BLENDER FROM GROUND UP

1. 001 The course intro: Everyone, and welcome to Blender from Ground U. My name is Mara Hussein, and I am three D artists with nearly 14 years of experience in this field. Over the years, I had the privilege of creating more than 20 courses dedicated to helping aspiring artists master Blender. Blender is one of the most powerful three D software available today. And the best part is that it is free for everyone to use. When I first started with Blender back in 2019, I was amazed by its capabilities and ease of use. Since then, Blender has become an essential tool in my workflow, and I am excited to share my knowledge and experience with you. In this comprehensive course designed specially for beginners. We will explore the fundamentals of blender, starting with the basic and the progressing to more complex techniques. Whether you are a new 23d modeling or looking to refine your skills, this course will provide you with a solid foundation and the confidence to create stunning three D art. Throughout this course, we will cover understanding the software interface, modeling from symbol geometry to complex designs, commands, and techniques, step by step explanations, and rubbing, preparing your creation for texturing, adding materials, bringing your geometry to life, lighting, essential techniques for realistic renders, camera setup, capture your final scene. With 185 videos and over 48 hours of content. This course is one of the most extensive offering it. By the end of this journey, you will have the skills to create almost whatever thing you want in blender. And in the end of this course, we'll learn together how to create and render a complete interior scene, applying everything you have learned along the way. So I hope you find this course interesting, and if you are, you can get it. Thank you for watching and heavy blending. 2. 002 Before you start: Hello, everyone. In this video, I want to talk about the resource files. When you download them, you will get a result like that. We have two types, blender files, and we have project folder. When you extract these files, you should be careful. Here we have two groups. If you want to start with the blender files, you should grab them first, all of them like that, and then rat click and you can extract blender files like that. These files will be extracted as one or single folder like this. For the rest of the files, you should grab them like that as well, and then extract them right here. But if you grab, all of them like that, you're not going to get any result. You will get errors, so just be careful of that. That's it, and let's get started. 3. 003 How to download Blender and install it: Hi, everyone. In this video, we will learn how to download blender from the website. The el bar here just type blender.org and hit enter. After that, you should go to the website of the blender. Right now, we have the download button right here, you can download blender from here or you can go to download section, and after that, you can find another button here and the version of the software, and just click download blender. Wait for it just a little bit. If the download doesn't start, you can go to this link right here and click it if you have any problem. After that, just go to the downloads folder. You should find the software and then just db click on it to install it. It next, accept the license and the next. And again, next, just choose the partition where you want to put it for me, I'm going to put it in the D drive. So I'm going to hit brows and king C to D. Don't worry about what I'm doing. So and then just hit. If you don't have any problem to leave it on the s, just leave it on the sea and then hit next and install and gess way to the installation process to be finished. All right now we got the Blender icon right here. Is finished and ready. Hit finish, then de lick on to open it. All right, great. So now we have Blender and installed and ready. Okay, that's we'll do it for this video and see you in the next one. 4. 004 Blender Interface: Hi, Ron, and welcome back here. And this video, I need to talk about the blender interface. When you open blender or always when you open blender, you will see the small window is called splash screen. And the splash screen, you will notice that I have the blender version here and some option here to create a new project or open recent file. If you want to get rid of this window, you can hit here left to click in the space or you can hit scape from the keyboard to Excite. Before I explain anything here in the interface, I need to talk about something important. If you have an issue with the icons or if you can't see the text very well, you can make the icons big. I mean, if you go to the edit here and then go to the preferences, here we have blender preferences. And the first section here in the interface, you can go to the resolution sce. As you see here, we have one, the resolution sce is one. If you change this to two and hit Enter, as you see here, all the icons and the text become big. So from here, you can change the scale and control it. For me, one is okay or maybe 1.2 or 1.3. You can add any number here to make this epipe. I'm going to accept number one and then hit Enter. After that, when you make ch, you can go to the CO right here and hit safe preferences. To save the change that you made here. After that excite. All right, now let's talk about the interface. When you open blender, you will find some stuff here. Here we have a camera, and here we have source of light and box. And in the top left, by the way, you can delete those if you like. But for me, I can leave them for now. I'm going to delete them. Here in the top left corner, here, we have the menu bar here. We have this menu. Each menu has some options. For example, here we have file, you can save a new project, and these minus exists in almost all the three D software. And here we have work spaces. You can switch from work space to another. If you want to add material, you can go to the shading section. If you want to sculpt, you can go to the sculpt section. I'm not going to talk about this right now. And to be honest, I'm not using this so much. If you want to create a new work space, you can hit this plus and create new work space. All right, now let's talk about the areas. Blender is consist of areas. I'm going to show it I mean, this one, this big viewboard, is called area, and this one right here is call area, this one like this, and this one as well as call area. Each area has its own properties and name. If you put the mouse here on this corner and the left corner, you will see the name of the area is called current editor type. For this area is three D viewpoard. So just put the mouse above hover over above the editor type icon to see the name of the area. For example, if I go here to the editor type for this area is called outliner, and this one as well is called properties, and this area right here is called timeline. Each area of these is changeable. You can change it. For example, here we have the outliner, I going to change this 23d viboard. I will make this similar to this one. So you can go to the editor and swag this to three D view board, and there we go now, I have three D V board. This one as well, I can sweep this to three D V board, and there we go. And the timeline I can do the same thing here. After that, you can bring those back. Let's change this to outliner and this one to properties. So this is what I like about blender. Everything here is change. All the areas has a header. So this tub bar here sc a header. We have a header here and here as well, and in the timeline, as well, we have a header. You can change the size of each area. If you put the mouse on the edges here and click and drag. And by the way, as you see here, you noticed that the cursor is changed to double headed arrows here. If you hit left to click and drag, we can make this very small. As you see here, we we lost some icons here. And they are not visible anymore. If you want to slide them, you can hit the middle mouse button, the wheel, and click any truck to see the hide and icons here. And as you see, now I can king, I can make this area very big or very small, I can control that. And you can sublit the area to two, if you like. For example, if you put the mouse here on the corner, you noted that the courser now become plus. Click any drug. As you see now, I create two indoor, this one and this one as well, and I can ke this one from the editor type to image editor to add images here or to come visitor or to Shader editor to create a material. You have all of this option, or I can make it to Outliner, something like this. All right. If you want to merge it, you can put the mose again here on this edge between the two areas, her click, in area, and just go to the one that you want to delete it, and then it liftic click. That's all. All right. Let's create another window here like this. And I'm going to create another one here, as you see. And from the button to top, something like this. Alright, All right, I'm going to put this here in the middle just to explain something. Alright, now, if I put the t right here and right click, I can find the join area option. But if I make if I make area bigger than area like this, right, so this area right here, it's bigger than this one. All right. So Now, if you put the mouse right here and hit right click, the option of join area now is not visible because we have difference in the size. This case, you should make them at the same size like this, and now you can join them. All right, so join this. All right now I can't join this to this because the size is not equal. So I can join this to this one, right click join area, and join it, and this one as well, right click join area, and join it like this, and there we go. It is very nice. All right, in the viewboard, and the viewboard, I have tool bar on the left and on the right. If I hit T, I can hide and unhide the tool bar on the left. And if I hit N, I can hide or unhide the tool bar on the right. And the tool bar on the right has another option, like ing, tool, view. And this option right here, don't worry about it. I added this one to my software. You don't need to worry about this one. This is called screen cast key, just to show you what keys that I am hitting right here. All right, so don't worry about it. If you want to hide it, you can hit n or you can put the mouse on the egg here until you see the courser is changed to double headed arrow, click and drag and hide like this. And if you note that I have very small arrow here, that's means there's a hidden tool bar. For example, the outliner, we don't have a small arrow here. All right, the properties, we don't have an arrow here. All right. The timeline. In the timeline, I have an arrow here. If I open it, I can see some option here. So that's me not all the areas have toolbars, right? Just keep that in your mind. All right, so I think that's it. I don't want to make the video very long. There's some stuff here in the interface. I need to explain, but in the next videos. So that's we'll do it for this video and see you in the next one. Goodbye. 5. 005 Blender Interface 2: Hi, everyone, and welcome back here. In the previous lecture we talked about the interface in general. In this lecture as well, we need to cover more and more about the interface. So if you want to maximize the viewpoard, for example, this is the three D viewpoard, if you want to maximize it and make it pick, you can have control with space to make it pick. And as you see, we have the The header still and the information bar here and the Patm still exist. So this is the way to maximize one view. For example, the outliner, you can hit control space to make it pick or the properties as well, or anything in new if you want to sublit the view, for example, let's change this to maybe image editor and hit control space, and you can make it pick. Let's join this one. Hit click, join area, and join it like this. You can hit control old space to maximize it again and to get rid of the header and the bar information. So this is the way if you want to maximize it and get rid of the header and the bottom information bar. If you want to go back, you can go to the corner right here until you see this small icon, click it and you'll be back or you can hit control old space and control space again to go back to the original mode. Okay, now, if you want to maximize the resolution for the editors, for example, I have the text here. I want to make this big the scale of the text and the icons. You can hold control and hold the middle mouse button and move the mouse up and down. And this way, you can change the scale for each editor. And that's happen for the properties. For outliner, you can do this. If you do it, nothing will happen. For the viewboard, if you do this, you will zoom in and zoom out. For the timeline here, if you do this, you can make it, you can scale the time, make it big or small, as you see. When you open blender, you will always see the camera in the cube and a source of light. If you want to open blender again and again, without seeing all of these things in the viewboard, you can go to the toolbar right here, just open it and go to the select box. Hold left to click and Drake and grab them like this and just hit delete to delete them. After that, you can go to file here and go to default and save start up file. So if you do this, when you open a blender in the next time, you will not find anything here or you find it empty. And if you made any change in the interface, for example, if you maximize some areas or add new areas, and if you save that again, you will have it when you open blender in the next time. Just keep that in your mind. Right now, let's talk about the important editor that exists here in the interface. The first thing that I want to talk about is the three D viewboard. Inside this view, you can create anything you want, you can model, you can tickets here, you can do all of the thing to get the final model that you want here inside the viewboard. Here, we have the outliner. Anything you add right here, you will find it here in the outliner. So it is a list of the object that you added here in the viewboard. For example, if I add anything, let's go to add, and let's add from the Mh scion. Let's add cube. Now we have a cube. Let's go again. So as you see here, we have the cube listed right here. Let's go to add again and let's add, for example, from the mesh, let's add cylinder. Now we have the cylinder inside the cube. And as you see here in the outliner, we have the cylinder. And we have the icon of the mesh as you see right here. Okay, now let's go back to the ad and let's go to the curve ac and let's add anything. All right. The circle now exist here in the middle inside the box. As you see right here in the outliner, we have the busier circle, and we have another shape. That's means this circle is not from the mesh section as we have here from another section. Each section has its own icon. When you add it, you can see it right here in the outliner. Let's move this a little bit right here. We will learn how to move stuff later on in the other lectures. Each collection here has its own objects. All right. If you want to create another collection, you can hit right click and hit a new collection. And after that, you can pick whatever object you want from here and add it inside the new collection like this. Just click and drag and bootstr here. Now, they are a new collection. You can double click on it to to change the name, for example, I can call it new. So now we have another collection. You can hide or hide the object here. For example, here, we have the cube equ or hys and you can hide or unhide the whole collection from here. This icon right here beside the eyes the icon of the cameras mean you can disable it in the render. If you hover over here and put your mouse, you can see the not here, disable and render, and here as well, hide in a view word. Here we have the properties editor. From here, you can change the render setting, you can change the MESIze. You can add material, change the world environment cutter or add stuff right here. We will learn about that ter, and you can add modifiers here to the object, and there's a lot of stuff, you can king here. This section is very important. We will use it a lot in this course. All that's it for this video, see you in the next one. 6. 006 Learn how to add object and the navigation system: Hi, everyone, welcome back. Let's learn how to add a geometry or add object here inside the viewboard. As you see, I have a camera light and box. I will click and hold left to click and create a selection to cover all of these. And when they highlight it like this, just hit delete to delete them, and we will learn how to add stuff here. You can go to the add menu here and add whatever thing you want. For example, plane, chose plane. Now we have plane right here in the middle. We can go again to the ad from the mese section, ad, for example, sphere. Now we have sphere right here, you can add from this menu or you can hit sift A for shortcut. If you hit heft A, you can access the add menu again and add whatever thing you want. Let's activate the screen cast to see the bottom it heft A and add whatever thing. If you notice that whatever thing you add, you will find it in the middle, it will be added in the middle. That's because the three D coorsor. The three D coorsor, This small circle right here with the red and white color. This call the three D coorsor. All the object that you add, they follow the three D courser position. If I change the position of the three d coorsor in any other place and add anything, the new object will follow the three d coors. Learn how to change the position of the three de coorsor. In the left tool bar here, we have multiple options here. One of them is the three D coorsor. All right, I can activate this icon. Now, if you click left to click anywhere, the three D coorsor will follow your mouse. So let's put the three D coorsor right here, for example. As you see, it's in the space here, and let's go to object, and so let's go to add and add another cube. Now the cubes follow the three Corsor. Let's hit left click right here to with the three d coorsor in this area, and let's go again to ad, and let's add, for example, curve, and now we have the curve following the three D coorsor. So whatever thing you add in the scene, they should follow the three D coorsor. So it's deben on the cosor position. If you hit left click and the three d Corsor still follow me, you should go back to the selection box to create a selection. Let's craft them like this and hit delete. If you want to bring back the three D coorsor in the original position in the center, you can hit ift as and move them out to this option, you call courser to the world organ, and the three d coorsor will be in the center. Now, whatever thing you add, for example, a if a and a circle, everything you will add will be added here in the center. The three D coursor is very important option here inside blender, and we will learn the benefit of the three D cours later on in the next lectures. Let's hit in to hide the right toolbar. Okay, now we learned how to add stuff inside the three D viewboard. Now, let's learn the navigation system of blender. If you click and hold the middle mouse button, I can orbit around the object. I can rotate the scene. Let's add cube here. So I can orbit around the cube. If you rotate the mouse wheel, you can zoom in and zoom out. If you hold if with the middle mouth paton, you can pan like this. And you can zoom in and zoom out by holding control with middle mouth paton. You can move the mouse like this, you can zoom and zoom out smoothly like this. So this is the navigation system of blender. If this is your first time to use blender, you you'll find that a bit difficult to navigate and you'll forget the option. But by the time when you keep practicing this, it will be easier and easier. Let's recap, the middle mouse button for orbit, middle mouse with shifts, for pan, rotate the wheel of the mouse for Zoom and zoom out. Hold control and click the middle mouse button, the wheel, and move the mouse for smooth zoom in and zoom out. This is all. Now, we learned how to add object. As we said, you can hit Hft A and add, whatever thing. We learned that whatever thing you added here is depend on the three D courser position, and we learned how to use the navigation system of blender. Here we have the same option of the navigation system. You can use them as well if you don't like to use the shortcut. For example, the first one, the magnifying glass here, you can use it for zoom in and zoom out, just hit left click and hold and move the mouse to the top forward and backward to zoom in and zoom out. And here the hand for move the scene or for pan. And here this option for toggling the camera. If you have a camera, you can select it to look at the scene from the eye of the camera. And here this option is for perspective and autographic. And we will learn about this option later. Okay, now let's talk about the views inside vender. We have top view, bottom, left, right from and back view. Let's see how can we acces these views. Let's delete the cube, just left click on the cube until the cube be highlighted, and then hit delete to delete it. And let's hit shift A to add and less add monkey. So now we have the monkey right here. If you go to the keyboard num bat, if you hit number one from the keyboard num bat, you can jump to the orthographic front of view. And if you notice here on the top left corner, Right here, here we have the front orthographic. If you hit control one, you will jump to the back orthographic. As is written right here, back orthographic. If you hit number three, you will jump to the right orthographic, control three for the left orthographic, seven for the top, control seven to the bottom orthographic. If you want to jump from the perspective to the orthographic view, you can hit number five from the bad to togal between the perspective and orthographic. And you may ask, what's the difference between the orthographic and the perspective? Let's add a cube right here, and I go to move it here. And as I said, we will learn how to move stuff later. Okay, now we have the cube, scale it just a little bit and make it a bit wider. All right. If I look at the cube from this angle, I going to scale it even more If I look at the cube from this angle, you will note that this edge right here on this side, and this edge, as well, they will go and they will meet at a point right here. That's happen in the perspective. But if you switch to orthographic from this option or you can hit number five from the bad. That's not going to happen. As you see here, there is no vanishing point. This is the difference between the orthographic and the perspective. The perspective is make you see the scene like how your eyes see the world, and the orthographic is different because there is no vanishing point. For me, I'm not using the orthographic. When I want to speak to the front or back left and right as we learned. Let's delete this cube, just click left to click on it and delete it. You can access the views by go to the view here and go to the viewboard, and switch from perspective to top to bottom to front back. And here we have the shortcut in the front of each option here. Just keep that in your mind. So you can access them by using the keyboard num bat or you can go to the view and use the viewboard and use this option right here. That's we'll do it for this video. See you on the next one. 7. 007 Learn how to move scale and rotate objects: Hi, everyone, and welcome back here. And this with you, I need to talk about the left tool bar. Let's talk about this tool bar and start from the beginning from the selecting box. As you see here, we have this icon, and if you notice, I have very small arrow right here inside the icon. That means we have hidden icon inside it. If you hit left, click and hold it, you will see the hidden option. If you want to switch between this option, you can hit W from the keyboard to swap between these options. So now I'm choosing the selection box. What selection box? Let's go to add. You can go from here and add or you can hit Heft. I like to hit Heft A, and let's add up, and as you see the cube in the middle following the three d courser. And maybe, We can duplicate this one. We will learn how to duplicate how to move, but later, not right now. Hit FD, for example, let's put one here and one right here for now. This is the selection box. If you want to select a geometry, you just need to have over it and hit left click to select it, for example, this one. It is selected. And as you see, we have the color, it's orange color here, bright orange color. I'm going to select this one, just left click on it. As you see, this one is the selected, and the same thing, this one. You can use the selection boox to select more than one box. You can put the mouse in any place here. Hit left to click and hold and dry to create this selection box and cover all of these boxes. As you see now, we select all of these boxes. You can grab two or grab them all, grab one, that's can work. You can select them in another way if you like, you can, for example, let's grab this one, you can hold ift to add to the selection. I add this one. Hold HiFt again and add this one as well. So you have two way to select these boxes. The first one, just grab them like this, or grab one, hold Hit number two and the number three, like this. This is the selection box and how it's work. If you want to di select with the selection box, you can hold control to deselect this and di select this one. This is how it works. For add, hold ft and add, and if you want to di select hold control and deselect what you want. Now let's switch to the tweak option here. This one is different. We don't have a selection. If you click hold and drug, you'll notice that I didn't have any selection box like the previous one. So this option is just work when you click on the object, and it will move it directly because it's a call it teak. So let's help you to click and move at the same time. I'm not using this option too much. I'm using this one very little, so I prefer to keep it on the selection box. All right let's speak to another option here. We have the select circle that's activated. Now I have the circle. You can click on the umatry to select it, if you like. Or you can click and hold the left to click and move the circle on the emetry like this, and they will be selected and added. You can control the radio from the option right here. From here, you can king the radios, make it pick or a small. Let's make this about 50. Enter, as you see now the circle become bigger. Let's change this to 100. Now it's become very big. This is how it work. We have the select lasso. Select lasso, as you see here from the icon, let's give you a free way to draw your selection. For example, I need to select this box and this one, but not this one. Just click and hold left click and draw the selection around the geometry that you want, and that's it. Let's work like this. It's very nice selection if you want to use it. I'm not using the so too much. I always use the selection box. Now let's go to the next tool. I'm not going to talk about the three courser. This tool has many benefits, but in the future lectures, we will cover it and understand it more and more. But right now let's jump to the move tool. Activate it, just hit select click on it to activate it, and as you see now, we have the Geismo. We have the Geismo for this box because this box is activated or selected. If you select this one, it will jump to this one if you select this one. The same thing happened. All right. Let's understand this gesmo. We have red diction and green direction and blue diction. The red direction, it's the x axis, and the color is similar to the grid color, as you see here, we have red line here. That's means this axis is the x axis. The green one is the y axis, and the same thing is exist here on the grid. And we have the blue one is the z axis. But as you see in the grid does not exist. We can go to the viewboard overlay here and you can activate the axis x axis activated and the y, and you can activate the z if you want to see the blue line. For me, I'm going to lift off like this. Okay, if you want to move the box toward the x axis, grab the x axis and move it like this. As you see now, I can move the box to the x axis, the same thing to the y, grab it from the y. If you move the mouse close to the arrow, it will be highlighted as you see here. You can move the box to the y, and the same thing to the z. Here we have small rectangles here, the red one, the green one and the red and the blue. That's me now you can if you hold this small rectangle, or sequare. You can move the objects on the x and z axis at the same time. Let's use this. As you see now with the z axis and the x axis are activated. You can use the red one to move the object to the y and the z. Like this, now, the z and the y activated. The same thing here for the blue one. You can move it to the x to the Y. This is the move tool. You can grab this one in the center to move it in all do, the white circle, that means you can move the umetry in all docen. You can move two objects or three object, you can make a selection, as you see now there gizmo has become in the center of these two objects, you can move them like this to the x or the y or the z. You can grab three and move them. This is for the move tool. If you want to move the object by using this icon, the school, but you can use the shortcut. For example, left click on this box, I'm not going to use these axis. I'm going to hit G. If you hit G G, that's mean you are moving the box from the circle alone key alone. But if you want to move this cube on the x axis, you can hit to move and hit x from the keyboard to specify the axis like this. You can hit G, and then hit y to move the cube on the y axis, the same thing, Z to move it to the Z. There's another way. You can hit and click the wheel of the mouse and move the mouse toward the x axis like this to move the geometry on the x axis. The same thing for the y. G and hit the wheel button and move the mouse toward the y. As I said, you can know where is the y and where the x from the lines that we have here on the grad. The same thing, you can use this pivot right here will t or from it can understand where is the x x is dark and the y and the z. The positive x and the negative x. If you hover over here, we'll see that I have minus x. That's mean the negative x and this one, the positive x, the same thing for the z, and and for the y. Let's move this one to the y, hit g, and you can z to move it to the z or you can hit the wheel mouse and move it up to move to the Z axis. This way, I mean to determine the axis by using the mouse wheel, it's a bit tricky. You need to practice it to understand it more and more. This is for the move. Let's jump to the rotate. If you activate the rotation tool here, we will note that I have this option here, the x y and z manipulators. If you want to rotate this around the x axis, rotate, just grab the red curve and move the mouse, like this srotate. If you want to rotate to the Y, the same thing and to the z as well. Here we have this the white circle. That's means you will rotate the cube according to the view. According to the view. This scale, before we come to the scale, let's talk about the short cut of the rotation. You can hit r to rotate according to the view. If you want to rotate this to the x axis, hit r x to rotate to the x axis, Protate to the y r and r s r z to rotated to the z axis. Notice when we activate the axis, you'll notice that I have a line referring to the axis that I activated, for example, r z, r x r Y when you hit the button, you will see the axis. The same thing for scale, go to the scale, activate the scale, let's pick this one. You can scale it to the y. To the x hetritical to cancel it to the z, the same thing, you can scale to the x and y, z and y s and x and the same thing for the x y like this. You can scale it from the center, make it big and this big circle as well give you the same result. Or if you don't like to use this icon, you can hit S to scale and the axis, scale to the x, scale to the y, scale to the z, and a. Let's jump to the next icon, this one, scaled transform. If you activate it, you will see it's combine of the move and rotate and scale. All of them exists in this one. Now you can move and rotate and scale in the same time with this tool if you would like to use it. This is how it works if you would like to use it. There's an ice trick if you want to activate it, you can keep your mouse on the select box and make it always active, and you can go to this opio right here, skull gizmo, open it, and then you'll find obviate gizmo. You can activate the move and the rotate and the scale, and you can specify what you want from them. If you want to move activate it, rotate and scale, the same thing, you can activate them all. So this is very nice truck. Maybe you want to activate the move and rotate, so turn off the scale, and now you have a new gizmo consist of move and rotate. So I'm going to turn off this one and this one as well. For me, I like to use the g. I think using the gee is very fast, or let's say it is faster than using this option. If you come from Maya or three D Mx and you used to use the Option, activate them and use them. That's it. I'm not going to talk about the tate right now, and the measure. Let's jump to this option right here. It's very important, and it is new to the blender. All right, let's activate this option right here. As you see now, we have the cube icon here. We can add cube. How to this? It's like a three D max if you are three D max user. As you see, we have a grid. This grid help you to draw the cube on any surface. Right now I can draw my new cube on the grid. You can draw your new cube on this side of this cube or the side or the side of this cube. As you see the orientation of grichg, depending on the surface. As you see here and here as well. How can I create a queue by using this option? We can hit left click and hold and track to determine or to specify the area, the length and the width. When you accept it, leave the left click release it and move the mouse up or down to specify the height. When you accept the height and like it, you can hit the left to click again, and there we go now we have a new box. Let's create a new one right here above this surface. Left click, hold trike and determine the area, and then release it, move the mouse. To specify the height and left it again. So now I can create too many boxes like this. All right. All right now let's see what we have here inside this icon. As you see, we have very small arrow. That's means we have hidden icon inside it. Click and hold Left click to see the other option. I will choose the C here. Just click and drag. As you see the circle is not perfect. If you want to make perfect. Hold shift and move the mouse. If you satisfy with the radius, release the mouse paton, and move the mouse up or down. Specify the height and then it left click to accept the result. And you can draw cons anywhere you want, like what I'm doing. You can make the circle not perfect like this. Let's jump to another option. Here we have cylinder, the same scenario. Left to click and hold, make the circle perfect hold shifts, and then release the mouse paton and specify the height and then left to click to accept it like this. All right, let's jump to the next tool here. We have the upspere. The same thing, if you want to make it perfect, hold heft and create it, specify the height and accept it. You can hold heift when you create it when you specify the radius and the height as well to make it perfect. Let's go to the last option here. The same thing. You can hold it and create like this. That's it. This is how to use the tool bar that we have right here, and these are all the important options that we have here. That's we'll do it for this video and see you in the next one. 8. 008 object properties: Hi, everyone, and welcome back. I have some option here. I need to cover them, and this video. I'm talking about the interface. So let's get started. All right. Let's delete this cube because I need to add a new one. Just left to click on it and hit delete to delete it. I go to had shift A to open the add menu, a shift A, and from the meh section, I going to add cube. When you add a cube, here we have a closet menu. You need to open it because here we have some option. Anything you add here inside the viewboard, has its own option. You'll find it right here. Here, for example, the cube has the size. Now it's about two meter. You can make it big or small. And here we have generic UVs. We will learn about UV later. And some op here right here. Location and the rotation, you can specify where you want to put it or rotate it, and where you want to align it. All right, so just keep that mu mind. Okay, so let's delete the e. I want to add the cylinder here, add the cylinder and open this menu to see what we have here. And the menu we have, the vertices, the side vertices. If you increase this number, you will increase the resolution of the cylinder. I can add five. As you see now, we have five side here. So if you increase this number, you will increase the number of sides here for the cylinder. Here we have the reduce, if you want to make it big or small, here we have the depth or the height. And here we have some option. Let's move the mouse just a little bit from screen cast. Let's this right here temporarily. Here we have some option cup fill type. If you want to if you want to use nothing, you will delete the cup here. If you want to triangle, you will activate the wire frame. I just need to show you what that's mean. Let's go to the op properties and viewboard display and activate the wire frame temporally. As you see here, we have this option is called triangle fan. If you choose this option, it will give you a triangle cap. And if you spit this to nothing, sorry, on, will give you on cap without any segment. And we have another option like location or rotation and align where you want to align it. And some stuff like this. If you want to understand what that's meaning for align, for example, if I go to the front of view, you can hit number one from then bad. So now I am in the front of view. I'm going to let the cylinder just to exablin something here. So hit shift a to d and go to them and cylinder. So now I have the same cylinder. Is just here, the alignment is aligned to the world. If I align this to the view, the cylinder will be rotated towards me, right? So this is the align, what's the align mean? Or align to the three D coorsor. If you want to align to the three D coorsor, can align it to the three D coorsor. I can to give you a quick example of that means. For example, as you see, this face is tilted, okay? So what I'm going to do, I'm going to go to the three D coorsor option right here and go to the tool section here because I just need to change some stuff. Don't worry about what I'm doing right now. I just want to explain the align to the three D coorsor. So I'm going to choose orientation on geometry. That's means the three d coursor now, it will snap to the faces of the geometry. So if I hit left click right here, I just see now, the three d coursor aligned with the phase, I think you note that. Al right now, I can delete. Sorry. Let's align this again, and let's go back here. So select the select the cylinder and delete it. And as you see now, the three d coorsor is still tilted. So I'm going to hit heift A and add another cylinder, and I'm going to hit align for the three decorsor. As you see now, the cylinder is tilted Like the three D coosor as you see here. So this is the idea. So for me, I always keep it on the world. Sometimes I use it for review. I never use the three D coursor for alignment. So I'm going to chose world. And let's activate the cos tool and read this two, and let's go back to the selection box. If you go to this tool and use it, let's choose, for example, cylinder, and let's create a cylinder right here. When you create the cylinder. Here we have some option here about orientation and about the snap two geometry and vertices, how many vertices. But you need to control this before you add the cylinder. I'm going to delete this one. And I going to oe or for example, I the vertices to maybe four vertices, and leave this to nothing, and that's it. Let's create a cylinder here. All right, as you see now, when I changed the information here, I got a result similar to the information that I added right here. So just keep that in your mind. Before you create anything, you can specify some information right here and create what you want. All right. Let's go to the select box. By the way, if you if you want to switch between this option here and the tool bar, you can hit shift with the space to open this menu. This menu is similar to the tool bar that we have here. So if I am still here on this icon, I can hit ift space and move my mouse back to the select box. So the short cut for this menu is shift space. All right. So let's hit in to get rid of this right meno bar here. All right, now let's take a quick tour regarding the option that we have right here. So the first option here we have, it's for the transform orientation. We have global local normal Gumbo V and Cursor. We can talk about these when I need them th course or in the future lectures. Here we have the the transform bivot point. From here, you can choose what ivot point you want to active. For example, boundary, you can use the three D coosor as ivot point, individual organ, medium point, active element. And we will talk about all of these later. Here we have the snap. If you want to snap object to another object in a specific place, you can use these snaps right here. And here we have the propional editing tool is a very nice tool. I'm just going to give you a quick example of this tool right here. Let's delete everything, grab them hit delete, and hit HiFt S and use this option to bring the three Dicosor in the center. Or if you want, you can hit HiFt C to bring the three decosor in the center. Anyway, it HiFt A and let's add plane here. And what I'm going to do, I'm going to it to to jump to the edit mode. I will explain all of that. I just here I want to give you an example. Hertli subdivide, and shift our co time to subdivide this more and more and make it like this. All right, now I'm going to choose one phase here and activate proportional editing. Now, let's activate the move tool. And move this up. As you see now, the proportional editing is not it's helped me to move the other faces according to the shape that I have here. All right, so I'm going to give you an example, let's go to the front view. If I move this up, as you see here, the shape that I have here is similar to this option. I'm going to hit Control Z, and I will speak this to the sphere option. And I will move this up again. As you see now, we have a shape similar to what we choose here. Control Z, they speck the roots and move this up. I got something similar to it. The same thing, this one right here. This is the proportional it, it is a very nice tool, and we will use it a lot throughout the course. Don't worry about what I did here. We will learn all of that, theater. I'm going to delete this, and the shortcut for the proportional editing is, you can hit to turn on end of this tool. From here, you can t end of whatever type of object or anything here we have in the view in viewboard. For example, let's add a cube, and let's put the three decosor right here. Hold shift and rit click to move right here, or you can activate the tool and put the three decosor in any place. So holding shift and herit click help you to change the position of the three decosor. I'm going to add let's add a curve here, circle and let's put the three decosor right here and let's add, for example, what let's add a camera So now I have I have a cube from the Mish section. I have the circle from the curve section, I have the camera from the camera section. Now, if I go here, if I turn off the eye of the Mish. I will hide all the Mish or everything from the Mish mio. You can hide or unhide. And if you have camera one camera or more than one camera, you can turn them off or on here or you can hide them or unhide them. So where's the camera right here, and this is for curve. So is the benefit of this vino. Here we have the gizmo information. From here, we have some option. We will talk about this letter. And here you can turn off the flower. You can turn off the axis if you like. You can turn off the three dcsor, annotation, and some stuff right here. Here we have the extra mode, if you want to activate the extra mode to see through the object. And here we have the wireframe mode and viewboard shading and material review. And here we have the render mode. All right. So now let's switch to the solid mode, this object right here. All right, so that's all what I want to cover in this video and see you in the next one. 9. 009 Introduction to object mode and Edit mode: Hi, Von, and welcome back here. In this video, we need to learn what is object interaction mode. If you have nothing here in the three D V part, and if you go to open this list, as you see, we have a small arrow here. That's mean we have a list. If you hit left to click to open it, you'll find nothing, but let's add a Q. Hit sift A, and let's go to M, and let's add Q. Okay, now let's go to the object interaction mode and let's open it. As you see, we have a list. We have object mode. Let's be in this mode, sc object mode. And we have the edit mode, and we have scalp mode, vertex, weight, and texture paints. So in this video, I need to talk about the edit mode and the object mode. So let's get started. The edit mode when you activated, That's me now you can control the vertex and the edges and the faces. Right here, when we switched to edit mode, we have now a three option. Vertex, select and edge select and phase select. If you want to use the shortcut to sweet between those, you can hit number one for the vertex select, number two for the select and pace number three. So just keep that in your mind, number one and two, and three. Okay, now, let's start with the vertex select. Just hit number one from the keyboard to activate it. And there were going now we have the vertes, highlighted. Now you can many belate the box and make any you like here. All right, the edit mode is like a factory. Here, you can use tar to cut. You can use welding to wild, you can add the stuff. Inside edit mode, you can create your car. You can change this cube from this shape, the symbol shape, to complex shape, for example, car, you can change it like whatever thing you want to make So the Edit mode is like a factory. Inside it, you can create stuff. King the simple stuff like cube, like cylinder, like sphere, to something complex. Just keep that in your mind. And here, we have tools. We have extrude and inside extrude, we have multiple choices here. And we have this option inset. We have the Bible, we have loop cut, and we have a lot of option. We will use them all throughout the course. So let's start with the vertices. As I said, you can hit number one to activate the vertice mod. Now, if you grab this vertex, let's activate the move tool, or if you want to keep yourself in the select box, you can go to this opti right here. Stro this one and activate the move tool. I mean, you don't need to go here and activate it. All right. So Now you can now you can move. I'm sorry, I just forget to deactivate the proportional editing, just deactivate it or you can hit from the keyboard. All right. Now, let's move this up. As you see now, I can move the vertex alone. Okay? I can grab two, grab those like this and move them down. As you see now, I made a change to the cube. I can grab those, for example, and push them like this. I have another shape here. Can I grab this and push this up just a little bit, something like this. And you can do a lot of stuff. So now I'm controlling the vertices, at least sick to edge. If I grab edge, now I can move one edge like this. I can grab two edges, hold heft and grab two or three or four, and you can move them as a face. As you see here when I grabbed the first one, second one, the third one, and the last one here, the face is highlighted. That means now I can manipulate the whole face. As you see, now, the face is highlighted. Now I can control it and move it and do whatever I thing. Not just moving. I can't scale it. It is and scale it. It and rotate it. All of the stuff. All right, let's jump to the phase mode. Can you grab this phase, grab this. You can select more than one phase, you have to grab this, and this, and this, et cetera. So inside the edit mode, I can control the vertices, the edges, and the faces as well. If you want to excite of the edit mode, you can go to the same list here and ose object mode. And that's it. Now you are out of the it edit mode. You can hit tab to togal between object mode and edit mode. Hit tab, togal between object and edit mode. Alright, so that's we'll do it for this video. And the next video is, we will start creating simple object by using the Edit moo technique. So see you next. 10. 