Y -96 then enter. Go to phase Mode and select the phase, separate it into a new independent object. Object mode and then select the new object, let's center the orgion it is easier to select or move, go to phase mode and select the phase. Let's perform an inset as far as 7 centimeters. We can relead the center phase as we will use the glass object from an existing one. Next, we can select all faces, then press E and move it that way. We can revise the value to minus three. Now, because we are using a minus value, usually the normals are flipped, press A, then shift N to fix the normals, next, we need to create the handles. We can start by pressing Control R, clicking on each edge, and then clicking to cancel the sliding. Do the same with the right side. Control R, click and click. After that, we need to select both edge loops, hold Shift, and out, and then click on each edge. And then we can pass Control D to bevel edges. Make it 7 centimeters. Remember that the bevel width value is half of the center, meaning that the result is seven plus seven, which equals 14 centimeters in total. Next, go to phase mode, select only the two center faces on each side, and also two center faces on each side. And then press I, then one, then I again, and then one again. Press out E, and choice extrude pass along normals. Move it a bit and then revise the value to minus one. This is the result so far. Next, we want to assign a different material to the handle part. First, we can press Control plus twice to grow the selection. After we have these phases selected, we can create a new material slot and then assign that slot to the selected phases. For the handle, I want to use a chrome material or a metal that looks like stainless steel. In my asset library, I name this material as as for stainless steel. Bret this to the new slot. To see the materials, we can activate the rendered view mode again and hide the white frame of lay. So this is what we have so far. Next, we want to duplicate the glass on the left, press Shift D, Y, and move it here for now. Zoom in one frame object, press G, and then snap it to this vertex. Activate the wireframe mode and then go to vertex mode. Dis select all vertices and then select the vertoss on left side. Drag and snap these vertices to the left border. Then select only the top vertices, move and snap them to the top border. Center the origin point. And then from the top view, we can move the glass object to the left, divide the distance by two. So it is exactly at the center. Before we perform any duplicates, let's rename the objects. We can rename this glass object to window dot glass with sliding 001. Now you can change the window to door if you want to select the frame object press period and then rename it to sliding 001. Next, we want the glass object to be the child of the frame object. To do that, you need to select both objects, but make sure you select the frame object last and then press Control P and then choose Object K transform. Now, because the glass is the child of the frame object, if we move the frame object, the glass automatically follows as if we are both one object. The reason why I prefer a child parent hierarchy and not to join them as one object is so that later, we have more freedom to exclude the glass object from tracing or shadow calculation. This is especially important when you want to animate unreal engine, for example, to duplicate the sliding door, we can select both the frame and glass objects. We want an instant duplicate, so press out B, Y, and move them here, and then move them on the X axis direction as far as -3.5 centimeters. Let's do another of D, then Y and then move them on the axis for -3.5 centimeters. So we have created all three sliding doors. Next, we can rename the frame object to sliding dot frame. The last part of the sliding doors that we need to create are the bottom rails. There are many variations of sliding door products and bottom rails in the market. For this one, I want to have a base rail with the same color as the frame. And then on top of it, we want to create the rail rods with a more glossy material. The easiest way to start is by copying the top face, so Shift D Z, and snap it here. I forgot to mention that all this time. I turn off the atomos feature. So make sure you have it turned off also, press E to extra the phase. We only need two millimeter stickness for B. It's going down because the phase is flipped. For now, input a negative value so it goes up, and let's flip the pass for now by pressing A then hit N Next, to create the rayos, we can start with the existing H at the base border. Press E Z one, then enter. For now, I think we can separate the phase into a new object. We can merge it back later once it is done. Select the new object. As for the material, I want to assign a Black metal. You can use the one called metal black glassy. Then we can go to phase mode, extrude it for 1 centimeter. Select these two top edges and then press Control B to bevo them. Basically, we want to add a bit of roundness to the rail. Let's check the normal directions. All is good. We can select all of the faces, move them on the X axis, so they are roughly at the center of the sliding door. After that, we can press Shift D X and input -3.5. For the third rail, we can just press Shift R to repeat the process. If you are done, you can go back to object mode. Shift select the mainframe object, and then press Control J to join them. Finally, it is done. We can try previewing the models in rendered view mode, hide the well frame overlay. Everything looks okay to me. Let's go back out of local view mode so we can see how the sliding rods interact with the other objects. I like the results so far. 21. 03-06 Creating the entrance door: In this video, we are going to create the entrance door. Currently, the door width is 90 centimeters. I changed my mind. Now I want the door to be at 1 meter wide because this change will also affect the floor object. We need to select both the wall and the floor objects. Go to Local view mode, press seven to activate the top view, and then use the B frame mode. Again, make sure both objects are selected and then go to vertex mode. Select these vertices, then press G, Y minus ten, then enter. Now we have a total width of 1 meter. Next, we can focus only on the wall object. Go to phase mode, select this one, hold control, and then click on this one. Separate them as a new object. Select the new object, go to edge mode, and then select these two edges. Control X to dissolve them, select all of the phases out E, and then choose extra pass along normals. Turn on offset even and make it for centimeters. Go to object mode, center the origin and let's assign the existing dark aluminum material. All right. Now, for the direction of the door, most people will prefer the door to open to the left as it is the direction where the wall is located or the cabinet to be exact. But personally, I prefer to open to the right so that the door can swing almost 180 degrees and also to prevent the door from bumping into the TV cabinet or blocking the TV. You may not agree with me, and that is totally fine. Essentially, this explains why I will create the handle on the left side and not on the right side. Okay. Go to edge mode, select these two edges, and then press F to create a phase, select the face, and then separate it. Go to object mode and select the new phase object. Press the fourth key twice, so you can focus only on the object. Go to phase mode and extruding -3 centimeters. Press A, then shift, and to fix the normals, go to Object mode, and then center the origin. Alright. Next, we want to create a smart Log panel. Ideally, you want to create it based on real world product reference. But for now, I just want to create a simple generic panel. For this, we can use the ADCubeTol click and drag another leaf. Now, usually, if you create an object using the tools, the local Z coordinate will be rotated based on the surface of where the object was created. Just to prove this, if you activate the local transformation, notice that the Z axis is going depth way, not going up. You can work on a model like this without any problem. But if you prefer it to have the default orientation, you can press Control A and then choose rotation. Now it has the same orientation as the world. That's turn it back to global. Let's adjust to dimensions. For the X dimension, we can make it less than 1 centimeter, say, 7 millimeters. For the Y or the width of the panel, we can make it 9 centimeters. As for the Z dimension, we can set it to 29 centimeters. Again, these numbers may vary depending on the product you want to use. Select the center face. I set it to about 1.6 centimeters. Select the bottom edge. Move this up to roughly 15 centimeters. Go back to object mode. For the main material of this panel, we can use the brushed aluminum material by dragging the material directly onto the object. So you can do that besides dragging the material onto the material panel. Now, select the central phase, create a new slot, assign it to the selected phase. And for this one, we can just use the existing material called the metal black glossy. Later, we will move this through the surface after we add the slats ornament. Let's preview what we have so far in rendered view mode. The materials are good, but I think we need to adjust the position a bit. Let's make the height or coordinate 100 centimeters and then go to the side view and move it to roughly here. H. All right. Next, we want to create a handle bar. We can use the AD cube tool again, as before. Make it roughly the size. Apply the rotation, so the object's orientation is the same as the world for the size. I think we can make the X dimension 3 centimeters. As for the Y dimension, let's make it 7 centimeters. And then 120 for the Z dimension. And then set the Z coordinate, so it is at 100 centimeters. Press Control A, and then choose scale. So we have all the scale values reset back to one, okay? Go to H mode, press Control R, and make it to segments and then thus as Z N scale edges out to about this wide. After that, we can select the top face and also the bottom face. Extrude them as far as 3 centimeters. I think the model is done. Let's go back to object mode for the material. We can use the existing standars steel material, which is called method doss. Let's preview the object in rend view mode. Looks great. Next, we want to create the slats ornament. For this, we can start by duplicating the main leaf object in the X axis direction. Set the slate with 2.5 centimeters and make the thickness to only 1 centimeter. Control A and choose scale to apply the scale back to the default. Okay. Now we can snap this back to the left object, snap this also to the right border, but I prefer it not too close to the border. To duplicate the straight bar to the left, you can make use of the array modifier. We want to use an exact distance value, so choose constant offset. We do not want to upset it in X direction, but rather in Y direction. I think minus five should be a good number. Increase the con value. I think you can see this better from the side view. But sorry, let's first move the handle to the left almost touching the Smutock panel. Okay. We can select the shred object again and revise the C value. I think 14 is already a good number. After you are done, you can employ the modifier, so you can select and edit the resulting phases, select this phase, and then g it and snap it to the left border. Now that we have the reds finished, we can move the smart rock panel and snap it to the strat object. Do the same with the handlebar object. Let's check the normals. A is good. We need to combine them all into a single object, so select them, but make sure you select the leaf object last and then press Control J to join them. Finally, to create all the parts on the left side of leaf, we can use the mirror modifier tonn bisec to prevent the verticies or ages. Now we have the parts also on left side. We can apply the modifier and activate the render view mode to preview the model. I may need to take the position of each part of record I using mostly the move tool. So I don't think I need to explain the process. For now, you can go out of Local view mode. We need to rename the frame object, but instead of using the Oliner, you can also rename objects by pressing the F to keyboard shortcut, name this one door dot entrance dot frame. Before hitting the enter key, I think we should copy the text, select the door if object, press F two, and then page the text and change it to do dot entrance, dot if, and we are done. This is how it looks from the outside. Let's go inside the whole area and this is how it looks from the inside. Quick update after reviewing the video recording, I realized that I forgot to duplicate the phases when creating the door frame object. That is why currently the wall object in a door area has a hole. To fix this real quick, we can go to gmode, hold out, and click on one of the edges of the hole, and then open the phase menu and choose great fail. If the result looks ugly, you can try changing the span value until the result looks correct, and that's it. The entrance door is done, Al handla. But 22. 03-07 Creating the bedroom doors: In this video, we will create the doors for the bedrooms. We can start by slatting the wall up jake and then switching to the local view mode. Select all the phases around the bedroom door opening. Duplicate them and then separate them to create a new object for the door frame. Go to Local view mode twice to focus on the object. Go to edge mode, select these two edges, and then dissolve them. Select all phases, press out E and extrude them along normals. Press four, and then turn on the offset even option. Next, select these two edges, and then press F, select the face, and then separate it into a new object. Go to object mode, and then select the new object, select the pace, and then extrude it for -3 centimeters. Press A, then shift N. Okay. Select both objects and then center their origin points. We want the door to open this way, so the handle should be on the right side. Let's start with the handle on the other side, hold shift, and right click on this location. To make the TD cursor exactly at 100 centimeters height, we can open the view panel. Here, you can see the TD cursor coordinate. Just input 100 in the field, right? Press Control one to activate the back view. We want to create a small cylinder. We can press Shift A, then type, seal then enter. I don't think we will need more than 24 Cs. For the radius, we can set it to 3 centimeters, which will make the total diameter 6 centimeters. As for the depth, 1 centimeter should be enough. Finally, we want the cylinder to align with our viewing angle. To do that, we need to change the align option to view. Okay? Go to phase mode. For now, we won't be needing the automog feature, so make sure you turn it off. Press seven, select the phase, penetrating the door, and then move it on the t axis and snap it here. After that, we can select the front face and then perform an inset for 1 centimeter or perhaps just 5 millimeters and then insert it again for 1 centimeter. Extrude the phase to about here. Next, we want to tilt the phase 45 degrees. Please note that we do not want to use rotate command, but rather the shear command, move the mouse to see the effect, press Y, or perhaps X. I think Y should be the correct axis. Oh, sorry, guys. This should not be set to view but global and change the offset value to one. Okay. Next, we can extrude this phase, press X, and make it -11 centimeters. To make the pace at the end flat, we can press X, then zero, press Control plus two grow the selection. Press seven to see from the top. I want the gap from the door leaf to the handle to be run 4 centimeters. So move these phases down. We can make use of the grid to tell where 4 centimeters is. I think the handle needs to be longer. Select the face and move it -2 centimeters. To make the corners less sharp, we can perform a vel, a tiny bit, hold out and select this H lobe, perform a vel again. And then select this H lob and bevel it also. Go to phase mode and select this phase loop extrate the phase inward a little. I usually the center of the door handle is 4 centimeters from the door age. We can move the handle object to the left and then move it to the right as far as -4 centimeters. But I think minus five looks better. Okay. Next, we want to create the bottom part of the handle or the keyhole part. Go to phase mode. Select the phase loop at the outor area, press Control plus multiple times until we have the outer ring phases selected, and then we can press Shift D Z minus nine, then enter. On second thought, minus ten is too close. Let's make it minus ten. It looks weird now because the front part is actually a hole. We can hold out and slack the edges around the hole and then press F. We need to make it smaller, so press S and make it about this size. Finally, we can extrude it to the back just a little. I think the model is done. In object mode, you can right click and then just shade auto smooth. Assign the stainless steel material. As for the center area of the keyhole, I prefer a brush type metal surface. So make sure the face is selected, create a new material slot, assign it to the face. And then let's use this one called metal SS brush darker. For the handle on the other side, you can duplicate the object on the y axis, then press Control M and then Y, break the Y arrow, and snap it to the vertex at the door. Now, if you perform a mirror and then you apply the scale, you will get flip normals. So we need to fix it by selecting all of the faces and then pressing Shift N. Now all faces are facing outside. Next, we can assign the dark aluminum material to the frame object. As for D leaf object, we want to assign a word material because the material uses textures. We need to define UV mapping on the object. We can easily do that using the Magic UV add on. Select all the phases, open the tool panel. Sorry, I mean the edit panel in the UV mapping category inside the UVW subcategory, click on the books button and then change the size of the texture to 1.5 meters. Go back to object mode and then click and react this wooden material onto the door leaf object. Let's review the objects in rendered view mode. We can hide a well frame overlay to see the materials better. Sorry, guys, I am changing my mind again. I think the handle looks better in black. But first, let's join the two handle objects into one. And then change the metal SS material to the black glossy material. It looks better this way. As for the keyhole area, we can use another metal material or perhaps just use the existing dark aluminum material. I believe the materials are done. For now, let's join all of these objects into one. Eater. If you need to animate the door leaf, you can easily separate them again. We name the object to dot 90 x 210001, or any name that makes sense to you. Now, because we join all the objects to the frame object, which does not use the auto shade option, the shading on the handle looks a bit strange. To fix this, simply apply the auto smooth again by right clicking and then choosing shade out of smooth. Now the handle looks corcck. Next, we want to duplicate this door to the second bedroom. We can go back out of Local view mode. Shift select the object, and then go to Local view mode again. Let's use the solid view mode, so it is easier on the hardware and activate the web frame overlay. Select the door, press Shift D, Y, and move it here, and then press R Z -90 to rotate it. For the second bedroom, we don't want the door to open this way, but this way instead, we can flip the door by pressing Control M, then Y. Please note that every time you flip or mirror an object, one of the scale values will be negative. As long as you do not apply the scale, the normal directions are fine, so we can just leave it as a to snap the door to the opening, we can press G, then press B and pick the corner vertex, move, and snap it to the vertex at the opening, and there you have it, the bedroom doors are all done. 23. 03-08 Creating the bathroom door: In this video, we will create a bathroom door. We can start by selecting the whole object, go to face mode, select this face, hold Control, and then click on this face. Shift D, white click, press P, then selection. Go to Object mode and then select the object, press the fourh Key twice. Go to edge mode, select these two edges, and then press Control X. Select all faces, press out E, and perform extra lognormals, make it 4 centimeters, and then turn on the offset even option. The door will open this way, so the left part should be at the side. Well, the handle should be at the left side. Select this edge, hold shift, and also this edge, press F, select the face, and separate it. Go to object mode, select the new object, select the face, and then press E minus three, then enter, press A, to strike, and then shift to fix the normals, we can set both objects and join them by pressing Control J. Assign the metal aluminum white material, and we have the frame left of the door done. Next, we want to create the handle at this position. We can hold Shift and then hide click here. Press three, two C from the side. Sorry, not three, but Control three. Basically, we are looking at the scene from the negative X axis direction, then press Shift A, type UV sphere, then enter. I think the amount of segments is enough for our purpose, but we need to revise the radius. We want to handle to be 6 centimeters in the middle because this is a radius value. We need to input half of it or 3 centimeters. We want the sphere to be lined to our view, so change the line option to view. Currently, the origin point is already at the door surface. We want to keep it that way. That is why when we need to move the handle forward, we don't want to move it in the object mode, but rather only the elements inside the edit mode. Make sure all of the elements are selected, press G, X -5.5 then enter. Okay? Select the center vertex at the front, then press Control plus four times. So we have something like this. Move the ertoss back a bit and then press Control minus once to shrink the selection, and then move these vertices back much further. Next, we can focus on the back side of the handle. Now, if the door leaf object is getting in the way, you can press the fourth sky twice. All right. Select the center vertex at the back, then press Control plus three times, and then press F to replace the elements with a single phase, press S and scale it down with Press I to perform inset and make it about 2 millimeters. Now, before we extrude the phase, remember that the origin point of this object is located at the door leaf surface. Press E to extrude, and then move the pace to about here. Extrude again. Then scale the face to about this size. Perform another extrude to add some thickness. Now let's open right panel by pressing and if we set this to local, the phase is actually facing the Xaxis direction. Notice, if I change this to local, you can see that the zero is pointing that way. Essentially, if we want the phase to be at the origin location, we need to set the Z coordinate value to zero, not the X coordinate. Okay? And then select this edge loop. Let's make this at 2.5 millimeter. And for this edge loop, we can make it closer also towards the orgiinToo much. Okay, press Control R, and create a loop cut around the base, but slide it closer to the center. Drag the X arrow and strap it to the center vertices so the faces form a flat surface. Control R again to create a loop cut and slide it about here. Go to phase mode, hold out and click on one of these edges to select the phase loop. Then through the pass to about here. As a final touch, I think I want to bevel this corner of bit to make it less sharp. If you are done, you can go out of local view mode, Shift select to the object, and then activate the local view mode again. Now, before we duplicate the handle, let's first adjust its position. We want the handle to be a 100 centimeters high. Let's move the handle to the edge of the door first and then move it to the side for -7 centimeters. Let's assign the stain of steel material. Now we can duplicate the handle object, Shiv D, then X, press Control M, and then X, move it and snap it through the door. Okay? We can finally select all of the objects and then press Control J to join them. Go to face mode and select all faces, press shift, and to fix all the normals. Go back to object mode, right click and then choose shade auto smooth and the door is done. We can see that the shading looks correct. And also, there are no flip normals in the model. We can switch to the random view mode to check the materials. The materials are fine. I'll name this Object toilet leader of record. 24. 04-01 Facade details and window canopies: In this video, we will be adding more details to the front facade, and after that, adding canopies to the windows. First, we can select this object, go to phase mode and then select these three phases, duplicate the phases, and then separate them, go to object mode, and select the new object, activate the local view mode, press Control R, and then create four loop cuts along the shape. While in a phase mode, hold Shift Alt and click on this edge, and also on this edge, press Control I to invert the selection, and then delete them, select and then extrude them for 2 centimeters. I we can do the same with the vertical fact ornament. Select the four faces in front. Shift D, right click, P, selection, go to object mode, select the new object, activate the local view mode. Go to edit mode, control R, create four H loops in the center. Hold Shift O and click here and then here, control I to invert the selection, and then X, and choose phases press A, and an xt root for 2 centimeters. Next, we want to add canopies on top of the windows on left side of the house and also on the back side. We can start by selecting the manual object, activate the local view mode. Go to edge mode, and then select all edges located on top of the window openings. After that, press Shift D Z, then 15, then enter. To make editing easier, let's separate these edges into new object, go to object mode and then select the new object. Go to H mode and then press A to select them all. Then press E Z, ten. Go to phase mode, then press A to slack. Next, press E, and choose troot log normals. Notice that one of the phases is going in reverse. This is because all these phases have different normal directions from this one. No problem. For now, we can set the distance to 50 centimeters, and then we can fix the one in the kitchen. This like all pass, Hover the mouse and then press L. Move it first in a positive Y direction, and then move it back and snap it to a vertex on the wall. Alright. I think I want this canopy to be shorter than vs by about -15 centimeters. Okay. Next, we want each side of canopies to be wider up to 20 centimeters. You can do this manually one by one, but I want to show you a faster method using the string fatten command. For this, we need to select all the side faces. You can hold Shiv and out and then click on the horizontal edges to select the center face loop. After that, we can press Control I to invert the selection. So now only side faces are selected. Next, you can press out to perform string fatten if you ever forget the shortcut, you can also access the command from the mesh menu, then transform and then choose string fatten. And then you can move your mouse up or down to fatten or string the selected phases. We want to do this in a precise manner, so we use less action panel instead. Just to be safe, make sure the offset even option is turned on. And then type in 20 in the offset field. All right. Let's check the normal directions. All is good and we are done. 25. 