010 Modeling simple objects learn Bevel and object shading: Hi, everyone. Welcome back here. Let's create something. I have images. I download them from Pinterest. We need to create most of these images. They are very simple to create, and we will learn together how to create these. All right, let's start with this image right here. This one. It's very simple to SQube, and here we have some curve. Let's try to enters it and learn how can we create those. Let's excite of this image. What I'm going to do is, I will sublet this review to two, just put your mouse here on the corner and click and Drike. Now I have two area. Sk the editor type to Image editor. Now let's go back to the folder. Click and Drike and put the mage right here. And there we go. Now we have the image. If you want to ban, just click and hold the wheel to ban, rotate the wheel to zoom in and zoom out, and that's it. Let's make this a bit small, something like this. I think that will work. There we go. Now we have a cube and light and camera. We don't need the camera in the light want to delete them, grab this or grab this and delete. Don't worry right now about the scale. This cube is about two meter by two meter and the x n by z. It's very big I know, but don't worry about this. Keep it like this. As you see now, the cube is under the ground is in the middle. So I'm going to grab the cube and then it for move and z to move this up like this. All right, that's cool. So Now, let's see what we need to do here. All right. We just have a e here. That's all. We have nothing else. We just need to create this key right here and that's it. So to do this, we need to jump to the edit mode. So you can use this menu right here to jump to the edit mode, or you can hit tab from keyboard to jump to the edit mode. After that, hit number two from the keyboard to jump to the edge mode. Then select this edge. Hold ift to add this one and orbit and cb this, hold if and grab this. Now we just selected the four edges. I want to change these sharp edges to something care. In this case, I'm going to use bevel. To activate the bevel, it control with B to activate the bevel and move your mouse. When you do that, now I have bubble. I'm going to repeat that Hetrit click to cancel it. I just need to repeat. I control B to activate the bubble, and now we have a bibble. When when you move the mouse, you can increase the bubble. Now, Let's bevel almost right here. After that, rotate the wheel of the mouse to add segment here. Add two, three, maybe three, I think that's going to be okay. You can add four, rotate the wheel. Four or three, that will work. When you be satisfied, left to click to confirm it. There we go. Now we have this curve. Let's hit the click here in the space to see what we got so far. Tab out. Now we got the hey, but we have this jacket line. Before we talk about the jacket line, let's talk about the bible to understand more and more because as we say, anything you you will take it, we will explain this. Let's hit if A and let's add another cube, and I'm going to hit to move this cube right here to understand the bible. Tap it it move, let's arab one. As I said, when you hit control, now you have the bibble. If you rotate the mouse forward or backward, you can add Sig here. When you accept the result and hit left click again, now we have a menu right here. In this menu, you can adjust the vl. Here you can adjust the vertices, if you want the vl to affect the vertices, the top one, and the bottom one, the same thing, you can control them like this. Either you affect the g or affect the vertices. This is the vile and how it's work. All right let's go back here. Let's delete the queue. Here, as I say, we have jagged lines here. They are not smooth. So what does mean is the shading here is flat, not smooth. If you hit left click on the object, you can hit right click. Here we have two options, Shade Smooth and shade flat. Now as you see, the result is shade flat. EC phase has its own heading between phase and the next one, we have this line. If you want to make this smooth, you need to see this two head smooth. Now it's becoming smooth, but the result is not so quite. In this case, if we want to fix this further, you can go to this object right here, it's called object data properties, and here we have the normal. From the normal we have this option is called auto smooth, and you can activate it. Now the result is cool. The angle here is 30, and the irty is give us nice results, but now we need to understand something, what is the theorty, what is auto smooth? Let's try to explain that. I'm going to move this just a little bit g to the x and move this right here. I'm going to add plane here in the middle. Don't worry about what I do. I'm going to do. I just need to explain something. I will tab, and I will grab this edge and just move it just a little bit right here, and I will add a here in the middle, control r to add g right here. I'm going to move this edge up to the z. Let's move this up almost let's start from here. Let's tap out. This is a new geometry. I will give it as you see, before I add anything. We have sharp line here. It is shade flat. I'm going to change this to shade smooth, and there we go. Now it's become smooth. We lost the hard edge right here. And I'm going to activate the auto smooth. I activated the auto smooth, but the sharp line still exist. The angle is 30. That means, the angle that we have right here is bigger than the small right here. In this case, if I want to make this smooth, I can tap it and grab this age and take this down just a little bit to make the angle a bit smaller, tap out. The angle is still big here, tab again, hit key and move this down just a little bit. Tab out, it's still big, tab again, key and take this down. Tab out now it's become flat. Tab again, c this up just a little bit and still flat because now the angle that we have right here and the autos move is bigger than the angle that we have here because of that, it's become flat. But if I take this number down, if I take this number down. For example, 19. Now we have the hard line visible. Just keep in your mind that inside the auto smote, we have a number here to control the angle of the heading. We have the hard line here. If we increase the number, we will kill it and make it smooth. The same cenar right here, if I grab this, please activate the wireframe, let's go to the section is called opetis, and let's go to the viewboard display and activate the wireframe. The angle between these lines the angle between this face and this face right here. It is less than 30. Because of that, we have a smooth heading right here. But the angle right here for this face and this face, it's right here. The angle right here is. The angle here is bigger than the number that we have here in the auto smooth. The smooth amen right here. Because of that, we have hard heading here in this area. Just keep that in your mind. At least deactivate the wir frame. The result is cool. I have a small bivalin right here in this very small area and I need to create. In this case, grab the same cube a tab to jump to the edit mode and now let's go to the edge. Let's grab all of these edges, so grab this, hold here to grab this, grab this, and this one, grab all of this. You can grab them like what I'm doing right now, but there's another technique. You can grab this edge and hold control and grab this to select these edges between them. Keep holding Ctrl to crab this and this and hold Ctrl again, cb this. Now we just select all of these edges. Or you can you can hit Alt click to loop select to grab of these edges. Now I'm going to hit shift to add and lt to loop select to crab these as well here. That's cool. After that, I'm going to vl those, it can roll to le and I'm going to pivle those, and just rotate the wheel back just a little bit because I don't need to give it too edges here. I think this result is nice. Hit let to click to accept it. Then we're going now let's click here in the space to see the result tub out. That's very cool. The result is very nice and I like it. This is how to create this cube of food. That's it for this video and see you in the next one. 11. 011 Learn tips about Normal and selection: Hi, welcome back. Let's talk a little bit more about normal, and let's learn something about the selection. All right, let's start with the normal. I create a new cube right here. Let's close this menu. I don't want it. I go to grab it and let's tap with it, mood. Let's switch to phase hit number three from the keyboard or you can select from here. I go to delete maybe this phase and this one and this one. I think just those three, grab them gages and then hit delete from the keyboard. When you delete them, you will find this menu bobs up. Just choose face to delete these faces. All right. So, let's start with the normal. Normal is how the pace react to the light. Let's go to this minor right here is called overlays, and here we have the normal option. We have the verts normal, and we have the split normal, and here we have the display normal. I'm going to start with this one. Just need to activate this option, and let's change the size of the normal just to see these lines right. So as you see, we have now lines perpendicular on the face. So does mean the normal of this face in this direction, like this. And this one as well in this direction. Each face has two sides. The front side and the back side. The front side, if you want to test it to understand where the front side and the back side, you can activate this option, the normal, and the front side has this line perpendicular on the face, and the back side have nothing. And here we have another option if you want to activate this call phase orientation. When you activate it here, we have two color, the blue and the, the blue is the front side, and the red is the back side. Keep in your mind always when you want to create something like vehicle like camera, like anything inside three D. Keep in your mind to make the back side not visible to the camera. I mean, if this was a car. The back face would be inside, not visible to the camera, and the blue the blue side would be visible to the camera. Because some three D software like substance painter, it doesn't read the back side, and the object will be like nothing like T. If I turn off this option right here, here we have an option bag phase culling. When I activate it, as you see, I can't see the back side. Let's top out to understand. As you see the cubes disappeared, it still exists, but we are looking at the cube from the back side, so they are not visible. But if I rotate the scene, I can see these sites. So this is the normal site that should be visible to the camera, and this site should not be visible to the camera because some three D software didn't read it, so just keep that in your mind. Let's turn off the back phase cutting. All right. Let's understand the normal more and more. Let's go back here to this option. Let's tap the mood first, and let's go here and let's activate this option as well. All right, what we have here, As you see here, each phase has its own normal. The direction of this normal this direction of this face. Because of that, here in the middle between these two phases, this one and this one, we have hard line. If I tab out, If I tap out, I can see that I have this hard line right here. But if I activate Smooth, let's select this one and let's hit right click and go to Had Smooth. Now we killed the hard the harsh line here, and now we got smooth result. Let's go back to the Edit mood tab to see something in you. As you see here, now the results is queuing. Now we have one egg here in the middle, that's me that's mean this phase and this phase are united and no longer separated in the heading, and this one as well. If you activate the auto smooth right here, that's mean I can control the smooth through the angle that I have here. B I have here 90 degree, because I have here 90 degree, The shading is still sharp between this face and this face. If I take this number right here to 90 and more than 90, I can make the faces smooth. So increase the t out, and increase the number and it creates it to more than 90 as you see now it's become smooth. So just keep this stuff in your mind that you can control the smoothness from by manipulating the auto smooth right here. Try to create something else. I'm going to add ft A to add and I will add what can add pere. A key to move it and I'm going to move it right here and there we go. Now, as you see, the sphere is jagged, and as you see the lines here are very visible. So trot click and let's use had smooth, and now it's become very very smooth. Although as you see right here, the faces are very rough, we still see something smooth here in the middle. If you activate the auto smooth, nothing will happen. But if you take the angle down bag, Now, as you see, I take this step by step, I can see that the angles now right here has become bigger than the number that I have here. So to cover them and kill that hart line, increases a little bit. Let's grab the sphere, let's step the mood. Right now, as you see, we have all the lines of the normal, let's go here and let's make the size very small. Let's turn over this option. Let's keep this one in the middle. As you see now, the line of the normal are in the center between these faces or all the faces. If I hit a to clic all the faces and rat lick, s this to D flat, kick the result and the difference. Now it's become very rough. Let's take those let's try to click and head smooth to see the difference. Keep your eyes on this line. This is a flat, and this is Had Smooth. I think you got the idea. Now as you see right here, this area is smooth and the other areas are flat. Now, let's talk about the selection. Let's grab the sphere and tap to the mode. I will start from the face. We learned if I click hit left to click on the face, I can select it, and I can select any face here. And if I want to add, I can hold shift to add three or four, five, six. All right. Now, I just selected these. Is there another way to grab all of these without grab them one by one? The answer is yes, if you grab this as a first phase, you can hold control with HiFt and select this one, that's going to help you to select the area here. You can practice this, for example, grab this one. I need to select the faces starting from this one and di right here. So I need to grab the whole area here. Grab this one, hold control, here have to grab this. As you see now, I selected the whole area here. Alright, so this is the first way. You can now grab in another way. We can start from this one, hold control and grab this. With the help of control, I can select the faces between them, and I with this one is still active. By the way, keep that unit mind, there is a difference in the color of you notice. This color right here, D. Is not similar to this one. This one, that means it is the active phase. This one, the active phase, and these phases are not active. Inside the blender, there is something called active and not active. So keep that in your mind. This is still the active phase. If I hold control and click this one, the selection will start from here and end here. Hold control grab this. This one is the active. Hold control grab this, this. As you see now, I just selected them in another way. Or if you like, you can create a selection starting from here and end there. And you can add those, hold Hafen at this, hold half at this, and hold fen at those here as well. There's a way of selection is face loop. If I want to select all of these phases here like this, if I hold if, that's something very take very much time, right. But there is another way to achieve the same results. You can use the control if you like, or you can use another way. Let's learn how can we achieve this. All right. As you see, I selected this call face loop. So I can grab one, hold control and keep holding control and select the other faces until I reach the first point, or I can put my moss here between on this line here, for example, and hit Alt and click, that's going to help you to select the whole faces. The face looks sorry. If you want to select the vertical faces, these faces, you can put the mouse right here in the middle of these and hit to grab them like this. If you want to add more, you can hit Alt H and add more like this. If you want to cancel, you can hit Alt H control to cancel. Like this. So this is for the phase. If you want to delete phase, grab the phase and then hit delete and use delete phase. If you want to delete more than one phase, just grab them like this, you can hit delete or you can hit x to open the delete menu and use phase. All right. I'm going to hit control z to cancel that. Now let's go to the edge mode and let's learn something right here. Let's select this edge, I can add by using the shift to add more than one edge to the selection, or the same thing like the phase, I can put my mode on the edge and hit old to select the edge loop, and I can hit old shift to add the vertical edges like this Alt click to grab this to add it, and I can add more and more and more here. The same thing if you want to cancel old Hift control to cancel to cancel, sorry. Lifts to cancel them, like what I'm doing right here. I'd click to grab *** loop, lift to cancel it, and for the face, It click to add face loop, I'd have to click to cancel it. The same thing. All right. I can grab this this edge, and I want to select these edges until I reach this one. But I don't want to select them one by one. I can grab this, hold Ctrl and the grab this. That's going to help you to select these edges between. All right. Let's grab this edge and hold cant and grab. As you see now, the blender suggested to go in this di and reach here. If you didn't teach blender or tell us what you want, blender will suggest a selection to you. I don't want from blender to go like this, but I need to go here and then to this diction like this. In this way, let's start with this one. Hold can troll grab this, and then grab this one. This is how to select like what you want. And you can you can use the selection box to grab more than one edge like this. And keep in your mind, if you select four edges, the face will be highlighted. That's mean now you are selecting the face and the edges as well. Let's go to the vertex, the same thing. If you grab four vertices, that's mean you're selecting full face. If if you hit Alt click nearby the vertices, you can select the vertex lobe like this, and this is having to the vertical line here, Alt click. And you can add and it is the same process like the face and the edges. Let's try to delete something. Let's scrab this vertex and let's delete it. And let's choose vertex to delete. As you see if I choose one vertex, four phases will go with it because the vertex linked with four phases. Because of that, if you delete one vertex, you will lose four. Keep that in your mind. If you delete one edge, for example, this one, let's scrub it and hit X, hit x and delete the edge, can lose just two phases right here because the edge is connected with two phases. Okay, now let's talk about how to select with select box and select the back facing. I'm going to tell you what I mean. Let's select this sphere, tap to jump to the edit mode. Let's go to the front view hit number one from Dan and Bad. And let's create box select to grab, for example, these edges, or I can switch to face to grab, for example, these faces. So as you see now, I grub these faces that visible to the camera visible to me. I can see them. But if I rotate the view, I will discover that I select this side but not the side. That's because the back phase. These phases right here prevent me to select these faces right here on the side. Let's see how can we select all of these phases with one selection. In this case, there's an option right here is call x ray. If you activate the x ray, you can select all the phases with one selection. Let's go to the front view. Let's hit lifted here in space to cancel the selection, and let's activate x ray this time, and let's grab all the phases again. All right now, let's turn off the x ray. If I tumble around, I'll discover that I selected the whole phases. If you activate the x ray, you will notice that I can see through the object and this is the idea. There's something very important For example, each face has one dot. That's mean if you want to select the face, you need to grab the dot itself to select the face. Let's go to the front of you. If I grab these dots, that means I can select these faces, but if I grab the face from here without, Without touching the points, I cannot grab the phases in the x ray. As you see, I can't do anything. But if you switch to turn off the x ray, you can grab the face when you touch them. So this is the difference between x ray activated or x ray naught. There's another way if you hit z from the keyboard, you can toggle the wire frame on and off, and the wire frame is different than the x ray. So now I am in the wireframe, now, I can grab more phases here like this, I can turn on the wireframe. The hard cut for the wireframe is z, cast to z, z to turn on the wireframe and z to turn off. The x ray mood, you need to hit t and z, togal between x ray and wireframe. And we will understand what's the difference between x ray and wire frame mood in the future. All, so that we'll look for this video and see in the next one. 12. 012 Modeling simple objects Learn how to extrude faces: Hi, n, and welcome back here. Let's pick one of these images to create it, and I think I can start with this one. Let's open it. It's very easy. Let's learn how to create something like this. All right. As we learned, let's split the area to two area like this and let's king the editor to image editor. So we can add image right here. Bring the folder, click and g and put this right here and now we have the image. Make it small like this. All right. That's cool. Now let's see how can we create this? As we said, don't worry about the units or about the size of the cube, try to create something without any restriction. So let's grab the C cube. I just need to push this up just a little bit, so I will hit number one from that, but to come to the orthographic front view, number one, and it to move and Z to move it to the Z axis, and move it a little bit like this, and there we go right. So now we have the cube. As you see here, it's not cube. I think it's rectangle. So here we have I think this is the width, and let's say this is the length. The length is bigger than the width, so I just need to scale this just a little bit. Grab the box and scale to the Y. To scale this to the Y, it is to scale, and now I'm scaling, but I'm scaling to the whole axis, it y from the keyboard and scale it just a little bit like this. Now we got this result. When you comb the scaling, just keep in your mind to apply the scale. What does that mean? I will take CV of this to take a COB, shift with d to take op and move the CV to the x axis. I just need to give you an example. What I will do is, I will scale this to the Z, for example, like this, or I will take another CV D. I will put the new cop right here, and I will start with this one. Hit is to the Z, I just need to scale it to the Z, and I will leave this as. Let's start with this one. I will tap to the mode and go to the edge, and I will grab this egg and this egg and I will vl them. Control to vl and vel them. As you see, the vl is not correct. Let's not working correctly. All right. Let's go to this one. Select this one hold and this one as well. Tap it mood. Cor this ache with this one and this one and this one. Let's pvele them all. Control B. Al right. Try to try to notice the difference between the bible to the cube that I scaled and to the small one. The small cube is working correctly without any distorkin or any problem when I bivle it, but the tall one, the bible is not working on it correctly. So that's mean we have problem in the scale. So because of that, if you want to avoid this kind of problem, you need to apply the scale. So to do this, I will tab out, grab this one. It can troll or before I do that. I will have D take another COVI just to give you an example. So I will grab this one and control a to open the up menu and ali the scale. All right. So I just apply the scale to this one, but not this one. So in this case, I will grab this, grab this, tap the mood. So with the edges selected, I will bile them again. As you see now, sorry. As you see now, the vl now is working correctly for this one without any problem. But here, as you see here, the vl is not working here because we scaled this and we didn't apply the scale for it. Just keep that in your mind. When you scale, apply the scale to avoid any kind of problem when you bevel or do anything else. That's very important. All right, Let's delete all of this. Let's go back here. Grab this, control, I apply the scale and tab now. All right. Let's go to the face. Grab this face, hold the grab this face and the grab this face. I need to delete these phases. As you see right here, I don't have phases here, so I need to delete those. All right. You can grab them one by one or what you can do is you can hit old z to speak to the t and grab these three phases. And turn off the mode. You can do this, or you can pick them one by one. After that hit x to open the delete menu, Q delete phases. You can hit x and then F for phase deletes. What I'm going to do is x f to delete them like this or x the phase. That's cool. Let's jump now to the edge mode because I need to bile this edge and this, number two, to jump to the mode. So grab those control to bile and wiffle them. So I will above them almost right here, and then I will rotate the wheel of the most to add segment here. So these segments are something nice, so just hit left to clear again to confirm it. And I think that's nice. Cool. I got something similar to this. If you're not satisfied with the result, open the vel menu and take this number back if you like. Something like this or right in the closet. That's nice. That's cool, but I have another problem here. I have a thickness right here in the mg. We have a thickness in this area. How can we achieve it right here? A here, can we achieve this? Let's go to the face, it A, select all of these faces, and then use the ext. To extrude, what's extrude. I'm just going to give you an example. I'm going to add a new cube right here and I'm going to move it right here to understand what extrude. T to the dit mode and I will grab this phase. Extrude to extrude, hit E from the keyboard to a keep the extrude. Extrude will create a new phase from the phase. Hit E two, extrude this. I can grab this one, hit E to extrude it. When you hit E can move the mouse to to determine the height of the extrusion. You can add number if you like if you not strike here, I have these numbers here in this area. All right. So it E to extrude and extrude this up like this. Can I grab this one and extrude it like this and hit E again to extrude it, and grab this, hit e to extrude it like this. Grab this, hit E. Maybe I can extrude this again, grab this face, hit to extrude it. As you see by using the extrude command alone, we got this complex shape. So let's see how can we use the extrude on this octite here. Tab out, grab this, hit delete to delete it. Let's see like this one. Tap again now. After that, hit e to extrude. All right now we have extrudion, but we got problem. The extrugion is goes to one darken. This kind of extrude is not going to help me. So hit control z. What I need to do, I need another kind of extrude to extrude these faces to the normal of these faces. I mean the result, I want the result to be like this, and this phase to be extruded inside, and this one inside, and this one inside. And all of these phases that I have here could be extruded like this. Notes goes down all of them. This is the idea. In this case, I need to open the extrude menu to open the extrude menu, hit olts with E to open extrude menu and Que extrude faces along normals. So hit this option, it, and then move the a little bit inside. If you want to make the movement slow, just hold it to make the movement low of the ext hold heift. There we go, just give it a bit of thickness. When you will be satisfied, you can accept it as it. Now we have this menial pops up. Here we have an option to fix the opposite. What that means is, I'm going to give you an example here. I will keep this activated for this one. I will tap out and I will add another cube, just to give you an example. I will move this right here. Tab to the edit mot let's grab this phase with this one with this one. Hit x F to delete them, and let's stick with this one. Hit A to grab all of these phases, A to have been extrude menu and extrude along normal and extrude this. Now we got this result co the front and let's see what we have here. If you noticed, I have some variation here in the depth The area right here is not equal to the area right here. This area is very thin as compared with this one. Because of that, we need this option to fix this e. In this case, I will activate the opposite even and that's going to fix this area here in this area at the corners. Keep your eyes right here when I activate the opposite even. So activate it, as you see, this is the difference. So I need the same result happen right here. I need the extrusion to be even here in the corners. Because of that, I activated the opposite even for this geometry. All right. Grab this deleted. We don't need it. All right. So now we have the extrusion in Fredy. But we got another problem. Here, we have the heading is flat. In this case scenario, what we can do is grab this, right click, head smooth, and now it's become very smooth. So we got another problem. Here we have 90 degree angle here in this area, and it's smooth. I don't need that. So in this case, I'm going to activate the auto smooth here. So let's do that. Let's go here and let's go to the normal and activate auto smooth and cool. That's very Nse. We got ns result right here. Right now, what we need is we need to duplicate it and scale them because if you notes here, each one of these each one of them is smaller than the other. Let's grab this one. I will duplicate it. So as we learned, shift with D and move it right here. So we have a new CV. Let's go to the front view, number one. H is to scale it and scale it just a little bit like this. All right. And hit and take this down on the ground, and push this back and hit shift D again to take another Kobe. Let's put this right here, it number one and scale this. It G and take this down. All right When we made the scale, we got another problem. We have now a variation in the thickness. We have a variation here. The thickness of this one is bigger than this and this You can accept this result if you like. But if you want something accurate, you can hit HD, for example, you can grab this first, and you can do something here if you like. You can grab these faces, starting with this one hold troll, hold tro. You can grab these faces and delete the other faces. I'm going to show you what I mean. T inverse the selection, you can hit control I to inverse selection. After that, delete these phases hit x F to delete them, and now I got this. After that, you can duplicate those and scale them. Let's go to the front. I can't see anything because it's like a beaver. But don't worry. Put this bag inside here. In the right view you can see them if you like, H key to the Z to move them and put them on the ground. So now we have this copy. Shift D to duplicate it. Try to click to leave it in the same place, Copy above copy, and then it is to scale the new one like this. Go to the right. As you see, is not attached to the ground, Hit key to the Z and take this to the ground right here. That's cool. After that, you can manipulate the thickness now, we can give them a thickness. Grab this with this tape to the edit mode, it A but don't forget to apply the scale before that tab out control A and apply the scale, for this and and this one. Let's grab them all. Tap mode and hit a to select all the faces. It all E and chose extrude along normal. Let's do this for all of these. There we have the same thickness for all of these. When you be satisfied, activate the offset even, tap out and that's it. Cool, cool. And nice. And actually, I have a very nice trick here if you want to learn it for this scenario that we have here. What we can do is we can push these faces again if you want. I'm going to teach you how can you do this. At least start with this one, tab and select this face, hold trocs and hold trocbs to grab these faces between. There's a very nice trick here in blander. You can use it. You can hit alts with S to book the faces towards their normal. That's similar to the extrude, but it's not extruding, just pushing the faces. If you want to do this, you can go to the front of view if you like. It Alt S. To give it a bit of thickness. All right cool. We've fixed this. Can grab this one top with this face selected, you can go to the front, it number one from the numb Alt and put it cas a little bit. So now we got close result here. That's it see next. 13. 013 Extrude command: Hi, everyone. Welcome back. In this video, I need to talk about the extra command. So I have this cube right here. Let's bring the three d corsor in the center. You can hit Shift C. Hit Sift A to add, maybe I can add popere. Let's add phosphere, and let's move this right here for now. There we go. Let's start with the e. Let's hit to jump to the edit mode, and let's start with the face, hit number three to jump to the face and select any face you like. For example, let's grab this one. If you hit E, you can extrude the phase. If you hit E again, you can extrude again. So this is the extrude and this is how it work. You can grab, for example, when you make a new ext, you can grab the new phase that you extrude and extrude. There's no problem, and you can determine the height of the extruion. You want to extrude with specific compart, you can grab any phase you like and hit E, and then just add the number that you want. And you will notice that we have all the number right here in this area. The distance of the extrusion. So for example, I can extrude this one, it to extrude it in. Let's see. 0.5 meter. So this is the distance 0.5 meter. This is how it's work. If you want to repeat this again and again, you don't need to extrude it again and add 0.5 meter and extrude this again. You can hit shift r to repeat the last operation that you did. So hit heft r to repeat this. Heft r is very nice comment, you can use it. So for example, let's make next in here, E, and let's add for example 0.5 meter, and heft r to repeat this again and again keep that it min. Now let's see what else we can learn here. There is a nice technique you can learn here with the Etrucion. You can hold control and then hit right a click, and the Etruion will follow your mouse. I've not equally use this technique, but sometimes I use it, not always. If you'd like to use it, you can use it, very nice and beautiful way. So just select any phase you want. Put your mouse in any place you want. Hold cantal and hit right the click, and you will create a new extrusion, reach your mouse closer. Keep that in your mind. And if you make a turn, the extruion will will be turn automatically, like this. It's very nice. Actually, like it. Alright, so this is the normal extrusion, and there is another kind of extrusion. Here inside this icon, or if you want you can hit it to open the extrude menu. I don't like to use these icons actually. I need to teach you to use the shortcut always. That's going to make the modeling process very fast. Alright, so Now let's see what we can do here. Let's tap out and let's delete this mass here, grab it and delete, at and let's create Q here, and let's learn something in here. We're still in the Fa still in the Fasmt. I'm going to delete this phase, for example, x delete it. And I will hit a to select all the phases that I have right here. Now I need to make an extrusion. If I hit E alone, the extrion will go to one direction. I want to make extrusion and give this a thickness. In this case, hit control z to cancel it. It t e to open the extrude menu, and we have an option here is called extrude phase along normal. That can help you to extrude the phase along the normal of the phase. This is very important extrusion. After that, when you make the extruion and accept it, here you will have a menu. You can use it. You can control the distance here. Here we have very broad options call site even as going to fix the opposite. Here we have some option here, flip normal, that's going to flip the normal of the faces, and we talked about the normal. We have an option it's called dissolve orthogonal edge. If you do this, that's going to delete the outer edges here and give you this result. And the proportional editing is something similar to what we have here. I'm not going to worry about it too much here. So let's cancel this option, and this is what you want to learn for now. All right. So let's see what option we have. Let's cancel this and Or maybe we can tap again here. Let's make a new extrusion right here. Maybe we can make another one hit E again. All right. Let's hit to the extrude menu. Here we have an option as call the extrude individual phase, and here extrude manifold. Let's talk about the extrude individual phases, but not on the cube on the sphere. So let's go to the sphere. Let's grab it. By the way, don't forget to tap out and then select the sphere, and then tab to the mood. A let's grab some phases. L et's tub these phases, for example, and let's hit E and extrude individual phases. This kind of extrusion is different than the other. It will extrude e phase alone. Let's grub those, for example, select this one hold control ftcras, to select the area, and hit E to extrude the normal ext as you see, this one connected, but this one not connected. So I think you got the idea here. This is the option of extrude individual phases. This is how it works. For the cube, if you apply this one on the cube, for example, you can grab this and this. If you extrude those normally, you will get this kind of extrusion control z. If you extrude this individual phases, that is a that we will cut. We have another extruion, all manifold, this very nice extrusion, I want, for example, I want to extrude this pack, if I hit E and take this pack, I will got the extrugion working, but I will got the problem. I will have these phases I need to clean. I don't want them. So this problem actually. Recently, they added a new kind of extriion to the blender, is called extrude manifold. If I use this kind of extrugion and pot this pack, as you see, I will put the face back without leaving any gly faces here. This is very important in extruion. Alt, se manifold, and pot this back. Same thing here. Can put this back. Sometime in this case, You will got some problem, like what I did here. I pushed this phase until I are here, and these phases still exist. Just keep in your mind, it is limited option and it's not working in all cases. But for pace like this, it will work without any problem. Facing like this. I will work without any problem, this one as well. Yeah, something like this. I hope from blender foundation to fix this issue, like what I have here because the extrude manifold is very important kind of extruion, but it is limited. And I found recently in three D max, it's another three D application. I find this kind of ex, they updated and it's become very powerful, and I will give you a very small example to understand what I mean. Here we have the three D Max software, let's try to create a box here just to give you a quick example about what I'm saying here. Let's create a box here and let's convert this to little poly and let's extrude this. Let's extrude this as we did in Blender. Just want to give you an example. Now if I push this bag and sit three D max right here, as you see, I don't have any faces here. This is what I like about the extruion and s3d max. Blender doesn't have this ability. I wish from the blender foundation to fix this ex and give us something similar to this result. Now let's go back to Blender. Let's delete ey. Hit a select everything and then hit dele to delete them. Let's add a new cube here. All right. Let's tap to the mode and let's select one phase. Here inside the menu, we have an option is called extruder beat and spin. Extrude beat will repeat the extrion towards one darkin away from the eye or away from the scrane. For example, if I put the scree in this dacin, you can hit all and extrude bet, and it will ex away from the camera like this. For example, seg this one, and let's look at the geometry from this angle. The extrion should go to this dark like this. Right? Let's go like this, Halt and dra bet, and there we go. We have the result, and you can manipulate the steps if you like if you want to like this. It is just kind of extrusion depending on the view of looking. And here we have another kind of extrusion is called spin, for example, That's depend on the distance between the face the selected phase and the three D coorsor. For example, let's take this as example and is the face, and this is the three decosor. Here we have the distance between the face and between the three d coorsor. So if I hit extra spin, it will use the distance as a radius of the circle, and it will give you extracion like a circle like this. So let's give the example to understand that, grab this face holt E and spin. And as you see now, we have spin extracion like this depending on the three d coursor. All right? What if I take the three d cours away from this point? So hold ift and move the three dursor right here. And by the way, how to move the three d coursor, hold shift and hit right click. You have all the command right here. This is the left click, and this is the right click, and this is the middle moss. All right. So hold ift hit right click, sorry, to put the three dicosor right here. And now hit hold e two, spin. As you see now, the spin become bigger y because now we have the radius very big. The radius pin the distance between the three dicosor, and the selected phase. Until now, we learned how to extrude the phases. What about the vertices and the edges? Let's start with the ages. You can extrude. You can hit E to extrude. But if you hit E, you will not find the option that we have in the face. This is something different. We just have the extrude and we have extra and spin. We learned what spin mean and extrude re beats mean. So you can extrude if you want. There is no problem? It and extrude. You can extrude vertices as well, if you like. You can extrude this to the stateroc, sorry, E and move, and then E and move the extragion down and E to make an extragion. That's cool. So maybe you will ask why I need to extrude vertices. You need to extrude vertices because you can create a phase here. For example, if I grab this vertex, and the grab this one, hits M two marriage and marriage at last to make the marriage. Now I can grab these four vertices and hit F to create a phase. And we will all of this later. Don't worry what I'm doing right now. I want to give you an example here. So this is how to use the vert extrudion, in the same scenario. For the three D courser, for example, if I want to spin this around the three d courser, Halt try click, put the three d courser right here. Halt DQ spin in there we go now, we have a circle of vertices extruded around the three D courser. That's it for now. What we need to talk now. I think the same thing for the vertice and the ages, if you hold control and radically Q can the vertices will follow your mouse, just keep that in your mind. Similar to the faces. That's we'll look for this video and see you in the next one. 14. 014 Modeling a simple table: Hi, everyone. Welcome back. Let's pick one of these images to create it. And I think this one it's okay to choose or this one, this one. Let's start with this one. All right. Let's sub the area to two, and let's change the editor to image editor. And let's put them here, let click and try again, let's put this right here and there were going now we have it. Let's see how can we create this? Let's start with the white piece. Make this a bit smaller. Let's you know what we can do. Right now, I have the cube. Let's take the cube up just a little bit. You can go to the front. Number number one from the numb, hit key and take this up to the ground. And let's stop with the c mood and let's grab these vertices to take them down. All right. Hit and Z, and let's grab those almost right here. Well, we did that, but we got a problem. When we make the selecting, we selected the front vertices, not the back, and we learned to sweack to x ray mood if we want to select vertices or faces in this way. So go back and control Z. And now hit all z to come to the x ray and I'll grab them like this. If you tumble around, as you see now, I just selected the four vertices, and that's what I want. After that hit Z again to exit of the x ray, it and take those almost right here, something like this. Let's go to X ray Z, grab those and put them just a little bit. Something like this. I want to create this piece first, et rectangle. Maybe I can grab those as well. Don't forget I'm in the x ray mood and take those up just a little bit right here. That's cool. L et's grab those and let's book them just a little bit. Almost right here, something like this. I got this results, and now I need to add aches here. I need to make a cut here in this area and there as well because I need to extrude the those leges. Let's see how can we keep this? To add an here in the middle, you can use the cut loop is right here. You can activate this option or you can hit control r. I'm going to hit control r to add an H. Now I have a preview of the edge. If I put the mouse on this edge, I will have the preview right here. But if I put the moe right there on that edge, the preview will take another direction. I need to cut here, just hit left click to confirm the cuts. If you move the mouse to the left or to the right, this age will follow the mouse. If you want to leave it in the center, just hit right click to leave it in the center. Now I got the sinew age in the middle. After that, I will use Bevel to bevel this age. It can throw B to bevel. And as we learned, we learned that vl working on the edges. For example, I can wivle this and rotate the mouse, rotate the wheel to add segment here, but don't forget that bivl, working on flat faces as well, not just the angles, for example, this one. You can use volar here, control B and vl, that can work as well. If you rotate the wheel, you're going to add segment. I'll to click to grab the entire edge loop, adding control B to vevl. Let's pivle this almost right here. Something like this, maybe. Now we got this results. After that, it control again to add one a here, and then it left click to confirm it and right click to leave it in the center and bevel this as well. Control B and bevel this. Almost right here. Keep in mind to get a square result right here in this area. I mean here, keep this area square. All right. Now we got this. After that, let's grab this phase, the strict to face mode hit number three, grab this face, and the holt he and grab this one as well, go to the front, and then with these faces selected, hit e to and extrude those until they reach the surface of the ground. Right here. Hold if you want to make the movement slowly. Now we got this result. Now we need to create a hole right here. Squeak to the phase mode, grab this phase in this phase, and here we have a nice option inside this menu inside the g menu, squall bridge eg loop, that's going to break the two phases and create open area. You can reach it from this eg menu, or you can hit to open the ge menu and ose bridge e loop. When you use it. This is the result that you will go. That's cool. We got this result. Now we finish this. Let's see now, what else we can do. Now let's learn how to create the roof of this table. I need to create it and let's see how can we do this. I can start with this one. I can extrude it, for example, like this and extrude again it here again and decrab this phase and extrude it all way right here and do what I want to do. I can do this. But these new phases that I created will be linked to the white piece, I don't need that I need to separate it from this area. All right. Let's see how can we do this? I'm going to a Centro s a couple of time to cancel this. With this phase selected, I can duplicate duplicate this phase alone. To duplicate phase, you need to shift D from the keyboard, and now we have a new KV. But what I need is I need the new KV still in the same position. I don't need to move it anywhere. So now I have the new KV. When I heterriticli, I will leave it in the same position. So Hortic lick and there we go. Now we have it in the same position. So now we have phase above phase. All right now, I need to separate this phase from the group because now it's still connected to the group. To separate it unit to hit P from the keyboard, to open the separate menu and then choose selection the first option. Separate the selection. As you see, now the color is changed. This means this new phase is no longer part of the tab out now and grab this alone. If you hit key, now we have this alone right here. Now I need to give this a thickness. Symbol, g tab to come to the edit mode, it A to select the phase, and then need to extrude the phase alone and just push this up just a little bit most right here. Then it control r to add an edge, right here, left to click and move the mouse up until you reach this area, something like this. Now we got this result. After that stick to the phase mot hit number three, grab this phase, and let's go to the front with this phase selected, it E and extruded. Almost maybe right here, something like this. Now we got this. As called another control r to add an edge. Left to click and move the mouse almost right here and then left to click again to confirm it. After that, stick to the face, grab this, hit E and go to the front, it number one from the um bad, hit E to move this to the ground. That's very cool. Now it is the time to create this piece of wood right here and this one here as well. To do this, I will start with this phase that I have here. What I will do is I will hit H D to take B and now the new B following the mouse. I need to move it to the x axis, hit x from the keyboard and move it almost right here, maybe, something like this. Then with this phase selected hit to extrude it and just give it a thickness like this. Now we got this result. You can keep it like this. For this one right here, what you can do, you can grab this phase that we have here, and hit d, take Cobi and then hit x to move to the x, and let's leave it right here in the middle, and then hit P to separate and selection to separate the selection. Now this one alone. Tab out and select this alone and then tab in to come to the d mode. It a to select the whole phase, or you can stick to the face and just hit one click to select the face. Then hit to extrude and extrude this up to the Z, almost right here, and then crab this face, Hit key and move it to the x. L move it almost right here, you can hold to make the movement slow. From the side, grab this hit key to the x, and move this hold to make the movement very slow and there we go. Tab out. After that, let's move this up, it key to the z to move this up, maybe right here. That's very cool. That's very nice. This video is finished and this is how to create this table. That's we'll do it for this video and here in the next one. 15. 