04-02 Front facade slats: In this lesson video, we will model the ornaments in the center area of the front facade. Essentially, we will create a block or wall panel and then add vertical slats in front of it. We can start by selecting the wall object. Go to edge mode, select the center edge. Press E, Y, then minus five, select the generated phase, press P to separate it, go to object mode, and then select the new object. Pass for center the origin point and then move and snap this object to a vertex on the front four. Okay. Next, we can go to phase mode. Extra the phase upward to about here. Let's check the normal direction. It is currently flipped. We can press A and then press Shift N to fix it. Now to snap the face to the edges at the top, we need to activate the edge option in the snap target category. Now, if we move the face up and then hold control, we can snap it to the top edge. Next, to make the central shape sharp or become a triangle, you can press Control R to add a loop cut. Alternatively, you can just select the two edges at the top, wrote create and then choose subdivide. Select the new edge, and then move it up and snap it to the top center edge. So now we have the base block or panel for the slats ornament. All right. Next, to create the slats or the wooden strips, we can start by placing the tri de cursor at the corner location of the base object. Oh, sorry, guys, currently, we are snapping two edges, not vertices. Let's change the snap target uption back to vertex. Then hold Shift and right click and right to this corner vertex. To create a single vertex at this location, we can press V. Make sure we are in a vertex mode. Then extrude the vertex in X direction for 5 centimeters. Press A to select both vertices, and then extrude in x direction for only -1 centimeter. Go to phase mode and then select the phase. Extrude it to about this high. Let's check the normals. The faces are flipped. We can press A, then shift N to fix it. Now to add more strips to the right side, we can use array modifier. So in the modifier panel, click the Modifier button type array. The direction is already correct, but we need to make the distance twice the size of the object. So change this value to two. Essentially, we now have five, five, and 5 centimeters in length. The only thing we need to do now is to just the count number to find one that best fits the base object. Turns out the base object width is a multiple of five, so we don't need to do any additional adjustment which is nice. Next, we can go to phase mode and then select the top phase. And then move it up all the way to the top until it goes through the Scandinavian ornament. We do this intentionally because we want to use the ornament as a subtraction bullion for the threads. So go to object mode, and then in the modifier panel, assign a bullion modifier. Now, if you are using Vander version 4.5 or above, you may want to use the Manifold option as it is faster and produces better results overall. If not, then you can use the exact mode, but make sure you turn on these two options. Also, make sure the difference option is on. Then click on a Picker icon and select the Scandinavian Ornament object. Okay, to apply all the modifiers at once, we can press Control A, then choose visual geometry to mesh, activate the wireframe view mode, and then go to Vertex mode. Hold Control and ad click drag to strike all of the vertices at the top that we don't need, and then lead them. And there you have it. The front slats ornament is now done. 26. 04-03 Side partition and hidden gate: In this video, we will create a partition and also a hidden gate. The style of the partition will be similar to the front facade. That is, we will use struts or wooden bars. And then at the right end of it, we will create a hidden door that blends nicely with left wooden bars. Okay? You can start by placing the precursor at the corner vertex of this wall. Then press V to create a single vertex. Make sure we are now in vertex mood. Press E Y, ten, then press A E X five. Swap the face and then extrude it all the way to the ceiling. To add more bars to the right, we can use the array modifier. Set the factor X value to two, increase the count number. So we have only 1 bar penetrating the wall. Press Control A, and choose visual geometry to match to apply the modifier. All right. Next, we want to create the door. Let's activate the local view mode. The width of the door should be at 90 centimeters at maximum. Now, we know that the bar is 5 centimeters wide, and the gap is also 5 centimeters wide. So we can just select 9 bars to create the door. Go to phase mode. Make sure nothing is selected, hover the mouse over the right bar, and then press L. Repeat it until we have 9 bars selected. After that, we can press P to separate them into a new object. Go to object mode and then select the door object. Notice that currently the object has a width of 85 centimeters, which is just under 90 centimeters. Currently, the origin point is still located at the origin of the original object. You need to move it to the right corner. So press control period to activate the edit origin mode, press G, and then snap it to this corner vertex. Don't forget to press control period again to exit from the edit origin mode. Having the origin of door at the corner is useful when we later need to animate it. We can move and snap the door object to the partition object. Next, we need to create the upper and lower fames. For this, we can select the top face at the right, press Shift D, right click, and then press P. Go to object mode and then select the new object, go to edge mode. Select this edge, and then move it and snap it to this vertex. Next, we can extrude the face down for 5 centimeters. Et's check the normals. The object is fine. But it turns out that the other two objects are all flipped. We will deal with them later. For now, we can press Shift D, Z, and snap it to the bottom. Now that it is done, we can go back to the main door object. Less first fix the normals by pressing A, then shift N. The door is now blue. Go to Wil frame mode out A to dislike all. Then select only the top vertices, move them down and snap them to the bottom vertex at the top frame. We can do the same with the bottom part, press out A to dislike all, then select all of the bottom vertices, and then move them and snap them to the top vertex of the bottom frame. Go to object mode, select both the frame and the object. And then press control J to join them. So this is the result. I don't think we need to create any handles, as we can easily use the bars as handles. Finally, we can select the main partition object, select all the fixes, and then press shift and to fix the normals. So now all objects have correct normal directions. Let's exit the local view mode, and here is the result so far. 27. 04-04 Roofing sheets: In this video, we will add more details to the roof. Some people may prefer to fix the roof details using textures, but in this project, we will create them in three D. Essentially, we want to create metal roofing sheets on top of the existing roof based model. We can start by selecting the base roof model. Go to Local view mode, press sheaf C to center the three cursor, Shift A, and create a plane object. Set the X dimension to 12 centimeters and then apply the scale, so all the scale values are at one. Go to edge mode and then press Control R and create four loop cuts along the y axis direction. Then select the two edges in the center and move them up for 2.5 centimeters. To add more roofing modules, we can use the UI modifier. Make sure you turn on the merge option so that the border vertices are merged automatically. Later, we can tweak the con value depending on the length of the roof base. For now, we can make the roofing sheet thicker by adding a solidify modifier. I usually use the complex mode to make the thickness even, and let's make this positive so it goes up. For the thickness, I think one centimeters is already correct. Now, we want to move the origin to the bottom left corner. So press control period, then, and snap it to this corner vertex. Press control period again to exit from the origin editing mode. Okay. Next, we need to place the roofing sheet on top of the roof base. We know that the roof angle is 40 degrees, so we can type 40 in X rotation field. Then to rotate this way, we can type in 90 in Z axis field. Now, because we already have the origin at the corner of the object, we can choose active as the snap Base option in the snapping panel, presG and then hold Control to snap it to this vertex. Now we can increase the count number as much as we need. Make it past the roof based model. Next, we need to mirror the roof. There are plenty of ways to make symmetrical objects in Blender. For now, we will be using the mirror modifier because the mirror modifier will use local coordinate of the object and not the global coordinate. To make things easier later down the road, we need to apply all the modifiers and also the rotation. So first, press Control A, and then choose visual geometry to mesh. That should apply all the modifiers. Notice that currently the rotation values are not set to zero. Press Control A again to open the applied pop up menu and then choose rotation. Now, all of the rotation values are zero. Please also note that the mirror modifier uses the origin point as the center of reflection. Basically, we need to move the origin point to this location for the mirror modifier to produce the correct result, press control period to activate the id origin mode, press G, hold control, and snap to this point, and then press control period to exit. Now we can assign the mirror modifier, turn on bisec to prevent double vertices, all right? Before we do anything to this roof shad, we can duplicate it first and then move it aside. We will use the duplicate leader for the side roof. Next, we need to select the base roof object, go to phase mode, and then select these two phases, Shift Z, and move them up. Press B to separate them into a new object. Go to object mode. Select the new object. You don't need to solidify and modifier, and then go to phase mode, select all phases and then press a Z then zero then enter. Next, we can extrude the faces down like. Currently, the feces are flipped. We can press A, then shift N to fix them. The main reason we have this object is to cut the roofing sheet in this area. We do not want it to affect the other sides to put it safe. We can extrude this side. Then we can extrude this side also. Then select the faces on the side and just move them so they enclose the roofing sheet. Okay. Next, we can select the roofing object apply the mirror modifier, then sign a Bollan modifier. Again, you want to use the manifold option. If you are on Blender 4.5 or above, if not, you can use the exact mode, but turn on these two options below. Then make sure you are in intersect Bollan mode. Click the object, pick a icon, and then click on the object we prepared before. After we have the result, we can apply the modifier, and then we can delete this temporary object. So that is basically how you model a roofing sheet. We can do the same with the other side. Select the roofing shoot object, press R Z 90. Next, we can move it and snap it to the top vertex Sorry, it should be the second vertex just below the top one. Now that we have the shade in the correct position, we can select the base roof object, select the two faces on each side, press Shift D, then Z, press P to separate them into a new object. Go to object mode, select the new object, delete the slide five modifier, and then go to phase mode, select all pass and then press S Z, then zero, then enter. Next, extrude the faces down. Extra this side. The next root this side also. And just select and move this side. Again, we need this object to cut the sheet on this area, press A, and then shift N to fix the normals. All right. We can set the roofing sheet object. Apply the mirror modifier, add a Bollan modifier, turn these two options on. Make sure you are in the intersect Bollian mode. Click the object pick icon and then click on this object. After that, we can apply the boolean modifier, and then we can delete this object, and here is the result so far. Because the video is already quite long, we will continue adding the roof ridge in the next lesson. 28. 