015 Learn how to duplicate faces and fix the normal: Hi, everyone, and welcome back here. In this video, we need to learn the stuff that we learned in previous video about duplicating faces and extruding faces because sometimes you will face a problem and I need to discuss the stuff. So let's start with this queue. Let's stop with that mode. We learn if you want to duplicate the face, you need to grab the face. You have two options, either you grab the vertices like this or you stick to the face mode and grab the face. So if you want to duplicate, you need to shift d to take a copy and now you have COB following your mouse. Let's move this to the y, and let's put this right here. The first thing that you need to know when you duplicate a phase, you can put it anywhere or you can leave it in the same place. For example, let's take another CB here from here. Hit H D there B. Now we have the COV. If I want to bring it back in the same place, hit right and it will be back. If you hit to move it, you'll discover it's a CB. It's not the original phase. So let's move this just a little bit right here. Okay. Now, if I tap out, if I select this face, as you noticed, all of these faces are linked to the original cube. So they are part of it. I need to detach them from the cube. To do this, I will use the separate. When you grab this face, for example, you can hit p to open the separate menu and ue separate selection. Now this one is no longer part of the cube. Let's stab out. Now when I grab this, the plane or this phase, it will be highlighted alone. But if I grab this one, it's still linked to the original cube. Let's detect this one as well, Tab, Crab this phase and then hit P and then S or choose the first option. There we go. Now this one is no longer part of the cube. When you grab a phase, if I taped to the edit mode and hit A or use the phase. Let's extrude this. Or let's take another Cp because I need to show you something. I will take Copy right here. Now we have to copy. I will hit e to extrude and I will extrude this to this dark, and I will grab this one and hit E and extrude this to the opposite dc. I'm going to show you why I did this. Tab out. Let's go to this Our right here is viewpoint overlays and let's activate phase orientation to see something. As you see when we extruded the phase to the negative da. Now we have problem with the normal You remember when we talked about the normal, we say everything should be blue, and the blue faces, they should be visible to the camera, and the red faces, they should be far away from the camera because some three D engine doesn't render these faces. Now we have the red result, and that's happened because we extrude one phase to the opposite dark. When you make an extion, always keep in your mind to activate the phase orientation to see did you made any problem here. If you want to fix this issue, grab the umetry, tab, select all the phases, switch to tra mode, grab everything. Then there's a nice option recalculate normal. Hit shift n shift with N, and the normal will be recalculated and it will be flipped. Here we have a menu here. You can flip it inside outside, something like this. I will tap out and the problem fixed. L et's se this one, for example, tap. Switch to face mode to grab this it E. Now we have no problem, but if we take this on the obit, it's flipped. So just keep that in your mind. When you com belete, switch this back, turn it off. By the way, when you switch to it mode, more option you will find here in this menu. If you tap out, this option will be disappeared. Let's turn off phase orientation, and that's it. This is all what I want to cover in this video. See you next. 16. 016 Modeling a simple table 2: Hi, and welcome back. I will pick one of these images to create, and I think I will start with this one. All right. So let's see can we create something like this? Let's go to Blender and let's split the area two and let's read this two image editor. You can hit shift and F ten, if you like. And let's bring the damage. Let's put this right here. And there were going we have the damage. That's cool. Let's see how can we start with this. I have the cube right here. Let's go to the front and move the cube up just a little bit, so it to the Z and move this right here. For now, tap to the edit mode. Let's select these four vertices. You can strict to face if you want to grab this face. Let's take this face up, so g to the z to take this up almost right here. Let's move this a little bit. Let's go to mic and move this a little bit. The fa thing I need to create this parts. It's a bit tall. I think this length is okay. I can push this just a little bit, grab this face, it to x, and I think this is nice. I can grab this face and take this down just a little bit, to the z and take this down just a little bit, not too much. All right. That's cool. Now I will select this face and we will learn a new command. We will learn how to inst. Ist is very useful and important oxen. Okay, let's hit I to activate the inset, with this phase selected, hit I, and move the mouse, and this is the inset. Hold to make the movement slow. Now, we create the new phase. We put the face inside and we have this face surrounded with the new faces around it. After that, extrude this pack, put this bag. All right. You don't know where you should put this bag. In this case, you can go to the top of you and hit Z to jump to the wire frame, and then hit G to the y to put this to the y axis until you reach this this point. If you push this farther, you will penetrate. You will penetrate it from the back, so I don't need that. Let's go back to the top of you head number seven from the bat AG and take this back just a little bit. All right, easy to jump out of the wire frame. This is the fair thing. After that, let's see what we have. We have a small curve here on the edges, not from inside outside. Let's try to create this. Switch to the grab this edge in this edge. I have to grab this and this and let pepper them. If you would like we can maximize the area, it control space to maximize it. I cant be two able. I this, a little bit not too much. Almost right here and then rotate the wheel of the mouse to add more segment here. Maybe five or that's work, something like this. I control space to go back to the image. Okay. That's right tab out. As you see it's headed flat. Swag this to head smooth, right click head Smooth, and s activate the auto smooth from the object data properties in the normal and use auto smooth here. A Let's see what else we can do here. Now we need to create the leg. Let's create a new box above this. Let's start from here. Let's create something like this, maybe and give it a bit of height. That's cool. I think, something like this. Go to the front to center better. Hit shifty space to go back to select box. Maybe we can put it a bit, to put it in the center and then take this down almost right here. Now, tap to the edit mode. Notice here, I have some curve in this area. I have curve here, so keep that in mind. Hit control are to add segment here, let's add maybe how many ten, maybe 20, something like this, and then left click to confirm it, and then right to leave them in the center like this. Now I got this result. Now after that, what I can do is I need to grab one of these faces, for example, this one in the middle, and I need to create this care with the help of proportional editing. This case, I will activate the proportional editing and I will hit to the Z, and now I can create there as you see here. Let's make the circle b gas rotate the wheel of the mouse. Something like this will work, and you need to bush this up but we got a problem here. Here we have Here we have some shapes. I don't need to use the smooth. Maybe, let's see which one of them is useful. Maybe the sphere is working here. So grab this, hit the z, and use this. And we got another problem here. When you move this face, we have the top faces follow it, and that's not going to work. Okay. What we can do is we can go back to the front and activate the X ray, hit all z to activate it, and grab all of these faces. I go to so what I did, excite. I selected all of these phases. After that, I will hide them. I will hide them because I need to make deformation on the bottom faces I don't want these phase to be affected. To hide them just hit from the keyboard. They still exist but temporarily hide it. Now let's grab this face an a middle, it to move and move this up just a little bit to the Z and make a small curve like this. Now we have the curve. After that, if you want to bring the hidden phases, hit to bring them back in there we have the result that we want. This is very nice technique. You can use it, and that's cool, we got this. After that I want to do is let's start with this phase here. I will select this phase and then hit shift d to CBD and let's push this almost maybe right here, and then hit P to separate it and then S to separate it from the group. Top out, select this alone. Tap with the edit mode for this phase, grab it, it E and extrude it. Let's push it almost right here, something like this. Let's grab this bottom face and let's go to the front it key turn off the vocal. I don't anymore. It key and take this phase down almost right here. And after that, I will hit control to a g. Puh the edge and put it almost right here, something like this. After that, grab these vertices. Switch to the x ray, grab these vertices, to grab them all the four vertices, and then turn it off and push this just a little bit, something like this. T here as well, switch to x ray, grab those, push them just a little bit. Now we get this result. Turn off x ray. Ask. Now let's see grab these four vertices and it has to scale them inside. We can heal them more. And let's see grab this egg, jump to the ech multi crab this egg and this egg and val it, can roll b to volt. Let's make a curve here. Something like this will work. Make sure when you vl, don't make the vl big because you will have some overlapping here. Something like this will work. A school. Tab out. Let's hit this as smooth, right it smooth. Turn on the auto smooth fed and there we go. This one as well, right hit smooth and turn on the Auto smooth foreat. A now we got this. Now what we need to do is let's go to the front of view. Let's maximize the view, control space. With this one selected, hit shift with D to take CV from it and hit x to move the new CV to the x axis. Something like this. I need to mirror this. I need to mirror it. Hettic go to mirror and mirror to the x axis. We mirror this on the x axis and it is done, but it's pushed away from the position, and that's because the origin dot that we have here, and we will talk about this. We'll learn what is this. All right. Hit and take this pack. Let's go to the front number one from the amba, it and take this pack to the right position. Almost right here, we can push it a little bit more here. This one as well, we can push it just a little bit and ke to the x. Hold to make the movement slowly, and there we go. That's very nice. Let's select this and select this leg. Let's go to the right view hit number three from the ambat. Hit shift D, to take a CB and at y to move the new CV on the y axis right here, and we need to mirror this the same thing. It's right at lick and go to mirror and mirror this on the y x, not the x axis. There we go. Let's start. The final thing that we need to create a break between those. Grab this lick, tab with it mode, and I will select this pace and duplicate it and separate it. I have d to two duplicate it, leave it in the same place, just t click, and then P s to separate tab out, grab this one alone. Tab, it a to select everything. I mean the phase, and then hit E to extrude it almost right here to make the movement slow, something like this. There we go. If you want to re calculate normal, maybe we extrude this to the a negative direction. You can hit eight, select the whole faces, and then hit shift N. Before we do that, let's make sure that we extrude it on the opposite direction, and the adders right. The x, all of them, and this one as well. Hit eight, select this piece of food and then hit shift N to recalculate the normal. For the x, you can grab them all like this and tap to the add mode and hit eight, select everything and then shift for all of them and done. That's it. Let's go back. Turn off this phase orientation. At least like this one. It shift D to take a KB and you can leave it in the same place if you like because I will use mirror to mirror it on the other side. Herat to leave it. Now we have KV above B with the new KB selected, tic and mirror it on the x axis. There we go. It's a bit key to the x and push this inside, something like this. Now we have very nice table. Very cool. There are something I need to mention here. If you want to make this even smooth, you can tap and grab all of these edges. For example, let's start with this edge, go to the geo, hit number two. I'll click to select the entire edge loop. It to click to grab the next one. Let's do the same thing for all of these. I'll have to click. Sorry. Grab them all like this. All right. As you see that's time consuming, there's another technique if you want to grab all of this. You can select the first one and then hold ft to grab the second one. And then it control shift and the plus to grab the other one by one, like this. And tell you reach this edge right here. After that, after that, I need to select the edge loop. In this case, we need to go to select neo and go to select loop and edge loop, and that's going to help me to select the ge loop. Now, the next step, I need to bitle those, can troll me to bitle them and vl them, something like this. Let's rotate the wheel. To make the Sigma list, and there we go. Now the result is smoother. Tap out. Now the result is more smooth as comba with this one. You can do that or you can ignore it. That's how to create this table. I hope the explanation is simple, and that's we'll do it for this video and see on the next one. 17. 017 Learn how to use Mirror command and what's orgin point: Hi, Ryan, welcome back. In this video, I need to talk about the organ dot, this one in the middle and the mirror comment. Let's start with the organ dot. When you create anything, if I move the queue, for example, anywhere right here, and let's create, for example, a circle, here we have the circle. An ok that you create, you will find inside it. This dot is called the organ dot. And when you select it, you can see it. This organ dot that means the center point of the geometry. If you want to rotate, for example, the cube, you can rotate according to the position of the organ dot, and if you want to scale it will be scaled from the center because the organ.in the center. The same thing for the circle rotate or scales. Sometimes, when we a phase from an object, for example, ICB phase from this and leave it right there and separate it by pressing PS to separate it. Now the new phase become very far from the organ dots. Why? Because when we duplicated the phase, the organ dot still in its position. In this case, the organ dots now become far away from the cumetry. For example, if I want to rotate this along itself, I hit R two the z, now you noted that this phase rotating according to the organot I don't need that. I need to rotate this along itself. That's mean we need to change the position of the organ dots. And there is a way to do this. Here we have a list sc options. When you open it, here we have three options. You can activate the organ. When you do that, you will see the axis. Now you can move the organ itself when you hit key Now if I hit g and move this to the y, you can put it in the center or close to the ecumetry. After that turn off the origin, and now you can rotate it, it will be rotated on itself. Or what you can do is you can triticli, and here you will have an option called C origin and just chose origin to eucumetry, that's going to move the origin dot to the center of the ecumetry. For example, if I move the organ away, for example, say key to the organ and let's put it right here, and let's turn of this. Right now, when you hit right click and go to the organ organumatry. Now the dots jumped to the center of the cumetry. This is how to move the chin and the position of the organ dot. Sometime when you duplicate faces, for example, when you want to make a mirror, grab the C cube and select all the faces. You can hit A to select all the faces. I'm going to move the cube. No something inside the edit mode, when you move the whole cube, the organ dot will s in the same position. So inside it mood, we are not affecting the organ when we move stuff. So it g and move this right here, for example. I just want to make small tweak to this cube. For example, I will add two edges here, crab this face. Maybe I can push it just a little bit like this or extrude it inside just a little bit. I just need to make a change here. Now, if I want to mirror this cube, I'm going to trot and use mirror, and I will mirror it to the Y axis. We have a mirror option and I will mirror to the global y. The mirror is done. I will duplicate it first, have d to take coop, right click to leave it in the same place and right click mirror to the y. Now we have the mirror. But keep in your mind that the mirror option done according to the origin dot that we have here. Because of the origin dot right here, the duplicated object jumped right here because we have the same distance. In case you want to mirror this and keep it close to the orginal box, you need to move the organ doot first. Let's delete this, for example, and let's incorrupt this, activate the organ dot and move it close to this box. Maybe right here. Turn of the chin. Now with this box selected, d, take CB and leave the CB in the same place critically. Then after that, critically again to open the menu and mirror to the Y. Now it's become close y because we change the distance between the the organ dot and the cube or the center of the cube. This is the chin dot, is very important and sometime when you duplicate object, you need to center the organ to the ecumetry. To center, right click, O organ decumatry for this one, and this one as well, right click organ to ecumetr, to centers. And keep in mind, when you want to rotate or scale, the scaling and and the rotation will be according to the origin. If I go to the top of you, for example, and if I activate the origin, I just can move the origin right here at the edge, and I will turn it off. Now if I scale this cube to the x axis, S and the x, now the scaling working from this point out like this. But for this cube, because of the organ in the center, the scale will work from the center out like this. The position of the organ affect the rotation and effect the scale, keep that in your mind. Let se grab this. When I hit S to x, as you see now, the scaling working on the two diakin. But for this, to x, the scaling working on one diakin because we king the position of the organ dot. The rotation as well, if I rotate this, this one will be rotated according to the gin dot, and this one because it's in the center, it will be rotated along itself. Okay. And now, we learned how to mirror the object by using this list, right click. And there's a shortcut if you want to use a mirror command. But let's make some change to this geometry. I just need to move it away from the origin, so I will jump to x ray, all and the cb all phases and just move them, move it right here. And I will make some tweeting, for example, take this face down, the Z, and break it down. And maybe I don't know, maybe I can take this C. I just need to make some difference. Like this, maybe. And that's it. I think that's enough. Let's stop out. If you hit control and you can activate the mirror command as this one, I don't need this. Select this, hit control and from the keyboard to activate the mirror. And the mirror is activated. If you're not strike here up on the top left corner, we have select mirror. That's mean the mirror is activated. If you hit x, you will mirror it on the x. If you hit y, you will mirror it on the y. And if you have z, you will mirror it on the Z. That's how it work. The shortcut of the mirror. Keep that in mind. That's will do it for this video and see you on the next one. 18. 018 Modeling a simple table 3: Hi, everyone, and welcome back. Let's create the table. You will find the staple in the project folder. All right. Let's make this bit smaller and the start. Let's go to the front of you hit number one from the bat. Crab this cube, hit G to the z to move it up. And the stab the edit mode and switch to x ray and the scrab these vertices it G to the z to take those down. Almost right here, maybe. Key to the z again. Something like this will work. And then tab out. Right now, the Orkin dot is far away from the umatry. Hit right click, sit Orkin Ocen to cumetr. There we go. Hit H D take COV and then z to move the COVI to the z axis. Let's put it maybe maybe right here. Yeah, something like this. All right. Now let's hit shift D to take another COV and leave it in the same place, just hit right click and then hit r to rotate and rotate nine degree. When you rotate, hold control to stop the rotation and rotate nine degree. You'll notice the information right here in this corner. All right. After that, hit S to the z to scale it to the Z axis, and scale it like this. And it and move it down, maybe right here, something like this. Tap to the edit mode, and the grab these vertices. Don't forget we are still in extra mode. Hit to the Z and take those down. Maybe right here, and then tab out, hit and move it to the corner. Maybe right here, it it, and take another KV here. Something like this will work. This is the result that we got. Right now, we grab this and this one, grab them all like this, tap to the mood for all of them, and select all the vertices here, it ye and move them back. Something like this will work. Let's cool. And then tup out hit d z to exact of the tray moot, go to the front hit number one and move them up from the ground, maybe right here. That's cool. Let's select this one, and let's tap to the mood. Hit control are to add one a here, and strict to a mood. With this selected it control B two to volt, and let's eval. Something like this. A right now, grab the side, hold grab this and this one. And after that, it shifts D to take a CB and her click to leave it in the same place, and then P is to separate it from the group, and then tab out and select the new phase. Right click and put the organ point in the center, organ to geometry, and then tab and the crab this edge, come to the edge mode, and this one as well, go to the front, hit key, and take those down to the to this zero level. Then I need to connect this edge with this edge to do this h f to make a connection between them. All right. When you be satisfied, hit A, select everything, and then go to phase, number three, and then alt e to bin extrude menu and choose extrude phase among normal and extrude them out like this. Pit this menu and just fix the offset and then close this menu and tab out. Now you can move this to the side. Hold D and D and move this right here on the side. There we go. Maybe in the front, I can put this to the left a little bit, something like this. That's cool. This is how to create this table is very easy. If you want to make the edges more smooth, you can select all the boxes here, and then you can tap to the edit mode and jump to edge mode and hit a to select all the edges. All right. And then it can to bile and bitle them like this. Add the three maybe four edges to make them curvy. And then tab out. As you see here, we note that the heading is flat, with all of them selected, it f right click, and then head is smooth. Alright, the result is nice. Not so Much nice. We got some weird heading right here. You notice that I have this dark area right here. And here as well and here. Let's see how can we fix the heading problem. The first thing that I need to do, I need to activate the auto smooth for all of these pieces. Select this first one, go to the object data properties and open the normal and activate the auto smooth for it. And this one as well on this and this. Let's start with this one. I just need to teach you something in your hair. I'm going to add one of the modifiers that I have here, and it's the only one I will use for this video. This modifier is call weighted normal. That's going to help me to fix the heading when you make a devel. So when you add it, I is going to help you to fix the heading and give you a better look. Let's taste that. First, you need to go to the modifier properties, and by the way, we will learn most of these modifiers by the time in the future videos. So don't worry about that, but I just need to use this one. Go to the modifier list, modifier roberts and select one of these pieces, for example, this one. Let's add the weight normal and kick the result. Now the heading is better. If I turn this on and off, you'll notice the difference. Weight normal is very important modifier if you want to fix the heading. Let's add the weight normal to this modifier as well. Select this one, go to the modifier and add weight normal to it. I add the modifier, but I noted that nothing happen. That's because as written here, still you enable auto smooth and object data properties. So to get the correct result from the weight normal, you need to activate the auto smooth first. Let's go here and activate the auto smooth and there we go. All right, Let's select this one and activate the auto smooth and this one as well, the same thing. Let's give them weight normal. Let's go to the modifier list, open it and add weight normal to it, and this one as well, the same thing. Now, the result is amazing. Let's crab those as well, grab this and this and then tap to the edit mode. Mp to the edge, it number two, hit 80 lick all the edges, and level them. Control be. Let's level those just a little bit. Something like this. Can add three or four edges here in the middle. Then tab out. Let's activate the auto smooth for this and this leg as well. But I think I need to activate heading smooth first, grab them, right click, he smooth, and there we go. Now let's activate the auto smooth. This auto smoth activate. Let's kick this one. All right. This one, I add the auto smooth for both of them, but it's just activated for that one. In this case, if you have an issue like this, if you want to grab more than one object and activate one option to all of them, for example, those two, you need to hit ts and then click the auto smooth. If you do this, that you can apply the command for more than one object. Now it's activated for both of them. After that, let's add the weight normal, grab one of them and add weight normal, and this one as well. All right, now the result is amazing. It's very smooth and beautiful. Very nice. All right, so that's we'll do it for this video and see you in the next one. 19. 019 Introduction to modifiers: Hi, everyone, and welcome back here. And this video, I need to focus a little bit on modifiers because modifiers is very important. So what is modifiers? Modifiers are very important. They give you the ability to make deformation to the geometry. They give you the ability to make deformation to the geometry. For example, if I grab the cube, let's move it just a little bit up and maybe grab this phase, it and move this up, it control to add some sigment right here. And use one of these modifiers on this cube, I will tap out and add, for example, symbol deform, symbol deform is one of the important modifiers. And as you see now, I am in the twist section here, and this is the result if I increase the angle, I will have some twist. If I chink the axis, for example, to aC, I will have something like this. So I can't do that by using the edit mode. It's very difficult. But with the help of modifiers, I can achieve something complex. If I swing this two paint, for example, and let's bend this on the y axis. Now I have ability to bend it. And tabor as well, one of the option here, I can taper this to to the axis. So this is how the modifiers work. Let's delete this modifier and let's add any other modifier. I can add bevel if you like. We learned how to use vl in the edit, but there's modifiers Cal vl. You can use it, and you can add Sigment here, and there's a lot of stuff here. And inside the Vivl, here we have hard and normal option, similar to the weight normal that we talked about in the previous video. You can activate it and make the mesh very smooth. But the same scenario here tells you to activate the auto smooth here. So let's do this. And there were we have very smooth result here just with the help of the vl modifier. And there's a lot of modifiers. We can use and apply on the umetry. We have the solidify, we have we have the subdivision surface. This one is one of the most important modifiers, and we will learn we'll take too many examples to understand this modifier. So let's say, modifiers are effects. We apply them on the umetry, and we can add more than one modifier. For example, I can add let's add symbol deform, for example. The symbol deform, let's tweak this, for example, to Tab. Let's tab this to z, for example, something like this. Above this, I can add another modifier. Let's add vl, for example. So now I have the symbol deform and underneath it, we have the vl. So let's add, for example, three or four segment here and activate the art normal to give me better heading. And so now we have two here. Let's close this or let's leave it like this. And I can add another symbol deform if you want. You can s this to bend it if you like, something like this, if you want. And at the same time, you can go back to the bevel and manipulate it. Like what I'm doing right here, or you can go back to the fair symbol deform and manipulate it. So modifiers are very powerful and give you non destructive results. That's mean if you don't want the last one, the last symbol deform, you can turn it off, and you can turn this off as well and this one as well, and you can go back to the first cube without any effect. So this is how it's work. You can't change the orders of the modifiers. By using this dotted icon here, as you see, I can grab the modifier and change the order. For example, the ivl to be the first one and the symbol deform to be below it, grab this and put underneath it. So now, the ivl is the first option, and after that, the symbol deform. And you can put this in the last if you like, ec change you make here will give you another result. So let's take this back to the first. EC modifier has a header here, small header, and we will have some option. This option, for example, will help you to turn off and on the modifier Half here. You can turn it off in the render. And this one here is you can see the modifier in the edit mode as it's written here, Despla modifier in edit mode. And I'm going to hear what that's means. Let's hit H A and let's create, for example, cube. And let's move the cube right here. Something like this. I will apply symbol deform modifier above it, and maybe I can use T. If I m to the edit mode, if I m to the edit mode, this is the original cube exists. If I turn this off, I will not see the effect of the symbol deform. But if I activate this icon, I can see the effect of the symbol deform inside the edit mode. Here we are inside edit mode. This option right here will force the geometry in the edit mode to take the final result. If I activate this option here, call adjust edit cage to modifier results, if I activate it. Now, I forced the geometry in the edit mode to take the final results. Of the modifier here. Let's keep this off, and from here you can move the modifier, from this x, you can remove the modifier. And here we have the list if you want to duplicate it or apply it, there's a lot of option. If you satisfy with the results and you don't need the modifier anymore, you can go to this arrow and hit apply or you can hit control A for a shortcut to apply the modifier. So apply it, and there we go now this one, you can't change it anymore. Unless you hit control Z to bring the modifier back. All right, so this is just a quick intro to the modifiers. And the next videos, we will use them and add them, and I will explain each one and how to use it. So that's it for this video in S next. 20. 020 Modeling a simple table 4 using Solidify and Bevel modifier: Hi, everyone, and welcome back. I will use one of these images to create, and I think I can start with this one. Let's open it and let's see it first. Let's see how can we create something like this. I will grab it here and put it inside Image editor. There we go. Now, we have it here. Let's maximize this a little bit. That's cool. Maybe we can make this a bit smaller. That's nice. Okay. Now let's start creating this. Well, I have the difficult cube here. I will put you this up just a bit. I keep it. Maybe right here, and maybe I can move it here. And I will duplicate it at HD to take another copy and I will put the new copy right here, something like this. And I need to make these two cubes. I need to merge them, make them one geometry. Because if I select this one, as you see, the selection highlight is just cover this cube. And if I select this one, the highlight will come to the next one. I need them to be one. So grab them like this and then control to join them. Now if I grab one of them, the other one will be selected because now they are one box. Now, if I taped to the edit mode, I can ax is the edit mode for each of them. You can say now they become one m three. All right. Now what we need to do is, we need to go to the phase and a face mode right here and delete this phase. Hold hept, this one, delete those, hit x and then Q's phase to delete these phases. In this phase and that phase, we don't need them. X and then F, this one and this one as well, XF and let's go to the edge mode, hit number two from the keyboard, grab this edge, A to grab this, and then hit F to create a connection between them. When you comblete, grab this edge, this one, and that one, and this one as well, grab them, and then level them. So it control B for level, let's vel those rotate the wheel, just to give a nice segment here. Let's add more segment or something like this. That's nice. After that, they grab this, hold here, they grab this and double them, control the and double them. Now the fle is not working correctly. As you notice right here in this area, we have some problem here. Here. So Let's see how can we fix this problem. Let's try to explain why that's haven. Let's go to the phase orientation to activate it. And let's see what we got. This is the problem. We have here the red color meet the blue. And that's not going to work if you bevel two phases, one of them red and the other is blue. That's means the normal is flipped right here, and I need to fix one of them. In this case, I can come to the face mot number three and select this face, for example, hold control this to select all of these phases between, and I need to flip just these faces. To do this, I need to hit alts with N to open the normal menu and choose the first option is called flip and the flip it, and now is correct. After that, now you can grab this age with this one, turn off the phase orientation. And then hit control B for let maximize the view, hit control space, and it contro B to v the to bubble this, and there we go. Now we got something like this. That's nice. What's the next step? Now you can jump to the face mode and then hit eight, select all the faces, and let's try to extrude those to the normal. Okay, so it select all the phases and then hit E to open the extrude menu, and let's choose extrude phase along the normal, and let's do this. Let's book those just a little bit. Something like this. Yeah. That's very close. All right. Now we got nice results. Let's go to that to the front view. Here we got a problem. If you notice here, we have some variation in the distance here. If you draw a line like this, you will discover that I have very long distance here. And on the top side as well, as you see here, we have this distance. So extruding the faces in this way, that's not going to work. Because of that, we will use modifiers. The extrusion here is limited, but I can use solidify modifier to fix this problem for me. Let's do this to understand how that will work. I go to controls to cancel this, and I will tap out to add the modifier that I want. Let's go to the modifier properties and let's open the list and add the solidify. Sodify will give you a thickness to the surface, like what you see. But now the same result I got In this case, here we have an offset, zero out this ore right here at zero enter, y, because I'm going to give you an example here, if A going to add the plan just to give you an example. Let's put this right here and Let's give this solidify modifier. Now work's going to if I increase the number here, the solid modifier working for one direction, like this from the bottom up or from the bottom down like this. I Here we have an option. We can make the offsets, or we can make the solidify modifier working from the center out. If I swing this to zero and hit enter. Now when I move the thickness, the thickness will work from the center out, and that's what I want. Let's delete this. Let's go back to this example. So zero out the offsets and give it nice thickness, something like this. Now, if I go to the front, I will discover that the distance is correct here, and from the top of view as well. What I saw, this is the first step, right click the smooth and activate the smooth here. School. Now let's add the glass above it. Let's go to the top of you. Let's go to this option. Add cube, and let's create a cube here. Let's make it bigger than the wood, something like this, and just move the mouse a little bit to specify the height and that's it. Hit hefty space to go back to the selection box or you can select from here, Tumble around, and now we got this. Hit the Z. Let move this up. You can go to the front number one from Dabat, and move it just a little bit up. Something like this, not too much. Have to make the movement slow, then tap to the edit mode, go to the vertices and activate the old to grab the surface, this face and then give the z to take those down just at bit, something like this, and then tap out. Hit old z to exit of the x ray mode and there we go. Control space and see now, what else we can do. Maybe we can bivle this. We can bivle it and give it nice edges here because now it is here In this case, I can use one of the modifier here is called val Modifier. Select this and let's use the vl modifier. Now we have the solidify, I will close the solidify, I still exist, and I will add vl above it. I add the vl and the rest this fine. But here the amount is 0.1 meter. I will sw this 2.0 0.01 to make it very thin and add two segment here. Or three, if you like. Here we have a very important option to correct the heading. I just activate it, scal hard and normal, and there we go. Don't forget to activate the smooth for this. Now the result is amazing. Very cool. All right, you can co the same modifier that we added here to the glass. You can select the glass and hold heft and select the wood. Then here we have an oral open it and use COB to select to Kob the modifier from the wood to the glass. So be to select it. Now the glass has the same val, but we didn't activate it the auto smote for it. Activate it and we can make the amount smaller if you like. You can add 0.05 to make it smaller. There we go. Now we got very nice results and compare those. Very small tweaking here we can do. If you grab this, you can tap the mood. Maybe we can grab these vertices and put them back a bit. Maybe right here and those as well. In move them back to the x axis, something like this, and then tap out. That's very close. So that's it and see you next. 21. 021 Modeling a simple stools: Hi, everyone. Welcome back. And this video, I need to create this tool. I will delete the cube. Just select and delete it, and let's start with the cylinder. Hit Sift A and from the Mish Menu, you can choose cylinder. And then we're going to have the cylinder. The fair thing is, move the cylinder up, keep the Z and let's put it right here. And scallet with the Z, Z and the scallet. Z again scallet, and make it thin. And as we say, don't worry about the size of the stroll. Okay, this looks nice. Control A and double the scale after you make the scale, and here we have small s double this. Tap it mood and switch to edge, I click on the upper edges here and control to double them, and just give it some segment like this. That's cool. After that, let's create another cylinder, let's add another cylinder here. Make it small like this, this move it up, go to front and scale this to the z, just a little bit, something like this, and move it up almost right here, you can scale it even more. This Z and move it up. Maybe I can scale to the z and move it down. All right, that's cool. Control A do skill. Tap it mo, si grab this face. And this hits I to inset. This is a new command is very important and call inset. It will push the phase down and create phases around it. I will hit I to activate the insets and get something like this and then extrude it. Gues hit E, but jump to the front first, hit E, and take this to the ground. It should be taller, I give this and take it down even more, something like this will work maybe. Then with this phase selected, it control and vile this and make it revell like this. So this is the first step. High school. Let's see grab this right here. Come to H moot. I'll click on this control B to the valet and let's pval this as well. Make it a bit Curvy. That's very nice. All right now, tub out, and now let's see what else we can do here. Right click Had Smooth and activate the auto smooth here. On the normal. Let's go to the top view here, and here will have the silhouette of the leg hit key. Let's move it. Let's put it maybe right here. This is cool. In the front, hit R and rotated just a little bit, tilted like this. I can move it up. All right. Now let's go back to the top. And now what I need to do is, I need to move the organ dot and put it in the center of this cylinder. To do this, I need to move the three d coorsor to the center of the cylinder. Select the cylinder. Hit shift is and coors selected. That's mean, the three decorsor will move and be in the center of the cylinder. So just e this option, and there we go. Now we have the three decorsor here. After that, grab this slick and the netrotic lick and sit organ and organ to three dcorso, that's mean, the position of the organ will follow the position of the three decorsor. There we go. That's cool. Okay, now let's go to the top, select the lake first and hit seven from the amber to jump to the top of you. And I need to duplicate the lake hit shift D. Now we have a new CV right click to leave it in the same position, and then R and rot Holt rotated 120. And now we have here, Hft, D, V and leave it in the same place rotate hold control and rot 120, and there we go. That's cool. Now let's give this head smooth and let's activate the auto smooth for it, and there we go. If you want to make this area, smooth, you can bevel it, Tab, go to H Alt click, control, and val this feel reduce the number of segments, and then we are going to we got nice results. Awareness. Crow everything, go to the front, key and take those up on the ground. Now we got something beautiful. What about the circle that we have right here? Let's see how can we create it? I will grab the cylinder here and I will tap the mood. What I'm going to do is, I will duplicate an edge. Go to the mood. I'll click, grab one of these edges, and then shift d to take a CB z to move them down right here. Now we have a new circle of edges. Hit P and then S to separate it from the group. Now this circle is no longer part of the cylinder. Tab out and grab the circle alone. The origin dot of the circle is It's in the center of the cylinder because we cove it from the cylinder. Herod click and sit or orgion to the humery to bring this in the center, scale it and make it small, something like this will work. Control I end up the scale. All right now we have this circle and I need to make it thick like this. How can I do this? In this case, I need to learn a new command here. Let's go to object and go to convert. I need to convert this. It is image right now. I need to convert it to curve. Object and then convert, convert it to curve. Now this become curve, and here we have c properties. After that, open the umetry tab and go to the vel section and increase the depth tif and move it. And manipulate the thickness, and there we go now, we have some ga. Pay click smooth to make it smooth. If you want to make it small, hit and make it smaller. This is how to create this. So it's done. We got nice results. That we'll do it for this video and see you next. 22. 022 Generate Solidify Modifier: Hi, everyone, and welcome back here. In the previous torial, we talk about the solidify and how to sit and how to use the bevel modifier. In this video, I need to focus on the solidify to understand this modifier more and more. I got this example. I will apply the soldify multifier on them just to understand how it works. Let's start with this one. The soldify multifier, give you a thickness to shapes like papers. So this shape is similar to just has one phase and it's like a paper. I want to give it a thickness. So if I want to do this, I need to apply the soldify multifier to achieve this. Add the soldify multifier. Here we have the thickness to manipulate the thickness of the salify. Here we have the offset. If I go to the right of view or s to front of view, the solidify working from from this face out like this. If I manipulate the opposite, I can change this. For example, if I speak this to zero, the soldify will work from the center out, so this is the opposite. Here we have the even thickness. Sodify works push the face at specific distance. The distance that we have right here is similar to the distance that we have here, and it is similar to the distance that we have right here. Because of that, we note that we have some tilting right here. To fix this, just activate the APA thickness and you will get even thickness. Let's try this. There goes very easy. Here we have the fill. Let's go to this example. Let's add the solidify modifier and let's give it a bit of thickness, and let's see the fill. If I activate the fill, I will lose the side of the ill or the solidify. So this is the fill. Here we have the rim. If I deactivate, I will lose the inner face. I will have the rim alone. Inside the normal, here we have some option. Let's turn of the fill. Let's turn on the m. Here we have the normal and the flip option. If I hit flip, the result will be flip the thickness will work from inside out. This is the idea. If I apply this right here on this one. So let's activate the m to understand what we have here. This is the difference. I think we got the idea. Here we have high quality, high quality. This option will fix the thickness and give you very accurate thickness as much as possible. Inside the material, here we have some option, the material offset in the m. The material offsets, turn off the only m. The material offsets will king the material to the offset fase. The offset fase mean this fase. The rim, that's mean we have the ability to king the material to the rim alone. This one is the m. Lets see how can we do this. T. I will go to the material section. C, I will create material to this. Let's add a new material for this. Let's call this, for example, green, and let's change the base color to green. Here we have green material. Sweak this two material review just to see the color. Now we have the green material applied. Let's add another material here in this hitting, and let's call this D click. Let's call this red, and let's change the color to red. Let's add another material slot and let's create a new material, let's call this blue. Let's change the color to blue. Now what I need is, I need to apply the green material to the back side and the red material to the rim and the blue material to the offset phase. Let's see how can we keep this inside the modifier? Don't forget the red material is number one, and the blue material is number two. And this one is zero. Let's go to the material here and let's swak the material offset. So the offset, I needed to be blue, squeak this 22 and the rim, I needed to be. Squeak this 21. This is the idea of this option. Let's go back to Solid, Z and go to solid. Here we have the edge data. This option will help you to make the edges sharp and crisp if you add the subdivision modifier. I'm not using this option at all. But I just can give you a quick example. If I add subdivision surface above this umetry, and let's increase the number here two, three, for example. Now the result becomes very smooth. This is what it does. This is the modifier. And I lost the sharp edges of the geometry. In this case, I can increase these edges to bring them back. This is the idea. Now, the shape become very smooth, and now we have the sharp edges. This is the idea, let's the modifier, and let's bring those back to zero. Here we have the thicknessy clump. The thickness clump, let's take example here. And let's add the solidified modifier above this. I just need to. Let's give it a thickness first, something like this, and let's activate the wire frame to see what we have. Let's go to the object properties, and let's go to the viewboard display, activate wire frame. Here we have this play we have a sigment here. We have a closed segment and a bit fi segment here. Let's go back to the modifier and open the thickness clump and let's push this forward. Let's here, the small area take the less thickness and the big area, take the whole thickness. This is the clum option right here. And I just going to give you a hook example to understand this more. Here we have a funnel and here we have variation in the area. So the area here at the top is very big as compared to this one and as compared to this one. We need to give them solify multifier, and we don't need to have any overlapping. This can we keep this? Grab this and add the solidify above it and give it a thickness. All right. Now we got the slidfy butt. Here we have open area, but here it closed because we have some overlapping. If I go to front of view and speak to wire frame, I can see in this area right here, I have the overlapping. Let's see how can we fix this. Open the thickness clamp and put this forward. Now it's fixed because because this option helped me to give the less thickness to the smaller area, like we have here. And now we have the The results very cool. Here, we have the angle clump. Let's go back to this example and let's activate the eV thickness and the angle clump. Now the result become very thick. But if I move one of these edges, I will have the clamp back to avoid the overlapping. For example, let's set to the mode, and let's era this g, for example. He and take this back. Now you'll notice when I move this back, I have some variation in the thickness, that's because of the angle clump here. The idea of this option help you to avoid the overlapping because if I turn this back in this off and if I take, for example, this angle down, notice here, I have an overlapping in this area. So this option will prevent you to get this problems. Now, if I activate, if I activate this, and the angle, I will avoid this overlapping. This is the idea of it. Okay, so this is the simple mode, by the way. The soldify multifier has to mood the simple and the complex. Now we are in the simple mode and we understand what is a simple mode. Now let's jump to the complex mode. But before that, let's apply the soif modifier on this shape. So let's give it sif let's give it a thickness. All right. Now we gave it a thickness, but we got very weird result here in the center. So this is the ability of the simple mode. You cannot add the simple mode on example like this. In this way, I need to come to the complex mode. Sue is too complex, and now we fix the hue. Let's take the thickness a bit back because it's too much, something like this. If I activate the wire now for this wire frame, now the result is nice. Inside the complex mode, we have some option here. The the fixed option in the even is almost similar to the simple mode. I'm not going to focus on them, but here we have the constraints. Option. I just can apply this on this funnel to understand what this. Let's tweak these two complex, or maybe I can create a new one or manipulate the a little bit. Let's tap here and grab these faces and scale them to the x into the y. Let's scrap the ages, scale them, just like this. Need to make this a bit bigger. Scale those two x like this. All right. Now let's see what we can do. Squeak this to complex and let sack the thickness to constraints. And here we have the boundary. We have two options. If I go to right view or to the front, jump to wireframe. As you see here, the thickness in this area here, is go out like this, and here we have an angle, It's not 90 degree. I if I sweak this to round, it will fix the angle and give you 90 degree here. Here if I swa this to flat, will give you a flat result now. If I go to solid, this is the result that I got here. This is the difference between the complex and symbol mode. This is the solidify modifier is a very important modifier and we will use it a lot in this course. All right, so that's we'll do it for this video and see the next one. 23. 