04-05 Roof ridge: In this video, we will continue working on the roof. Previously, we have done the roofing sheets. Now, we will focus on the top enclosure or the roof ridge. For this, we can start by selecting the base roof object Go to edge mode, select the stop he and then stop edge. You can see this better if you are in Vrame mode. Okay. Shift D Z, and move them to about here. Then press B to separate them. Go to object mode and select the new object. Next, we need to convert the object into a curve type, white click, and then choose convert to and then curve. Next, open the data tab. In the geometry category, find the b of the perimeter and set it to 5 centimeters, which makes your overall diameter 10 centimeters. At a glance, it looks okay. But if you look closely, the center diameter is actually smaller than the sides. One way to fix this issue is to convert the curve into a two d curve. Let's press the four ss kit twice so we can focus on the object so this is the three D mode. You can see how the diameter becomes smaller as it turns, and this is the two D mode. The diameter keeps its size when turning. Okay. Next, we can specify the resolution value. We want to use this number possible. I think one is enough for our purpose. After that, we can convert the object back to a mesh. Go to phase mode, hold out and click on its edge. Control plus, then press Control I to invert the selection, and then lead the pass. Let's go out of Local view mode. Move the ach Object up. Make it so it is just above the roofing object. Then go to age mode. Now, don't worry if you see strange lines like this in the viewport, this is just a bug in a viewport shadow effect. I hope this get fixed in the future. But if this bothers you, you can open the viewport sharing panel. Then turn off the shadow option. Again, this does not affect our three models. Usually this bug appears when we have complex models in viewport. Let me just turn this off so the video does not look confusing. Okay. Let's continue with the edge selection, hold shave and out, and then click on this edge, and also on this edge. Then press E Z and move them down until we don't see any gap. And that's it, the roof model is done. Let's assign the material. I want to use this one called metal dark gray dope. Now, if it looks too dark in the viewport, this is due to the viewport display option of the material. This color does not affect the rendering. It only affects how it is being displayed in the viewport, so you can set it to any color that you want. Okay, we can sign the same material to the roofing sheets besides click rigging from the asset browser. You can also sign materials using the link transfer data method to do this. You need to select all objects. You want to sign the material too, and then select the object. You want to copy the material from the left and then press Control L to open the link transfer data pop up menu, and then choose link materials. Now, all these objects are using the same dark gray metal material. All right. We can activate Render View mode to preview the material. Aha Dilla, I think we have done a pretty good job. 29. 05-01 Magic UV add-on: In this video, we will discuss how to use the magic UVAdon. We already installed this add on before. So just make sure you already have it active. Please note that the magic Uvadon has a lot of features. There are just too many to cover all of them in a single video, and probably you won't be reading all of them, also. If you are curious to learn more, you can open this link to access to documentation. As you can see, it is a very, very long list to the bottom. This video, I will only be demonstrating two of my favorite features, which I use all the time for my projects. For practice, I already modeled this very simple house or band of record to save time. As always, if you want to work in real measurement units, the model should have default scale values. So if you decide to use your own TD model, just make sure you have applied the scale. As for the textures, I already downloaded two sets of textures from ambiencg.com. One set is for the roof and another set is wooden Bang texture for the walls. All right. Let's say we want to texture this Brnhouse model with a wooden bang texture. Make sure the object is selected, and then create a new material, namely material wall or wood. And then open the shadow editor. Make sure we are in object mode, not the word mode. Now, select the main principle BSDF node. Then press **** Control T. Let's select all of the wooden pen texture, except for this one, as this is just a preview image. Click this button to confirm. Let's switch to the material preview mode to see the texture. Currently, the texture does not show up because the three D model does not have a proper UV map. In fact, it doesn't even have a UV channel yet. We are going to use the Magic UV addon for projecting the texture and at the same time, create the UV channel. First, you need to be in a face mode. And then like all the pass you want to sign the UV map too. I know that the roof will have a different texture, but that's like all of the pass for now. Then in the side panel, you will find a tab that says edit. Here, you will see three panels belonging to the Magic UV done. Please note that these panels only appear when you are in edit mode. They do not appear when you are in the object mode, except for the copying page UV map panel. Okay? As you can see in these panels, you can find checkboxes that control the visibility of the parameters. What we are interested in now is the third one that says UV mapping. Here, you can find the two commands that we are going to discuss box and the spanner. Now, notice this option here. If this is on, the Magic UV add on will create a new UV map channel for us. If this is off, it will just use or overwrite the existing channel because currently we don't have any UV channels. You want to make sure that this option is turned on. Okay? Now, let's click on this box button right the way, you can see the wooden pen structure on the model. Now, if these yellow selection highlights bothering you, you can actually turn it off. You can do so by clicking on this icon and then turn off the faces option, right? After you click this box button, you can access the less action panel on the bottom left corner of the CD viewport. Notice there is a size field here. Currently, it is set as one, meaning that it projects one texture tile in the size of 1 meter. So again, this number is not 10,000, but one with four decimal numbers behind it. If you want to make the texture size to meter, simply type two here and then enter. Until this point, you may be wondering, doesn't this feature already exist when we use the Q projection mapping? Yes, that is correct. But Magic UV provides more parameters to work with. You can rotate the texture based on local axis, and we can also offset the texture. Just for example, let's say you want to texture projected in Yaxs direction to be aligned vertically not horizontally. For this, you can simply type 90 IY axis rotation. I know that this is not the correct orientation, but you get the idea, or perhaps we want to rotate the texture in Z axis direction. We can input 90 here and so on. One thing that I don't like about magic UVAdon at least in the current version, is that it does not use the standard way of naming the UV channel. As you can see, it's giving a name for the UV channel. This is not a problem if you are just working in Blender. But when you export the model, other software or game engines sometimes are devoted to f UV channels by the name of UV Map, but at least you can rename the UV channel quite easily. For now, we will just leave it as is, okay? So that is how you use the box projection method using the magic UVAdon the next feature is the best sanar command. The box method is great for straight surfaces or surfaces that are perfectly aligned with local axis orientations. But for slopping or tilted surfaces like the roof here, the texture actually gets distorted if you use the box method. This is where we need the best spanner command. But before we use it, make sure the two faces in roof area are selected. And let's create a new material slot and then create a material. Rename it to roof, for example, and then click this sign button to assign the selected faces to this material. Next, initiate the editor. You can select the main material node and then press Shift Control T. We want to select all the files from the roof texture set except the preview image. Okay. To use the best Pinar command, you need to select only one phase or multiple phases as long as they are facing the same direction. In this case, you do not want to select these two phases together. As the projection result, we just be using the average angle of both phases. So select this phase only and then click the Best pinar button. Now the texture is correctly projected based on a phase angle, but we still need to fix the size and the orientation, which we can easily do by accessing the last action panel. Let's make the size also 2 meters. As for the rotation, we should turn the texture 90 degrees. Alright. Next, we can select the pace on the other side. Click the best pander button again. As you can see, the Magic UV addon will use the settings from the last time we use the command. The size is already correct, but the rotation is flip. This should be -90 degrees, and there you have it. Because the Magic UV add on does not use the mapping node to rotate the texture, but it rotates the UV islands inside the UV map. It will not break the normal map directions, so it is a very safe, quick, and precise way of projecting texture onto our TD models. That is, if your model consists of mainly flat surfaces, 30. 05-02 Front and top materials: In this video, we will add materials to the front area of the house and also the top area. But first, I think the front wall is too high. I don't want to add any fence in this area, but I do want to add small plants here. Select the top phase. Currently, it is at 13 centimeters. Let's set it to 10 centimeters. To add textures to an object, the object must have a UV mapping. We discussed how to use the Magic UV atom before. Now, let's use it on all of the objects at once. Press A to select all objects, go to phase mode, and then press A to select all of the phases in this condition, we can open the Edit tab in the UV mapping category, click the box button, and let's set the box size to 2 meters. Now all of the faces have a uniform UV mapping. We may need to just some of them leader, but for now, we have a nice starting point. While adding materials, let's also rename the objects to make them more organized. We can select the Outer wall object. Let's rename this to W dot Outer. As for the material, let's use the one called Wall of White. Next, we can select this one. Rename it to wall dot front. For this, we can use the same wall of white material. Next, select this one. Rename it to w dot divider dot carport. We can use the same material wool of white. For the carport object, we can just name it carport. We will be using a texture now, so let's activate render view mode. Let's find the material for the carport. I think I'll go with this material called floor parking paving. Personally, I like the tiling to be a bit bigger and going vertically or in the wide direction. So go to phase mode, select the top phase. Use the best planar method, set the size to 3 meters, and then rotate the rotation value to 90 degrees. All right. Next, we can select the grass object. Let's rename this object to grass. Later, we will use an addon to scatter to degrasbads on this object. But for now, we can apply material called ground dot grass. Next, we can select the front floor object. Rename it to for dot dot front. As for the material, you can assign this material called marble Karen Gray. Okay, guys, from this point forward, I won't be using any new techniques, so I'm speeding up the video to save time. Essentially, I just select an object, give it a name, and apply a material, and just repeat the process. I The roof Gutter object is a bit different. We want to assign two different materials to an object. First, we can assign dual of five material. Then to be able to select the outer and inner faces separately, we need to apply the solidified modifier first. Now we can select all the interfaces then create a new slot, assign a new slot, and then let's use the stainless steel material. Next, we can select the remaining interfaces. And then assign them also to the second slot, and that's it. So the gatto looks like an ordinary wall from below. But if we view it from the top, we can see that it is made of metal. Finally, we can select this object. Rename it to facade triangle side. And then assign the wall of white material. We will continue adding more materials in the next video. 31. 05-03 Wooden slats textures: We will continue naming and assigning materials to our house project. Now, we will focus on slat objects, and after that, the rest of the objects, we can start with a partition on the side of the house. Let's name this object slats dot side. And for the material, we can assign a material called wood generic semi gloss. The UV mapping is basically done because all of the valves are going in a vertical direction, just like the textual direction. For the door part, we can name this object slabs dot door. Use the same material with generic semi gloss. Let's use the material preview mode, so it is easier on hardware. And also let's activate local view mode. Unlike the previous partition object, not all of the wooden bars in the object are going vertically. The top and the bottom frame parts are going in horizontal direction. We can fix this quite easily by going into the pace mode. Hover the mouse cursor, and then press L to select the top frame element, and then do the same with the bottom frame. Press L to also select it. Next, open U variating workspace, and then press A to select. Then press R 90 then enter. Now the word grains are going horizontally. All right. Next, we can work on the slats, front facade ornament, select the slat object, and then rename it to slats dot front then sign the same wood material with genetic semi gloss. The texture orientation is already correct. Next, we can select these object name this object, facade slat base. As for the material, we want to use a different material, but still similar to a wooden brown color. Let's use this one called Wall cover pastel Brown. The slab ornaments are done. Now we can focus on the remaining objects. Let's select the window canopies. Rename it to Windows dot E. An sign wall of white material. Let's activate render view mode and hide wil frame overlay. So this is what we have so far. Let's finish up the floor on the sidewalk. We can name this one floor dot X for exterior, then do side. For the material, we can assign a simple cement or concrete material. I think this concrete pedestrian material should do it. Next is the inner floor. Let's name this one floor dot Min. And for material, I want to sign a white marble. We can use this one called marble Cara White. Okay. Next, we can try to find the remaining objects that we haven't named yet from the Outliner editor. Let's check this one called ot 009. Okay? So this is the bathroom for object. We can activate the local view mode and rename it to for toilet for material I think I want to use the one code tile bad UBC gray. Go back out. And let's check the next object code t011. This is roof based object. So let's name it roof base. As for the material, I think you can assign this wall gray material. Okay. Next is the object. This is the sealing Object. You can rename it to sealing Min. Usually, for sealing objects, I use the material code plafan.it. Finally, we can select this word 022 object. Turns out this object is the roof ridge object. Let's just rename it to roof dot ridge. The object already has the material, so we don't need to assign any new material. I think we have renamed all of the objects in the scene. Oops. Sorry, guys, we still have this train 001 object. This is the side Roofing sheet object. Let's rename this object to roof spandex 002. And then we can select the front roofing sheet object. Currently, it is called plane. We can change the name to roof dot Spandex 001. I guess we have named all of the objects, but we haven't finished with the materials. In the next video, we will add additional colors and textures to some of the walls and ceilings. 