023 Generate Bevel Modifier: Hi, everyone. Welcome back. In this video, I need to cover the bevel modifier. Drop your motrin and go to the modifier properties, open the list, and add the bubble. Bevel will make corners curvy. If as you see now, I add the vel modifier and if I increase the sigma right here, the result will be a curve here. All right, let's see the option of the bevel here. We have the amount. If you increase this. That's mean you will increase the bobble. Let's activate wire frame and let's turn off the x ray just to see what we have. All right. From the segment, I can make the result smooth, more smooth. Accu let's go back to solid view. And as we learn, this is the amount, if you want to make the diadus peak or let's say its amount. It's not radius. If you want to make the bevel peak or a small, you can control it from here. Here we have an option. Here we have non angle in weight in vertex group. Let's try to make some chins to this cube. Let's grab this phase, for example, I can hit e to extrude this. And maybe I can I don't know. Let's extrude this one as well. Maybe I can add right here and maybe extrude this as well. Guess I want to make some chins. I will use this and this and make ins and extrude those down. I just need to make this shape a bit complex. All right. So now we got this result. Now, let's see what is the angle and what is the weight? All right. Let's switch this tunon first, and let's see what happened. Let's go to the objects properties and let's activate wire frame to see what's happened. Let's go back to the level. When I switched this ton, all the edges of the mate level if I taped it mood, go to edge. You see this edge right here in this edge right here. Actually, they don't need to be beveled because we don't have a corner here, but we have a corner here. This corner should be beveled. We have a corner right here, this corner could be beveled. So if we swing this two, all the edges will be leveled. Okay. If we speak this to angle, the bevel modifier will target the angle alone. That's mean here we have an angle. And here we have an angle and here as well, and all the angles will be targeted by the bevel modifier, and it will level them. Here we have the weight. This very important option. That's mean now you can target specific edges and give them a specific level. And I'm going to give you example, let's open de minu right here, let's go to the aem. Let's sb this and tap to the mode. Let's go to edge. Let's select some edges. So I will grab this one. I'll click to select the edge loop, and here we have mean vl weight. I will increase this 21. As you see, when I change the mean vl weight, the Bival targeted these edges alone. In whatever edge I select here and change the vl weight for it. I can vl it. Or let's say it will be affected by the vl modifier because we sweet the limit method to weight. So let's increase this one as well. You see right here. So this is the benefit of the weight, and we can make a variation in the bib. For example, I gave this edge one, and let's give this 1.3. Kick this out. Now, I can make a variation in the result of the bible. Let's scrap this in this and let's give them 0.5, for example. Let's tap out and let's see the result. As you see here, we have some variation here. So this option is very important. All right. Now let's take this back to the angle. And let's see what we have here. Okay, here we have the profile, I will talk about the profile later, and let's jump here to the geometrs and understand what we have here. The meter outer here, we have some option. Let's go here to see what's going to happen. You noticed the corner right here, how the bible work here in this area. This option right here, change the corners or the result of the bible at the corners. And I'm going to give you an example here. If I switch this from sharp to patch, kick the result. Now we have different corner here, and if I swag this two arc, kick the result. And the inner, let's go here. Let swag this to arc, that's going to affect the outer corners. Let's take this back to sharp and take this back to sharp as well. Here we have this option intersection. We have here two option, grid and cut off. All right? What's the difference? This results right here at this corner is the grit. If if I sw this to a cut off the corner right here will be disappeared as you see right now, and it will give you a result like this. This is the benefit of this option. I will treat this back to grateful. And here we have the clam overlap. Clam overlap help you to prevent the bible from overlapping. For example, if I taped the edit mode, and let's add edge right here, and I going to push the edge up. All right. Before I put this up, I just need to demonstrate something. Notes here. I have the new edge right here, and I have the Bible results right here. If this edge reach this edge right here, and if I go beyond it, I will have overlapping here. But because the clam overlap activated, clam overlap will reduce the amount of the bible automatically to avoid this problem. All right lets see that in action. I will grab this edge and move this And as you notice here, when I reached the bivl, the bivle changed to avoid any overlapping and to avoid any problem in the ish. But if I turn this off, and let's do that again, hit key and take this out. You'll notice that I have some problem in the geometry. So clam overlap help you to prevent any problem. Or at least talk about the loop side. Let's see what is this option here? I will tap it mode for this geometry, and I will add one ach, for example, right here. Let's see grab these vertices and push them forward just a little bit. All right now, you notice that I have a difference here in the curve, this curve, because it's tilted a little bit, the bible here is acting differently here. But if I deactivate the loop side, I will got even vl on this side and on the side as well. This is the benefit of the loop side. Let's controls a couple of time to cancel this. Now, let's open the heading and let's see what we have here. Let's turn of the wire frame first. Let's go to this oct properties and turn off the wireframe. Or it's a we have the heading. Hard normal is similar to the weighted normal that we explained. Hard normal is very important option. They added recently to blender. This option help you to give you a better shading to fix any heading issue. All right, let's activate the auto smooth for this mese because if you activate out smooth, this option will not work. So let's go here and open the normal and activate auto smooth, and let's go back here. Activate hard and normal. As you see now, the result is amazing and very smooth. If I turn this off, and if I give this head smooth, for example, let's turn off the t smooth. The heading is not so quite perfect. I can take another example or I can manipulate this to understand what's going on. Let's tap mode for this and control. Maybe I can add two edges right here and let's buffle these two edges. Cro to bufle them. And let's put this face pack. I just need to make some variation here to understand what the benefit of the hard and normal more and more. Let's stop out and let's see what we've got so far. All right, as you see here, we have problem in the heating, for example, here, in this area, we have some weird heating. And let's see how this could be fixed by the hard and normal. Let's go back to the level modifier and let's activate hard and normal. And it tells you enable auto smooth. Let's go here and activate at smooth. As you see, when we activated the hard and normal here, this bad heating disappeared. Now the result is cleaner. So this is a very important option to consider, is very useful to clean the results of the bubble. Okay, let's see what's next, here, we have Mark S Mark hear. Let's take a quick example to understand what is this. Let's see what we have here. All right. Keep auto smooth on, and let's go back here. I will tap to the mood and let's grab some edges, for example. I will grab this this, this and this one. And I will try to click and Mark sharp to mark these edges as sharp edges. Now, let's tap out and let's see now what we got. I will activate the mark to see what's the difference here. Turn off hard and normal. Don't forget that. As you see now, I think you noted the difference. When you when you activate this option, the seams or the edges that we marked as sharp. They remain sharp here, and the val here is visible as you see this edge. Is sharp, and this one as well as sharp. It's just like giving the bifold area a specific smooth. All right. This is the idea of mark sharp. And the mark sm the same scenario for the UV. Here, we have the material. Let's Hz and go to material review, and let's go to the material to create a new material. Let's leave this white and let's add another one, and let's create a new material. Let's call this red. And let's chink this one to, something like this. All right. Now let's go back to the modifier. L et's speak this to one. All right. Now when I speak this to one, the beveled area affected by the material that I added here. So this is the idea to give the beveled area specific material. Face strength, I don't know actually what is this option, and I never find myself using this option, so I'm not going to talk about this option here. All right. Let's see. Now, let's and go to slid. Let's talk about the wood type. Here we have options here. Let's see what they are. Let's go to the side of view, for example, or front of view. So the offset means the oval working from the corner towards the mer. Now we are working with the offset and this is the result of the offset. So this is offset. Here we have another option. Let's tweak this to width and let's see how the widths work. The widths work like this, this calculate need to see the wireframe. The width work like this from the points to this points. This is the width. This is how to calculate the bival. The depth calculating the bival from the corner inside. Like this. This is the difference between those three. You can choose whatever option suitable for you, Let's see what's next. All right, so this is the most important option here we talked about, and don't forget here. We have two option, the edges and the vertices. That mean the ble can target the edges and the vertices. Let's add a new cube right here and let's move it just a little bit here. And let's apply the vel modifier on it, and let's choose vertices. As you see now I can target the vertices alone if I want, and let's increase the segment. You have to optic target the aces and the vertices. Let's add one e here and let's pep and let's extrude this and kick the results. All so this is the Bevel modifier. That's it for this video, See you in the next one. 24. 024 Inset Face command: Hi, everyone, and welcome back. Let's talk about the inset. I have the cube right here and let's step with it mode and let's switch to face, number three, and let's grab one of these phases. Let's start with this one. Inset will help you to book the face inside and create phases around it. If you hit I to activate inset and move the mouse, this is the result. This is how inset work. All right, let's subdivide this cube. Let's select everything tic subdivide, and it to subdivide this again. Let's grab this, hold control and select this one to grab the whole area here, and let's hit I to inset. Now, if I select more than one phase, the same result. But if I hit I again, I can make inset for e phase. Let's re this. If you hit just one time I, this is the result, and if you hit an, you will make and set for e phase. Let's grab. Let's create a new box or new cube. Let's put this right here, and I just need to delete one phase, for example, this one hit x and then F to delete this phase. Let's make another inset here, it I two insets, and now the inset work. Here we have some option when you make in if you hit B from the keyboard, you will activate something call boundary, I going to hit B, and this is the result. Now insets work differently. The inset will work normally, but the site that doesn't connect it to a phase, it will be canceled, and EC site connected to the other phases. It will be inset like this. Now here we have a phase connected to this one. Inset in this area will work normally in the same thing here and here as well. But because we deleted the phase right here, this area will not be inset, you need to hit B to to activate this. Let's see what's the other option that comes with inset. Let's hit I again, we learn the boundary when I hit B, and at the top, we have multiple options. For example, I can hit I. Sorry I can hit to activate the offset. Now we have an edge sliding on the other side of the cube, as you see right here. Let's hit again to deactivate this, and we have the control. If you hold control, you can book the inset inside or outside. So just keep that in your mind. This is all about Inset. It's very important to op and we will use this a lot throughout the course. I will end this video, so that's we'll do it, see you next. 25. 025 transformation orientation: Hi, everyone, and welcome back. All right, let's take a break of modeling, and let's explain some important options here we have in the hero. For example, the list that we have here for transform orientation, let's resent, what are these? All right, let's start with the global and the local. What are these options? First, let's grab the queue that we have here, and let's go to the objected properties, and let's activate the axis. I want to see the axis. And let's speak to the wireframe, just Z from the keyboard to activate the wireframe. S. Now we can see the axis, this x and y, and z. What's the difference between global axis and the local axis? Each geometry you add inside blender, it has its own local axis. For example, the cube that I have here if I rotate this cube like this, I rotate like this, just hit R and R again to rotate three like this. Now you will notice that the axis of the cube are changing. As you see right here. And the axis of the word, they still fixed, and they didn't king. These axis, I mean, the y here and the x and the z to the top, you cannot move them, you cannot do anything for them. They call the global axis. You cannot do anything for them like rotate them or anything like this. But objects or the The axis of the object, you can move them, like what I did here to the cube, I just rotate the cube, and the axis of the cube follows the cube. Each umetry you add here inside blender, it has its own axis, and they call the local axis. For example, this axis of the cube, they called the local axis of the cube. If I rotate this cube to the x, if I had g and then x, now I can move the box to the x axis or the global x axis, y? Because the option here is switched to global. The same thing, y, and z as well if I had g to the z. If I want to move the cube according to the local axis, the x and y, and z that you see right here, you need to swit this two local. So I just switched this to local, hit G to move, and now hit x. As you see now, the box is moving according to the x axis. The same thing, y, gyn Z, Z. This how to axis the local axis. Now, if I swag this to global, I can swa this to global, and I have the ability to move this to the local axis, and I'm going to show you this next trick. If I get the x, for example, now it's following the global axis, but I can hit x again to sweak it from global to local. The same thing to the y GY, now global, y again, now local. All right, g the z, now global, z again, now local. All right. So this is the global and this is the local Local The local axis is very important because, for example, let's add monkey head here and I just want to give you an example here. This is the monkey head. Let's take this up just a little bit, and let's go to the solid. Let's go to the front first. Let's delete half half of it. Add to jump to the X ray and the crab half of this, you can stick to phase, number three, and the crab half of this and x F to delete it. All right. If I add one of this modifier and I will explain this later, the mirror modifier let's is it right here. Mr modifier working according to the local axis, because now the mirror modifier mirrored the site right here. As you see here. Mor modifier working according to the local axis because if I want to rotate the head, I rotate the head. The mirror will work correctly without any problem because it's depend on the local axis of the monkey head. So this is the benefit of the local axis. Let's delete the monkey head, and see what we have here. The normal option. This option is working in the mode, if you activate this, let's activate this, and let's activate the gesmoer in the move and see what we have, or I select this. Let's hit ts r to rest the rotation. Reset rotation. I just need to activate the screen cast. I just forget it. Where is it? It's right here. I think I can put it right here. I think that's going to be better. Yeah, that's cool. All right, let's sit and to get rid of this right panel. Let's try to understand what is the normal. I will tapit this mod and I just need to rotate. L t of this option for now. For example, maybe I can delete this ge, and Now we have this face. Inside global option, the axis will still remain at the same. For example, this is the z and x and y. Okay. Let's take this to normal to intercen with this option. As you see now, the gizmo is following the direction of the face. Now I can move the face, add the right diction if I want, and I'm going to add another geometry here. Let's add, for example, the monkey. Al right now we have the monkey. Let's tap it mode and let's select any phase. As you see the Gizmo is pointing out from each phase you select. Okay, so what's the benefit of this option? Let's take quick example just to understand what's the benefit of this? Let's add, for example, a cylinder and let's scale it, make it small and hit S to the z to scale the Z. Let's make it big just a little bit. And let's rotate like this. Maybe we can move it and put it right here just to take a quick example. Maybe we can, We can hit control eight to the scale. All right. Now we have this tube, and we need to bush this phase further. Let's go back to the global first and let's stab it and let's slob this phase. Now I need to bush the phase that I have right here at this direction perfectly. If I use the global, I cannot move this to the right direction because when I move it, I will take it up or forward, and I will have some problem. Especially if I make this add an H right here and less bivalent, just to make the example clear to understand better. I will have to d this to COVID and separate it. And what I will do is I will give it some extrusion like this, something like this. Let's just a little bit, make it bigger. All right, now let's go to the front and let's grab this pipe and let's jump to the mode. Let's select this face, and let's go back to one, and I want to move this face to this dam perfectly. Let's try to do this. Let's see the result. I will try to move this from here. All right, sorry, I just need to delete the We have Gs here. I just need to delete them. Control X to dissolve them, and we will learn all of that later. Don't worry. I'm here just to give you an example. All right, let's tab again, and let's scrub this face, and let's go to the front, and let's try to move this correctly. It's very difficult to move it because as you see now, this pipe is moved away from the cover that I have here, this one right here. So that's not going to work. So there must be a way to move this face to avoid this problem, and that will be a with the normal if you activate it. So let's activate the normal. Now I can move the face correctly without any problem. With the help of the normal. So this is one of the benefits of the normal option that we have here. All right. Let's see what else we can do here. Here we have the Kimble. I'm not going to talk about the Kimble because most of the users use Kimble and animation stuff. Here we have the view. The view means you when you Pick an object, the z axis always will be point to the screen. Does mean you will move the objects according to the view. If I hit the z, the monkey head will go towards us and far away from us. Here we have the cosor. When you active this, does mean the gizmo will follow the direction of the three dorsor. If I hit If I hold heft and right click to boot the three D coorsor right here. Now we have now the gizmo is tilted according to the darken of the three de coorsor. So that's mean the Gizmo will follow the three D coorsor, in anyway. Alright, so this is the transform orientation, and we will take too many examples in the next videos, and we will model a lot of stuff, and we will use most of these option to understand those more and more. So that we'll do it for this video in CNX. 26. 026 transform pivot point: Hi, on, welcome back. Let's talk about that transform wood point. Here we have inside this list, we have five options here, and let's talk about them. Let's start with the medium point. It's the default choice here. When we select any umetry and when we rotate it, for example, you notice that the umetry will rotate according to the center point or to the organ dot that we have, the yellow one. Let's move the three d cos a bit away here. H to end right click to right here. The organ dot is here, This one here. If I duplicate this, and if I grab those together, let's activate the Geismo to see the result. Now, you notice that the Geismo is centered between those. Let's duplicate those again here, and let's grab them all. Now you notice that the geismo become in the center between these boxes. All right, let's grab those four and hit HD, and let's put them right here and let's duplicate those as well. Something like this, and those as well right here. And let's grab all of these boxes, and let's see what we will get. Now you note that the gizmo is not in the center between these boxes, but the gizmo it goes to the area that has more boxes. This is how median point work. This option make the gizmo go to the area that has more geometry and more vertices as well. Because if I grab one of these boxes, for example, I grab those, and let's put those right here and hit D and let's move those here as well. When you grab them like this, it will be in the center because here we have a balance. But let's jump to the edit mode for those, and let's cot to the top, and let's scrub these boxes, hit D to duplicate them. Let's scrap them all like this. You noted the same scenario, the Geisma will go to the area that has more vertices in this time. So this is how it work. In the object mode, the Geisma will go to the area that has more objects, and inside edit mode, the gizmo will go to the area that has more vertices. As delete all of this, and it ft A and let's add the ender cube here. Let's start with the bounding box, and let's duplicate those this cube sorry, and Let's put cubes here. Something like this. Let's scrub them all. When you activate the bounding box center, the Gizmo always be in the center, and I'm going to show you how it work. It creates a box around these boxes, something like this, and it will center the Gizmo inside this big box. You can't see the box, but this out work. Here we have three D coursor. When you activate a three d coosor, the three d coursor will be the gizmo. For example, if I switch back to bounding box, if I rotate, the rotation will be always from the center and the scaling as well and the movement If I see this to three d coorsor, the three d coorsor will be the vote. If I put the three d coorsor right here, the gizmo will follow it because the vote is the three d coorsor. Now, if I can rotate according to the three D coorsor, I can scale according to the three d coorsor, is the three d coorsor. Here we have individual organ if I activate it, each box will rotate around itself like this. I I scale the same thing. And here we have the active elements. All right. What is active elements? Let's sec those boxes. When we select anything, any geometry inside blender, you notice that we have orange color around it. It's a pris orange color. If we hold heft and add another gumetry to this one, for example, this one, you notice that this color now become darker as compare with this one. Here we have difference in the color. This one is dark, and this one is brighter. The brighter color call the active element. Keep that in mind. This is work in the object mode and in the edit mode. What I mean is, if I taped the edit mode, if I am in the vertex, if I hold to and di select and select this, this vertex will be the active element because it's brighter in the color. Let's start out. Now, the gizmo, if I swing this to active element, the Geisma will work according to the active element. If I grab all of these boxes, Where is the active element? This one right here. It's the active box. That's mean the gizmo prioritate this to the z. This box, the active one, will be the center of all of these. If you want to e the active element, just hold heft and pick anyone, will be the active. If you hit Hit and click this again, you select, select it again, will be the active element. That's will do it for this video and Sx. 27. 027 Snap 1: Hi, on. I welcome back. In this video, I need to cover the snap menu. Or at least start with the first one is call increment. I will go to the top of you and let Zoom back guess a little bit. And I will grab the cube and move it. Hit to move, now the cube is moving. If you hold control, you can activate or you can access the snap. Hold control to activate it. Now, as you see now, the snap the snap is working, and the cube is moving based on the grid increment. If you zoom and guess a little bit, you will note that the grid is subdivided to these small, tiny squares. If you hit g to move and hold control, you will note that the snap now working according to these small squares. All right. If you hit key without holding the control and moving, for example, the cube right here. And from this point, I will hit g key and hold control to move this. Now the snub is working correctly, but the snub is not snap or let's say the cube is not sn to the grid line. So keep that in your mind. When you activate this option, the cube will not work according to the grid line, but according to the grid increment. But if you want to snap the cube to the grid line, you need to activate the option we have here is called absolute grid snap. This activated, it to move, and now as you see, I can snap the cube to the grid line. What if I duplicate this cube, let's duplicate this, and let's put one here, one here, one here, something like this, and let's grab them all, and let's snub them to the grid and make sure this one is activated, it. Now, as you see, the cubes moved away from the grid line. If you have more than one cube, you cannot snub them to the grid all of them. You need to snub one by one. But here we have p of option, let's activate active elements. In this case, I will grab all of these boxes, but this box right here is the active. A y because the color here is brighter of the selection. Now let's hit g key to move them all with this option activated. Hit ge to move. Now, I can snap the active box to the cord. Let's make this one the active, hold he and make it active, hit ge and snab it. I can now snub any box, but I need to make it active even if I add more than one box. Let's take this back here and let's tick this two median point. Then working in the object mode in the edit mode. For example, I taped the edit mode, and let's go to vertices number one from the keyboard. Let's go to tra mood, Alt Z, Let's scrab these vertices, and let's hit to move them. Now I can snap them. I can grab those as well and the key and snap them like this. Just keep that in your mind. Let's top out and let's turn off x ray mood. Here we have the vertex snap, let's activate and let's see what is this. Here we have a bunch of options. Start with the closest. Here we have plane I added here just to explain how this will work. All right. Now the vertex snap is working. Let's hit to move this cube, and I will hold control and I will move this cube to this vertex right here and let's see what's going to happen. As you see now, the, the bottom vertex of the cube is snapped with the vertex of the plane, this one snapped with this one. All right. How do this work? The closest option here, that's mean when you move the geometry to any vertex, a is not the closest vertices. This cube, if I move this cube to this vertex right here, That's mean this vertex that I have here will snap to this one. Let's move this cube, and let's see what's going to happen. Hit Q to move it hold control, and there we go. What's going to happen if I move the cube to this vertex? I mean the cube to this vertex. Well, that's mean this point right here is the closest one to this vertex. The snub will be like this. And move it, and hold control and there we go. This is the vertic snap. This option will snap snap the vertices or is depend on the vertices of the object. Let's activate the the center. By the way, before I activate this, if I duplicate the cue cou time like this. Let's sec up those and let's hit g. Let's snap them with this vertex right here, hold control and snub them. The same scenario. Keep that in mind. Let's delete those here. Let's go to this option is called center. Let's this and see what's going to happen. Hit g to move and snub it with any vertex, for example, this one. If you activate the center, that's mean the Now you can snap the objects according to the organ dot that I have here. Let's move the cube here and let's make some king. Let's activate the organ, and let's move the organ.it away from the cube. Let's turn of this and let's see what's going to b. Hit g to move and snap, as you see now, the organ dot snapped to the vertices. You can say this option mean you can snap the organ dot to the vertices. So right click, sit organ organ to geometry to make it in the center again. What if I duplicate this table time like this? Now let's make the snap, hit key, and let's snap them to this corner. Now we see something different. None of these points snap to this vertex. That's because the median point is activated. All right. Let's go to this overlay meno, and let's activate, sorry, not this one. This one, the viewpoard gsm and let's activate the move to see what's happened. Because on the median points. Now the median point of these three boxes is right here. Because of that, that we see the snubbing acting like this. What can happen if I duplicate those, for example, and duplicate those as well and make them as a group right here. So let's trap all of these and let's crab those here. A where is the median point. The median point now is right here. The median point biased to the area that has the geometries or more vertices. Because this area right here, Because here we have more geometry. We see the median point. It's close to them. All right. Now if we snap those, the snubbing, you will see what's going to happen, Hit key and hot control, as you see now, how the snap is working. Let's se grab all of these and delete them and those here as well, grab them and delete them and let's bring this key hot control and snap it and there we go. Let's see what else we have here, here. We have the median option. Let's activate, and let's see what's going to happen. Hold and snub it. The same thing. I'm going to show you what does mean. Let's scrub this, and let's hit d to duplicate it. A three, for example, here, let's those, and let's duplicate a couple of times here. Now them all. The same thing, hit key end, sorry, deselect this, hit key end snab it. The same thing that we talked previously, this option how work, it will grab the umetry from the medium point and it's not the center point. Let's take another example to understand that more in the edit mode. Let's sec those and let's delete them and sec those here and let's delete them as well. Let's bring this cube and put right here, right. Now, if I come to the edit mode and hit eight, select all the faces, now you see the gs mode is in the center. If I hit key, Now, this is how it work. This is the medium point of all of these phases. Let's hit control Z. Let's make small king to to see what's going to happen. Let's secar this phase and right click and subdivide it. So I just subdivided this phase. Well, what that means, here we have this phase has more vertices as compared with the other phases. So we have one, two, three, four, five, six, seven, eight, all of these vertices, right? Okay. Now hit a to see what's going to haven. Now you notice that the gizmo is moved up cat a little bit. Why? Because we have here in this area more vertices. What's going to happen if I subdivided this more radical subdivide. Now hit eight, select everything. Now you noted that the Gs more went up because this area has more vertices. Now if I hit G to move and snub it. Now the snabing is working differently as compared with the firest example. Well, now if I added cube another cube, let's add this cube here and let's tab hit A and hit kube to snub it. The stabbing not for this cube is working differently because all the phases has equal number of vertices. This is the median point and how it's work, radically organ to cumetr. Even when I move the organ to the cumtry, does put the organ.in the center because the area right here has more vertices. In this case, let's cure this option, or into the center of the mass to put it exactly in the center of this volume. Let's grab this and delete it. Here we have the active. Let's see what's going to this option. Hit key and let's move it, and now we have the snapping work in the center, but duplicate this 23 boxes. As you see now, this one is the active one. This box right here is the active one. It to move and let's snap this. Now, as you notice, the active box you can snap the active box only. Let's make this one the active and hit to snap. I think we got the idea. Active object can be snapped on these vertices. Let's see what else we have here. Let's go to the e snap. Let's go back to closest. I will grab this cube and hit key to move it. As you see now, I can snap edge to edge, the closet edge to the target edge. For example, I have this cube, and I need to snap this cube on this ge that I have right here. In this case, this edge here of this cube, it's the closest edge to this one. This one will snap to this one. All hit g to move. Hold control to snap and there we go. The same thing. Here we have opin centers activated, it key and snub it, to snub it in the center. The same thing similar to the verte, the median, the same scenario and the active, the same thing. Let's go to the pace option, T the same snap with options here. If I hit key to move, now I can snub the face. I snub the face on the face. Hit key to move and there we go. This how to work. I will move the scope up just a little bit. Now I want to snub it on this phase. We because the close is activated. If I snap this, all that's mean is this phase is the closed phase to this one, so they will be sn. Hit key to move hot control and there. Or at least activate the center. I think the same thing. Hold control working according to the origin dot, and the media and end act the same thing. Here we have the volume. Let's add the sphere here, a to A and let's add what we can add here. Let's add up sphere. Let's see grab the cube and let's make it pick, something like this. Let's see grab the sphere. Now I'm in the tray mood, it ge to move and hold control to snap this on this face. Now as you see the sphere is snapped to the center between between this phase that I have here and that phase that I have on the other side. This depend on the view. If I snap this from this angle, let's delete this plane or maybe we can move it. Let's move the cube and the sphere, and let's put them right here. All right. Let's take out of the sphere. I will snub it from this angle, it to move and hold control and there we go. Now now the sphere become in the center because the snap is the bend on the roof and the floor of this cube. If I snap in this area in this angle, let's see what's going happen, it to move and snub it right here. Now the snubbing is working on this area alone. This side, small side, and this one as well. All right. Here we have the center. That's means you will snab the geometry in the middle distance of the egg, it to move the sphere, hold control. Now I can snub it here in the middle. And keep in my two sick to center to make the snap working according to the organ dots. All right click and there we go. By the way, don't forget here, we have here we have segments. By tap, I will find here that I have sigment. So what I can do, I can delete this, maybe I have sigment here, the same thing. It's delete those. Let's add another queue. Let's move this right here and make this s, something like this. Hit g to move. Now I can snap this to the center of the edge or to the center of the edge of this plane, the same thing, scale this. This one is g perpendicular. Let's see how this work. Let's go to the top. Let's see how this snap is working. If you activate this snap, this will snub the selected geometry on the edges, but the angle should be 90 degree. For example, if I snub this circle to this edge right here, it should be 90 degree angle to activate the snap. Lets see what does that mean? I will hit you to move and hold control. All right. As you see now, I have I have 90 degree here from this point to this point. Can I snub this the same selection to the vertices, Iga control z, a couple of time. Let's move this this sphere to this side. As you see, I cannot snap this to this vertex or even this edge because if you draw a line from this selection to this ge, here the angle is not 90 degree. Because of that, the snub is not going to work. Even if you put it right here, the angle is not nine degree or the side. The same thing. But if you snub it like this, it will work. Keep that in mind. The angle could be nine degree. What's going happen if I move this vertex a little bit like this? Let's draw a line. Now if I take this and snap it, the sn is not going to work like this as similar to the first time because now the angle is not 90. But it can work like this because now I can get nine degree from here. Let's take this and let's see what's going to happen. Hold control, move this. Hold control and snap and there we go. I think we got the idea. This is the perpendicular. Here we have the same option. Now we learned all of this option, but with each option, here we have another option inside. For example, the face has three option, the edge. The volume has three option, and all of the other choice has just two. I will end this video, and in the next video, we will discuss the other option. That's we'll do it and see next. 28. 028 Snap 2: Hi, everyone, and welcome back. I need to com believe the Snap tutorial. We have some option right here, comes with all of these choices. Let's try to understand what are these. For the fast choice here, the increment, the absolutely create snap, we understand what does that mean? Let's jump to the vertex. Inside the vertex, here we have backface culling and align rotation tangit. Okay. Let's understand with that. Here we have the plane, and here we have the cube. Let's take the cube down underneath the plane. All right, Let's open this menu and activate phase or in take it to under send something. All right. We learned that the phase has each phase has two side, the blue side and the side, and we call it normal. One of these sides would be visible to the camera, and the other one would not be visible to the camera. So now, this red side would not be visible to the camera. Okay. This side If I activate the snub, if I activate this oc here, I cannot snub the umetry on the back side. Now, if I hit g to snub, the snub is working fine without any problem. But if I activate this oxy phase culling, I cannot snap the cube on the side. But on the normal side, on the front side. But on the back side, I can't. So this is the benefit of phase culling. Here we have a line rotation to tangent. That's mean when you snub the geometry, it will be aligned with the darken of the vertex. Let's add CO sphere here. Let's kale it just a little bit like this and let's move it here. All right now, I didn't activate this, and let's snub the cube to this. Let's see what's going to happen. Hit and hold control to snub this to the vertex. As you see when I snub the cube, keeps the rotation. I mean, it doesn't affect the snubbing doesn't affect the rotation of the cube. It will still like this. But let's move it a bit right here. If I activate the align rotation tangent and snub this, the cube will be aligned to the direction of the vertex. Because each vertex here has direction. It means, for example, the vertex right here, the direction of this vertex like this. And this one like this. I think you got the idea. This is the benefit of this option. If we go to the, we will find the same thing here, the face, the same thing, but we have inside the face, we have another option. Sc project individual element. Let's take the cube. I will aligns the rotation and it to move the cube right here. Let's take this down. If I act if I snub the cube to the face, hit ge and old control, it will be snapped to the face, normally without any problem. If I activate align rotation, now I can snap the cube and the cube will take the direction of the face or it will be affected by it. If I hit and snub this right here, how it works like this. Align to the face. Okay. Here we have another option, scale project, individual element, let's activate it, and let's make some teak into this plane, or maybe we can add another plane just to take a quick example. Let's move this right here, scale just a little bit. I just can extrude some edges here, something like this. And Let's get this pass to take this up just a little bit like this. A sd like this. I will grab this cube and put right here and maybe take this up, gz and scale it up. Maybe make it a bit smaller. I will duplicate this he d, and then have the cable time to duplicate it like this. A let's grab all of these. Okay. Now if I I will leave this not active, and I will hit to move and hold control to snub this. As you see, all of them will take one doc when I snub them on any face. So they will be connected like this. But if I activate this op right here, let's go to the top view, for example, and let's hit key and hit snap and confirm it. Ecumetry, will take different darken according to the phases that I've snapped on. This is the benefit of project individual elements. If I jump to the volume here, we have snap PL object, I don't know what does that mean and what's the benefit of this option to be honest. The same choices are exist in the center and the perpendicultor. This is all what you want what you should know about the snap and throughout the course, or in the future videos, we will use the snap and you will understand why we need the snap and how to use it. I will end this video, so that's well look for this video and see you next. 29. 029 Modeling Level 2 Subdivision modifier: Hi, on Welcome Back. Welcome to the modeling level two. I collected images from Pinterest, these images. We want to learn how to model these object inside these images. I'm not going to model all of them, but the most important images because we need to learn new skills here. I got this image. I bought it inside blender, and I need to learn how to create this TV. But before I start modeling this TV, we need to learn new modifier, because I need to use it here, it's called subdivision modifier. So, let's get into that. Let's minimize this like this, and learn what is this modifier. Okay. Let's add, for example, monkey head here and let's move it, for example, right here. Let's give you example to understand this. As you see, the monkey head is is low ly. Lobo, I mean, there's not geometry here. If I go to this obvious properties and activate wire frame, you notice that I don't have too many geometries or Hes or vertices because of that, it called low. Okay. Let's go to the modifier properties here and the list open the list and choose the subdivision surface this one. Now, the monkey had becomes smooth. If I turn this on and off, you'll notice the difference here. All right, this modifier makes the cumetry smooth. Physical smooth notes not fake and smooth. For example, if I hit hift D and move this right here to the side, and I will delete the modifier, just to give you an example. And I will turn off the wire frame from here. I will hit right click and had smooth. Now, the monkey had become smooth, but the geometry still loboly. As you see, here we have vertex and this big face here. And you notice this very lob. And if you compare this with this one, let's turn of the wireframe. This one has become hy poly because here we have more geometry. This is the difference between physical, smooth and fake smooth or head smooth ase here. All right, let's delete that one. We don't need it. Inside, let's go here. Here we have the level viewboards. If you increase this number, you will get more smooth restless. Hit this arrow to Swak to two. Now, the number is multiplied. Let's swing this 23. Now it's become very very smooth. You can cring this up to four, and you can push it to five, six, but keep in your mind If you make it too much smooth, that's going to affect the arms of your computer. And as you see now, it's become very, very subdivided. Look at this small geometry, and that's going to slow your viewboard. So just keep that in mind. Let's speak this s two, for example, that's enough. Okay. Now as you see it becomes smooth, we need to understand and learn what's happened. Okay. Let's add plane, and let's hit and move the plane, for example right here. All right then let's tap. Let's make somewhat tweaking. I will hit number two to jump to edge and grab this g, hit E two to extrude, for example, and e to extrude it up like this, maybe extrude it like this. And I got shape like this. I just need to understand what's, what this modifier doing. And I will tap out. I will add the modifier above this and let's see what's going to happen. All right, open the modifiers and add the subdivision surface, and let's see what's having. Alright, it's become smooth. As you see, the corners become smooth, and the harp edges here, they become smooth. If you go to the front, I can see it from here. You noticed that the arb it was like this But when we add the subdivi sub divigan modifier affect this angle and give you something carefully like this as you see. So this is how to work. Let's activate the wireframe to see the edges here. And let's go to the modifier, and let's turn off the optimal display because I need to see an a the edges that this modifier added. All right. So these are the new edges. So, this modifier makes anything sharp, make it curvy. This is the idea. As you see here, the monkey had, if I grab it and tap to the edit mode, you noted that the old shape still exists. If I jump to vertices, if I grab those, for example, and move them, you noted that I still have the ability to move the old geometry, and this is the result of the subdivision surface. Notice right here when I grab these vertices. The result is very harp, as you see, but the modifier make it curvy. Like this. You can say it's like a cake, all the geometry and now it's become like a cake for the result of the subdivision modifier. Okay, so now we learned that this modifier makes everything smooth, but we need to learn something new here. Let's tap out from the monkey head, and let's see grab this one, and let's tap to the edit mode to see the old geometry. All right. So this is the old, and this is the effect of the subdivision modifier. Al right now I got the old results and the new one. I want to make this area a bit tight. I don't need this big curve, this very big. I need to make this curve something very small like this. Or like this. Notes like this. All right? How can I control that? In this way, we need to add edges. They called support edges. All right? If I want to get a result like this, I mean to add vertex here and vertex here to make this area very small, and if I do this, the curve here will be very small. Because of that, I will got sharp angle. Let's see that in action let's hit control r to add a, and right now I added one here. If I push this a notice the curve, notice what's happening here, Now this become very small. If I put this edge even up, this area will become very small, and the subdivision modifier will calculate this area, and it will give you very small curve as compared with the result before. So move this up, let's move this right here. Let's add another one, control here, and let's move it as well here, and that's what we got. All right. Now, we made this very harps and increase the number of the subdivision to make it very smooth. And let's turn off maybe the wire frame for now to see the result. Or at least compare this corner with this corner. What's the difference? This corner has two edges close to the corner. Because of that, I got sharp results or sharp. Let's say the curves become very pid sharp. But here, the curve is very big Y because we don't have a support edge. So keep in your mind, there's something called support edge. You need the support edges to control the physical smoothness of the subdivision modifier. That's the most important concept here. I will hit control R again, and I will add here and see how can I control it. Control R here again, and let's put this a little bit right here and now become smooth. Even for the curve, this one right here, I got this because this vertex right here doesn't has a support g. So if I added one like this, I will make this big become very small right here. And let's see that in a control r, and add one, and there we go. That's very nice. I notice something here we have a bit of citrate goes to this diakin. You notice that the curve is you feel it's like goes to this diakin citrag, just a little bit. Why does been because this vertex in the corner has very close vertex on this side, but it doesn't has a close vertex on this side. All right. If I added one here, another vertex, this will be balanced, this curve here, this area. So let's see that. Control r, and let's add one here, and there we go. Now it's balanced. I have strach here, again, control r, and there we go. So keep in mind there is something called strake. You need to make it to add extra edges to make it balance. So this is the Modifier and this outwork. Here in this area, notice that I have Citra goes to this darkin, and Y because we have vertex right here, but we don't have vertices on the side. If I added one right here, for example, I will fix this is. So let's do that. Control and add one right here and there we go. It is very nice. I tab out now. Amazing, very smooth, very beautiful. All right. Let's make something here. Let's gum to face, hit number three. Let's grab this face. Let's hit I two inset, and there we go, I got the inset. All right. No something here. I made the insight, and I added extra gumetry here, for example, this phase, this phase, these vertices, right. But if I tap out, I have nothing. If you have a flat surface like this, and if you added any vertices in the flat surface, they will not affect the heading of the subdivision modifier. And we will take example to understand that more and more. So let's go back to tab to eight mode. I will hit E to extrude this and see the results, what's happened. All right. Kick what's happening? I extruded this, but kick the results. I got something similar to sphere. And why that's happened? Because here we have four vertices, and they are not supported. Because of that, the result will be like this. But what's happened if I added a like this? What do you think what's going to happen? What's going to happen is this curve will go and become a pit harp like this. Let's see that in a control r and let's add here and there we go. And what's going to happen if I added a vertex here or here? All right? If I do this, the result will be like this. Kick this out. It will be like this. All right? Let's see that in Akin, control, and let's do this and there we go. That's right. Control R again and let's add one here to support the site. And I have a curve here in this area. If I add the here, I will fix it and make it tight, Ctrol R and add right here. All right. So now I got something nice. As you see here, we got this vertex and this one very close to it. So the result here is nice, but to this direction, we have strach here. Okay, we need to add vertex here, vertex here or ge is here to fix this strake that goes here in the center. All right. Control R, and let's add one here. And control, and let's add one here as well. And there we go. And now let's stop out. All right. Very nice, very beautiful. He try to click and hit the smooth to make it very smooth. Cool. Very cool. This is the subdivision modifier and this is how it works. Let's go back to the modifier again to see what we have here. We have two option here it is called Cat Mol clark, and here we have the symbol. The atm clark will give you this result. It it will king any corner to something smooth like this. But the the symbol mode here will not do this. For example, if you have a pa or if you have something like this, If you have something like this, and if you activated this, it just can add edges. It will just subdivide the meh without, make it smooth. Let's give you very small example here. Let's grab the monkey head, and sea this back to one. I am in the cat clark. I will speak this to a symbol and there we go. Let's turn this on end off and see what a subdivide the faces without giving me any physical smoothness. I cring this up to two to three to four, I got nothing. The face will be subdivided. That's it. All right. Here we have two options, the level vieboard. That's mean the smoothness that I will go here in the viewboard. And here we have the render. The render level mean the smoothness in the render, and here the smoothness in the viewboard. If you cring this to four, for example, The result, you will see this just in the viewboard, but not in the render. I the render, you will see just two. If you cring this up to three or four, you will see it four in the render. This is the idea. Let's scring this pack 22. Here we have an option it's called optimal display. It will show you the modifier in action. It will show you what's going on behind the scene. If you turn this off, you will not see the geometries, you'll just see the big faces of the original M. Alright, then, so that's all what you want to learn for now for this modifier, and we will take too much example, and we will use this modifier a lot, and you will understand it more and more. Okay, so that's we'll do it and see you next. 30. 