32. 05-04 Accent wall materials: In this video, we will add some excell materials to our house project. We can start with the front area of the house. Select the main wall object. Go to face mode. Select the faces in this area. Don't forget the two faces at the bottom. Create a new material slot, assign it to the pass and then choose this material code cover pastel black. Okay. Go back to object mode. We need to repeat the process on the upper wall object. Select the pass and then create a new slot, assign the slot, and then assign the same will cover past black material. All right. Next, we want to add a stone texture to this side of the wall object. Select the wall object. Make sure you are in a face mode and then select all the faces in its area. After that, create a new material slot and then assign it to the selected phases. As for the material, I want to use a stored material called Wall Stone tiles. It looks nice, but I think we can make the tiling better for this. We can go back to phase mode, make sure all the phases are still selected. Open the UV editing workspace. Press A, then G, and let's move this UV to the center so we can easily compare it against the texture. Personally, I want the stones to look bigger. For this, we can press S and make the UV smaller. Next, we want the texture to look less repetitive. You can do this easily by rotating the UV, so press R and then rotate the UV just a tiny bit. Let's go back to the layout workspace. I think the stone texture already looks nice. Next, we want to add a different color to all of these vases. Now, I want to use a different approach instead of adding multiple materials across different objects. Let's create a single object that covers the entire surface, but we don't want to create the object from scratch to save time. We can start with existing pass in wall object, select all of the faces and the side. Then press Shift D, then right click, press P to separate it into new object. Go to object mode and select the object. Select the edges at the top. And then bring them down. Sorry, guys, I should also select this edge. Let's move them down again, and then move them up and snap them to this vertex. Next, we can press E X and snap them here. Press E again, Z, and snap them to the bottom floor. So now we have this flat object for the wall covering. If you want to clean up the model, you can use the shortcut and use the limited dissolve command. Optionally, you can do that manually by selecting the edges you want to remove and then pressing Control X to dissolve them, or you can also just leave them as they are. But before we continue, we need to cover the wall just below the door. You can select this edge, then press E Y, and snap it here. All right. Let's check the normals. All is good. Although we won't be using any texture, let's apply box mapping with a size of 2 meters, just in case we want to change the material to one that has textures. Now we can add thickness to the model by assigning a solidified modifier. Set the offset value to one, but change the mode to complex to make the thickness uniform across phases. I think 1 centimeter is too thick. Let's make it only 1 millimeter. Next, for the material, we only need one slot for this object and use the one called wool cover past brown. If you remember, this is the same material we used for the base sled object. Let's previewed material in rendered view mode. So this is the result we have so far. The next axon wall we want to create is at the sidewalk. Select these two large pieces, create a new throat and then sign it. We want to use the same store material as the front wall. Currently, the stones look too small, and the repetition is too obvious. But select the faces again. Open the UV editing workspace, press A, then G, and then move this UV to the center, press S to make it smaller, and then press R to rotate it for about ten to 20 degrees. I think I want to make it even smaller, just a tiny bit. Okay. It looks better now. After some considerations, I decided to revise the front facade. I want to change the inner material, so it is the same as the porch. We can select all of the inner faces. Then create a new material slot, assign the slot to the faces, and then use the pastel raw material. And that's it. I believe the materials for the house are all done. But 33. 06-01 Adding furniture to the front porch: In this video, we will add furniture to the front porch. We are going to add two armchairs and a table. I'm thinking of using Ratan based furniture for this project. We won't be modeling the furniture from scratch. Instead, we will import the furniture from the Bendrokit Library. If you have been using Blender for quite some time, you may already know what Blender kit is. For those of you who don't know, Blender kit is an online service where you can get thousands of high quality curated assets related to three D specifically for Blender. You can access the website at blenderkit.com. When I recorded this video, it had more than 100,000 assets in total. Some of them are around 60,003 D models, around 27,000 materials and textures and many other types of assets. Now, to be able to download these assets, you need to create an account. Don't worry. Creating an account is totally free. If you open a subscribe page, you can see here that if you are on free tier, you can download all of the materials, which is very generous, if you think about it. As for the three D models, you can download about 30% of them. If you choose to subscribe whether you are in filans or the corporate tiers, you can download all of the assets without any restrictions, right? So make sure you create an account first. And then after that, you need to download the add on by going to the download Benoit page. And then click on this big Download button. You can follow the tutorial down here to install the add on. Back in Blender, open the preferences window. You need to make sure that the Blender kit addon is active, and then you need to login with your credentials so that the addon can connect to the Blender kit server. If the addon is active, you'll see this floating UI in a top part of the TD viewport to search for TD models, you need to activate the first icon. The second icon is for materials and so on. Let's search for Ratan Chair. Notice that we get around 6,000 results. If you don't see any thumbnails, you may need to close and open this eye icon to refresh it. If the thumbnail has a padlock symbol, it means that the asset is a paid asset. If you are not in paid tears and wish to search only for free offsets, you can make use of the filter function by clicking on this funnel icon. And then turn on the free First checkbox. Now, Blender kit will list all the assets first before the paid ones. Besides hovering over the thumbnails, you can also right click on them to see more information related to the asset. For example, you may want to know the far size to determine whether it fits your project or not. Okay? I think I want to use this atan chair to download the asset, simply drag and drop it into the three scene. Just like the asset browser. This process also detects three D surfaces automatically. Release the mouse and wait for it to be downloaded, and there you go. You just downloaded the asset. Please note that a lot of Blender rocket assets consist of or are composed of sufro objects so when you want to move the asset, you cannot just move one of the objects to make things easier than the kid usually puts the objects inside a collection and also provides an empty or a helpful object that you can select. All of the objects of the same assets are linked or are the children of the empty object. Now, if you are having a hard time selecting the empty object, you can just select any of the objects in the asset and then press the open bracket key on the keyboard. If it has a multi level hierarchy, you may need to press the open bracket key several times until the empty object is selected. After you have it selected, you can then perform any transformations that you like. You can rotate it 180 degrees, press R, Z, 180, enter, and let's move it back to barely penetrating the window. Okay. Next, we want to find a table that matches the chair. You can try searching for wooden coffee table. Let's use this one, drag and rope it next to the chair. Let's close the icon to hide the thumbnails. You can select any of the objects, but then press the opening bracket key to select the parent empty object. Let's move it to the left first to compare it against the chair. Press as to scale it, and then try to make the top of the table slightly below the chair cushion. Then we can move this to the back, make sure it does not penetrate the wall. All right. Next, we want to duplicate the chair and place it on the right side to correctly duplicate objects with hierarchy. You cannot just duplicate the parent or the children. You need to duplicate all of them at once. To quickly select all objects within a hierarchy, you can first select the pattern object, which is the empty object in our case. And then hold shift and press the closing bracket key. You may need to press it several times if the outset has a multi level hierarchy. Now that we have all of them selected, we can press out D X and move them to the right side. Again, we use AD to create instances of the originals. Okay, guys, the three D models are basically done, but I still don't like how they look. As you can see, the chair color is too pale compared to the table. To make them look uniform, we can just use the tables material. Let's first fix the name because currently wood one is too generic. We can rename it to Wood Ratan dot DFO next, select the main object of the chair to assign a table material, simply click here and then type in Wood Ratan then enter. Now, the main object looks better, but the strap or tie object still looks too pale. I don't think I want to use the same material, so let's just adjust the existing material. Currently, it is called Ratan. Let's rename it to wood Ratan dot Thai. Okay. Now, let's open the shader editor. Make sure you use the object mode and not the word mode. To alter the color, we can modify the texture node. So let's move these two nodes to the side, Shift A, then type hue. Click and move this node to the existing connector. To make it less pale, we can increase the saturation. We can try 1.5. I think this is way too strong. Let's try 1.2. Okay? This is enough. Again, we don't want it to look exactly like the main atan material. Let's change the value to 0.9 to make it a bit darker. And that's it. I think we have the final look that we need. If you need more decorations such as flowers, glasses or plates, feel free to use the nrocet surface just as we discussed. 34. 