030 Modeling Level 2 modeling the TV: Hi, everyone, and welcome back. Okay, let's see how can we create this TV. I started with the new scene, and I just subleed the view and added the M here in the image editor. And let's make this a bit smaller. Something like this. Let's start with this cube. Hit number one to go to the front, Hit G to move this cube up almost right here. And I think I need to scale this to the Z, the cube, or tap to the edit mode and go to X ray. Strict vertices, crab these vertices and G to the z and take those down just a little bit. Something like this. I think that will work. And yeah, something like this. Let's take those bag and move them to the y G Y and let's push them just a little bit like this. All right. Let's take that of the x ray t Z. And I think I just forget to activate the screen cast, move this maybe. I don't know, maybe right here. All right, Let's clo this panel hit in. All right. Now let's go to the face mo hit number three from the keyboard or used from here. Grab this face, and I will use insets, it I to make some inset, and let's book this face inside just a little bit, something like this, and then hit E to and book this pa maybe right here for now. Yeah, something like this. All right, cool. This phase, I don't want this phase to be attached to the umetry. So in this case, I will sublat this face and make it out of the group. It P to activate the spread menu and us selection or hit S from the keyword P and then, now this phase become out of the group. Tab out and the grubs alone and tabin. Now what I need to do is, I need to add the subdivision modifier that we talked about in the previous tutorial. Tab out and let's go to the modifier list here. Add the subdivican modifier to this e and scan. All right, this is the result. Now, this increase the number of the level 22, think that will be fine. Let's stop with the mode and see the g and see the results. Now I need to I want this right here. I want this air to be tight a little bit. What that means, I need to add on the side, something like this and on this side. Here, I will ad control r, and I will add right here, and one right here on the side. And there we go. The idea, what's happening is, we surround the subdivision in a small area, not in big area. Here on this side here, we have a bit of stretch to the center. We need to add right here and one right here to support the site. Hit control, and I will add one in the middle, he to leave it in the middle, and he control be to eval it and bev this. But I will got a problem here. All right. This edge is stri, is not this one. This one is tilted a little bit, but this one is straight. In this case, what I can do is, I can go to the edge, hit number two and hit, click to grab this one, and then you can slide it. We need to learn something in you. Hit G and G twice. If you hit G, you will slide the edge. After that, now I'm sliding the egg on this edge. On this one. I'm not moving this edge by the ye alone. If I hit ye, I can move this edge in three way. But if I hit ye again twice, there's something different. After that, I need to align this edge, I need to align this edge with this one. I need this edge to take the direction of this one. Hit twice to slide it. And then hit E to align it. Now, if you noticed, I have two points, one point right here and one point right here. With that mean, that's me now with this age is aligned with this one. When I hit E. If you hit F, you will flip the alignment and this will be aligned with the straight one. So let's see what's going to happen. If I hit F, it will be flipped and align with this. So it F again to flip it and push this up right here. I'll click on this one, G wise and then E and take it down, something like this. All right. Now I got this result. Let's check them now. We have stretch to the center, something like this. That's mean we need to add here and here as well. Hit control r, and add one in the middle, and then control b to be volt and s volt like this. Something like this. I think it will work or maybe I can scale this p. Yeah, I think this is better. All right. The result is not smooth, so I will try to click and then head smooth to make it smooth. And here on this side, I think everything is okay. Let's see what else we could do here. Yeah, the result is close and nice. Maybe I don't know, maybe we can grab these edges, I'll click and then top to click and we scale them back and those as well, I'll click, topic click and scale those to the z. Something like this. Okay. Now the result is nice. Now let's work with the screen. Now I need to give this screen a bit of, something like this, and this side as well. The Q this. Grab this scran and tap to the edit mode and hit lick the phase or just go to the phase and just grab it. Then hit writeli and subdivide, and repeat that t r to repeat this again and again and again. I think that it. Let's grab these four fase here in the middle. Let's go to proportional editing and let's activate the sphere and let's activate from here. Hit e to the y, and move it just a little bit, until you got nice curve. Make the circle of the proportional editing a bit pick and move this to the y. You can control the radius by rotating the wheel of the mouse. This one is nice. After that top out and then hit key and take this inside, push it back. You notice that I have some edges here. I need to push the edge of the TV, tap and turn off the subdivision to grab this edge. Go to Hg mood. I'll click on this one. Hit G to the Y and pk this pike. Sorry, turn off the proportional editing, D's forget that, and it g to the Y and take this pike inside. All right tap out, active the subdivision surface and there we go. Okay, Maybe I can push the screen forward or maybe I can leave it like this. It's very nice. Right click head smooth, to make it smooth, and that's very nice. That's cool. Let's see what else we can do here. I will grab the TV and tap to the edit mode, and let's select these faces. I want to bring the three decorsor on this surface. Let's see grab all of these faces, and then add heft S and's coorsor to selected. That we'll bring the three decorsor to the selected phase like this. Tab out. Now I want to create a cylinder above this Hft A, and then add a cylinder. Cylinder is very big. Let's go to this meaning open it. Let's k the vertices number to 12, maybe, and thats hit S and the scale make it small like this. In the front, if you like to the Z and scale to the Z, Z again, something like this, and move it up to the z, maybe right here. Okay, now, control A and ably scale. That's very important. Tap to the edit mode. Go to vertices, swik to x ray to grab these vertices. Because if you not if you grab these vertices without x ray, you will not grab them all from the front of view. Keep that in mind. Anyway, x ray, grab those and then excite from the x ray. Again take those down just a little bit. Something like this. With these vertices selected, S and scale them, yes, a little bit. And then hit I to ins, something like this, and move this up G to the z, and I again, and g to the Zs a little bit, something like this. Scale it. The edge, this one of the edge of the piece. I'll click on it, rabbit. You can go to the wireframe, Z to jump to the wire frame. Guess crab it, and then just give it a small amount of beveling control B and bev it and add the three maybe. Let's go back, Z and go to the solid or guess Z alone. A that's cool. Maybe I can grab these faces. Go to face, number three, grab this one. It control plus to grow the selection, and it g and take this down just a little bit, something like this. All right, tab out and nove this other subdivision surface on this. Open the list of the modifier, other subdivision surface, and increase this 22 maybe, and now it's become smooth. Right click the smooth, and there we go. That's very nice. We combate this. Maybe we can manipulate it just a little bit. We can tab and decor this in the middle and grow the selecting control plus, and it key to take this up maybe. Now, we shrink the selectin control minus and take this up just a little bit as well, something like this. Very nice. Now let's see how can we create these small antenas? I will go to the front and let's add a plane, right click and choose plane. And I need to rotate this plane on the x axis, so hit r to rotate and then e x to rotate on the x and then hit 90 from the number and then enter. All right. I will scale it and make it very small and hit let's put this temporally right here. Control I apply the scale. Tap mode and grub one of these vertices, for example, this one, sti to vertex mode, and then control I to flip the selection control I to flip the selection. After that, hit x to open the delete menu and Qs vertices, delete all the vertices and just leave one. So now I have this vertex alone, this one, it g and move it, and you can move it. All right, let's start with this vertex. Hit E to extrude and I will extrude it like this, and now I got this g. Grab this vertex, hit end, extrude this down, and then extrude this to this dar in and extrude this down. And this is the hat I got. L et's trap those two and hit ke and move them just a little bit, maybe right here. Let's vl those. Hit control shift, not control B because control B to vl the ge, but can shift B to vl the vertices. Let's pivle those like this. Let's grab this one right here, control shift B to bev it. Let's piv it like this. All right, that's cool. Now we got this result. Let's see what else we can do. Now I need to use a new modifier. But before we introducing the modifier, I just need to make sure of something. Let's go to the object properties here and let's go to the axis and activate the axis. Notice that when I rotated the plane, the first time, the z roc goes like this with the wide arch. That's happened because we rotated the plane on the x axis. H need now to correct the local axis of the scape. I need to reset it. This case, its control A and apply rotation to correct the axis and now the axis is correct. That's very important because this new modifier that I want to use, you should correct the axis to get correct results. Now let's go to the modifier properties and let's open the list and let's use modifiers called C When you use the screw, this is the result. This is what's going to happen. Here we can manipulate the angle. I just need you to understand what's happened behind the scene. The scrum modifier use the organ dots. Let's turn off the axis. The scrofi, use the organ dot and rotate this shape along this organ dot to give you something like this. 360. Right? What I just need this result. I don't need to manipulate this number here. When the result is finished, we got some problem with the heading, as you see, we have black area to fix this just activate option right here in the normal open the normal menu and calculate order to fix the heading and there we go. Now we have one problem. The antenna is not similar to what we have here. This one is very thick, so let's make it a bit thinner. In this case, I need to control the origin dot because the chromodi file rotate the shape the origin dot. In this case, go to the option and activate the origin, and now I can control it, it key and move it to the x axis to get a result like this. This is nice. Maybe I can control this I can just change it just a little bit. I can go to the front tab to the edit mode. Let's crab these vertices of the shape and key and move them like this. Something like this. I think that's going to work, or maybe I can arab those as well key and push those down like that. That's very nice. Tab out and turn of the origin. Now I got this shape. Maybe we can make this e bit taller tab again to the moot carbs vertex, it to the Z and push this down just a little bit like this, and there we go. Okay, let's go to the front again, and let's rotate this. Hit arter rotate it. You can rotate like this. But before that, I think I can apply the screw. That's it. I don't need the modifier. So go to this arrow and app or you can hit control, I control A right here, and the modifier B applied. Let's rotate is just a little bit like this and hit key and move it and let's put it in the position. I think it is very big as combre with the TV in this case, alt, make it very small, it key and move it, and let's put this right here. And if you think that it should be a bit taller, you can make a taller. If you like, hit, let's put this maybe right here. I tap the mod grab these vertices, and then I need to book these vertices to this dark like this. Let's see how can we achieve this. All right. I will slide these vertices, hit get twice to slide them like this. But if I book those on the opposite darkin, it will be stopped like this. In this case, when you hit get twice, hit to book those further on the same darkin like this. There we go. Very cool, tub out. Let's go to the front, it heft D to take a CB on the side and then control to activate the mirror axis. Sorry, the mirror command and then hit x to quote the axis, and then move it right here. By the way, you can he right click and chose mirror if you like. All right. I need to make them close to each other. Okay. Before we do that, I just forget something here. I got this hole here in the middle. I don't want it. Tab, and go to the edge it number two. It click on this gap here, and you can hit F to fill this area with big face like this. The same thing this one, tab out and crab this, and rotate the wheel to o, I click, and then F to fill this area. That's it. Okay, let's grab this one with this one. I just need to book them to the center, I can grab the first one G and move it right here, and this one as well and move it right here as well, and that's done. But there's another technique if you like, you can grab this with this and scale them to the x to the center. I S to the X and sc scale them like that. But if you scale them, you will distort them. That will cause a problem. In this case, there's something in we need to learn inside the option menu is called location. If you activate this option right here, Now you can scale the objects and push them to each other or away. And that's not going to affect the geometry and not distort anything. That's happened just when you activate the location. Let's take example here. Let's shift A and let's add Q and let's move this cube right here. Let's maximize the view, control space. And let's hit D. Hit D, take a B to the x, and then to co time, something like this. And let's turn off the location. Grab all of these boxes and then hit S to the x, and now I can scale them. But as you see, the cube is become thin. We have distortion here. If I activate the location and scale them to the x, I can push them to each other without distorting anything. So this is the difference. I delete them. I don't want them and turn off the location, and let's go back here. All right. That's cool. Now, let's add the legs of the TV, F to A and let's add cylinder, is very big. Let's increase the number of the vertices, let's add 20 maybe, and hit S and make small and go to the front to the Z and take this down right here. And scale even more. Then control I like the scale, tap to the edit mode and let's grab these vertices. A Z, and the grab those, hit key and take them up and those take those down to the zero level and scale those a little bit like this. Maybe we can put them a little bit on the x. Now we got this result. Maybe I can grab those and scale them, make them a bit bigger, and then exact of the X ray. Let's put this on the side. Let's go to the Image and let's see what we have here. All right. Grab this hit key and move it right here. Something like this. I don't know, but I think this leg is very small, as compare with this one here. I will hit S and scale, make it pick and in the front, I will grab the whole TV and push it up to the Z, maybe right here, and the grab this leg and take it down. Right click smooth, and I just need to isolate this leg alone to work on it. Hit slash, from the am Bad to isolate this alone to work on it. Isolating object is very important thing. If you want to work on the screen alone or any part, and you don't need the other geometry, just hit slash to isolate it. And I think you can find the local view right here, it's called local view, the bad slash. So view and then local view and choose this option, or you can hit slash from the Nabat We don't need to, Isolate this. We need to isolate the grab it. It's slight isolate it, and let's make some beveling, tap to the edit mode, and you can go to the edit mode and bival it, or you can add the vl modifier if you like, as we learned over the list add the bevel modifier, and let's chang the amount. Hold it and move the slider back. We just need very small amount of vling. Let's add maybe two segments, and let's activate the wireframe to see what we have here. A, this is the result. Let's go back to the modifier, and let's activate the harder normal to correct the heading. But as you see, we have warning here tells you that you should activate the auto smooth. Here you will have the auto smooth and the object data properties just activated in the normal. There we go. Now, turn off the wire frame. We don't need it. All right. Okay, now let's hit again to exit of the local mood, and let's grab this leg a shift d to CBs, and let's add one right here. And grab this, hold to grab this to add it to the selection. Then H D if you want to take another copy on this side on the y, H D and take copy right here, and mirror them on the x axis, right click, mirror to the x and there we go. I think they are in the right position. Okay, that's it. We done. It's very easy and fun to create, and there we go. I will end this video and see you next. 31. 031 Modling Level 2 Quads, Triangles and N Gons: Hi, again, welcome back. This video, I need to talk about the three type of faces inside all of the three D software. All right. Let's start with the I will delete this cue and let's open this panel because I just need to move the securing cast a little bit, maybe right here, and then hit to close it. Instead three the software, we have three type of fases. We have the triangles, and we have the quad and we have the gon. What's the difference? If you want to create a face, let's delete this. If you want to create face, you need three vertices. Vertex number one and two, and three. If you've got three vertices, you can create phase, like this. Now I have a phase here. What if you have four? If I have four, I can create phase as well. We can link between these vertices, he is to create a phase here. This one is called triangle phase, this one call quad phase, and we have another type of phase, they call it gone, gone that has the phase that has more than four vertices. This call triangle because it has three vertices. This one called quad because it has four vertices, and if you have a phase has more than four vertices, they call it gone. For example, he like this, If we link ages between these retices, this one will call gone. Inside the three D, you should always have or you should always work with quod. If you use subdivision surface, if you add it on any geometry, it will give you always quod. When you work with the quad, always, you will get very correct shading. But if you work with triangle and gons, the heading will be bad. But in some situation, the heading will be correct and acceptable. Let's take some example. Let's add the cube here. All right. This cube, if I typed to it mood, And let's go to the vertices. This cube is made of quad because this face has four vertices and this one as well. And all of these phases. Because of that, we call it quad. But what if I create an egg connected a egg from this vertex to that one? All right, let's do that. I will grab this and they grab this, and I will hit gay letter to connect these vertices and there we go. Now, this one become triangle, and this one become a triangle. All right. The triangles is not necessary to have a shape like this. Maybe it could be like this, the normal shape, or it could be like this. Face like this, that's cult angle as well. It's not necessary to have accurate cube like this or this one. Keep in mind the colt angles because it has three vertices just three. Let's move the cube just a little bit right here, and let's add, for example, cylinder. Let's take a look here. Let's activate the wire frame for the cylinder here. Note that all of these sites are quad. This is this one is quad, y, because here we have just four vertices. One, two, three, and four. This phase, we call it quad. But what's about the big phase that we have right here? It has too many vertices here. All of these are vertices for this phase. This one on. This one. Let's add another umater here, let's add con, and it and let's move this right here, and let's see the con. Let's activate the wire frame for the con. The con doesn't has quad faces. Ts triangles. These These faces are triangles because all of them all of them have three vertices. This one vertex in the top, and here we have two, three vertices called triangle, and it has one big face here gon face because it has too many vertices. Let's grab this, or let's start with the cube and let's add subdivision surface above it. The result is normal. But here we got a problem because we are going to give you an example. I will hit ft D to take a COV. Let's put this one right here. Let's top with mood and let's delete this u that we added. Go to, grab this hit x to open the delete menu and delete the edge. Sorry, I just forget something, it x and dissolve age, not deleted. Dissolve. I need to remove the age and leave the phase exist. Dissolve. All right. Now let's add more segment before we convert the result, and this one as well, let's to three. Let's tic head smooth, and this one as well head smooth. All right notice here, when we added one g here, we have some distortion. But here the result is okay. So the heading here is not quite perfect because we have three angles. Let's go to this example number two and less subdivian surface above it. But let's say a co first. Let's add one right here and let's grab this and less subdivian surface above it. Let's curing this up to three maybe. Let's turn of the wire frame. We see what we got. This is the result, radically head is smooth. The result is very bad because we have a big on in the top in the bottom because of that we didn't get very result. But if I crab this one, and, for example, if I taped the mode, and let's go to the face, let's arab this face, hold have to grab this. And then hit I two inset. Let's make some inst like this. When I made the inset, now I got Qatz phases around this edge. And, let's see what's going to happen if I add the subdivision modifier. Let's turn of the wire frame. Now this result is a bit better as compare with this one because we added one c right here. Let's go to this example. Let's add some extra ages. For example, I will add one c here in the middle and it can troll B to be v s pv right here. Like this, exact. Let's do the same thing here, Tatro r, and control to be vent and let's do the same thing like this. As exact, can I compare the two results. This one definitely is better because we pushed the one inside. So the one become here inside in the flat area. But for this example right here, the one reeked the edges because of that, I have this distortion right here. Keep in your mind always when you want to a subdivision modifier, and you have gone faces on your umetry. Keep the gone on the flat face. If you do this, you're not going to you will not have any heading problem like what I have right here. So I have the gone, is right here, but it's inside surrounded with faces with the quarts and it's on flat area. But if I hit key and take this up, I will see the distortion. So this is how to get nice shading with goes and triangles. The same thing, triangles. If I grab this face and let's go to face menu and let's choose options cal triangle. Triangulate the face. And there we go, we have too many triangles here. Let's tab out the same thing is still smooth because the surface is flat. Okay, now, I just need to explain something. Let's ti plane here in the middle and let's stop to the t mode. Let's go to the vertices. So as we learned, this one is called quad. What if I grab this vertex? For example, if I move this vertix right here? What you will call this? Because it has four vertices, it's still equate. What if I hit key toys and slide the vertex right here? It's no triangle. It's still equate y because we still have the one vertex here, and three vertices over there. This one is equate, because it's faced with four vertices. What if I grab this edge and ritic li and subdivide this edge? Here we have now We have five vertices. What we will call this face. This one was become gone because it has more than four vertices. This is the idea, don't worry about the shape of the face. Just worry about how many vertices that the face has. Okay, that's we'll do it for this video and see next. 32. 032 Modeling Level 2 face, vertex and edge flow,: Hi, everyone, and welcome back. In this video, I need to talk about the topology flow. I get the cube right here. I want to delete it. Just hit x and then hit D for delete or delete button. X D. There we go. I will add plain let's top to the let mode hit top and let's subdivide it, right click and subdivide, and subdivide this so Shift R to be the same process and there we go. Okay. Let's go. Let's stick to vertex mode number one. If you hit Alt click on one of these vertices, for example, this one here on this edge, you notice that I can select this entire edge loop without any problem. The selection will go start from here and go to this darkin and to this darkin as well. But because we don't have vertices on the side, the selection will go just like that. All right, the school, as you see, the selection goes st right without any problem. Until a trick this vertex, but there's a question here. What's problems that make the selection stop? Okay, I just need to give example. I will grab this vertex, for example, and I will hold shift and left to click here to grab this, and I will hit gay to make a connection here. And I will repeat this again. I'll click here and bomb. See what we have here. The selection, the same scenario goes to this diction, but stopped right here. Stop right here because blender doesn't know which d the selection should go to this dion or this. These kind of problem or connection could stop the selection loop. If you want to avoid this, you can grab this edge and just hit control x to dissolve it. I mean, delete this edge, and there we go, you can select the same edge that problem or the control z, or you can grab the first one and then hold so let's go to the vertex, grab the first vertex here, and hold control and grab that one to avoid that. The same thing with the edges, let's go to the edge. If I hit out click on this one, the same thing because we have one g right here. I mean, because we have two triangles here, we can't go straight. The same thing, we need to grab this, hold control grab that to select the egg that we want. If we switch to face, I can hit Alt click, and it will stop right here because of the same problem. But for this one, there is no problem, and this one as well, there's no problem because all of these are, if I added one vertex, go to the vertex and I will grab this and this and rat click and subdivide. I just added one vertex right here in the middle. Let's switch back to face, and I will hit Alt click and there we go. Now, as you see, you don't see any edges here, but the selection stopped right here. If you see something like this, keep in your mind that we have a vertex exists here in this area. You should find it. To find it, it's very easy. Yes, strict to vertex, grab this vertex, control x to dissolve it, and that's it. Now you can select the pace without any problem. How to change the diagen? For example, when I hit all on this edge, the selection will go like this. End like this. Let's do that. As you see the selection goes to the end. But what if I want to chang the dia, I want to make it go like this as well. Let's see what we can do. We need to tug this side. If I want to chang the di, I need to stack to vertex, grab this one and grab this one and make a connection between the J to make a connection. After that, I need to merge this vertex with this one and this one as well with this one. A let's see how can we do this? What I can do, I can select this one as a first vertex, hold it, grab this, and then hit M to open the merino and a la to mark this vertex at the selected vertex. The same scene right here, grab this one as the rest. And hold here to grab this one, the second one, and then hit the Mic menu and choose at last and there we go. Now, if I go to phase and I click, I I changed the direction of the selection. I can do the same thing right here to push the direction to the site. Let's do that to learn something in new. Let's target this phase. I will switch to vertex mode, grab this with this and K Sorry grab this with this K. There we go. Or if you like, there's another technique, you can switch to phase and go to the phase, and here we have triangulate phase like this, and you can add one right here. Anyway, let's connect some vertices, go to the vertex mode, number one, corrupt this. There's another welding technique, if you like. Here we have a small icon right here, as called automrg. This is a very nice icon, you can activate it. I will activate it, just hit lefti click on it. Now if I push this vertex to this one right here, they will be merged automatically. You have two options. Either you hit G and G twice to slide this vertex to this one, and there we go, or you can go to the snap menu and activate the vertex snap, and then hit G to move to move this in a freeway and hold control and snap it right here. So you can do this or this. Let's grab this hit key and hold control to stamp right here and there will go. Now let's see what we got. Let's go to the phase, and let's sit out, click and there we go. Now we change the direction of this. So this is the way how to change the direction. The most important thing to keep this selection goes without any problem. All of these phases should be quad. If you check all these phases, you will discover that all of these phases are. And if you add any vertic right here, for example, I will add one here. If I go again to make the selection, it will stop right here because we have here gon. Because here we have five vertices, four, I will grab this control x to dissolve it. This is the the flow of the polygon and and how to select faces without any problem. You can use the control, for example, if you don't like that, grab this one hold control, grab this this, sorry this is another way to select. Now, I need to this option is called connect vertex path. The shortcut for this option is J. I need to explain it. This command helped me to make connection between vertices and I can merge two vertices, for example, by grab them and it J, and you can connect more than one more than two vertices. For example, let's grab this, and then hold H to grab this. So I just selected those. Now I will it J note that I made a connection between them. And maybe I can grab this and choose this one right here. And the HJ, as you see, I made a connection between them. This tool will help you to make connection between the vertices and it will cut the other edges automatically. You can select more more than two, for example, let's select anyone, for example, this and hold H to grab this. Maybe this, this and that vertex right there and it, and let's see what's going to happen. All right. As you see now, we got an edge between all of these selected vertices. And the nice thing with this tool, this tool put the order of the selection in consideration. There's another command here is call a new ge phase from vertex. The shortcut for this tool is F. You can, for example, grab this vertex and this vertex, and you can hit F to make a connection between these. But this result is different as compared with the gay tool because this egg doesn't connect it to this face. Keep in your mind that this new tool is different as compared with the old one. I mean this one. Because the egg that I have right now is not connected to the face. Let's grab this new egg and it control x to dissolve it. Sorry. Grab the edge alone and control x. Here, control x doesn't work on this edge because it doesn't connect to the phase. In this case, hit x and delete the edge alone. I just need to give you another example, let's go to the vertex mode. I will grab this vertex and hold to grab this one and I will hit F to make a connection between them, or maybe not this one, let's grab this and hit F. Now, we made a connection. Note that we didn't have a vertices here and here as well because this edge is above the faces and above the edges. I just create a new edge between this vertex and that vertex, but this age doesn't cut the faces and the edges. That's the difference between the F and the J. Let's take another example with the K. Let's dera to grab this hit J, the difference here. Here we have a vertex, but here we didn't have any vertex as compare with this one. The g that we create with the J, you can hit control x to dissolve it, but this one, you cannot dissolve it with the control x, you need to hit x to open the delete menu and delete the g, and we will explain this menu later. Okay. You can use this tool in another situation. For example, let's switch to phase number three, and let's grab this phase and hod control and have to grab this one to select this area. If you want to make all of these phases one phase, If you want to king all of these faces to one phase, we just need to hit F, and all of these edges inside will be deleted and you will have one phase. This is another way to use this tool. For example, let's see grab that phase, hold can grab this hit F. As you see now, I made them one big phase, and you can use it to fill area, for example, I will grab this and hit x and delete the phase to delete it. Now I have a hole. You can go to the edge and hit Alt click to grab this edge. And then hit F to fill it. So you can use it to fill it to fill holes, or you can use it to delete the edges and the vertices and create one big phase, and you can use it to connect two vertices. Let's go to the vertex mode, and let's, for example, sar this vertex, hit E to extrude this cobble time. Like this. Now I just extrude these vertices, and I want to connect this with this one. So grab this and grab this one and hit F to make a connection. Here, you can use the F to create a new age between these two vertices, but doesn't work here in this in this case because we don't have any face. I can use F to create f here and now I can grab all of these vertices and hit F to create a big phase right here. If you didn't select all the faces, for example, I will grab these four, hit F to create phase according to the selected vertices. You can grab this vertex and this one. Now if I hit F again, to create a new phase and connect it automatically to these vertices as well. A F and there we go. I just need to give you another example here. Let's see what we can do here. I will grab this edge, hold control grab this, and then hold to select a new one and then hold control, to grab that one. We just selected these edges and I will hit shift d to CV them right here and there we go. Now let's go to the vertex. We got these two lines, and we have vertices. I need to fill all of these vertices with faces. Let's start with this one with this vertex, grab this with this, and then hit F to create right here. Now I will grab those here. Or those four vertices and hit F to create a big face. Now, I just need to grab this with this one and hit F co time to fill this area with faces. You can hit F co time to do that, or you can hit F and hold it to create these faces automatically. This is another way to use the F tool. This is very powerful tool and nice and we will use it a lot here in the modeling section. So keep in your mind, if you want to connect two vertices and you have a face, you need to hit J because if you use the F tool, that's wrong. You need to J to connect two vertices. Grab this. If you have something like this, and if you want to fill it, grab those four vertices and hit F or grab if you want to just make connection, grab those hit F to create H. And in this case, J doesn't work. Y because we don't have a phase right here. So that's all for now. I will end this video and see you next. 33. 033 Delete and merge menu: Hi, Veron, welcome back. In this video, I need to talk about the delete menu. If you switch to the Edit mode, it tub from the keyboard. If you select anything here and hit X, here we have delete menu, and here we have punch of option we need to talk about. Let's start with the vertex. Let's jump to the vertex mood, and let's scrap any vertex here. For example, this one, I will hit X to open the delete menu, and I will choose the firest option, skull vertices. We go. The vertex that we have here connect to four phases. Because of that, here we have four phases deleted. If you choose two vertices, this what's going to happen. You can grab multiple vertices here and delete them like this. Let's go to the second option. Here we have the edge. Let's select the edge. Let's select this vertex with this vertex. I mean this edge, and let's set x and delete the edge. Check what's happen. This edge right here was connected to this phase and this phase. Because of that, when we delete this edge, we lost the face right here. Hit x again, let's choose phase. Let's pick a phase. You can select four vertices to select this phase or you can come to the phase mode and select one phase. Hit x and Qs phase. There we go. This option deletes the phase you selected. You can choose multiple phases. For example, sc those three h x and the phase to delete them. You can hit A and delete the whole um if you like x and then F like this. Hit A twice two D select. Here we have only g and phase. Let's see how this work, it will delete the edge and the faces. For example, let's grab this face. If I choose this option right here, I will tell you what's going to happen. If I choose this option, this phase will be deleted, and these four edges will be deleted as well. Because of these edges connected to these phases, like this, these phases will be deleted as well, this one and this one and this and this as well. It X and delete and face and there we go. What's can happen if I choose two phases? If I grab this and let's delete them in this way. If you do this, you will lose these phases, and this one, and all of these and this one as well and this one. But this edge will be remained and you will not lose it. Because these edges that we have here are connected to the to these faces. Let's see that in action hit X and s on edge and phase. And as you see, these edges have not been deleted. Let's hit control Z, and let's come to this option all phases. Let's select punch of phases here, hit X and s O phase. We deleted the phase, but the edges will be remain without be deleted. You can Que multiple faces and delete the faces and leave the edges, and the vertices as well. Here we have another scion it's called dissolve. Let's see what is this. Let's go to the vertex with hit number one. If I grab this vertex and hit delete vertex, you will lose the vertex and the faces that connected to it. But if you choose dissolve, you will lose the vertex and the edges that connected to it, but it will leave big go right here. Like this, and it will ruin the topology of the umetry. I mean, as you see here, we have round curve, and this round curve exists because of the position of the vertices. If I delete these vertices in the dissolve way, I will lose these vertices and these edges will be strike, and this phase will not be curve anymore. Let's give you example, sic these vertices and hit x and dissolve vertices. As you see here, we have weird phase right here. So to simplify it, This option, the dissolve will delete the vertex and the edges that connect to it, and it will leave the phase. All right, let's go to the dissolve edge. Let's select one edge, for example, this one, X and dissolve edge. As you see, we deleted the edge without touching the face, this how it work. You can select edge loop like this and dissolve it. That's going to work, you can select multiple edges and dissolve them. This, and there we go. All right, here we have dissolve phase, will delete the phase, let's grab one phase, and let's hit dissolve phase. As you see when I hit disolve phase, nothing happened because if you want to see the effect of this oxen, you need to grab multiple phases. For example, scrub those four, and hit X and dissolve phase and there we go. To remove the edges and the vertices inside them. This how it work. By the way, you can hit control x to do the same thing. Or you can grab multiple phases and hit F from the keyboard to make them one phase. Here we have three option. You can hit control x to make the, the same result, or you can multiple phases and hit F to make these phases one gut phase, or you can hit x and dissolve phase. The all three way lead to to 21 result. Here we have limit dissolve let's see what this hit sift A and let's choose plane and let's move this right here. Let's top the mood and let's go to the vertex. For example, let's make a connection from I don't know. I just going to activate the NF tool and I will talk about the NF too later. Let's make a cut from here to here, and let's hit Enter, just to give you an example. I need to dissolve this edge. I mean, I need to remove this edge and I need to maintain the sequre shape. To achieve this, I can hit x and choose dissolve edge, and let's see that. We got problem here. We lost the vertex right here at the corner. Because of that, we got this triangle. That's means this open doesn't work, but we can use the limit dissolve. Limit dissolve will remove the age and keep the vertex in the same position. This is the difference. Let's see what we have here. We have the collapse, the collapse edge and phase, will collapse everything in one vertex. For example, let's go back to the sphere tab. We can grab multiple edges or vertices or phases and hit x and collapse. Group them in one vertex. You can hit a select everything and hit x and just collapse and collapsem like this. This is the delete menu, and this is how it works. All right now we understand the delete menu. Let's jump now to the merge menu. Let's see what we have there. You can let's select anything, and let's hit M to open the mayor cumin. Here we have options. We have the first option at center at Cursor, collapse at first at last n by distance. Let's see what are these options. If I grab two vertices and hit M to open the mayor cumin, and if I chose a center, these vertices will be merged at the center like this. L how work. This is the first option. Let's hit M again. Here we have at Cursor. That's mean these vertices will be emerged at the position of the three d crosor. If I put the three d crosor for example right here, and hit M and Q's at Corsor, as you see, they emerge at the position of the three D crosor. It again. Here we have collapse. Collapse will move everything and merge them together. If I grab all of these vertices and hit M and's collapse, As you see all of these vertices move to one vertex. And the collapse is almost similar to collapse and phase. These option are the same and the delete menu. Keep in your mind, if you select the vertices one by one like this and hit, you will see more option here. But if you grab the vertices like this and inside the selection box and hit, here you will see less option here. Just keep that in your mind. Anyway, let's see the other option here we have in the mac. Here we have at first and at last. Let's see grab two vertices. I will select this one as fairest vertex, and this one as last vertex. Hit M to open the Mg menu. We have this option at first, that means We will merge this vertex toward this one right here. Let's see that hit and use this one. This is the result. If you graph four vertices and hit M, the same thing because of this vertex because of this vertex was the first selected vertex, all of these vertices will merge with it like this. It and Qs at first. There we go. At last, the same scenario, the last one that we selected. All of these vertices will be marked to the last one that we selected. Here we have by distance, we will mark the vertices according to the distance. For example, let's sc this edge, hold control grabs to select the edges between them, and I will slide the edge, I will hit key twice to slide it like this. Now we have a distance between this ge and this edge. We have a distance right here. We have a big distance between this edge right here and this one right here. In this case, I will grab this edge. Let's grab those, for example, or you can select them all like this. Hrots distance. Here we have this menu pops up. Let's open it. Here we have the merged distance, the number of the threshold. If I increase this guess a little bit, as you see, we have these edges merged because they close to each other as compared with the other edges. So from this slider, I can control this. If I put this further, all the vertices within the range will be merged. As you see. This how it work. One more thing here, I need to cover. Here we have an option is called auto vertices. This option is very important if you want to use it. Let's see how can we use it. Let's go to the vertex mode and let's take up any vertex. Let's activate the auto meeric like this. Let's go to the snap and let's choose vertex snap. If I move this vertex, close to any vertex, it will be married automatically. For example, let's grab this hit key and move it and make this very close to this vertex and hold control to snabit on it. Now it's married automatically because we have the auto merge activated. Now if I hit leftic lick on it to move it, we have one vertex. But if I turned this off, and let's make the same scenario again, let's grab this. H key hold control and snap it right here. It looks like it's one vertex. But if you grab it and move it, you will discover that there are two, they are not merked, because this option is of if you go to the option, here we have the threshold of the automo. If you cring this up, when you make the close, they, they will be mixed. For example, I hit key to move this, and I will move it close right here. It not marks, hit key like this because this distance is bigger than the threshold that I have here. But if I cring this up, for example, to 0.1. Now I will move it close to it, it will be marked because the distance of the threshold is bigger than the distance that I got between these vertices. You can imagine the threshold like a circle. Like this. If you make the number bigger, it will be like this. If if you cr the number, more and more will be big like this. Any vertex within this range, will be mer. An vertex out of this range, will not be me. This is the idea of the h. Let's take this back to let's this to zero or 0.0. Like this. You can merge ge by using the auto mage. For example, if I stick to go and let's slide this ge, it twice and put this ge toward this one. There will be one ge. That's mean this opt right here is not just work for vertices, it could be work for ages as well. That's all for the delete menu and the Mg menu. Anything I will take, I will cover it alone to understand the option more and more. That's we'll do it for this video and CO next. 34. 034 Modeling Level 2 modeling simple house part 1: Hi, everyone. In this video, I have this image, and I need to create the scene inside Blender. I will cancel the vehicle that I have here and let's see how can we start creating this house? Here we have the default queue. I will create this house with dimension. So first thing, I need to go to this section right here is called scene properties, and I want to open the unit set up here, and let's go to the length. The length now a meter, I will speak this 2 centimeters. I like to work with centimeters. Now let's go to the front and push this cube up key to the Z. Let's put this right here. Let's see where the screen cast L et's move this. Put it right here. All right. And let's open this panel, it again. Let's go to the ATM Ls change the dimen here. Here we have 200 centimeter for each side. Okay. Let's assume that this wall is about, I don't know. Let's assume this about if we say that each door is 50 centimeter. So this one is 1 meter, and this one, let's say it's 1 meter and this one as well, 1 meter and half. So let's say that here we have four meter for the sit. All right. So let's go here and let's manipulate the x axis, and let's add here 400 centimeter. And about the heights, let's add at the z axis 300 for now. And for the depth or for the y, let's put this back to almost six or 700 centimeter, something like this. Let's go to the front and let's take the cube up almost right here. Let's work with this. The fair thing that we can start with, let's top to the edit mode and let's go to the face. Let's grab this face. I just need to give it a bit of height, so it to the z and let's put this a little bit. Something like this. And I need to create this triangle. I will hit control r to add edge here in the middle and trite to leave it in the center. Grab this edge alone, hit ke to the Z, and push this up, something close to what you see right here. So I got this. Right after that hit control to add edge, almost maybe right here because I need to create this small room here. So after that, maybe I can move this a just a little bit, it gate wise and slide it. Let's move this right here. Let's go to the face, grab this phase, and I just need to extrude this. But before extruding this phase right here, I just need to make this m a bit shorter as compared with this one with the big one. So hit control and let's add H almost maybe right here, and let's grab this face here and let's hit e to extrude it. Something like this. I think that would work. Okay, now, let's grab these faces, all of them. I think this room is a bit big on the y axis, I mean right here at this direction. I will make it a bit smaller. I will go to the vertex moot and grab all of these vertices in the back and hit key and move them. Right here, I think that will work. Maybe I can erupt those and push them back a little bit right here. I think now the dimension is better. Let's grab these faces. All t have to crab those here, and this one as well and separate them from the house. It P and S two separate them like this. So now we have this cube isolate it from the house. Let's grab this and tap the edit mode. Hit control to add here in the middle. Left to click and then right click to leave it in the center. Grab this H alone it g to the z and move this up, maybe right here, something like this. There we go, now, we have this shape. Maybe I can take this down just a little bit. Something like this. All right. That's nice. Let's go to the face mode because I think I need just to book this to the x axis to x and move it just a little bit. Maybe right here. Now let's grab the roof shift D to take a B and tritical to leave the B in the same place. And then it P P and to separate the roof alone. So now we have this. All right. Make this a bit smaller. Now I will go to the modifier and I will add the solidify modifier. Let's try to manipulate this to see what number that works for us. A here, we have four centimeter thickness. I think we got a problem with the scale, so I will control and apply the scale. That's right. Let's manipulate this. Let's add maybe 15 centimeter and the minus. Let's activate even thickness to make the thickness even. Something like this will work. That's cool. But we got very small. I just need to extend the roof just a little bit at this direction. Let's see how can we keep this. Tap to the editing pot of the roof and the grab these vertices and hold and the grab those as well. Hit twice to slide those back and then hit hold to book those forward like this. That's cool. T Now we got the roof, and we just need to push the roof forward just a little bit. Tab again, grab these three vertices, hit key to the x, and move it just a little bit forward like this. From the side as well, you can go to the x ray moot it Alt Z and the crab these vertices and push them to the x axis like this. Now we got this shape. Now, let's do the same thing for the big room here. Grave tab the it moot and let's select these faces, hold and the crop those. It shift D to take a B and flick to leave the V at the same place at P to open the separate menu and hit S to e selection to separate the selected phase. Now tab out, grab the so phase, it key and move it. There we go. Now we have it here. The same scenario. Let's push the vertices first, t go to the vertex, grab these three vertices, and let's move this to the Y axis, key to the y, and move them g a little bit like this. And from this side as well, I think we can move them, key to the Y, and move it like this. From the side as well. The same thing. I just need to extend them gee wise and move them out just a little bit. You can work with one side, keep twice. Let's work with one side. Let's crab this. Keep wise, and let's push this. Hold out and push it forward just a little bit like this. The same thing for the side, c those z to activate the x ray, and gei, slide them back, hold and push them forward just a little bit. Something like this. That's very cool. A tub out, and let's add the same modifier with the same thickness. Grab this roof, hold heft end grab the roof with the modifier. Then here we have small arrow, open it and use COB to select it. That's means we will co the same modifier to the selected roof. Heat control A and apply the scale to correct the scale, and there we go. All right now, I need to create this small roof here. I will grab this big roof hit H D to take a coop and z to move it to the Z axis, and rotate it to the z hit r to the z, and rotate nine degree hold control to snap the rotation to get exactly 90 degree angle, something like this. H to scale it and make it small. Move it out like this, and move it to the Y hit to the Y. And to the z, move it up, and push it inside the house like this. I think that will work. Maybe I can push this up just a little bit. Let's move this forward. Yeah, something like this. We got a problem with the solidify because we scaled this down. I will hit control A and apply the scale to correct the number. And I will change the number from 15 centimeter to ten and minus minus ten. Hit G and take this down just a little bit like this. All right, cool. I think I can scale it even more because it looks big as compared with the house. Let's make it a bit smaller key and take this up again and book it inside. Now, I think that's makes sense now. Cool. Can troll and the play scale again. Very cool. All right. Let's see how can we create this. The window here. Grab this t to the edit mode, and let's select these faces here. Hit if d to take a V of this and right click to lift in the same place and then Ps to separate them. Now, grab this new CV and delete the soldfi modifier. We don't need it. Just hit this x right here. After deleting the soldif modifier, let's grab these edges right here and hit g to the x. To push this back. Maybe I can grab those and hit to the x and push those right here, maybe. Okay. Now let's sgrab this, hit gewis and slide the just a little bit let Puh it right here. This one as well, ke twice and slide the t out here. You can i pole it. And I think I just made a mistake here. I think I need to push this forward. Hit g to the x axis and move this maybe right here for now. And now let's sg this g with this g and hit E to the z, e to extrude and z to extrude it to the z axis, and take those down, something like this. Okay, now we cut this. Let's go to the roof. Tab and let's see crab the vertices, go to the vertex moot. Al Z to activate the x ray, grab these three vertices and ad g to the x and push them like this just a little bit, and there we go. All right. Now let's grab this. And I think I will isolate it or go to the local mode. Just hit the slash from the numpad to sweak to the local mode. Tell to this mode. Let's connect this g with this edge, grab this with this it F. Il click to grab the three edges hit F. And from the side as well, you can grab those Hrab those hit F. And I'll click to grab the elope and the F to fill it like this. And let's hit slash again to excite of the local mode. Now we got this result. I will accept it like this. Here we have triangle in this area, and I think I can copy this one and move it here. So tab out and let's scrap this. Hit shift D to the CV to the y and rotate 90 degree to the Z axis, so hit R z and type 90 degree. That's cool. And I think from the front, let's move it and centrt and hit to the z and take it. Let's move it right here for temporarily. Okay, now, let's scale this to the y, it S to the y and scale make it very small like this. And control A and do the scale, hit, and move it to the y. Let's put it right here for now timbly. Maybe I can move it later. Maybe I can put this up just a little bit. Something like this will work. That's cool. Let's see what else we can do. Let's create this fence here. Let's add maybe cube. Now, the cube, we have it here in the middle. Hit. To the x and then to the y to move it right here. Or you can hit G and move it put it right here, but it will move in the z axis as well. If you want to cancel the Z axis, you can hit G and then shift z to cancel the z axis and move it to the y and x. It's like you go to the move tool and activate it and grab it from here. The same thing. Anyway, let's put this right here and let's kill it to the Y. As to the y and as to the x as well, and maybe let's hit control A and apply the scale. Let's go to the mood. Tap to the mood. Go to the vertex. Grab these four vertices and in the front, hit k and take those up, something like this. Mb let's go to the Xtra. Let's grab those and move them just a little bit like this. Maybe I can take those down to the z, ke to the z. Control to add a here in the middle, left to click and right click to leave it in the center, grab this, Q to the Z and push it up just a little bit like this. It's a bit thick. You can go to the top hit seven, and let's see garb the side, hit key and move it to the y x just a little bit to gut this result. Add z to exit of the x ray and now, let's move it and put in the right position. Tab out and move it. I will go back to the select box and hit G. Let's move this right here. Something like this will work here. We have, let's see, we have 55 pieces, hit shift d and hit x to it on the x axis, and just move them move this right here, and the left a click to confirmed, and after that hit shift r to re be the same CV, five time, something like this, and take another V d to the y, and rotate it nine degree r to the z axis 90 degree and the er. That's nice. And it's HD to take a COV to the y axis and Heft arc time to repeat that. We got this result. Okay, now I need to create this plan here. Let's see from where we can start. Let's go to the add cube activated and hover over on this piece. Left to click and drag to create a cube here. Almost right here, leave the left release the left click and just move this just a little bit like this. That's cool. Now let's go back to the select box. I think I can make this a bit smaller or leave it like this hit he and move it on the other side right here. It and take it down, and let's see what else we can do. D, take a C to the z, and let's put this almost right here. Something like this. Let's see grab this one with this one, it have D to take CV to the y axis right here, and then rotate them to the Z axis r to the z, 90 degree, and hit enter, it to the x axis and move them right here. You can snub them, hold control and snub it with this vertex. Like this and make sure to activate the vertex snap. Now, I just need to edit the length, tap the mood for both of them, and go to x ray to grab all the vertices on the side, and just to move them. You can snub it like this with this vertex, and you can snub these vertices on this wall. Exact of the x ray mode, we can go to the face to snap this to the face, e to the y and hold control and snap it with this face. There we go. Sw this two vertex again. Okay. We got the ss that's very nice. Here we have the soil. Let's try to add cube here. Tab out, and let's go to add cube, and let's add the cube here in the middle and give it a bit of thickness, and go back to select box, or you can hit shift space and move the mouse to select box. Tab move again. Let's switch to x ray to grab these four vertices, and let's move them. Hit g to the y and snap it with this vertex, to align it with the ball. Grab those on this side, X ray, move those G to this wall, and those here as well. It and move them right here, and those here as well. It and move them just a little bit here. That's cool. Maybe I can grab this face and take it down, keep it dizzy, something like this. Cool. All right let's see how can we create these trees? Let's add cylinder from here, open it, hold left click and add cylinder. Let's position it. Let's start from here. Left to click and hold and move the mouse. Hold it to make the cylinder perfect. And release the left click and give it a bit of height like this. Here we have too many vertices on the side. Let's go back to select box and let's open this menu of the properties of this of this cylinder. Here we have 32 vertices. Let's take those back to maybe I don't know. Let's add 16, maybe. That will be k, and hit d to take another CB and let's put this above it. And I will tap to the edit mode to grab this phase, hit g to the z, and push it almost right here, and I will scale this. So go to the phase three I click to select this phase loop and hit S to scale them. But if you hit and move them out, it will be scaled on the Z axis as well, but I need to cancel the Z axis. It shifts z to cancel the z axis, and now I can scale this just on the y and on the x like this. That's very cool. Now let's go to the g mode. I'll click on the side. I'd have to click on the side to grab these g loops. Control be to level them like this and rotate the wheel of the most to add more sigment, right here. Maybe I can go to vertex, activate x ray and cb those here and move them up Q z. I think I can take those down, Q z and move them down like this. Let's take a CB. A H D, B, and let's move the new B right here, but I need to cancel the Z axis, hit to move it right here and scale let's make it small. You can hit S to the z and make it a bit tall like this and some the gliss will work. Let's take this leg D and H Z to cancel the Z axis and let's move it right here in the middle. You can put it in the right position from the top of seven from the numpad and it key to move this right here. Right now we got this. Let's see what else we need to do here. Let's create these steps here. All right. Let's the spectrum, and let's tap to the edit mode. I will hit control r to add right here, and I want to align this age with the base. So I will hit E for even and move this down. Almost something like this. And let's grab these new faces. I think I can select those later. But maybe now I can add the small step here. Okay, that's going to be easy. What I can do is, I will bring the three D course right here at this age. So just select this g and hit Hft S and courser to select. That's mean the three d courser will move to the center of this g right here. Or you can grab this vertex and hit Hft S and cos to selected to pot the three dc right here. Tab out Now hit shift A and let's add cube, and let's make this cube small, something like this. Tape to the mode and let's grab these vertices, hit to the Z, and snub it with this vertex to align it. Maybe I can grab those as well. Hit to the z and take those maybe right here. Hit control to add another a here. Go to phase, grab this phase, hit E to extrude it a little bit. And now I can go to vertex mode, activate x ray, grab all of these vertices and move them back. Something like this will work. That's cool. Maybe I can tab out and scale them to the Xs a little bit. That's nice. That's very nice. I will stop this video right here, and I will comple it in the next one. That's it and see you next. 35. 035 Modeling Level 2 modeling simple house part 2: Hi, everyone welcome back. Now I need to create the windows and the doors and all of this stuff. Okay. After that, I will add the small detail and I will come bet the house. Let's start with this big door here. I think I can use this these steps to create the door or I can add a new cube. All right, let's add a new cube here. Hit ad cube here, let's open this menu or this panel here. It's about two meter in the x axis and the YN Z. Z, I will add for now, I will keep it 200 centimeter. But I need to push this up Z, and let's align it with the step almost right here, something like this. And for the y, or for the x, I will add 100 centimeter, something like this. Or I can scale it and make it similar to the size of the step. But I will keep it 100 centimeter for now. All right. Don't worry about the depth, or you can make the depth something like this. Can scale it. Ct and up all the scale and there we go. Okay. Now I get the door, but I have a curve above it. So I will tap the ethmde for this box and go to face to grab this face, and hit e to extrude this. I will extrude this almost right here and switch to edge, grab this edge, hold that edge, and then hit control to val and pv it. Something like this will work. You can rotate the wheel to add more segment, if you like. All right, that's cool. Now let's go to vertex and I don't know, maybe I can cut up all of these vertices and take them down. H key to the z and make the door a bit shorter or something like this. Maybe will work. All right, so we got the curve here. Now I need to cut I need to make a hole here by using this geometry here. This one. In this case, I need to introduce the new modifiers hole. Let's see how this modifier work. First, let's move this just a little bit and align it with the step hold control and snap it with the vertex like this, and now it's aligned on the surface. You can take this out just a little bit like this. This will be okay. And let's tratic and ad smooth and activate the to smooth to to bring back some faces here like this site. And after that, let's grab this room here, the big one, and hit slash to go to the local mode because here I have a hole. And it's very important when you work with Bolin, you need to close all the holes in the mat. So tap the mode, and let's go to the grab these edges. All of them, you can hit out and click and just hit F to add big face right here. Something like this. Then tap out and hit slash two exit of the local mode. Okay, now, this one is selected. Let's secar of the Vic room here, and let's go to the modifier properties, and let's add the bleen modifier. Now we need to pick object to cut this area. So I need to pick this one. Let's go back to this ic room and let's use this y druber and let's pick this ape, and there we go. Now we could have a hole here. After that, grab this one and hide it. There we go now, we have a hole of door right here, but we've got a problem with shading and we will fix this. But now let's hit t to bring back this geometry, and let's step to it. Maybe I can take these vertices down just a little bit, go to X ray and grab those. Actually, I can take those down to the Z, something like this, that will work. Tab outs and S. All right. With this one selected, you can find it here in the outliner, and you can hide it if you like, and the effect will still remain here. Grab this and apply the bulion, modifier, open this arrow and hit a or control A to apply it. And there we go. Now, you can delete this one, you don't need it. But for me, I will hide it. Now let's grab this. I got a problem with the heading here. Let's go to the auto smooth here. And it is activated to fix this and there we go. Now we got this curve. That's very cool. I think I can scale this sterile bit, something like this. That's cool. I can't see I got some problem with the view here. As you see here, we have some blending here. I can go here and activate the cavity. This option will help me to make some depth so I could see something here. And let's switch this from secret to both. Now I can see something. But keep in your mind, if you activate the cavity here, that will make that will make blender a bit slower. Okay, now let's grab the spirom and tap the mood in. I will go to edge because I just need to grab these edges. For example, I can start maybe From this one, hold control and grab this, hold control, grab this, and this as well. Select all these edges. Hit shift D to take a CV, so I just copy this, right click to leave it in the same place, and then P and then S two separate it from the selection. Now tap out and grab this new selection, this one right here. All right. After that, we can hit slack to isolate it to work with this one alone. Tap to the mode for this one, and hit a select all the vertices and hit E to the y to extrude this to the y, something like this. And keep in your mind to kick the normal. Let's close the spanel, tab out, and let's go to the overlay and let's activate phase orientation to see. As you see, we have problems. We have pass with the blue color and phase with, and does not make sense. We need to flip the red color inside. All right, let's tap the mood. And let's go to phase. Let's tc this phase because it's hold have to g this and those here, this one as well and those here. And it alts in to open the normal menu and flip them. And now we just corrected them. Tab out and now to excite, and let's turn of the phase orientation and that's cool. This scale is just a little bit to the Y, but we got a problem when I scale this to scale to the organ dot right here, but the organ dot is a bit far from this cumetre. Well, in this case, I need to rest the three dig the origin dot. He right click and go to St Okin and organ to the cmatre to bring it back. Now scale is to the Y. Maybe something like this will work and push it inside just a little bit, maybe right here. Tap to the edit mode and strict to vertex hit number one, grab those two vertices, hold here to grab those as well, a G to the z and move them down just a little bit right here. All right, that's cool, tab out, and we got this results. Now let's go back to the modifier and let's add the solidify modifier to give this a bit of thickness. Add the solidify and cring this as a little bit. Can add two centimeter. If you've got problem with the scale, or if you don't s you can control A and apply the scale, and there we go. We got a problem with it. So now we have the correct dimension here. Something like this. I just need to create this frame right here. Maybe three centimeter will be enough for us here. Yeah, we got very nice frame. Cool. All right. Let's see what else we can do. We can apply the cyl five for now, control A and apply it. But keep in your mind to put your mouse right here in this area and hit control A. Now let's stop to the edit mode again, and I think now I need to create this piece. The CO can be created. All right. Maybe I can start with these edges here. It click. At have to click, to grab this one as well, gear the Z and move them up almost maybe right here. Now switch to face a number three, grab this, and lt have to grab this face, and I need to bridge them together. Let's go to edge. You can open this menu from here, or you can control to open the edge properties or miniu and chose a bridge edge loop, and we break this. Very nice. All right. If you want to add glass here in this area, you can hit control r to add H one right here in the middle, and then hric click to leave it in the center, with this edge selected, hit shift D to C B it, right click to leave it in the same place, and then P s two separate it. Tab out, grab the sm, tab in, it A, select all the vertices or the ages, and then hit F two fill it with pick pace. Okay. That's cool. After that, tap out and give it solidify from the modifier. To give it a bit of thickness. The thickness goes to another direction. If you hits like to isolate it, you will see that we have a thickness here. Ls exit of the local mode. Now we got a glass here. What about the door itself? I can grab the frame, tab to the edit mode and I can control or to add one edge here in the middle, like this. The same edge I can bival control B and rotate the wheel back because I just need to add two edges like this. Now, let's go to phase, and I will grab just this face right here. You can use this face or you can use this one if you like. But before I use this, I just need to add one here in the middle. Control R to add one. Lift to click and the right click to leave it in the center. Control B just to bev and I will eval it like this. Now, let's go to phase moot, grab this, phase, hold, he to grab this as well. Then shift D to take it as a OB, right click to leave it in the same place, and then Ps to separate it. Tab out and crab this No piece. Tab in, hit A, select all the phases, hit E through those down like this. It g and take those almost to the ground. That's cool. Now, I will hit control r to add one here and leave it. Control r one here, right click to leave it in the same place. I'll shift, click here, to cut this H lob as well. To go to the local mode to see what I did here. Now control B two level this. I write something like this. And maybe Maybe we can add one here and one here as well, to add a hole in this area, and hole right here. Hit control r to add one here, control r there as well. But hold control to activate the snap and make sure to use the vertic snap and snap to this verti this site. There we go. Now they are aligned. You can hit Alt Shift and the click to grab this egg lobe and volt control B like this and grab those I'd click, I'll have to click, to grab those AG and take those down. It's better than you add another egg lobe and align it with the snap. Let's move those right here, maybe and go to face, grab this facelift, grab this and hit control to open the egg meno and chose a break egg loop, or you can go to the egg and chose break egg loop. Grab this, hold, you have to grab this, go to egg and choose break egg loop. And now we got the holes. All what we need now is just to add glass here. Okay to achieve this, I will that control r to add one A here in the middle and leave it in the middle. One here as well, control r and add one here. All right, W this one selected, hit shift and de grab this one as well. Shift D to take them as a B right to leave them in the same place, and then Ps to separate them, and then tab out and de grab the new ages. It slash to go to the local mood slash twice. Let's maximize this control space or a tab hit A and then hit F to fill them with phase, and then you can add solidify modifier or you can hit E and extrude them just a little bit to give them a thickness. But after the extrusion, go and kick the face orientation. And as you see, we extrude these faces on the wrong side. Okay, to fix them, tap to the moot hit A, select all the faces, and then hit Hft n to recalculate the normal. Hft n is different than the ult n. At it is the menu of the normal. Inside the menu or the normal menu, you can find the recalculate normal. Sift N. Okay. All right now disclose this tab out first to enclose the phase orientation in slash to go out. All right. That's very cool. This result is nice. I will end this video right here and I will complete in the next one. So that will do to see next. 36. 036 Modeling Level 2 modeling simple house part 3: Hi, everyone. I welcome back. Let's create the circle window here. Let's see how can we do this? I will select the big room here, and I will tap it mode because I need to grab this age. Hit number two to switch to H, grab this age, and I want to bring the three D cursor exactly here in the middle of this age. To do this, you can hit shift and cursor to select it. HF and curso selected. Now we have it in the middle tab out acid. H and let's add. Maybe I can add a circle right here. Yeah, circle. I need to rotate this on on the x axis like this. Let's rotate it hit R, and then x and rotate degree, and then hit. Is bic. I need to scale it down, make it small, it and scale it like this. Try to compare the result with the image to see. T I need to scale just a little bit and hit to the z to move it down. All right, I will move this forward just a little bit, to the y and move it right here after that tab, and with all of these hes or vertices selected, hit F two at big face in the middle. Now we have big on. It to extrude and extrude it and make it penetrate the room. You can look from inside to see the result here. All right, we have nice penetration here. Let's see what's the next step. Okay. Now I need to use Bolan again to subtract this. I just need to give you a very quick example. To understand Bolan more. Let's add the three d course right here, maybe and let's use a cube here, that's at the cube. And I will have d to this Z. I will take CBA and scale it, make it small. Something like this. Maybe I can scale it like this. I will use this piece as a cutter to cut this cube. Let's make Let's make this penetrate. Let's make this penetrate the big one, right over lab it like this. Okay. Now, I need to select the big cube and add the modifier. And inside Bolan modifier, we have three choices here. Intersect union and difference. I will use difference because I need this small cube. I need this small cube to eat the big one or leave a hole in its place. So select this big cube and use this ye druber and pick the small cube. Okay. Now, this big sorry, the small cube, cut it the big cube. And to visualize this, I will grab this and go to the object properties here in the viewer display, I will switch display as a wire because I need to see the wire. The cube still exists, but I just need to see the wire frame of the cube. Now if I grab this and if I move it as you see, you can see the bulion in action, how it's work. If you scale this to the z, will cut it all way like this. If you rotate it, it again, for example, it's crazy, Mifi's very nice and beautiful. Something very nice. This is the bulifi. We have multiple option here inside the bulion. We will talk about these when we want to use them. For now, let's stick with the difference, and this is the result of the difference. I will use the same thing, the same technique to achieve a hole inside this wall. So grab these examples and hit delete to delete them, and let's grab this wall and the bleion modifier and then pick the circle, this one, this object, and there we go. You can hide it if you like. I don't know where is it here in the outliner, you can hide it. Actually, you can do something if you like. You can hit M to open the collection and create a new collection, you can call it B B O L for b and it's okay. You can add all the objects that we use to achieve the bion inside this collection. For example, the circle right here. So All right, let's grab this and let's pick the circle. Notice here, I got some problem. When I hide the circle, this object, I didn't see any wall here on the wall, and that's happened for a reason, and I will tell you why to avoid it. Here in the overlays, you can activate the pace orientation. The orientation of this object is flipped. The inside phases now become outside and that that's wrong. We don't need this. We need to flip the faces or recalculate the normal. Select this object tab and then need eight to select everything, and then just hit shift in to recalculate the normal and now turn of the phase orientation, tab out and now let's turn of this, and there go we got it. Keep in mind to Make sure that the cutter object has the right normal. We got this. Maybe I can push this deep just a little bit. So let's see where is it, it to the y and push this inside just a little bit and hide it. Now we got the Bulen modifier still exist on this wall. I need to alight, you can open this and alight or you can hover over here and hit control A and it will be applied. What's next? Grab this wall, tap to d let's see what we got. Right now we got all these edges. Let's select maybe the inner edges or the outer edges. Yeah, select the outer edges. Hold shift crops, hot control crops, and hold control crop this one as well, deselect this hot control and deselectlids. We got the circle You can do something accurately. You can use the circle to create the frame or you can hit control up to add one edge. Inside maybe right here and you can switch to face click to grab all of these faces and shift d to take a KV, right click to leave the KV. The same position and then P is to separate from the group tub out. Grab the snoring and add the solidify and ring this two inside like this. Now we got this result very nice. If we got any problem with the scale, hit control A and double the scale, we got a problem with scale. Now the scale is correct. Cool, we got this results. Now's see what else we can do. Let's isolate this to on this one alone, and let's go to the front and let's tap the mood. I can apply the sold if I I don't want it anymore, but tab out and alight and then tap in. Here we have one ech here and one ech there the C, how can I How can I create those frames? All right. What I can do is, I can grab this face this fase and this phase, and has shift d to copy them and right click to leave them and the MPs to separate them. And with this one selected, I can tap and grab this age and it control x to dissolve it, and this phase, and I can scale it to the x axis and make it a bit small, something like this. And I can hit to extrude it up there, and from this side, go to x ray, just to grab this phase, and ke to take this down. Keep in mind to push this back to the y just a little bit. After that, when you combate, make sure that you extruded this on the right direction to avoid the normal problem. That's cool it's blue. Let's go to front, grab this deep, take a cob, and after that, immediately hits r to rotate, but the rotation is not working correctly rotating from the center because the origin dot is not in the center. The gin dot is right here. When I rotate this, the rotation will be according to the origin dot. Fix this cratl organ to the matry. Then after rotate, hold contral and rotate nine degree like this. Here we have some weird things happen. The phase of this piece and this one, intersecting here in this area, and here we have some weird heading, as you see, is called phase fighting as I remember. To avoid this, you can era one of these and just move them just like this to avoid this is. Or at least if you'd like to excite. And now we got this. You can grab the wall and isolate it alone tab to grab this face. Go to phase grab this fase. Hit d to take a CV and move this Vu to the Y. Let's leave it right here temporarily and then Ps to separate it. Grab this one alone and switch to set the origin to umatry, and tab A selected whole phase, it E, just to give it a bit of thickness. Tab out and make sure it is blue. No, it's not. Tab it A and then shift n to recalculate it. Now let's check it. Now let's take this pike, key and push the spike. Let's slice. And take this pack even more, key to the y and push it, maybe right here. Okay. That's cool. All right. We got some issue here with the heading. You see that I can see the edges. The heading here is flat. In this case, right click and head smooth to fix this, and for this one as well, head smooth. Cool, Very cool. Now we created this. What else we can do here? We got a problem with the fins that we created. These planks are very big my result as compared with the planks that I have here. I think I can scale those just a little bit, but let's change the origin dot to put it in the center to make the scale working properly. Yeah, I will delete all of these pieces and them again. I delete and leave this one alone and d to Cob maybe right here, H arch time to add five here. And have d to C right here z nine degree to t the z axis. F the top, you can position it better and put it in the right place, maybe right here. All right. Now t d and move this right here, Hf arch time until you ch this wall now let's push this plank. Key, and let's push those a little bit. Like this, and let's make those a bit smaller top, grab them all and taped mood, go to vertices, x ray activated, grab these vertices on this side and put them. Something like this. From the top, maybe I can understand that better. Key and move those maybe. I don't know. Maybe right here. Grab this with this from the top, it key and move them right here. Very cool. Very nice. Let's fix the tree, grab this, key, H Z to cancel the Z axis, and let's put this right here. That's will work. All right. Now we have more room for the big door that we have here. All right so that's it for this ox. 37. 037 Modeling Level 2 modeling simple house part 4: Hi, Ron. We come back. Let's see what we can do. I think I can create this window right here, and I can cope all of this stuff from the side on that side. Let's select this frame and those here and let's unite the the object, the circle here, and hold shift and the grab it and hit shift d to COB all of those. And where should we go? B go to the top of you, it key to move them right here and hit R to rotate them. But we've got some problems. I don't know. We have this organ of this far away from the group, all right. In this case, I can hit right click, it Og organ two Cat cool and then R to rotate hot control to snap the rotation and there we go. Put this in the center almost right here. You can use the origin dot as a guide and he key to the Z and take those a little bit down a key and push them inside like this. All right. All right. Now what we can do is, let's grab this and let to go to the local mode. Here we have an open area. We need to fill it because if we don't fill it we got, we will got some problem with the bully in modifier. Tap and go to the edge. I click, grab all of these and then hit F to fill this area. That's cool. Sometime when you leave some open area, Bolm mod if I are not working correctly. This is like to jump out of the local mode. And with this big box selected, let's add the bolu let's use the i rubber and make sure that the operation is different and pick this circle grab it and just hide it. And there we go. We have nice and ready window here. That's very nice. All right, what else do we need to do here? Can we create this window here, C can we create it? I can use this circle key and move it right here and let's put it in the position. Ke to the Z. Move it to that y, let's put this right here. Scale and make it small, cant roll up by the scale, key and take it out. That's cool. Now I will tap to move. What I can do is, let's go to phase, select this phase, hold can troll glove this. Maybe right here. Yeah. That's correct. Now hit E and take those down. I need to make all of these ages flat. In this case, this hit like to jump to the lock mood. I can scale those to the Z axis to make it flat if you like you can do this. It S to the Z. And then zero enter, and there we go now we got this plats. These edges, I don't want them. I want to get rid of them. I can hit F to turn all of these phases to big phase. Let's see these phase as well, starting from this one, hold control the crabs, and Hold the cbs and hit F to make it pig phase. On the other side, the same scenario, this hold control grab it F to make pick phase. This is la let's see what we got so far. We got this result. It's very nice. All right, grab this, go to the ble, add the ble, pick this circle and grab this and hide it to see, and there we go. Okay, now grab this and apply the bulion, and let's make some tweaking here. Okay control to add. I think we cannot use the edge loop correctly. In this case, I can grab the outer edge. I'll click Hold have to select this and hold control to crop this and cancel these edges, hold control and de select them like this. We got this edge selected. These edges, H D, CV, P separate them, tap out and corrupt this edge alone. Now what we can do is, I will tap to the edit mode, hit, select all of these edges to create a giant phase, and then hit I to ins this inside. This is just another technique. And then it x, you can delete this or you can use it as a glass Yeah, I think that will work. Ps to separate it. Now we ended with the frame and big phase inside. Let's grab the frame, and let's work with this. Tap to the frame A, and you can use solidify multifier. I think that will be better to avoid the problem of the normal. Let's put this forward just a little bit. Maybe the class, I can give it a bit of thickness and move it to the x axis, to the x puts right here. After that, grab all of these and put them inside to the x Hold have to make the movement slow to x, something like this will work. Now we got this result. We got some problem with the heading radically head smooth and activate dd Smooth. That is very nice. The same thing for this, radically head smooth and activate Odd Smooth to it. Let's see now what's the nest. Maybe we need to create this window. All right. Yeah, we can create those, starting from this Que. Let's have it over here, and let's add ube create one like this. It's not Que vac. But create this object like this, and let's hit shift space and set this two select box, or you can select from here. It is taller than the door, H key to the Z and take it up, something like this, and put this inside, key to the y and make it penetrate the wall. Now maybe in the front of view, it G and move this to the X a little bit, push it to the edge, and hit shift, D, take another b on the other side right here. Cool. That's cool. Grab the wall and go to the modifier properties and add Ben and pick this first rectangle and You can open this arrow and duplicate the modifier again, and in the second modifier, we can let the cube 040 40, and add that one. When you combte, grab those both cutters and then hit and move them to the polen collection and hide them. And there we're going we got this result. After that, apply the modifiers, Haver over here and hit control A, and this one as well, control A, and there we go. Okay, by the way, I can create this one as well, but okay, that's some problem. I can unhide one of them, for example, this one, and I can move it g to the x and rotate to the z axes z 90 degree and positions like this and push it inside. The same thing, grab this add poly modifier and pick this object and hide it if you like, and apply the modifier when you complete. But let's see, do we have another hole here? That's all. I think. Grab this, apply the modifier, the po control here. All right. We have frames inside, let's select the wall tab and go to face, and let's start with this one. You can hit a D, take a CBA of this face and right click to leave it in the same place and then ps to separated. Prab this new new phase, and it's like to isolate the tab to see what we got here. Go to vertex. Let's see how, how many vertices we have four. I will hit control to add one here in the middle. And with this X select, I will control b to v it like this. And maybe I can bevle it or I can do something else. I can grab those two phases and hit I for inset and hit I again for local inst like this, maybe. Yeah, something like this. The p is to separate this. Let's grab the frame. Let's add solidify to it and give it a bit of thickness on the minus, maybe. And the corrupt the key to the y and move it a little bit forward. You can leave it like this or you can give it thickness. That's not a big issue. When you comb, corrupt the glass in the frame, it shifts D and take a B on the side. If you want to make the result perfect, activate vertex snap and move it to the x axis and snub it with the scorer. That's it. Another shift D here, we have the organ dot far away from this cumetr, right click gan to the cumetry, for the glass and the frame, R z nine degree. That's great and position that G to the y hot contral and snub it to the corner. Io this vertex right here. Now push it inside like this and there we go. Now we got the window. Finished. Let's create those pieces here. They could very easy to create. All right. Uh Let's use this tool right here and over here and left to click and hold and move the mouse to create this. Then release the button and just give it a bit of thickness like this. And that's it. Sift the space and move to select box, and then shift D, take a copy right here and one copy here. Shift D and then shift z to look the Z axis. Let's put this right here. Right click origin to the geometry to put within the center R Z t to the Z, nine degree. There we go. We can it better. Something like this. We it forward. Very cool. Now, maybe I can create those. I don't know what to call them. And maybe we can use cube. Let's put the three d cluster right here, hold and right click and put the three d cluster right here, H A and let's add cube, hit S and make it very small and move it inside, hit G to move and have to lock the z axis and move it right here, maybe. Something like this. Okay. That's cool. I think it's pig at S and take it out for this side and this side as well. Let's put this right here, and shift D to the z, H D Z to put this right here. Take a CV and make it smaller and take it out like this, and at this dark as well. And shifts. Maybe I can hit and take this down just a little bit. H D to the Z axis to take another CV and let's put this right here. Okay, that's very cool. Let's grab those three. Hit shift D to the X to take o CV on this side, control M to activate the mirror and mirror them on the x axis, hit x, and then enter, and then and push those inside like this. Very cool. Okay, that's it for this video and see you next. 38. 