06-02 Adding realistic grass: In this video, we will add realistic grass to the grass object in our house project. For this, we will be using an addon called Geo-Scatter. If you don't know what Geo-Scatter is, it is a paid addon that you can purchase from superhivemrket.com. It is very useful to scatter a lot of objects onto the surface. Mostly, it is used to populate the scenes with grasses, rocks, plants and trees, but you may also use it to scatter other objects. Yes, it is relatively expensive, but it is totally worth it. I've been using this addon for several years now to add vegetation to all of my architectural projects. For this lesson, I will assume you have already purchased the addon and installed it. For now, let's close the Blender addon, so we have more space in the viewport to do that, we can open the preferences window and then turn off the Blender add on. While we are at it, make sure that the Geo-Scatter addon is active. Okay, to access the add on, you need to open the panel or the right side bar by pressing and then find and open the Geo-Scatter tab. Currently, the tab does not show any parameters. This is because there is no emitter object selected to click on emitter object. You can click on the drop icon up here. And then click on grass Object. Notice that now the name of the object is displayed on top. Please note that Geo-Scatter offers a lot of features. We won't be discussing all of them in this video. For example, to start scattering objects, you can choose either the manual method, the quick method, or the biome method. The easiest and fastest way to add grass to our scene is by using the Biome scatter method. Click on this open Biomes button to open the biome brry essentially what bio means in Geo-Scatter term is a collection of scatters. So instead of scattering on one object, you can mix different objects and make them interact like they normally appear in the real world. Notice that I have a lot of these biome presets on my computer. This is because I also have another addon called Botanic, which added a lot of additional biome presets to Geo-Scatter. We will discuss this add on in the next video. For now, let's use a biome called Lawn 01. Click on this button to apply it. Wait for it to load. Okay, it's all done. As you can see, the grass looks very realistic. Again, this is the biome. That is why it consists of more than one type of object. Personally, I don't want to have these small white flowers in the grass. These flowers are controlled or generated by this scatterem called clover flower. The flowers will disappear from the viewport if you click on the monitor icon. To completely remove the flower component from the biome, you need to select it and then click on this minus button. Alright. Now, if you zoom out a bit, you can see that some of the grasses are penetrating the front wall. You can also see on the side wall. There are many ways to tackle this issue. If you go to the calling masks category, there are several methods provided by Geo-Scatter to mask or limit the scattering. You can use upward obstruction, basi area, vertex group, and so on. For this project, I want to focus on the material slot method. For now, that side, the whole biome by clicking on log item, not the sub items, but the main top item. Okay? And then click on a Hight icon. We need to edit the mesh of the grass object. Let's activate the material preview mode, so it is less demanding on the computer's performance. Select the graph object, press the Slash key on Numpad. Let's switch the panel to the item tab for now so we can see the coordinates. Go to edge mode and then select this edge. Make sure you turn on the automoge option. Press Shift D X minus ten the Nant, select these edges. Then shift D Y, ten, then enter. Next, we need to assign a different material to this large phase. So create a new slot, assign it let's open the outset browser. We can use this ground mud leaves material. Again, we want the biome to only grow on the mud leaf material and not on the ultragrass material. Hopefully, with this, the grass objects will not go through the walls anymore. Okay. Let's go back out of the local mode. Open the Geo-Scatter tab again. And Anhed Dolon 01 biome, go to the cooling masks category. Next, you need to choose which material will exclude the scattering. In our case, graphs. And that's it. We still have cephalgrap grades going through the side wall, while the front wall already looks clean. If you want to make it perfect, you can slide the edge to the left a bit. I may need to do that off record. Let's activate Brander vim because the grass object goes all the way to the back and right side of the house, practically, all the grass from the house is done. Again, if you ever need to reduce the grass from going through certain floors or walls, just use the material masking technique I just showed you, all right. 35. 06-03 Adding plants around the house: In this last and video, we will add some vegetation around the other area of the house. We are going to add shrubs or small plants at the front. Then one large tree, and then more plants around the house. For this, we will be using Botanic. For those of you who are familiar with it, Botanic is a paid addon and library containing three models of plant species from around the world. You can purchase the addon at superhivemrket.com. The addon offers many features such as wind animation, materials for different seasons, transform random miser, and even some scattering features, although not as sophisticated as the Geo-Scatter don. I already mentioned in the last video that this addon also adds more biome presets to Geo-Scatter. That is, if you own the Geo-Scatter done. By the time I recorded the video, the library contained around 1,300 assets consisting of over 1003 D models and 185 biome presets. I own the full version of Botanic and have used it for all my architectural projects. I understand that the price may be too high for some people. However, it is worthy investment. Why? Because you only need to pay once for the current addon and all future updates. Polygonic, the company behind Botanic continually improves the addon and adds more assets to the library year after year. Okay, from this point forward, I will assume that you have purchased and installed the add on. Back in Lender, if you have botanic installed inactive, you'll see a tab in the end panel called polygonic. But for now, let's hide the grass biome so it is less demanding on our computer. Don't worry. The monitor icon will only affect the viewport. You'll still see the grass in rendering because the camera icon is still active. All right, click the polygonic tab. Please note that polygonic has its own asset browser called gon. Use Ngon, you need to press the assets button at the top. Then in this condition, you need to select a UI area that you want to turn into gon. That's the bottom area. Now this area becomes the gon asset browser. Later, if you want to bring this area back to its original editor, you can click on this X button, right? We want to add small fans just behind the front wall, hold the shave and then right click here. The ngn browser uses the red course location to place the assets. You can determine the category of assets that you want to browse. Let's open the shop category and then find the pens you want to use. I think these plans are too big for our needs. Let's try a different category, say, the plans category. Okay, I think these plans are perfect. We can use all four variations so they look more natural and less repetitive. You can click on the button below the thumbnail to place the asset in the scene at a three d cursor location, arrange the assets so they nicely line up. I think we should use the solid view mode in this process so it's easier on hardware. To quickly select all the plans, we can press C to activate the circle selection tool and just click and react to select them. Then press all D, then X and place them here. Press C again to select all the plans. I think the plans are too big, so press F and make them smaller. Move them to the right. We can select these two plans out D, X, and place them here. Press C, and select all of them again. Press to scale. I think I want to move them to the back a bit. Now, to quickly randomize these plans, we can use this random button. You can keep clicking on a button until you like how they look. All is good, except for the left plan. We can prove from rotate, scale, and move until it does not go through the left wall. I think this area is a bit empty. We can move the plans around to fill the empty area. Let's activate the random view mode. Okay. Next, I want to add a large palm tree in this location. Shift right click to place the t cursor. You can find palm trees inside the tropical category. Let's pick this one. It's too big. We can press and scale it down to about this size. Then press R Z and rotate it. Feel free to tweak the transformation until you like how it looks. Okay, guys, that is basically how you can add trees or plants using the botanic library. There are no new techniques that I can show you. So I just speed up the video to save time. Once you are finished, click the X button to close Engon and restore the original editor. Press N to hide the panel and turn on the rendered view mode. The pans in the front look nice. I am also happy with the ones in the back, although we can only see them through the partition. For now, let's bring back the grass biome so we can see how it looks against the plans. Okay, guys, this is the result we have so far. 36. 06-04 Front road and surrounding grounds: In this video, we will create a road in front of the house and after that, create the grounds for the surrounding. Hold Shift and right click on this vertex TSODRrod will be at the same level as the bottom end of the cardboard, Shift A and create a plane object. Now, for the root material, we will be using this PBR texture set that I downloaded from cgboca.com. I know that the texture size ratio is two by one, so we will need to make the plane object in that size ratio. Let's open the item tab in the end panel. We can set the width to 500 centimeters, and the length should be two times of it or 1,000 centimeters. Price control A and then apply to scale. Now we can move this forward and then move it back and snap it oh, sorry, the snap based setting should be set to closes. Now we can snap the rod correctly to the end of the cardboard. Okay? Because the size ratio is already correct, we can assign road material. I really like how this material simulates wet road, creating the atmosphere of rain having just passed through. To make the road longer, we can select left he, press E X, and rag it to about here. We can do the same with the write g, press E X and then wag it. Okay? After reviewing the video, I decided to insert this section in case some of you have trouble following the lesson. In edit mode, you can access the options panel at the top right of the viewport. For this lesson, make sure these two options are turned on. Why? Because with these options turned on, you can extrude or drag edges, and Blender will automatically fix the UV mapping. Let's compare this with when these options are off. Notice how the texture stretches when we move the edges. Also, when we extrude, the resulting phases will have no automatic UV mapping, which makes the texture look weird. Yes, in certain cases, you may want to stretch the texture. But for this lesson, make sure you have these two options on. Okay? Now, let's continue with lesson. Next, to create the surrounding ground. We can first select this edge, move it to the left and snap it here. And then move this edge and snap it here. I think we should switch to the material preview mode, so it is easier on hardware. For now, we want to hide all the plants and grasses. One way to do this is by hiding the collection in the outliner. If you move your mouse inside the Outliner editor and then press the minus symbol on the numpad, this will collapse all the collections. As you can see, both the Geo-Scatter addon and Botanic addon created their own collections. This makes controlling their visibility easier. Now, the viewport feels more responsive. Go to age mode, select the three edges at the front. Press E, Y -400. Then select the three edges at the back, extrude these edges in y axis direction and then snap them to the vertex at the back wall. Then extrude again two bodies far. Okay. Now, select the three faces of the road. Then press Control I to invert the selection, press P, then selection. Go to object mode, and select the new object. Next, we can delete the phase of lapping the house area. Let me bring this up first. As you can see, we have large phase in the house area. So you select the pace and then delete it. All right. Next, we want to make the front ground a bit higher press control R and then add a loop cut here. So these three phases, then move them up a bit. Let's assign the grass material now so we can clearly see which object is which. For the ground at the house side, we want to have two types of grounds. The ground close to the house will be for smaller plants, while the ground further will be for large trees. We can extrude the side and then do the same with the side. And finally extrude the ground on the back side. Next, we can then select the faces, press P to separate them. Basically, we now have three objects for the surroundings. Let's renamed rod object. While in the outliner, you can press the period Key on the numpad to focus on selected object. Rename me to nv dot Road. ENV stands for environment. Next, you can select this object, rename it to NV dot close. And then select this object, rename it to nv dot far. Finally, to make things more organized, let's select all three objects, press M and then choose new collection, name it environment. Then press the minus key to collapse. Now that we have all the surrounding objects inside the environment collection, we can easily hide or show them via the Ot liner, right? 37. 06-05 Setting up the cameras: We have added the ground object for the small plants, and we have also added the ground object for larger trees. But before we add vegetation, let's first create the cameras. This way, we can easily hide the vegetation models in a viewport and only show them in the rendering. As a reminder, we can only perform rendering in Blender if we have at least one camera object. That is why we need to create the cameras first. For now, we want to place the new camera in Mint collection. So make sure it is currently active. Then press Shift A type camera and then Enter. Let's name the camera camera dot fun dot LV currently, the camera object is at the cardboard, as there is where we put the three cursor before. One way to set up the camera view is to align it with the viewport. So first, you can adjust the viewport like you normally do, and then press Control of Numpad zero. This will align the active camera to the current viewport viewing angle. The result may not be perfect by the way, so you may need to tweak it further, but let's first adjust the parameters. Personally, I like to start with a focal length of 35 millimeters. I may increase it or decrease it if needed. The second method of controlling the camera view is by using the navigation method. For this, make sure you are in a camera view mode and then activate the walking navigation. As a reminder, you can use either the right click and hold method or by pressing the W key on the keyboard. While in navigation mode, you can use the W as and D keys to move around and use the mouse to look around. You can also use the Q and E keys to move up or down. Basically, it is similar to how you control a first person character inside the three game. All right. Next, let's create the second camera. Besides using Shift A method, we can perform a copy in piece in your liner to duplicate the first camera. So make sure your mouse is in your liner area, fast Control C, and then Control V. Let's rename the new camera to camera dot front dot right. Okay. Now, this is important. You need to click on this icon to make it the active camera. This way, we can control it using the w navigation method just like before. Feel free to move and rotate the view until you like how it looks. Okay, guys, we now have two cameras with two different angles that we can use to render the project. One last thing that I think we should do is to place the cameras inside a dedicated collection. So select both camera objects, press M, and then choose new collection, name it cameras, and then click on the Create button. Now all the cameras are inside the cameras collection. Personally, I prefer to place the camera collection at the top, so it is easier when I need to switch the active camera. H. 38. 