038 Modeling Level 2 modeling simple house part 5: Hi, everyone, and welcome back. I need to com believe the windows. Let's create this one here and those here as well in the door. Okay. Let's use this tool to create it quickly. I just need to create the cutter. Let's create something like this and just give it a bit of depth. And let's go back to select box. Let's move this right here. I think. And push it inside a little bit. Like that. All right. Let's shift D to take a copy of this and rotate it to the z axis, 90 degree R z, 90 degree, and let's move this right here, maybe and push it. All right. I think I should scale this. I don't know. Let's duplicate this on the other side and let's see what we will go. They are very big. Yeah, let's scale those, but I will use the individual organ to scale these objects on their according to their origin dots like this. Or something like this. Because if you keep it medium point, they will scale to the center like this. All right. I got this nice result. I just need to book a bit away from each other. I will use the scale technique to the y to the Y. But if I use the regular scale, I will got distortion like this. But I will activate the location and scale those to book them away from each other like this. And after that, let's select. The wall. And here we have poll in Modifier still exist on the wall because here we have a window, but I just forget to apply it. Because of that, I lost the hole that I created right here. All right, I just need to create this quickly. Let's grab this ring and let's isolate it. I will tap to grab a new circle from it. So I will grab this sift and to take Kobe and separate it and select it alone. Let's put this away right here maybe and list exits. Now we got this tab to the editing mode it A and then hit F A to select all the edges and F to fill the circle with big phase, and with this phase select it to extrude this inside like this. Let's make sure that the phase orientation is correct. Select A, select all the faces, and then it shift N to recgate it. That's cool. Puh this inside and let's pick the new cylinder. Let's delete the old one and let's pick this. Now, let's move this the new collection to the plein, let's hide it. I need to push it, a little bit inside, e to the x, and push it deep and there we go. All right to avoid any problem in the future, I need to apply the ban modifier. But for now, I will duplicate it. You can sit d duplicate it and I will delete the I will delete the cube or the cylinder that was here. I will pick the new boxes. You can do something. Instead of duplicating or instead of giving each box a new polyifier, you can grab these boxes and merge them, make them one piece. Gas control K. Now, they become one piece. That's means you just need one modifier for those three. So just pick them like this and move them to bullion selection, and you can hide them like this and there we go, that's it. That's very cool. Okay. Now let's apply all the modifier. You can app, control A here and control A here, or there's another option, if you like. You can select the wall and hit control A and choose this options called apply visual geometry to mesh. If you hit this option, everything here in the modifier stock will be applied. So control A, apply visual geometry to mesh, and there we go as you see. Okay. The next tap to the edit mode, and let's select this phase and this phase and that phase as well. Hit shift D, take a CB, right click to leave it in the same place and Ps to separate them, tap out, and let's scrub those, slash to isolate them, and tap to the it mode hit A, and then I just need to add one cut here in the middle for this and this one as well. Another cut here and here as well for this and this one. Go to the face mode hit number three and then hit eight, select all the faces and hit to inset and inset those inside. But I think I got a problem with the scale, you noted that I have variation in the inset. That's not mixing that's wrong. In this case, tab out hit control and ab the scale to correct this issue. Tab in to inset and there we go now it's correct. When you be satisfied with the inset, These selected phase, they will be the glass. Separate them ps and grab the frame and give them a thickness with a solid pi. A bit of thickness like this, and the will work. You can move the glass a little bit forward. Tab, grab these pass first, g to the x and move them just a little bit, and those as well, g to the y, and move them just a little bit. Cool. That's very cool. Maybe you're asking yourself, how I know I should move those to the x and those to the y, because my eye on the floor, watching the axis that I have here and the same time on the gizmo, this one, as well, because of that I know what I'm doing. The set to excite and we can completed the window. That's very cool. Let's select this and d to Cbates, rotated to the Z R z, 90 degree. Again, R z, 90 degree. What's going on? R z 90 degree. I think because I forget the location activate it, I lost the ability to rotate this. I'm going to turn off this. Now I can rotate without any problem. R z 90 degree and there we go. Let's go to the right view and let's put this in the right position, key and move it. Let's put it right here temporarily in the middle in the scales. Move this forward a little bit and key to the Z, take it down, maybe right here. The school control A at the scale, D, take another CB. Let's put this one right here. Maybe I can take another COB shift D to take another B then shift Z to look the Z axis and let's move this right here. And are z, nine degree and move it to the Z, take it down iot bit, and put it in right position, scale to the X giotle bit like this or make it a bit smaller because we will have some overlapping with the wood plank. This result is nice. L et's see what else we can do here. We need to create the door. So let's use this tool again and let's create the door right here. Let's give this a dimension. Let's hit and to open this panel. This is the z axis, don't worry about the depth. Let's see y we need to add maybe. I don't know. Let's make it 100 maybe. And the height 150 maybe, something like this. Don't worry too much about the dimension here. Just make a result similar to what you see here. Anyway, this door looks okay, hit g and move it just a little bit right here. I will use this as a cutter. We it just a little bit inside like this. All right let's grab the wall, the bleion modifier and make sure that the operation is different. Pick this cube and hit, grab it, hit M, to move it to the b collection, and there we go just hide it like this. And the grab the wall and apply the bleion here. Now, let's create the door. Tap with the edit mode, and maybe I can start with this phase here, heavy D, taacob, Ric cleave it in a same place Ps to separate it. After that, select this one and let's bring the three D so bring the organ dots in the middle, right click set organ to umetry. And let's scale this to the y like this and apply the scale, control apply the scale. Tap the mode. Let's maximize this. Tap the mode at we are in the middle and val it just a little bit like this and delete this phase in the middle, sick to face hit F. Now hit these two phases hit A and then hit e to extrude those down like this, I think. Yeah, that's right. All right, that's cool. What else we could do here? All right, uh I need to create this window here. I will add edge right here and one here as well. With this one s elected, hit if and grab this one, and it can throw be to beval it. Level them like this. Control R to add, almost maybe right here and one here as well. Hold control to activate the snap to snap it with this one. Control R, and let's add one here, control r again, and let's add one here and align it with this edge. And let's isolate the door, go to the local view. Go to face, grab this face with this face and go to the edge and use a bridge edge loop. And this one as well, grab this, hold here to grab this, and use edge bridge edge loop like this. That's cool. Now let's go to the edge. Grub the corners. Now let's scrub the corners. You can cru them one by one like this. All shift and big this and big this, and those here as well. A that's cool. Now let's level those corners, control B and level them, and just add some segments. Now we got something round like this. That's very nice. Tab out. What else we need to do here. We just need to add a glass here in the middle, tab control at here, and on this side as well, control r and add one A here. With this one selected, if to and grab this one. It D to take a CV of these edges and right to leave them in the same place and P S to separate them. Tab out, grab these new edges and tab to the edit mode for them, and then A, select everything and then to fill those. After that, I will use the solidified modifier to give them a thickness. All right. We've got some problem here. We let's isolate them just to understand what we have here. The problem is we have one of these phases as flipped, and these phases are not pointing to one direction, so I will turn off the solidify temporarily and let's go to the phase orientation and activate it. Okay. You notice that These phases are not pointing to one diagen. We have one blue one red, so we need to flip one of them. Let's start with the red, grab the face, the big face here and it alt in to open the normal menu and flip to flip it, and that's cool. That's it. Now, let's turn off the face orient and close the panel, it in, and the solidify now should work correctly, that's a problem. Yeah, that's cool. Holt have to make the movement slowly. Like this. That's very nice. It's like to excite, and then we're going to reh the door. Okay, let's see what else we could create here. We just have very small detail here. We have some planet and lamp here and what else? I think that's it. And we have the chimney right here and that's all. I will add all of these details in the next view. So that's it next. 39. 039 Modeling Level 2 modeling simple house part 6: Hi again. Now, I need to create this planet here. Let's start from cylinder. Let's put the three d coosor right here, maybe. This is very far from the area. Okay. Maybe I can use this tool to create the cylinder. Just left click and hold and use the cylinder and create a cylinder right here. All right, so to create the cylinder here, just hit left click and hold, and hold shift is very important to make the circle correct. And after that, release the left click and move the mouse up to determine the height, and there we go, but it's created according to the level of the three d coorsor, and that's wrong. In this case, I'm going to delete the cylinder and hit shift and use this option is called courser to the world organ to bring the three d corsor in the middle. So now when I create I will create on the zero level. Again, left to click and hold and create a hold to make the circle cord and release the button and determine the height. I will make it about I will make the height about this like this, and I can control it from this open here. We have the radius this panel closed open it like this, and I will make the radius a bit smaller and the depth or the height or I can control the height, sorry. There's that mistake. I can control the height from by using the vertices when I go to the edit mode. All right. Let's hit shift space and go to select box, and I will hit ke to the z to move it to the Z axis to bring it back to the zero level, and I will snap it to this vertex right here to align it like this, and had to move and heft to cancel the Z axis, and let's move it right here. Something like this. Now let's go to the edit mode to make some adjustment. Okay tap to the edit mode, and, let's go to vertices. Grab these vertices in the X ray mode, scale them down like this. And control r. This add a loop, control r, and left to click can move it up, maybe right here. Go to face Alt click, and then it e to t e to open the extrude menu and choose extrude along normal. Let's extrude this a little bit like this. All right. Now let's see what we can do. I will scale these phases to the Z axis, so S to the z and scale them just a little bit like this. All right now let's crab the inner phase hit I to int and then e to extrude this down almost right here, hit to the Z and move it here. Or maybe I, I will leave it right here and scale a bit. Q to the z and puthing like this will work. This result is nice. I can accept it. Right click and a smooth and activate the Ode Smooth. Okay, something like this. Now I need to create something similar to what I have here to see how can we create this? Let's bring the three D corsor here on this face. Tap the grab this face hit Heft S and corsor to selected, tab out hit heft A and lets add up sphere here. This very big hit SN scallet, something like this. You can leave it like this for now. After that, tab the edit mode for this sphere and go to vertex. Grab this one vertex and go to proportional editing, and let's activate this option. Is called sharp and hit g to the z to move this up, but rotate the wheel of the moth to control to control the radius. We got something nice like this. Tab out turn of the proportional editing. Don't forget that it the Z, and move this up almost right here. That's cool. Grab this hit shift D and take another copy to the site. You can give this and this hit the smooth to make them smooth. Now let's create this lamb let's see. Can we achieve this? Let's put the three d class right here, shifts and right click. And I will start with plane scale make it very small. I don't need the plane. I just need one vertex from the plane. Tap to the edit mode and hit and's collapse to hold all the vertices and make them one vertex. Now I have one vertex, one vertex. This one right here. Let's turn of the proposional editing. Now what I will do is I will go to side view and go to extra moot just to see the vertex. I will move it and align it with the wall and hit E to extrude it to the y axis like this, and then E again to extrude it to the d axis like this. Grab this vertex here at the corner and control control B to vl the vertex and bevel it like this. Now we got this result. After that, exact of the tram mode to see the result. If this small hit A and scale them, make it pick and move it forward just a little bit, e to the y and move it right here. After that, maybe I can crowd this vertex and move it down ke to the z and take it down just a little bit. Let's take this out key twice and slide it. All right, something like this. All right. Now we got this curve. After that, tap out and het click and go to convert because I want to convert this from to curve. Convert this to curve. Now we have something new here is called curve podata properties for the curve. Scroll down here, we have geometry s can open it and in the vl, just increase the depth to got some thickness like this. When you com belet, convert this back to Mish. So right click and convert to Mish. Now I can go to the local mode to work on this alone, tap to the edit mode, and let's see grab the side of edges, I'll click to select the edge loop. Then hit E to extrude and then S to extrude those out like this and e to the y to extrude them like this. Scale is just a little bit like that. On this side, I'll click, grab all of these, edges, hit E and then S to extrude those maybe something like this, and then e to the z and extrude those down and out, I'll click here control B and bevel those. I'll click here and then e to the z and extrude those down, and e to extrude and S to put them inside like this. Maybe I can scale those back and extrude those up E to extrude Z to push the edges up, something like this. That's a work. Let's bring the three D coorsor in the center of this edge loop. Sift S cursor to select it. And this tap out and shift A and let's add another veo sphere. It's very big a S and scale. Hit to the Z and move this down. Yeah, that's cool. It's lash to excite. And now we got this. All right, let's grab all the details out, it to the y. Hold you have to make the movement slower. And now we got this. Maybe we can make this ball a bit bigger. Let's scale it and and take this down. Yeah, something like this. Okay Let's make this smooth, grab it radically head smooth and activate the auto smooth here, and this one as well he smooth. Here we have some heading problem. Let's see how can we fix them? Let's go to auto smooth and put this a little bit to make them smooth like this. Now the result is better. All right. We have what to call them. Let's try to create them. I can start with a cylinder maybe. Let's put the three d cursor right here maybe or I will use this tool to create the cylinder selected and hit left click and create a cylinder right hold to make the circle correct and give it a bit of thickness a little bit. Something like this. I think this will work. And I t space to go back to select box, and it key to the Z and move this up. Key this right here, maybe. Or maybe I can take this down just a little bit. Tap to edit point, and let's go to face grab this face ho cant grab this. This one as well, hit E to bok those up and S to the z to scale them and make the upper face flat, zero enter to make it flat, it ge to the Z and push it inside like this. I can see this corner. In this case, I will go to the front and go to wireframe just to see what's going on inside. I need to cut this. I cannot rotate it like this because I will deform the object or the shape. That's. In this case, I will isolate it, go to the local mode and go to solid and delete all of these phases. Start with this one, hold hold control and grab this. Hold to grab this, and hit F to make it one big phase. The same thing. On this side, grab cant grab this, it F and those here as well. Hit F. Now let's go back to Fronts slash and grab the side. We got some vertices here. You can grab them and control to dissolve them, grab this, hit key to the Z, and take this down. That's cool. He smooth and auto smooth. Hf d to take another copy on this side, right click mirror to the x axis in the front, you can put it in the right position, something like this. This one as well, maybe I can put it just a little bit. Yeah, cool. That's great. Let's see what else we should do here. I think we just need to put the chime Okay, let's put the three D cursor right here and it sift A and let's add Q make small like this. Tap to the d would go to phase three, hit G and take this up almost right here, it E again to extrude this. Sorry, hit e to extrude this. Al left to click here to select this phase loop, Alt E to open the extrude menu and extrude those along normal, like that, something like this. When you extrude and finish, here we have this menu pops up, activate the opposite even. I'll click on these face. Maybe I can take those down, give it a bit of thickness. And grab this E and take this inside. Let's see what we can do here. Or I will hit left to click here to grab these faces and hit S to scale them but cancel the xs, hit it z to scale them on the x and y like this. Now this face it and take it inside. All right to grab this hit key to the z and take it up. Maybe I can scale it. It's very big key to the Z. And tap the mood grab this phase, the Z and push it inside the house. A A to deselect anything or Alt A to dielect. I just need to add one plane underneath the house. At sift S and bring the d coors to the center at sift A and at plane and hit S to scale, like this, and there we go. I think we added all the necessary details. I hope you learned now how to move the object, how to create how to add and these techniques that we learned in this video will help you a lot to create a simple object like this. I can say that now you are ready to create some difficult stuff like house like this or anything similar to what we created here. 40. 040 Modeling Level 2 modeling small mug: Hi again. This video, I need to create this Mall Mug. You will find this image in the project folder. Let's see how can we create something like this. I will start with the cylinder. Delete the cube lets and hit shift A and add a cylinder. Open this menu, and maybe we can start with 12 edges. I will start with 12 and that's it. Let's go to the front and hit key and take this up with the zero level on the ground like this. Tap to the edit moot, go to vertices hit number one, and grab the upper vertices, grab them in the x ray mood all z, grab them. Hit key and take those down just a little bit. Because the mok here is not so quite tall. Maybe I can pk this just a little bit here. And we have some ball here in this area. I will control to add one edge, maybe right here and bevel this edge, would control be two, three, maybe three Hes. I will grab these. Let's call this. I will grab the bottom vertices and the extreme with d z and grub them and scale them like this. A little bit. Maybe I can grub those and move them down, k and z. Maybe I can add one here in the middle, control r and add one here and scale this age. To go this small. Let's see now, what else? We can do grab those and scale them. Just a little bit like this. And grab those to the Z and take those up and scale those inside. Now we got this curve. That's cool. Maybe I can delete this age. I don't need it. I'll click to select the entire loop and then hit control to dissolve it, or you can hit x to open the delete menu and dissolve ages. M that's cool. Let's exit of the extra x ray moot, A z. And now I got this shape. Let's see now what else we can do. I will go to past three from the keyboard and grab this phase, hit to inset, and let's inset this like that and hit to extrude this inside. You can go to front and go to x ray to understand where the extra will go. Hit take this down almost right here, maybe. Yeah, that's cool. Let's set of X ray and hit two in like that. Maybe I can grab this click and bubble it control. Let's add three here, something like this work. Now let's see what else we can do. I will hit click on this one. A have to click on this one to grab the edge loop and bubble them control and make it care like this. That's cool. Now I will use one of the modifiers is called subdivision modifier. The tab out and let's add the modifier subdivision surface. Now the result is very nice, but we got some problem here in the heading. Let's make inset here to the bottom tab, and we have big on here, grab this face and hit I to inset like this because that will give you better results tab out, and right click head smooth to make this smooth. The result is cool, now we got Let's activate the wire frame for this object, let's go to the object properties and activate the wire frame in the viewboard display. And inside the subdivision surface here, we have optimal display. I just need to see all the edges of the mesh that the subdivision created, so just turn off this to see the old edges. This now it's nice and smooth as you see, and the result is close to what we see right here. I need to create the handle now. I will apply the subdivision surface because I need these geometry, these small faces. If if I tap to the edit mode to create the handle, I cannot create the handle because the faces are very big As you see in the edit mode. But if I apply the subdivision surface, I will accept this result, so it's very important to apply it. So control a now when I tap edit mode, I can control the small faces. Let's go to front number one and let's grab this face, maybe. I don't know, maybe I can grab this. Let's go to right. This face is not in the middle. So in this case, I can grab those both or I can add edges here in this area. Okay. Maybe I have two options. I can rotate the homish or I can vl one of these edges, for example, grab this and val it and create a new phase here in the middle. I think I can rotate it just a little bit and reset the rotation. In this case, tap out and hit r to the z axis and rotate it just a little bit and make this phase right here pointing to you, toward the screen exactly and put it in the center. P it. Now let's try to create the handle. Let's grab this face. And I think I will create the handle by using this face and this one here. So it will go from here and ends here, like this. Let's see how we do this, grab this with this and hit I to inside those inside just a little bit. And grab this one, and try to make it a square, and this one as well as scale it make it small and make it square. All right, that's nice. After that, let's grab this face, and I will use a new tool here is called spin. It's very nice tool. You can use it. All right. Let's go to the right view to the front story, and this tool is depend on the position of the three D coorsor. So the three d coorsor is right here. I will move it and put it here in the middle between these two faces, and I will activate the spin. And here we have the axis. You can spin on the spin the face. By the way, don't forget to select the face. You need to select the face first that you want to spin it. Let's go to the front. Here we have the axis, you want to spin into the x or y or z. So the y is pointing towards us towards the screen. So I'm going to use the y. And here we have a guide. And here we have the stip. Don't worry about this tip right now. Grab one of these pluses and left click and rotate, and you will got something like this. As you see now, the bivot of this spin tool is the three D courser. So rotate this almost right here close to the bottom phase like this, and that's it. Now you can control the stip. I will reduce the number of steps. Maybe this number is okay and work for me. I got very nice care here. When you be satisfied with the result. Maybe I can rotate this a little bit more. I don't know. So I don't use the plus because you will create another segment here. So in this case, we can push this phase just a little bit down. I will go back to the select box, and now we got this phase with this phase. Grab this with this and radically and pre phase. And this small one here, you can delete it, control x to dissolve it. There we go. Now we got this small. After that, maybe I can add one edge here in the middle and make this bit V. Or you can grab these edges. The four of them to you have to click to grab the entire edge loop. You can bivle them and make it round like this. All right, so this result is nice for Bival. After the bivling, we have these small faces here, I don't need them. I just need to avoid them. So I will start with this one, go to the face and grab this face, hit, and collapse to collapse them like this. And those here as well. All right. That's cool. We got to angle here. That's right I know, but let's see what's going to happen if I add another subdivision surface. Before I add another subdivision surface, I need to add one here control r because I need to create a small bulk, and I will explain what I mean. I just need to add some bulge like this and then goes like that. Because and real lowered the handle when it's connected to the mic, it will be a small ball here between them. Let's try to simulate this effect. Control art to add another eight right here. With this one selected hot hot shift and crab this one as well, and cantro be to them. Add one rotate the wheel of the mouse and add one age in the middle like this. Got these edges in the middle. This one hold it Alt click here as well and then hit Alt to inflay this edge out like this. This is the bolt. Now you can grab this one and gewise to slide it inside and this one as well, gewise and slide it like this a little bit told, have to make the movement slowly. Now I can add another subdivision surface modifier here. Tub out and go to the modifier and add subdivision surface and turn off wire frame just to see the result and the object properties turn off wire frame. The result is nice and beautiful. I like it. Cool. If you want to edit this farther, if you like, you can tap to the edit mode and I don't know, maybe we can grab some edges and push them up, and you can grab all of these edges. If you want to make the result even more smooth and buffle them, and add two. But bivling like this that's not going to work and give you the correct result. In this case, manually, you need to add one here and push it a bit. And try to create small curve here between these edges and one here as well, key to maintain the roundness key, control as well and key, control as well and hit key to move it a bit like this. Maybe here as well, control r and hit key to move it a little bit. Now the result is almost nice, but I just need to make somewhat taking here. This bulge is a bit far from the mark itself. I just need to edit this. I will tap to the edit mode, and I will turn off subdivision surface for now, and let's grab these edges and book them to just a little bit inside. In the front of view, I will grab this and book it here, almost here and rotate just to align it, and this one as well with it, it g and move them. Inside, just a little bit like this. The same thing for this side. I'll click to grab this. I'll click to grab this one as well in the front, hit key and put them inside a little bit. This one as well because I need the ball to be close to the mug. Hit key and move this right here maybe and rotate it. Let's compare the two results. Maybe I can put this one alone and put it inside, grab this, and put this again. I looks nice. Now let's stop out and let's activate the subdivision again. Yeah, this result is very nice. I like it. I don't know I feel that the roundness here is not so quite perfect. Maybe I can edit this just a little bit by pushing this new ages that we added. This one and this one as well, I'll click and move it. And this one maybe. This one here. Tab out and there we go. That's cool. So we just created the mug and we finished here. Let's create this small dish underneath it. I will put the three d corsor in the center, H S corsor to the world origin and have a to add and let's add a circle. Maybe I can start with a circle. Now we've got the circles 32 vertices. I will switch this to change to 12. Because after that, I can as sub the van surface, so I don't need to add more vertices here. Let's scale this just a little bit like this and tap it A, select all the s or the vertices and hit F to fill this, and then hit I to in this, something like this, g to the z and take this down like that. It I again to inst. Let's see, now what else we can do. All right. I think I can give it a thickness, tap out and add solidify. And let's move solidify to the opposite direction. And now we got some nice thickness here. Let's apply the solidify now and tap to the edit mode again. Maybe we can grab these phases, grab this one, hold control plus from the number to grow the selection, and to take those down just a little bit. All right. Right now, let's go to the AC mood. I will vl this and this two got a curve here control B and Mizl them like this. That is very nice. Now let's add subdivian surface modifier to see the result tap out and go to the modifier a subdivian surface. The result is nice. It is smooth from here, Let's increase this to the level to two. I just need to make it more smooth. This area, maybe I can make the base a bit sharper, let's top the mode, and we learned that if we want to make area sharp, we need to support it with edges. So I can roll out to add one here, and move it and make it close to this edge. This area now become tighter and one here as well, control r and add one here. A tab out, as you see now, this become a bit tight. After that, maybe here I can add another. It's turn off this timerly. Just one right here to make this area a bit tight. But I will not add a here in this area because I need this to be y tab out and activate it. Now it is nice. I think it's a bit big, can scale it make it small and hit to the z. Until it attach the mark, something like this. You can go to front and activate the wire frame to see what we got, it to the z and take this down, something like this. All right turn off the wireframe, go to the solid. Right click head smooth to make this smooth and that's cool. Go to the front and grab all of these pieces, hit the Z and make them above the zero level on the ground, I mean. Okay, let's see how can we create the spoon now? Let's add circle here, H and a circle, and we will start with 12 vertices, it key and move the circle out right here. Let's scale the circle on the x axis like this and tap the mode and hit A and hit F to create a big phase, it to ins to inset this inside, and hit key to take this down. Another inset and key to the z and take this down. Another inset like this and ke to the z. That's cool. Now I got this ape. After that, let's grab this g with this edge and hit E to extrude this on the x axis like this. E. Maybe I can hit S to the x to make it flat, zero enter, and scale it to the y because I need to make it a bit small from here and move it to the spoon self, and now hit E to almost right here. I will maximize the view, something like this, the right. It as to the y, just to make it a bit big from this side and hit E and it has to make this smaller. Now we've got nice shape. Tab out and now let's go to the modifier and add solidify again and give it a bit of thickness like this. That's very cool and apply the solid. Tab the edit mode and can hit control to add one right here, maybe. Let's see. Maybe we can add another g here in the middle and add a couple edges here, maybe two. Let's see grab this face, and those here as well head to the Z and take those down because I need this air to be a bit thick and these edges as we take them down. All those here, grab those to Z. Ale bit. That's cool. Maybe I can grab this face, I have to grab this one and activate the provocional editing and to the Z and push this even more down like this. I don't know. I think that's better. Z and push this up. Turn off the provocional editing. Now add subdivision surface to make it smooth and add level two. Right smooth, and we got spoon. I scale it hit S and scale, make it small, similar to the size that we have here, and let's go to the front e to move it, and let's put it right here. I just need to to rotate a little bit. Let's move it and make it align with the dish of the mug. I need to rotate it from this angle from here. Let's see how can we achieve this. In this case, I will use the three decosor as a Bot. Put the three decorsor right here in this area. Now if you rotate it, the rotation will be according to the origin dot. Now I will go to the transform Bevot, and I will switch it to three D coosor because I need to rotate and make the three decorsor the vot it's r and rotate this. Let's go to here and R until you align this side with the ground. This is the idea. Let's go back to the medium point. Now, we got this. Hit Haft and bring back the three curs of the center, or you can hit Hf see if you like. Hit Hf and add plane here and scale it as ground. That's very cool. All right. What else we could do? We created the mic. All right, this is it. This is how to create the mic. That will do it for this video and see you next. 41. 041 Modeling Level 2 modeling bottle part 1: Hi, everyone, and welcome back. And this video, I need to create these bottles, not all of them. But let's create some of them. Let's start with the easiest one. Let's start with this one. Let's see how can we create this? I will use subdivision modifier to make the results smooth like what you see here. And let's see together, how can we achieve this? All right, let's try to analyze the shape. We can use a cylinder and modify it to get a result like this. Okay, that's mean starting with cube, does not make sense. So let's change the cube to cylinder. Deleted delete from the keyboard, a sift A let's go to cylinder and pick a cylinder. Here we have the number of the vertices. I will let s wake this to 12 because 32 is too much. All right. Hit enter. I start with 12 because I will accept the vision surface and the end of the day I will get more geometry when I accept the vision surface, or I should start with the low poly gumetry. Okay let's go to front and let's take this up to the z almost right here. Let's minimize this and focus on this one alone. All right. Let's tap to mode now and let's go to vertices, activate x ray and let's grab these vertices, hit G to the Z and book them up just a little bit. I just need to create this until here. And now let's see what else we can do. I will hit E to extrude this up almost right here, or let's start right here for now, and scale this, make it small like this, and hit E to ext this maybe here. And extrude this again and scale it. Sorry, control z. It has to scale it like this, and extrude this one more time like that, and extrude this again like this and scale it inside. All right. After that, or maybe scale it a little bit and hit e to extrude it. There we go. Now we got this shape. Okay. That's cool. Let's see now what we can do. Let's excite of extra mood. And maybe I can make it a bit thick or make it a bit shorter. Let's grab these vertices and it to the z to make it a bit shorter like this. All right, something like this. Let's go to the base. If I add subdivision service, I will go bad shading here because here we have quad and here we have gone. So to fix this problem, I need to insert this area and fix it. So maybe I can ins or I can add bibble here to add some ages here because on the bottom, I have some care, if you noticed. To achieve this curve, we can use a bibble. I'll click on this age. Don't forget to speak to ach moot and it can troll you to bible it. And let's add three, I think three will be enough. After that, grab this face in the middle and hit to ins it inside. Even if you have gone here on flat surface, that's not going to make a problem. If you don't like to have an ing on here, you can delete it if you like. This optional at x and then F to delete it, and you can go to edges I'll click to grab this ge lobe and you can go to face menu and chose grid fill. This option will fill this empty area with quad phases, as you see. If you want to leave it, you can leave it. If you want to fill it with the quad phases, you can use this trick. All right. Now let's see what we can do here in the top area. Let's go to grab this phase here and I will hit I two inst this inside like this and hit e two extruded inside. And this phase, I don't need it, I can delete it hit F to delete it. Or if you don't like to do this, you can use solidify modifier to give you a thickness, but, you can use the solidify modifier when you add all the necessary ages to support this shape. So I will delete this phase for now, hit X and then F to choose delete phase. All right. Now let's tap out and let's go to the modifier and the subdivision surface, and there we go secring this up to two to add more umetry. The result is nice, but this area become very smooth. If I tap to the edit mode, I will notice let's go to the front. Note the results of the subdivision modifier and notice the The original geometry. That's means I can add a here almost here or here and one here to bring back this curve or to push it to the edge like this. So to achieve this, I would control r to add a loop and push it up almost right here. On a right here, control r and add one here. So as you see here, we pushed the surface or the result to the edge. And that's what we want for now. Tap out and let's see the result. Is the result close. Art is not so close in because the base is a bit The radius of the base is smaller as compare with the top area. I mean, this area, I need to scale it a little bit and make it bigger. Okay. Tab mood and activate x ray. Let's s grab all of these phases or edges or vertices and hit S to scale them, but cancel the z axis. Don't scale them to the Z. To do this, heft z to scale it on the X and on the y. S a little bit like this. Tab out. Right now, it's close. All right, let's see what we have here. Maybe we can add right here. Tap control r at and push it up to support this age right here. And what else we need to do here? Maybe we can add A here in this area. Okay. Let's add a here, control R and add one here, to make this a sharp, and one here as well, control R to make this area sharp in one here, maybe. Something glades will work. All right, that's cool. That's great. Okay. Now, the result is close to what we have here. Let's turn of the subdivision surface temporally because I need to give it a thickness inside. That's mean I need to use the solidify. All right. Now let's go to the modifier. And less a solidify. Let's make the solidify above the subdivision. I want the effect of the solidify and then the subdivision surface. So use this dots here and left lick and hole and put it above the subdivision surface like this. All right. Now let's manipulate the thickness, and let's give this sit of thickness like that. And yeah, that's cool. Now, I don't need the solidify anymore. It's I got the result here. I can apply it, it control and apply it. Tap it to vel this area. This age and this age. I'll click, I'd to click on this one, to add it. Cantl be a least at level with three edges on each side like this. I think that's it. Tap out and activate a subdivision surface, and there we go. It's headed flat. I will hit right click and head smooth. And there we go. Now it's become smooth. That's great. This is how to create this potle. All right, then so's we'll look for this video and see you next. 42. 042 Modeling Level 2 modeling bottle part 2: Hi, if will come back. Now let's pick another one to create. I will move this side, maybe right here, and I will change the name of it from a cylinder to maybe I can call it portal one, maybe and hide it. Let's start now with the new one. Let's see which one we can pick. Maybe I can create this one. All right. Let's start with this. I can start with the cylinder because it is cylinder cap. So if a and let's add cylinder or maybe I can start with circle. That's W two. Here we have 32 vertices and the circle. I will swede to 12. I can start with 12. That's better for me. And, that's cool. Let's start with the edit mode now to work with this. A first thing. Maybe I can hit F to create a big phase here. Or if you don't like that, you can extrude and after that, fill these holes. All hit E to the z to extrude this and scale just a little bit to create the base because I want to start with the base area. It is very easy. I will hit E to extrude this up to the Z, maybe right here. You can go to the front and make it close the image to the to the result that I have, it's about the same length. Let's ta grab this edges and hit E to extrude and S to scale them inside like this. G to the z to take this up almost maybe right here, I scale it just a little bit, or that's cool. A Another ext inside E and S and then e to the z and take this up. Notice when you extrude edges like this, the extrusion will go free. It needs you to give it a direction because of that, I hit z, but I will hit control z. If I have a phase, the phase will be extruded on its own normal without giving it any direction. Just keep that in your mind. A, that's cool. Now let's go back to the base. I'll click on this on these edges, have to fill them with big phase, and hit I two in it like this, because I don't want the on this phase to reek to these edges. Because if I a subdivision surface, I will got bad heading in this area. So I need to push it inside inside the flat phase to avoid that heading problem. And as we learned, if you don't like this on, You can replace it with another with the grid fill option that exists here in the face menu. I mean, go to face F to delete this phase. Grab all of these edges, I'll click swift to, don't forget that. Go to face and cure the grit fill to fill it with the grid like this, f like. All right. Ms cool for now. Here we have sharp edge. That's mean we need to support this area with edges because I will use subdivision surface. To do this, I will go to I'd click on this one and vt Control B, and let's add three here. And this one as well, I'll click and volt as well like that. What else we could do. This area, as well, we need to support it with edges to make it sharp because I just need to give you a quick example, if I add sub vien surface, and add to as you see, this are become very, very smooth as compare with the original shape. And that's because I didn't have supports edge loop here on this area, so I'll click Control B and add the three like this to support it. And now we got shape. Okay, here we have some design here on the on this area in the middle and I think on the other part. Let's see how can we do this. Let's go to front and tap to the edit mode. And it control to add a loop almost right here, and another g loop may be here. Let's grab this edge and on the other side, hold to grab this one as well. And, can we keep this? I will baffle this and that edge hit control B and fle them and add just two edges here like this. After that, go to phase, turn off subdivision surface for now, and grab this one as well. What I can do now, I can make a cut on this triangle to use them. Let's see how can we achieve this? Let's start with this one. Go to vertex first and hit k to activate the n tool. The NF tool, one of the most important tools that we need to use to some stuff. I need to make a cut goes from here to here, and to achieve this, I will use the NF tool. Right. To use it just activate it, hit K, and have it over on this vertex, left to click and go here to the middle. If you want to make the cut exactly in the middle, hold control and hit another left to click. And now we got a cut. If you want to confirm the cut, you need to hit either space or enter. I will hit space. And there we go now, we got a cut. Activate it again, hit K, and make a cut from here to the middle hold control to cut the middle. If you want to confirm it, as we said, you can hit space, or if you want to add another cut hit E to cut again, So I need to add a cut, but maybe I can add H right here. Let's go to the other side for now to make cuts here, hold control and hit E to add another cut, starting from here, hold control and cut this area, and then hit enter to confirm all of that. That's great. Control r again here. But notice that when I add loop, the globe doesn't cut the whole age because because this phase is not quad one. Here we have vertex number one, two, three, four, five. Because of that, the ge loop cannot go across it. But there's another technique if you'd like to use it. Let's go to the front. I will use the knife tool to cut this area. All of it. Eight K to activate it, and maybe I can start from this level, t to click in the space and go over the object and hit C to make the cut perfect and sit right. All right now, the cut is sit right. After that, I need to cut, but I need to cut through all Dmish, not the area that I see right now. To do this to achieve this, keep your eyes on this bar right here. Here we have too many information about the tool that I'm using right now. To achieve this, I will use that again hit K. H to make it strike, I will use z to cut through his z and then left to click and then enter. Now if I orbit around, I can see that I cut everything. All right. That's great. Key twice to move the story, just this edge. Key twice and move this up. I will use the normal movement to the z and move it up just a little bit. Hit K to activate the neph tool again and make a cut from here to the middle. Hit E to add another cut from here to the middle. Another E to go to the other side, cut this area hold control and add one here, another E, cut from here to here, and then enter to confirm all of that. All right now let's grab these and make them a pit we like this, scale them, and those here as well. And those here, and those here as well grab them and scale them to the x axis just a bit. These vertices, grab them as well and scale them to the two z and take them down just a little bit, make them close to each other. All right now let's go to the face grab all of these faces here and it to ins and let's ins those inside a bit. Yeah, that's cool. Hit to put these faces inside. Something like this maybe. Let as go to the edge and At click to cut up this edge loop and this edge as well Oli to click. And you can bivalent with two edges, cant be ambivalent like this. Or maybe I can add three and make the val pick. A right now we got this result. Right click head smooth, and we already got shape. Now let's go to the subdivision modifier and activate it. And cool. Now we've got nice shape here. If if you want to make the effect. Now if you notice that I have the edge is a bit sharp, you can delete one of these edges in the middle. For example, this one I'll click to make the effect a bit less sharp, and this as well, I'll click control. If you noticed, I got some problem with the care The curve strat down, if you note that that's because I didn't add the loop to support this area here, one here and one here as well. So let's do this. Tap it mood. We have one here, but we have close edges on this side, but this side, this area, we don't have any, so, all the subdivision will go to this area, and this will become epistrc. So let's support this with H loop like this. Control r and add one in the middle, and this one vivolt, control B and bush up almost right here. Notice when I move that we will notice what's happen there in this area. Control me and watch what's happen. That's great. Now it's become better. Okay, Let's tab the edit mode again and grab these edges. I'll click, hit E and S to scale them inside and e to the z and take those down, and grab these edges with these edges and level them control be like this and tub out. Now we created this bottle is very close, what we have here almost. The result is nice and beautiful. All right, so this how to create it. Let's see where we put the first one. A. Let's hit key and move this beside it like this. Let's copy the name, Control C, and paste it here, Control V. Let's read this to number two and hit entor and hide them. All right, so that's we'll do it for this one. And the next video, I will pick one of these to create. A see you next. 43. 