06-06 Surrounding vegetation: In this lesson video, we are going to add the surrounding vegetation to the house project. Let's start with the near ground object. We will use the biome feature from the geoscatter addon just like how we add grass to the house area. So open the Geo-Scatter tab in the end panel, and then we need to close the current emiter and then pick the ground object so it becomes the active emiter. Next, we can open the biome browser. For this ground object, we want to pick aggress biome that has weeds or wild plants. I think I'll go with this forest 01 biome. Click the button below to apply the biome. As a reminder, we don't see anything in the viewport because we hit the Geo-Scatter collection before. To preview the biome, you can render the scene by pressing a 12. As you can see, we now have these wild grasses in the front and surrounding the house. There is one small leaf penetrating the wall, but I don't think we need to fix this because it is normal to see some grass growing out of the floor or wall corners. However, in case you see too many of these and you want to reduce them, you can use the same method we used earlier at the front wall area. Okay, so the vegetation near the house is basically done. Next, we want to work on the outer vegetation, close the current emitter, and then pick the outer ground object. Let's open the Bum browser again. I have hundreds of these Biome three sets, so it's better to just use the filtering feature. For now, select the coniferous type biome. Now, the browser only shows the coniferous type and hides the others. Let's just pick the thickest one called Bom 06. I now, when the addon detects too heavy or too many the models in the scene, it will offer to display the objects as bounds, meaning that the models will be displayed as bounding boxes or simple wireframe boxes in a viewport. Don't worry. They will still appear as trees in rendering results. Usually, you want to agree with this offer by clicking the Okay button. But again, even with the bounding boxes option, you won't see anything in the viewport because we hide the Geo-Scatter collection. If we press F 12 to render the scene, you can see the trees that we've just added. You may notice that currently the rendering is slower than before. Overall, I already like the trees at this camera angle. I just want to add one large tree in this area. For this, we can place the tree manually using the Botanic addon. So open the polygonic tab, click the broth assets button and then choose the bottom UI area. Filter the list, so it only shows the botanic assets. Usually, we can find large trees in the deciduous category. Let's pick this green Azure tree, position the tree cursor at the back of the house, and then click to spawn button. Currently, it does not show in the viewport because the botanic collection is hidden. Press Numpad zero to activate the camera view. Again, we want the tree to show up in this area in rendering. Let's move this to the right. And I think I want to move this to the front just a bit, press F 12 again to render the scene. I guess the trees for this viewer then. Let's move on to the view from the right camera. We don't want to overwrite this rendering, so let's change the active slot to slot number two. Next, make the second camera de active camera. Then press number zero to activate the camera view. Press of 12 and wait for the rendering. I think I want to add a tree in this area. I also want to add a short tree in this area, so it does not look too empty. For the left three, we can instantiate the existing large ester tree at the back, but I want to make it a bit smaller than all D, Chief Z, and then place it on left side of the house, press R Z, and rotate it a bit. Then as to scale it down. Let me check the rendering again. I think this should go to the back just a little. Next, we need a short thick tree in this area to cover the bright background. So let's find the tree. I like this one called JaglinsRgia a summer. Click on a button to spawn it. I want this tree to be basically a background tree, so it should be behind existing large Azer tree. I also want this to go lower into the ground and smaller in size. Let's preview the changes. Okay, I think I want this tree to go even lower, and I want to see the tree trunk at both this location. So let's go back to the three viewport and move this tree to the front. Next, let's move this to the left and then move it down. Render it again, and wait for the result. Okay, guys, so far, I like how it looks. I may just in leader of the record, but I will only be using the Sametis that I just showed you 39. 07-01 Adding interior details: In this lesson video, we will add lighting to the interior and then move on to adding some furniture. Please note that because this course focuses on architecture and not interior design, we will only create things that are visible from the outside through the windows. We won't create all the furniture inside the house. I do have a plan for a separate course on an interior design project. In that course, I will use bender for modeling and texturing and then use real engine to render a house tour to the animation. I hope the course is ready by the time you watch this video, okay? To start, we can search for the ceiling object, activate the Local view mode. And then go to Phase mode. I'll click on its edge, then shift I'll click on its edge. Basically, we want to select all hidden phases that are supposed to emit light. Okay. Next, create a new slot, assign the slot. Now, this material is a bit different from the existing ones, as it should emit light into the scene. Let's start with a new material. You can name the material glow dot hidden. Change the shaded type from principle BSDF to emission. As for the color, it would be easier to get realistic colors if we are using the black body node. I have discussed the black body node before in the essential course. So I hope you already understand what it is and what it does. Besides creating the black body node in the Shded editor, you can also directly create it inside the properties panel. Just click here and then choose black body. Note that Bender automatically created the node in the shaded editor. For the temperature value, you can set this to 3,500 kelvin, so it feels quite warm. As for the strength, I usually start with 50. You can just a liter if needed. Let's review the lighting in rendom view mode. Looks okay. Let's go out from the local view mode so you can see the overall look. Now, notice that the interior looks pale and not warm. Well, this is because we have the first GI approximation active. Again, we discuss this feature in depth in the essential quarters, so I won't go into too much detail in this video. Essentially, if you want to have more realistic lighting behavior, you either turn off the feature or increase the bone's value. Notice that if I increase the viewport bones value, we start getting that warm interior lighting that we need. For the next step, let's first sight the vegetation by hiding the botanic collection. This will make the viewport feel more responsive. I changed my mind. I think 50 is too strong. Let's try 20 for the strength value. Let's see how it looks in wondering. Okay, so far so good. Next, we want to add some furniture inside the house, perhaps some paintings on the wall, a bed, and then a sofa in this area. Previously, I showed you how to add assets using the Bendoked addon. Now, I want to show you how to add furniture using another addon called Interniq. Interniq is a paid addon and library developed by polygonic. So yes, it is the same company that created the Botanic addon. Basically, the way we add assets into the scene is similar to how we use the Botanic addon. We can start by selecting the floor and wall objects. Activate the local view mode. Hold Shift and right click at this location. In the polygonic tab, click on the Bros assets button and then strike lower UI area. Next, filter the assets to only show the internic category. Then go to furniture and then beds. Pick the bed that you like. I think I will go with this one. The bed is actually not oriented correctly, but I think this is fine as we just need the top of the bed to be visible through the window. Okay. Next, we want to add a painting on the wall. Place the precursor at the wall. Then go to the decor category and find one that you like. Sorry, there is a painting category here. I think I want to use this one. It's too small. Let's make it bigger. Press number zero, so you can see it from the camera view. All right. The next furniture you want to add is a sofa in the whole area. You can find different sofas inside the furniture category, inside the setting subcategory and just find the sofa that you like. I think I want to use this one et's move this a little so that it doesn't go through the wall. Also, we can move this to the back. Okay. Lastly, we can place another painting on this wall. Go back to the decor and then paintings category again. And let's pick this one. It has three frames in one object. And the size is just about right. Let's go back out of local view mode, press Numpad zero, but activate the first camera. I don't want to override the current rendering result, so let's use slot number three. Then press F 12 to render the scene, and wait for it to finish. Okay, I'm happy with this camera view. Let's use slot number four now and switch the active camera to the second one, press F 12 again, and wait for the result. Okay, guys, I am also happy with this camera view. Again, this is the front left camera. And this is the front right camera. 40. 07-02 Exterior lighting | Part 1: In this video, we will focus on exterior lighting. We will add a large area light just below the skylight void and then add three do lights at the front porch area. We can start by placing the tre cursor on skylight glass. Shift A us area light. First, we need to change the area light type from square to rectangle. This way, we can set the size X and size Y values independently. Now, to make the area light exactly at the center of the glass, you can select both objects, but make sure the glass is selected last, so it is the active object, then perhaps shift F and choose selection to active. Now we have the area light exactly at the center of the glass. We need to move it down. Perhaps we can see this better from the bottom. Move it so the light does not get blocked by the grills. You can keep adjusting the size so it better fits the skylight void. Next, for the color of light, we want to use a black body node. If you are using a newer version of vendor, you can select color by temperature directly within main light parameters. But if you are using lender older than version 4.5, you need to press the use nodes button down here. Then click here and then choose black body. We want this area light to simulate a blue sky. So let's change the temperature value quite high, such as 8,000 Kelvin. Let's preview the light effect using the render view mode. I think ten is too weak. Et's try 50, too strong. How about 20? Okay, I think 20 is about right. Next, we want to create three downlights in the ceiling area. Now, I actually already have a lot of down three D models in my Asset library, but I want to show you how to model one from scratch. Later, you can save the model in your library, so you can use it again and again in the future. We can start by placing the TD cursor here and then create a cylinder. Set the radius to 6 centimeters, and then set the depth to only 1 centimeter. Now we can start modeling the shape of Danlight to phase mode and select the top phase. Set the local coordinate of this phase to zero. Then select the bottom phase, press Control B and make it around three segments. Select the center phase, and then in set it just a little. And then perform another inset just as before. But then we move the phase up to form the glowing part of lamp. Make sure it does not penetrate the top phase. Okay. Next, go to edge mode and select these two edge loops. Right click and choose Mac shop, go to Object mode, and change the shading mode to Auto smooth, and we have the tree model finished. We can now move on to the materials. I'm thinking of white metal a base material. Let me first close this gon browser and switch the editor to Blender default asset browser. We can browse to the metal category. Let's use this one called metal alum white AlrFor the centerfas, we want it to emit light Make sure only the center face is selected, create a new material slot and assign the slot. Now, instead of creating the emission material from scratch, we can start from the existing emissive material called glow hidden. If you remember, we use this one for the interior ceiling, but we want to have separate settings for the interior. So we need to click this button first to duplicate the material. Rename the new material to glow LED exterior front or any name that makes sense to you. We do want the color to be warm, but not as strong as the interior. So I think 4,500 Kelvin is enough. Let's activate under view mode to see how it looks. I think 20 is too weak for the exterior. We can try 1,000. Now it is too bright. Let's try 200. I think 200 is enough. Before we duplicate the object, it is better to name it first. Let's name this lamp.led.exterior.001. Models that currently lamp object and the light object are inside the cameras collection. Let's move them by pressing and then create a new collection called Lights. And finally, we can move this collection up just below the cameras collection. All right. Let's select the lamp object again. We want to perform a duplicate instance, so press out D X and then place it around here, press Shift R to repeat the left command. Now you can select the three objects via the outliner. But imagine that you have hundreds of instances scattered across different collections. In that scenario, you can press Shift L and then choose object data. This will make vendor select all objects that have the same object data. Okay? Now move them to the right. I'm just eyeballing it for now and then move them to the left. But then divide the value by two. This will make the trillm objects centered Okay, guys, I think we are done with the dom lights. I may need to tweak light intensity, a bit off record. 41. 07-03 Exterior lighting | Part 2: In this video, we will continue working on exterior lighting. We'll add an LED strip along the front facade, and then add two ground spot lights. We can start by selecting this object and then activating the local view mode. Go to phase mode. As you can see, I already have these interfaces selected. Just make sure you also have these phases selected. Then press Shiv D and right click to cancel the movement, press P to separate the new faces. Go to object mode and select the new object. Let's first center the origin point for the width of the ID strip, we can set it to 2 centimeters. Press Control A, and then apply the scale. Next, you can add thickness to the model using a solidify modifier. Set the offset value to positive one, set the thickness value to only 1 millimeter, and set the mode to complex so that the thickness is uniform. All right. For material, we can start by removing the second slot and then we can assign an existing globe material. Duplicate the material. A name the new material glow sat dot front. Let's exit local view mode. We want to put the object inside live's collection, sores and then use lights. Before we make any changes to the material, let's render the scene to preview the current settings. I think the light is too strong and too yellow. For the color temperature, we can set it to 4,000 Kelvin and for the strength, I think five should be enough. Let's Render seen again to preview the light. It looks so much better now. Next, we are going to create two spotlights on the floor. We can press the tide cursor here. Press shift A, then type cylinder. Set the radius to only five and set the depth to five or so. Or, sorry, let's make it ten. Activate the local V mode. Go to phase mode, and then select the bottom phase. Set the local Z coordinate to zero. Select the top pace, and then press Control V to abate. Make it about three segments. Select the center face, and then insert it Go to He mode and then shift out this He loop, white click, and mark sharp, go to object mode, and turn the object shading to a smooth. Currently, the normal looks a bit strange. We can fix this by increasing the auto smooth angle, say, 45 degrees. Okay, for the base material, we can use this one called metal dark gray. Next, select the top center face, and then press Control naped plus several times until all of the top faces are selected, create a new material slot and then assign it to the pass for this spot. I think I want to use the existing stainless steel material. Finally, we want to add an emissive material only to the top center face. Let's create a new slot for it and then assign the slot. Let's start with the existing globe material. Duplicate the material. We actually don't want this material to contribute lighting to the scene. So let's rename this material to globe that fake, set the color to white or 6,500 kelvin, and then set the strength to only one. The reason we are doing this is that we want to use an IF slide profile. I have discussed IF in depth in essential course, so I won't explain it again in this video. Long story short, we need light object to use this feature. Let's first go back to phase mode. Currently, the T Dcursor is exactly at the bottom of length model. But imagine that we move the T Dcursor accidentally somewhere else. One way to center the Tcursor is to align it with mesh element such as vertex, H or phase. Currently, the top center face is still selected, press shift F, and then choose cursor to selected. The three Dcursor is now exactly at the phase location. Okay, go back out to object mode, press Shift A, then create the point light. Move the point light up just a bit because we want to use the black body node and also IS t profile. We need to turn on the node feature. For the color temperature, we can set this to 5,000 kelvin, so it is almost white, but still innuum spectrum. Now, before we exit the local view mode, that's parandlit object to the mp three D model, select both objects, but make sure the three D model is selected last and then press Control P to parandlt object to the lamp model, and then object Keep transform. Now, if we move lamp model, the light object automatically follows. Let's exit from local view mode. Next, we want to center the lamp object against the edge on facade wall. For this, we need to set snapping options to active in each center, move and snap the lamp model to this edge, and then make it closer to the wall. Set the point lot object, and open the shaded Editor. Press the home button to Zoom extend all the existing nodes. Now, let's switch to the render view mode. As we expected, the point light emits light in all directions. To use an IS profile, we need to plug an IS structure node into the strength input slot of the Mission shader. Then choose external and click the folder icon to find the IS file that we want to use. For now, I want to use an IS file called T lobe umbrella. Noice sound lights now emit in a certain pattern. We can see different patterns if you use different IS files. Again, for now, I want to use the three lob umbrella IS file, but we want the pattern to shoot upward, not downward. So press R Y, 180, then enter. Personally, I think light is too strong. You can control the light intensity into ways now, either from the main light power perimeter, say five watts or perhaps three watts. Or you can also control the intensity using the strength value in the IS texture node. The value you set here will be multiplied by the power value lightment parameters. Okay, I think this is enough. Finally, we can duplicate the lighting to the left side. Remember to select both lamp model and light objects and then press out D X and snap them to this edge. Press F 12 to render the scene, and wait for it to finish. Okay, guys, here is the rendering result. Overall, it already looks nice. Although I still think the spotlights are a bit too strong. You should already know how to tweak them, so I'll adjust them leader of record. O. 42. 07-04 Bevel details and lighting scenarios: In this video, we will add small bevel details on windows and doors in the front area, and after that, create multiple word lighting scenarios so each camera can have its own unique mood or tone. This is the rendering result from the last lesson. If you zoom in close enough, you can see that the window frame looks too flat. This partition door also needs a bit of a gap. Then this door and its windows can really make use of a small bevel to make them look more realistic. As for the side and back areas, you can also add bevel details to the windows and door if you want to render them up close or create an animation because the technique is basically the same. I will only focus on the front side of the house. Okay? Let's go back to the T viewport. So like all the windows and doors that we want to add, the bevo modifier, too. After that, you can open the modifier panel and then add bevel modifier, Sedimon value to only 2 millimeters. Now, Benner does not actually assign the modifier to all selected objects. It only assigns it to the active object. To make all selected objects also receive the same modifier as the active object. You can press Control L and then choose Copy modifiers. Now, if you see the objects up close, you can see double edges on corners. You can see them on door fame and also the two front windows. Let's render the scene. But for now, we want to use the first camera or the front left camera. I also want to keep the previous render. So let me change the active render slot to two press F 12 to render in with for the result. Okay, here is the rendering result, as you can see. Although the effect is subtle, these small gaps created by the Babel modifiers add realism to the rendering result. Last thing that we want to discuss is how to create multiple lighting scenarios inside a single scene. Let's say that we are already happy with this lighting for the first camera or the front left camera. It has strong afternoon ambience to it. The sun is low and positioned at the back of the house with a nice yellowish color to the overall tone. But for the second camera, we want a different lighting condition for this camera. We want to see the house in the morning. So instead of yellow, we want a bluish color coming from the environment. To do this, first, open shadow editor. Make sure we are working in word mode and not the object mode. Currently, I named this word lighting straw because that is the name of the XR file I use in this lighting. To make it clearer, let's rename it to afternoon. Then make sure you click this shield icon. With this, vendor will assign a fake user to the lighting data so that it will not be purged or erased, even if later save the vendor file with the lighting not being used. So again, this lighting is the first camera. To create a new world lighting for the second camera, we can start by pressing this icon. This will duplicate the existing lighting into a new lighting data. For this one, we want to mimic morning, and we also need to protect this lighting from being deleted. Okay. Please note that by the time I recorded the video, there was no feature in vendor that can log in a certain camera with a certain word lighting. So you need to switch lighting manually. Don't worry, it is quite easy. Simply click on this button to see the list of all the available word lighting. And just click on the one you want to use, and then you also need to make sure you have the correct active camera. For now, let's focus on just the morning lighting, it looks like morning. The easiest way to do this is to use an XR or HDR file captured in the morning. Specifically, I want to use one that has a bluish tone or cool ambient color. Feel free to experiment with different XR or R files. But for the current project, I want to use this file provided by polyhaven.com called Rog Land O rocast. Click on this folder icon. Open the folder where the file is located. And in the blue click on it to open it. Let's preview the lighting using rendered view mode. Notice of the colors now look bluish. It is quite different compared to the afternoon word lighting, as this one looks more yellowish. Let's set it back to morning. Now for the sunlight direction, instead from the back side, I want it to shine from the front side. Notice that currently the sun rotation value is at 30 degrees. From this, we can conclude that if we want to position the sun contro clockwise, then we need negative values. For example, if we set it to -90, the sun is shining straight from the left side. We want the sun to be roughly at this position. So let's input -110. Now the sunlight direction is a bit tilted and looks more interesting. Next, we also want to add some gubs or tree shadows in its area so that the spotlight effects become more prominent. For this, we can make use of the existing trees. We should use the instant duplicate method so we can save the system memory. Let's unhide the botanic collection. We can duplicate this tree, press out D, then shave Z and move it to about here. Next, we can rotate and or move the tree until we like how the shadow falls onto the house. I move the tree quite far because I don't want to block this nice leaf shadow coming from the palm tree. I know it does not make sense to put a tree in the middle of the road, but the camera will not see the tree, so it should not be a problem, right? We cannot render the scene again, but make sure the second camera is the active one, and also we are using the slot where we rendered the front right camera before. After that, we can press F 12 to render the scene. At this point, I realized that the sunlight is too weak, so let me cancel the rendering and go back to the shader editor. Essentially, we want to make the sky and sun texture stronger in comparison to the environment texture. For this, simply lower the mixed shader factorial value to around 0.6. Let's render the scene again. Okay, guys, we're wondering it's done. Overall, I am very happy with the result. We have a nice dark tree shadow in this area, and yet it does not block the palm tree from casting a shadow onto the house. Also, if you notice we have these small gap details in windows and doors. So lhanda, our house project is officially completed. To recap, this is the final render of Rufer camera. It has an afternoon mood or a yellowish tone. As you can see, it already looks nice out of the box. We haven't added any post processing or compositing to it. And this is the final render of the second camera. Unlike the first camera view, this one has a morning mode to it due to the bluish or cool color tone. Again, we also haven't done any post processing or compositing to this image. Both images are coming out of cycles rendering as is.