043 Modeling Level 2 modeling bottle part 3: Hi, everyone. Welcome back. And this video, create another one. Let's start with Maybe I can start with this one. It's a bit difficult to create. Let's see how can we create something like this. This is not a cylindrical shape. I can start with the cube to create this. Let's see how can we ace something circle here in the top. All right. Let's start with the cube, shift A and a cube, and push it up just a little bit on the ground like that, and scale it maybe to the y like this. Maybe I can scale to the x. I think that's better because when I go to the front, I want to see the site, this idea. Anyway, let's scale this a b to the x like this and tap to the edit mode, go to the x ray, grab the upper face here, and hit to the z, and maybe we can bush it almost right here and scale it to the x like this. P or maybe can make it a bit bigger. Now, this makes sense. Let's give it a bit of thickness, just a little bit, not too much. Let's go. Let's have the edit mode and grab this face and extrude it just a little bit up and go to vertices and grab this side key and move it like this. And the grab those four and key to this and move them up just a bit too much. Now let's see what else we can do here. Now let's add two edges here in the middle control R and rotate the wheel to a two and left to confer them and right click to left them in the center. And let's grab these three faces and hit E to strode those down just a little bit and scale them inside on the x and on the y as well like this. Someday like this. L et's go to the front and let's see what we got. I think it is a bit tall, so let's go to vertex, activate X ray A Z and move those down to the z, something like this maybe and tap out. A right now, what else we need to do? Let's create the handle here. Let's see how can we achieve this. Tap the mod, control r to add H. Amos right here, control r again to add one here as well. Something like this maybe. That's cool. Now let's grab this, you have to click, grab this one and double them control B. And let's grab this face here and hit key to the x axis to move it to the x as a little bit like this. A grab this phase here, and this phase may be right here and hit to ins. And set them like that and go to H and Qs a break or you can tratic Qs a break phase to add open area here. But the result that we have here is not similar to what we have here. That's mean we need to edit them. Let's go to the front and go to the vertex. Let's activate X ray. Grab this vertex or those two here. Let's give this a thickness and move this right here, and this one as well, something like this, O B, I think I could push this here. This one I can move all of these vertices and move them like that and those here, maybe. Can move them just a little bit to the x axis. That's cool. Let's add an H right here to support this area, and move this one just a little bit like this to add a curve here. Let's see what else we can do here. This one as well had control R and add here, and the crop those and move them just a little bit like this. That's cool. Let's see what else we can do here. After that, I think I need to make the pase a bit thicker as compared to the top area here because I think it goes like this diagonally. Okay to achieve this, what I can do is, I can use Lattice modifier. Let's see how Let's see how can we use this modifier? Hit shift A and go to the lattice and let's add the lattice right here. This cube. Let's go to front and hit g to move it, and we will use this as a cage. Hit S to the z and scale, make it pick, and try to cover the heave that we have like this and scale like this as well to cover it. And on the y axis as well, scalet. There we go. So now, this shave that we have is covered with this lattice, grab the object and go to the modifier and add lattice modifier. A right here. Let's use the y druber to pick the latte shape that we added and there we go. After that, let's choose the shape, the lattice and tap to the edit mode for the lattice. As you see here, we have vertices to control this. We grab these vertices, for example, and hit S to the y to scale the whole much like this. Notice how how can I control it. Something like this will work. Maybe the base I can scale it like that. Yeah, something like this will work. You can go to the lattice option here and increase the resolution to the Y to the Z UVW. For example, you can add extra edges right here to control them. If you like or to the U. You can add extra edges here. Maybe if you want to add bulk here in the middle like this, you can achieve that, and that's important actually to make the shape similar to what we have here, because here we have a bolt. So by using another extra the middle, you can control the vertices and scale them away from each other to achieve this bot. Be another more we can scale them like this. All right. The result now is close. When you complete tab out and go to the modifier, grab this may control end up lights, and you can delete the lattice like this and there were going we have this almost ready. Tab the mood for it, and I will add two edges here in the middle like this, maybe I can grab these edges or I can add globe here, one here, and one on the other side here and the grab those ift, and grab those as well and scale them inside like this. To got some roundness here. This one, maybe and this one as well, scale them like that. Maybe this edge, and this can push them to each other. This is something cool. Let's add two edges here on the side. I just need to support this area because the stretch to the middle will be higher as compared to the side here. So I want to support this with two edges, and I want to use these edges to book them out to have some roundness on the side. Let's go to the face and grab this one out control, grab this, and this one as well and hit key to the x axis to move them to the x to g some roundness like this. And on the other side as well, maybe I need to grab those, all of them hit key to x and move them as well like this. Maybe more key to x. A. That's cool. Let's see what else we can do here. All right. Now let's go to the front area and go to the vertex. Let's activate x ray and let's acrob these vertices and move them like this. Move those maybe just a little bit. I need to edit them. I need the typology to the typology flow to go like that. Because of that, I move these vertices and change their position. Maybe I can grab those and the key to the N, move them down like that. Maybe I can move those as well down just a little bit. I need to have a curve here in this area like this. Maybe I can add another extra ach here and push those inside to keep this curve like this. That's cool. Now, I got this area, I need to make it round. And let's see how can we achieve this? To make to make this ge loop. We need to use a new tool in the Add s to activate some extra tools in the edit. All right. To achieve this, let's go to the edit and open the preferences menu. And here we have a second scaled add ons. Add ons is extra tools, comes default with blender, and I need to activate one of these tools. When you check it like this, it will be activated anyone you choose. So let's search for tool. Let's see where is it. Is not ball tool, I'll Let's see it should be right here. Yeah, it's called loop tool. You can just type loop and you'll find it. This one right here, just activate it like this. Go to the icon and hit save preferences to save what you did and excite. All right. Now if I type to the edit mood, for example, if I que these faces, When I hit right click, I will find the new tool right here, and this tool is very important to use when you model something because here we have too many options, make the modeling process a bit easier. For example, let's grab these faces and hit E to extrude them. And tritically, can go to the loop tool and Q circle. If you hit this option, you will make this circle. So tally, go to loop and Q circle. But we got some problem. Now what we see is not a circle. That's because of the scale. If you've got a problem like this, And if you didn't get perfect circle, that's because of the scale. Control Z and tab out a control A and apply the scale to avoid that problem. Tab again, right the click tool and go and circle. And then we're going we got something nice. Scale this inside like this and hit key to this Z and move this almost right here. And the scale it more if you like. Then we're going to re something interesting here. You can hit I two in sits, and e two extrude those down. When you make the extrusion, delete these fases, x F to delete them and support these edges with edge loop with a v, control, and add the three edges like this. That's cool. And that's cool. Now let's see what else we can do here. Grab this edge, control be to bullet. Maybe I can add a three here as well. Let's grab this edge entire a loop and hit to scale it inside because I have some e here, some small bolt here. Let's try to achieve it. After that, support this ge, because if you don't support it when you add the subdivision surface, the stretch will go up. I need to make this area bit h by adding ge loop here to support this one. I control R and add one right here on this area. Now let's see what else we can do. We have this edge. Let's see how can we achieve this. Before we start with this one, I need to a subdivision modifier to see what I got, tab out and go to the modifier and add subdivision surface, and cring this up to two to make it smooth, and we got something close, but I need a bit of adjustment here. A try to and head smooth, to make it smooth. I will turn off the subdivision and tab again to make some adjustments. The fair thing, here we have some stretch, go to the center. Because we don't have a support He loop here. So let's add support g loop here, control r and at one here, control R and at one here as well. On this area as well at control R and you can add one here. But if you add loop, the loop will go like this and that's not even so quite correct. We need to maybe we can use the cut tool to create another ge loop like what we want. So let's activate the nF tool at k and make a cut goes from this vertex and goes here and here and orbit around and complete it. Until you end it right here and then had space to confirm it. So now we got an like this. We can use it. But we got a problem. We have here a triangle in this area, and we say we need to avoid any triangle when you use a subdivision surface to avoid any heading problem. In this case, I will control to add one right here. And because I added one right here, now I got Q this acti number one, two, three, four, right? So this how to avoid it. All right. After that, let's go to the front, go to vertex, activate x ray, and let's grab those key and move them down just a little bit to to got some curve here. All right. What about this area? I will control to add 18 here to support this place. And, something like this. I think that will be enough for now. Let's activate a subdivision surface. Let's see what we got. A we got something close. As I think. Okay, now, how can we create this edge? Let's stop the edit mode and let's turn of the subdivision surface for now. I will use this right here to achieve this. Let's activate the knife tool at K. Let's make a cut starting from here in one cut here to create a curve small curve up here in one here and maybe one here in the enter. Now we cut this curve. Let's connect this vertex with this one because it's wrong to leave it like this in the middle. Grabs hold here the grabs it K to connect them. Ha ke twice to slide the a little bit like this, and there All right. And the same sn right here with this hit K to connect them. And maybe I can now I need to connect this vertex with something. All right. Let's hit K and connect it for now with this one. And the same thing maybe here, it K connected with this one for now. All right. Now let's see what else we can do. Let's grab this edge key to the Z and move it because I need this line to be straight like this. Don't worry about the other side, we can fix it. Here we have these edges goes inside, this one, this vertex and take this out like this. Maybe this one as well. Us out of it. All right. L es create another edge lobe inside, starting from this vertex k endless at edges like this. Something like this, and then hit space to confirm it and connect these vertices, K, and cab this hit K and the same thing here on the side, C K, and those as well. And let's say these new phases. I mean, this of these phases and push them to the key to the push them inside. Like that. Al right here, we have a triangle. We don't need a triangle here. Let's see how can we avoid it. I will grab this edge and hit control x to dissolve it. And what else we need to do here? Maybe I can grab these vertices. This one, maybe I push it out like this. What else maybe this one, it key and move it out a little bit. And one more thing here, let's go to face and let's grab these faces again. And maybe those here in the middle and hit I to ins to add another g loube inside. Just to support it. All right. That's cool. Now let's see what's going happen if I activate the subdivision surface. All right. We got nice save here. The result is almost nice. But we don't have anything on the side. Don't worry about this. We will fix it by using a new modifier here. But let's start with the base. Let's try to fix the side. Let's see what we got here. We got some AC, let's see how to ai it. Let's go to the edit mode and go to the front. Let's manipulate these vertices in the X ray. Let's grab those and bok those up just a little bit like this and those as well to gut this care. All right now let's scrub this entire edge loop and volt control be and let's add the three edges, maybe, and let's decrab these edges and push them to the y axis like this, maybe. Okay, something like this. Let's stop out and let's see what we got. Yeah. This result is close. All right. About the top area here, we let's grab those and scale just a little bit to make it big and key to the Z and make it a bit short. Maybe a bit taller. That's cool. Now we need to reflect what we have here on the other side. To achieve this, I will use the mirror modifier is one of the both modifiers. Turn off the subdivision for now and let's add the mirror modifier. Mirror modifier. As I said, it will help me to reflect the sit on the other side. Let's add the mirror modifier here. Now we got the mirror modifier has axis here, x y z, Now, the mirror working on the x axis, I I need the mirror to work on the y axis. Turn off x and use y. All right, now, the mirror mirroring this object, and we have some overlapping. What I need to do, I need to cut half of the object in mirror the other side. I can't do this when I go to the ded mode, but inside mirror, I have a nice options call bisect that will cut the umatre automatically. So let's activate the bisect on the y and there we go. Now mirror modifier cut the tum automatically, but now This modifier working on the wrong side. I need to flip the result to got what I need. And there we go, I got what I need. When you finish with the mirror modifier, you can leave it right here above the subdivision because we need the mirroring and then the smoothness of that subdivision. When you complete active with the subdivision surface and there we go now, we got a nice result here. Very cool. We need to make some tweaking here by let's turn of the subdivision for now. I just need to maybe move these faces just a little bit to the x axis to got some roundness here and these edges as well. Something like this. That will make the result a bit better, top out and activate a subdivision. Now the result is nice as I think. And here, in this area you can add an edge loop, maybe one or two, one here as well, and you can use the loop tool to make them a circle. This one as well, you can make it a bit like a circle and maybe scale it just a little bit after that and this one as well. Like this. I don't know, maybe this effect make the result better. Yeah, I think. All right, so that's it. This is how to create this pothole. I know it's a bit difficult and challenging, but this is three D modeling takes too much time to create something symbol like this. So that's we'll do it for this video and C next. 44. 044 Modeling Level 2 Mirror and lattice: Hi, roan, and welcome back. In this video, I need to talk about the Lattice modifier. Let's see how this modifiers work. I will delete this cube, just had delete from the keyboard, and I will add from the Ms monkey head. Okay. Now let's put this up just a little bit right here, maybe. Okay, let's add the lattice, first, Had shift A from the ad menu and Qs lattice. This is the cage of the lattice. If you link the lattice to any geometry, and if you tap to the edit mode for the lattice, any point you will move to affect them that connected to it. So I will put the Suzanne head inside this cage of the lattice and let's see what's going to happen. In the front head g and take this put in the middle and scale, t make it pick scale to the x to cover the head, and now it's okay. All right, that's cool. Now let's link the Suzanne head to the lattice, grab the geometry and add the modifier, the lattice modifier and by using the hydroper pick the lattice and there we go. Now it's connected. Grab the lattice and tap to the edit mood. And let's grab any vertex. Maybe this one hit to move it. Note that now I can deform the Susan it according to the lot lattice cage. I can add extra edges here. If you want, just go to the object data properties for the lattice and increase the number here. If you add here two, three, now we have three controllers on the x axis. You can add as many number as you want. Here we can add in the V and W as well. Now you can, for example, scrub this vertex, and this one and scale them to the middle. That's what we have. What we got here, we made some deformation. Scrub this with this and scale them inside. That's what I got. Maybe I can ecru those three and to the z. So this is the attic Modifier. Is very important one. Sometimes we need to use it to deform our mesh, and the controllers of the lattice are very useful. All right. For the lattice. Let's delete the effect, let's go to the modifier and let's grab this head and turn off the lattice, or maybe I can delete delete and delete the cage as well. Let's learn now what is mirror Modifier. I will take a CB and boot right here and let's grab this one and tap with the edit mode, and let's go to the front. Activate X ray, and let's go to the faces a number three, and I will grab half of the head like this and hit X F two deleted. All right. Now we have half of the Susan head. L stumble around and lest of X ray and tab out of the edit mode. All right. You notice that I have the organ dot exactly in the middle, and mirror modifier depends on the organ dots. Let's go to the front, number one from the num. Now if I mirror this, the mirror we're working like this from the organ dot towards the direction and will reflect what I have here to the side. Okay. Let's add mirror modifier. Let's go to the modifier lets and add the mirror modifier. Let's see how it's work. As you see, let's mirror this side on the other side without any problem. Okay. Now, the mirroring working on the x axis, you can kick the axis, turn of this one, you can mirror to the y, and you can mirror to the z, and you can activate all the axis like this. Okay. Let's go to this example. Let's top to the edit mode, and maybe let's over over on this, hit L to link select. And let's grab this i and hit xF to delete all these faces. Now we got side with and side without. I will add mirror Modifier above this, and let's see what's going to happen. Open the list and add Mirror Modifier. All right to note that now the mirror mirroring the side on the side, and we have some overlapping, and you can see the overlap if we let's just make some small tweaking, maybe grabbing these face and scale them like this. Tap out and now we activate the mirror, or maybe I can just move them just a little bit. I just try to make some change here like this, a variation. You can see that the mirror working, but we have KB above KB that's not makes sense. We need to either we cut the mesh from the center manually or we have an optioner sc bicect that will cut the mesh automatically and give you just the mirror results. Let's activate the bicep. Notice that mirror cut the geometry from the center and mirror this side to that side. This is for the bicect and the bicect work for the X and Y and Z. Here we have a flip. If you don't like this result, if you want the result with the I just flip the result and there we go. It's very easy. The same thing here, let's activate the x axis. You can see that I got the mirror. Let's activate the Y. We got the mirror and the Y, but we got some overlapping. You can activate the bicect to get rid of the overlap, and you can flip the result if you don't like this result. Now we got this. All right, let's turn off all of these, and let's activate the x axis. Let's go to the gan activate the organ, just to move the organ and let's see what's going happen if I do this? I will hit g to the x, note that the organ is the point that mirror modifier work or depend on it. It's very important. So keep in your mind to put the origin.in the right position. Let's turn off this the origin. And here we have an option it is called clipping. Let's tap to the edit mode for the mirror. If I grab this vertex and move it, you note that I can move it and I can push it to the other side without any problem. And note that we got some overlapping. Now with the clipping activated, now I cannot move it to the x axis. I can just move it to the z. So this is the clipping, I will prevent the overlapping that happen in the center. And here we have the mer, if you activate the merc, these vertices will be merged, and if you leave it off, you will not have any merging. For example, the stub out and take another copy of this, and see what's going happen if I leave this one deactivated, so let's do this and let's tab to the edit mode or let's apply the mirror modifier. Tap, if I have it over on one side and hit, or you don't need to do this just a grab on vertex here, and Hey notes that we have a gap. But this hit controls the cable time. If I activate this one and aplight, and tap, now if I grab this vertex, you can note that the vertices are well it controls a cable time to go back. Here we have the Mc distance or threshold. You can control it from here. If you cring this up, you will mer, the march circle will be bigger and almost will merge everything, like what you see. Keep this number very low. Here we have bicic distance. Let's see what is bicic distance. Let's use the mirror to the y and let's activate bic to the y. And let's flip the result. Alright, let's crank up the pick distance and let's see what's going to happen. Let's put this guess a little bit. Note when you put this and make the number big, you will put all the vertices to the mirror center or to the center of the mirror axis. And this is what does, so let's hit controls to bring this back to the original number. Keep in your mind something if you go to the object properties and activate the axis. Let's rotate this freely by by hitting rwice. You notice that the mirror modifier working on the local ax, not the global axis, because maybe you need to rotate the object to any dark and the mirror should follow. Right here inside the mirror modifier, here we have a mirror object. Let's bring the three d corso in the middle. Let's top the edit mode, for example, and grab this C in the middle. All of it and let's hit HFT and corso selected. Now the three D corso is in the middle here, and let's add an MT right here in the middle, empties are just helpers. We use them to achieve some results. For example, I will use this empty as the mirror axis, and you will see how can I do this. Let's grab the head and let's use the mirror object. I will use this empty as a mirror object, and now this empty become the mirror object. If I move the empty, for example, you know the mirror will follow it. And if I rotate the empty, You know that the mirror will follow it like what you see. Let's rotate this to the z, z, and as you see now, the mirror axis become the empty in instead of the organ dot. So this is what this about. A L will do it for this video and see you next. 45. 045 Modeling Level 2 modeling bottle part 4: Hi, n, and we'll come back here. Let's go back to the bottles image, and I think I will start with this one because I think it's a bit difficult and tricky to create. Let's see how can we create it? Let's minimize this view just a little bit. I think the closest shape to this one is the cube. Let's start with the cube, let's go to the front and take this up on the ground and tap the edit mode, activate X ray Z, and grab these vertices, grab them down, maybe right here. Let's scale just a little bit sorry. Tap out and scale just a little bit to the y. And now we cut this. Okay, let's top to the edit mode, and I think I can add one edge in the middle for now, and let's select these edges at the corners. All of them have to add and crab those. Let's level them. Control B. Let's add three edges like this, give them. I think we got a problem with the scale because I noticed that the bivle at this direction is not similar to the bivle, at this direction, and that's happened because of the scale. Keep in mind always when you bivle. And if you notice that there is a variation, that's because of the scale. Apply the scale and rebivl it, or a hit scale or controls the tab out apply the scale, and now let's pval this again tab control B. And now the result is better and even. Okay, control to add two edges here in the middle and go to the face, crab this face with this one and this one, as well as the scale those inside like that. Something like this. A, that's cool. Maybe I'll click here in the middle and to scale, scale this to the z, z, something like this maybe. All right. Grab this edge in the middle. I'll click and bevlet control. Something like this will work and grab the side those here and hit e to extrude them like this almost right here, and then hit S to the y to make this face flat and zero enter. Now we got this results. That's great. Now, I think I can use the mirror modifier to mirror this side on that side. Tab out and add mirror modifier. Where is it? Where is it? This one right here? And I need to mirror on the y. I don't need the x turn of the x use the y and activate the bicect because we will get some overlapping because I didn't delete this half of the mesh. By activating bicect, I will delete automatically. Let's activate it like this. And it's done, but the result is not what I need. I need to flip it. And now, this is the result that I want to work with. Apply the mirror modifier, or I don't need it anymore, and L et's top the edit mode. Not the edge that mirror modifier added to me because of the bisect. Anyway, now let's see what we can do to to achieve what we see right here. Maybe I don't know, maybe I need to book those inside just a little bit, and those here as well, grab them like this and hit and book those like this, just a little bit. Let's see what else we need to do. Maybe I need to delete these faces. We don't need them, and those here as well. And those here, hit F to delete them. And now we ended with this shape. Or a tub out, go to the front and grab this hit to the COP and put a COB above it. Let's go to the snap and activate this vertex snap, and now hit G to the z and hold control to snap it. T will be snapped like this. Grab those two hit D and take a CVI to the z axis, it to the z, hold control to snap them like this. And keep doing this, grab all of this at d to the z, a ke to the Z and hold control and snub them like this. Can do this, or there's a nice modifier, skull array, we can use it, I think we can use it right now. Let's give that try. Delete all of these, grab this one, try to click and set origin to the geometry. Let's bring the origin back to the geometry. Let's go to the modifier, and let's add the array. Array will duplicate the he that you selected and will duplicate it to the darken that you want. For me, I need to I need to make some change here. For example, I don't need to duplicate it towards the x axis, I will zero out the x. I will use the z axis instead and I will add one here. Let's become perfect. Here I can increase the number as much as I want. Give it maybe I don't know, 14 15 piece. And here we have some option the merge to merge all of these pieces automatically by using this merge option, and we got fairness result by using the array tifier. Keep in your mind, if you crank the y, it will move these piece to the y if you manipulate the to these pieces to the x. And because of that, I just use the axis. After you be satisfied with the result, hit control A and apply the ray Modifier and that's it. All right, let's tap the mode for this piece, and let's go to the edges. I'll click to grab this entire edge. Maybe I can use gritfl, let's see what's going to happen. That's not going to work like this. In this case grab this one and this phase and this phase hit F to add one phase here, and those here as well, crab those hit F. Let's scrub this with this one. A quit this, F to create a big face here. I'll click on those here. And it F to fill this and this one as well, let F to fill it. All right, that's cool. That's crew. What about this right here? Grab this hit F to add one giant phase. And let's go to vertices. I will use an IF tool to make a cut from this vertex to this vertex, hit E to add another cut from here to here and hit Enter to confirm them like this. And let's go to phase hit to inst all of these inside like this. And let's see what else we can do here. Maybe I can add ages here, two to support this area, maybe three, like this. Let's see grab these faces all of them, and rally can go to the loop tool that we activated in the Adon second and choose circle to change this circle and hit e scaled inside like this. All that's cool. That's great. Scale this inside even more and hit e two stro this up. I need to scale it even more, it E and push it up like this, go to A. I'll click here and contro to bev this area like this. That will work. For these phases right here, grab them and hit two ins and hit to take those down and hit X F to delete them. Let's go to AGs. I'll click right here. It to click to grab the other one. Ctroll be to bubble them like this. Let's see what else we need to do here. Maybe I need to grab all these faces. I'll click on one of them to grab the facelope and hit two in. I did that because I gue need support a loop here to support this one because when I add the subdivision surface, the straight will go like this, and I need to avoid this. All right now, let's hit I'll click on these, it control plus to grow the selection couple time, or maybe let's grab it from here and the grow the selection couple time like this and hit g to the z to push this ale bit. Now control minus to shrink the selection and G to the z and take thistle bit. All right. Let's go to the bottom here. Let's select all of these faces. And let's inset them at I. Or you can vl these edges if you like. Let's try to inset them at I and take those inside like this. That's will work. Now let's see what's going to happen if I add the subdivision surface. Let's go to the modifier and add it and add two to make it even more smooth and right chad smooth. The result is nice. We can make it tighter here. If you like. Let's see how can we keep this tub out and let's select all of these edges here. One by one. Let's sec of those here. And level them, can roll B. Let's add three edges here in the middle. Now this become sharp. You can grab this edge that we added here. At cantro grab this one, you can slide them, eat wise and slide them like that, and the this one as well. Hot cantro g this. Kat we and slide it on the other side like this. The same thing here. At control this, ket wise and slide it. This one as well. Wise and slight it like this. I did this because I need the corner here to be a bit sharper. Because of that, I pushed this right here to this corner to support it. A now tap out and let's activate the modifier. I think now the result is a bit better, and it's almost close to what we have here. All this is how to create this object. That we'll do it for this video and see next. 46. 046 Modeling Level 2 modeling teabot part 1: Hi, everyone, and welcome back. We're still in the modeling level two. And in this video, I need to create this T boat. Let's see how can we create it. The MA you will find it in the resource. I think I can start with the circle or cylinder. I prefer circle, so I will delete the cube, just selected and delete from the keyword, deleted. Then a shift eight to open the add menu, and let's go to the mix section, and let's add a circle here in the middle. Here we have 30 to two vertices. I will speak this 216, start with 16, and I just need not too resolution here. 16 will be enough for me. Even if you use 12 ads will work. And I will tap the edit mode to start creating this shape. You have two options. You can use acro modifier, or you can extrude the circle and pushing some vertices inside to create this sc right here. First thing I will hit F to create a big phase and then hit to right here. I just need to create the area from this point to this point. Maybe I can hit key this and take it just a little bit up, something like this. Here we have a pulse. Let's see how can we create this pulse. I will hit control to add the edge loop, maybe right here and volt control. Let's add the three edges here. With this one selected, it ls to push it outside and the chen like this. Or you can hit S and scale it. That will work as well. All right. That's cool. Here we have a small curve and the base. I will control to add, one right here. Maybe these faces, I click to grab this entire face loop. I can book them inside, but I need to support this area with one here and I'll click s. Let's go to the face. I'll click on these faces. Then l is to push those inside a little bit, not too much. Now, let's grab this edge out click and hit control B to bev it, and let's give it a nice curve like this. This face in the middle, hit I and make some inst and there we go. I made some inst because I want to push this face away from this edge to avoid any problem in the shading when I add the subdivision surface. I push the one inside on the flat area. All right, let's go here and let's see what else we can do. Hit e to extrude this another time like this and let's scale it like that. That's cool. It control after another edge may be right here and scale it just a little bit, like this. I'll click on this area and bevo control be add three or maybe four. Yeah, three, I think that better. Now I think we've got a shape similar to what we have, but it's slowly. Grab this face, and it control to grow the scion scale those just a bit more like this, maybe. That's cool. I will grab this face and hit I two ins to book this inside and the grab this edge, go to the edge, I'd click and volt control B. A, that's cool. We have some Here we have a ring. I need to create, see if maybe we can Make another inset here. Let's go to the pace, grab this one, hit S and make it a bit pick, and then hit I two inset it like this. And I'll click on this He loop. You can hit shift D to take a cob of it and right click to leave it in the same place and then P and choose selection to separate it from the selection. Tab out grab this alone, tab and hit a select all the pass and hit E two it up. Something like this, maybe will work. All right. It A, select all the vase and recalculate the normal. I'm not quite sure if I if the normal is right or wrong, but I will hit if and to recalculate it. So if it was wrong, now it's fixed. And if there's no problem, even if you hit Heft N, that's not going to fill the result. That's just going to fix it. Anyway, let's tab out now and let's create the cup and let's grab the body and tab, and maybe I can start with this H I'll click, and ft d to the z and take this CB up almost right here, and then P has to separate it, and let's work on this one alone. Tap it A and hits maybe hit e to the z to extrude it up, something like this, and then hits E S to extrude it and scale it inside. And hits F to create a big phase and e to inset, something like this, and its heft arch time to repeat the inset that you made. All right. Now we got this circle selected. I will go to proportional editing and activate it, and let's choose one of these pattern, maybe the shape or maybe the inverse square, it to the z and make the effect radius smaller by rotating the wheel of the mouse. This bok is just a little bit up like this. Something like this. That's awesome. Turn off proportional editing. Let's go to the Age mood I'll click on this age. Hit control be toval it to make it round like this. All right, Let's isolate this slash, and let's go from inside to see what we can do. I'll click on these edges and hit e to extrude and S to extrude those inside, and I'll click on this as well, Ctroll B and level them. Just a little bit like this. Make it a bit sharp from here and let's hit slash to go out of the local mode. All right now we cut this results. That's nice. Here we have the handle, let's see how can we create it. L et's go to the vertex. Let's go to the first to the front view, and I guess selected one vertex here. Let's go to the front. I will hit e to extrude this vertex alone, and I will try to draw the pattern of the handle. So hit E like this and try to create a co time. A school. Now we grab all these vertices that you created, switch to H, grab this, and then hit P S to separate them from the group. Now we need to do something. Tab and go to the vertex clove this vertex, and let's put the three decorsor here in the position of this vertex, that have SN coorsor selected, tub out in the herotcl, and bring the organ dot to the position of the three decorsor, herotyl, and set organ organ to the three decorsor. And now we have the organ dot right here because we won't to use it to rotate this shape along the organ dot here. In this case, we will use the screw modified could be right here, where is it? This one right here. It's already the axis that we want is activated already, you don't need to speak to the y or to the x because the z is the correct axis. Let's go to the tb of view and head to There's an a stock if you want to use. First, let's make sure that everything is correct without any problem. I think that's okay. I don't need to do anything here. Maybe I just need to activate the merge to merge the start with the end and then hit control A to apply the Cc. After that tab and I click to grab this entire a loop or this one, to end the pregnant three d coors here in the middle. In the middle of the selection, I mean, then right click and bring the origin dot to the position of the three d corso. All right. What I need to do is, I need to position this exactly in the center of this cub. Let's select the cub and t grab this face. I s and bring the corsoe to select it tab out and grab this one. And shift S and Q selection to cross the Cossor. Well, that's means we'll push the handle to the position of the three D cossor. Now it's perfectly in the center. But it's small as compared to what we have here, so I will scale it and make it pick like this. Let's start with the mode, and let's make some weak. Let's add one A here control B. I just need to support this area because I need to adt the akin surface here. I I don't support this area and make it here, Harb like this. I will lose the arb right here and it will be smooth. Support it and now add subdivision surface if you want, it will be very nice and nice looking here. This one as well, top to the edit mode, and let's see what we need to support here. Well, maybe one right here that will work and that's it. We can add subdivision surface and everything will be okay. Open the list and ad suban surface, cring this to two and try to click and had smooth. I think the result is awesome. Now let's see how can we create this pot this one right here. L et's see grab the body and tap to the edit mode, and maybe I can go to face. Let's see grab these faces, all of them, and maybe I can scale them. Before that, I will add one acre I here to support this area because I need to grab all these faces. So grab all of these faces like what I doing right now and I two inset. Inset those like this. It click and choose from the loop tool add on circle to this two circle and scale the circle. Just a little bit like this, and then we're going the result is okay. Go to the front and pk this out a little bit, not too much like this. Maybe I can rotate it just a little bit. What I can do is I can delete all of these phases xF and go to Alt click to grab these edges. Let's go back to the front and hit Etro this almost right here and rotate it just a little bit, and this calles. That's cool. All right. After that, I will hit two create a big pace here and hit to extrude this even more, and I will grab these faces. It's two open the extrude menu and let's extrude this along the normal. Let's push those out, and the g that I have here may be this is this one. I click, I'll have to click and the control. Grab this pick face at S and scale it inside and then hit and put this inside like this at XF to delete it, and go to, grab these edges control B and veal them. Maybe I can put those even more down. I click. To book those correctly, I will hit key twice to slide them back and then lt and book those inside like this. Sorry, make a mistake here. Key twice, slide them Alt and book those inside. After that, this area right here, if I add the subdivision surface, this area will become very smooth because we don't have a support. But if I add support here and here, this area will be tight, so I need to add support loop. In this case, I will use the alt left click and then control b to l and bevel this area. We have this very close vertex. I will leave it like this. I'm not going to touch it. Maybe I can push it just a little bit up keywie and slide it like this. That will be enough. Some like this will work. Maybe this one I can take this down keewie and puck it down. All right. Let's go back. Let's go to the front of view and convert the result is almost close to what we have here. Tab out, and let's add the subdivision surface to the body and let's see what we will get. Open the list add the subdivision surface and cling this to two and radically the smooth. All right, it's nice. All right, so that's it for now. And the next video, I will add the other details and finish it. So that's will do it for this video and see you next. 47. 047 Modeling Level 2 modeling teabot part 2: Hi, welcome back. Let's compte creating the teapots, and let's start with this ring. I just need to complete slash to isolate it. And tap to the edit mode. Let's give the corner a bl to add subdivision service above them. I'll click to grab this entire loop. I'll have to click to add this one as well, and those here at the bottom and control B to bevel them. Give them a small amount of beveling like this. And then All right, that's it. Tap out in a subdivision surface and increase this 22 radically smooth and exact and then we're going now become smooth. Okay, the handle and these pieces, let's see how can we create them. Maybe we can copy a bicon here from the same teapot or maybe we can create another one. All right. Let's grab this phase here, turn of the subdivision temporarily. And maybe I can grab any phase. Maybe those here and use them. Shift D, taco cobia and rat to leave them in the same place and then Ps to separate them. Grab this and tap the. Let's grab the side git wise and bohet like this and this one as well. Git wise and buche like this. All right. After that hit A, select the whole face and hit e to stro this up almost right here and scale it a little bit inside like this. It's like to isolate it to see what we can do. Let's see grab these faces inside at xF to delete them. We don't need them. And what else we need to do here. Control to add loop here and maybe edges outside we can separate them just ale bit. We can do this or maybe we can corrupt this entire agobcal it inside like this and scale the top as well, the N scale. Hits we go so far. Hit key twice to book these phases inside, like this. A this nice. Now let's go to the edge and let's grab these edges and let's bevel them and those here as well. It have to click and control to bevel.pvel them like this. This one as well, control to bevel. A that looks nice. Let's subdivian surface and let's see what we will got. Subdivian surface still exist on this piece because we are cobt from the teabad itself. A. Let's see how can I fix the overlapping that I have here in this area. And here we have some gap. I need to tweak these vertices. And before that, maybe I can add solidify to give this a bit of thickness. Let's go to the front for now and let's rotate this just a little bit. The rotation now The rotation working according to the org dot here, but I need to change the position of this one. Let's go to the option and activate the origin, and hit and move it. Let's put it right here because I need to make this one as a Biot. Maybe I can put the bivot right here to rotate it along this dot. Let's turn off the organ for now. After that, and rotate ale bit like this. Maybe I can hit and move it out, it to rotate again. Right now we got something nice. Maybe I now I can at two edges here. Tab and hit control are at two edges, and the grab these vertices and push them down just a little bit hit key and take those down until they reach the surface of the tbot. Rotate them just a little bit. For this side as well, go to x ray grab these vertices and go to the bag of view, control one and hit key and move those the same thing. Hit to rotate them just a little bit. Yeah. That's cool. Okay. Now let's give this a solidify. I think now is better. Let's go to the modifier list and add solidify and let's king the thickness back to minus to give it a thickness on the other side. Something like this maybe. And turn of subdivision for now and take it underneath the solidify and apply the solidify, control and applied. H to come to the local mode and let's delete some phases's grab these phases inside and it control plus cole time to grow the selection until you reach the end or until you reach this edge, H control minus two growing the selection, and I will delete those F to delete. Right and for this edge, I will supply with another edge to make this a bit sharp control B, something like this. Now, I think this better activate subdivision surface and slash to jump out of the local mode, and there we go. I think now the result is better. All right. That's cool. I need another one on the other side. Let's go to the front. H shift D, take a CB here, and triticale mirror mirror to the global X and just move it out just a little bit. Like this, maybe we can rotate it to align it better. Let's see what we've got so far here. Let's go to the front and to rotate a little bit. Move it right here. We can rotate this even more. Alright, something like this will work. I will accept this result, and create the handle. Let's go to the front and see how can we create this? All right. Maybe I can grab any vertex from the T bots, for example, state mood, and grab any vertex you like, for example, this one, it HD and COV and lets put t right here, and start extruding this vertex, hit E to extrude it like this. And keep extruding this until you achieve a shape similar to what we have here. E. It should be something like this. I just need to draw it. Something like this. All right. Because we have the subdivision surface applied on the vertic that we CBD. You see that I have very smooth curve here. Hit and move this maybe right here. All right it again and this right here and here as well. All right. That's great. Now hit control to link select because I just need to select this age alone and hit ps to separate it. And now I got nice results. Let's put this in the right position. Maybe in the top view, I can see where I could put it key and move it just a little bit here in the center in the gla school. Let's change the origin dots. Or I can leave it because it's exactly in the center. I can use the mirror modifier for this age. Let's go to the modifier lets and add the mirror modifier. Bingo. That's great. Let's see the mic. Okay, America is working. That's cool. Now, let's take this above the subdivision and apply the mirror modifier. I don't need it, and what else should I need to apply? At least cring this to one because I don't need the resolution to be high and apply the subdivision as well. Now we got this Nice shape here. Okay, write it and you can go to the convert to convert it to curve because it's H right now. So convert this to curve. And if you notice here, keep your eye on this icon right here, you'll notice that if I convert this to curve, the icon, this will be changed, and this icon as well will be changed. It's practically, convert to convert to curve and there you go. Now let's go to the curve option here and let's go to the geometry opens, open the bival and increase the depth. Let's give this a bit of depth. Control I apply the scale to avoid any problem. Hold to move the two gibts to make the thickness a bit less. That's great. It's very nice. All right, I will accept this. After that, if you want to make this Mh again control A and Q apply visual geometry to Mish, and it will be mesh. All right. After that tap to edit mode, and let's see grab these edges and hit F two add pase here and val this area control like this. The same thing on the other side here. I'll click here. F control B and the ballet like this. That's cool. Now we need to create something new here with this handle, the plastic one. Let's see how can we create it. Maybe we can start with the cube, so let's go to the front and I will grab this edge in the middle and the x ray mode and hit ft S and the bring the three d courser here to the middle and tab out hit Heft A to create the cube. Now we have the cube inside this. Let's make this small like this. And I don't know, maybe I can use the mirror modifier because we have the same this side similar to the side. Okay. Tap and hit control are and add one here in the middle. Go to face, activate x ray, grab the side, hit x f to delete it. And now I will add mirror Mutifier, to mirror it. This one right here. There we go. Now in the tram mode, I will start manipulating this box. For example, I will grab these vertice hit key and take those down, and I will leave those like this. For now, grab those here. Don't forget I'm in the extra. That means I can grab the four vertices in the front of vi. It e two exe this. And it key to move down just a little bit and rotate them as well. Hit E, again, to to rotate them, key to move them just a little bit like this. Another E to extrude those almost right here. Hard to rotate them key to move them down like this. Let's grab these vertices, it key and take those up. Something like this, grab those here. Key take those maybe almost right here. Maybe I can grab those it key and take those down. This one, take it up. Can hit key and take this, put it right here. All right. Maybe I can grab those in the x ray again, hit E and extrude them, R rotate them key to move them and maybe you can move them just a little bit like this. We got apes almost similar to what we have here. Maybe I can grab these vertices in the x ray and move them down just a bit. As this one and this one, just a bit. All right. Hit A, select everything and scale them like this in the middle, let's go to les of the x ray mood and grab this a here and hit g to move this outside, and those as well. The top view, maybe you can understand better. But I will hit tology a couple of times because I need to do this on the other side as well. Activate x ray, got vertex, I go grab those here and hit S to the Y and scale those like this. Those here as well, S Y, and the same thing those here. Maybe those just ale bit. Yeah, that's great. Maybe those just a little bit. S Y. All right. Hit control to add two ages here and control to add two here as well. I will grab these faces and all of them and tragically go to the loophole and Q circle to make them circle like a circle. Go to the front and scale this down, make it smaller, and there we go. What else we need to do here. Let's see grab this. Maybe I can use the smooth option here, activated and crab this yellow, and gues many belated to to smooth this yes a little bit. Can smooth it even more. I'll click on this one as well grab this and smooth it a little bit. Those here as well. And those here maybe those here. But if you smooth those, you will lose the connection here. This way guest activate clipping to avoid that, now try to smooth it without any problem. The result is nice. Okay. Now let's make this area a bit harp by adding one A here, because if I add the subdivision surface, the algorithm will work like this, and it will kill this harp age. This case, I will add a here to prevent that. Control r to add one a here like this. Go back to the select box. And there we go. What else do we need to do here? Maybe we can make an inset here. Go to phase, grab all of these phases here, all of them. And it e to inst to make this even harbor. So now the subdivision will work from this edge to this edge, and I will got a sharp corner here. Or a tub out and lets add subdivision surface above the mirror. And right click a smooth. And it's very nice. Grab this one and add some the surface to it and make it very smooth. Right click head smooth. And that's cool. That's very nice. All right, that's cool. Let's go to the front and let's see what else we can do here. Everything looks nice most. We can grab this with this and tap the edit mode, and let's grab. Let's see maybe those vertices that we have here and activate propoional editing, and I can put those down because the distance that we have here is not similar to the result that we have here. This area is we have very big distance here. I think I need to grab those down to effect this. Activate the provoional editing and it g to the Z and make the circle big to make the effect Something like this maybe. Yeah, I think that's okay. Yeah, that's cool. Very nice. If you like there is an technique, if you want to make this thicker, you can tap the edit mode and hit a select everything and hit Alt S to inflate this object like this, if you like. Alt S and just make it big. If you like this result, you can keep it. If you don't, you can hit control like this. I think I can keep it. I think now it's better and very close to what we have here. All that's will do it for this video and see you next. 48. 048 Modeling Level 2 modeling teabot part 3: Hi, Randall come back. Now I need to create this shape right here. I think it is spout shutter, and here we have a handle to open it like this and close it. Let's Let's see how can we create this? I will start with the shutter, the plastic, and maybe I can start with the uveosphere. All right, let's grab the T bot D and tabulated mood. I'll click on these edges. Any edges may be those, for example, Heft S and bring the three dcorsor to selected to add three dcorsor right here in this area. Tab out and that it. Heft A and let's start with the uvea, and let's open the properties of the user. Here we have a 32 segment. Take this back to maybe 16, and let's see the result. 16 segment and the ring as well, maybe I can take it down. I don't need much segment. Eight, I think eight will work for me. Even if I stick this to 12, That will work as well. Yeah, that's nice 12, 12 by eight. Close this. I will move this just a little bit right here, and I will delete half of it tab and go to face x ray activated and grab this half and delete it. And here we have some ex try to create grab this with this and hit E, and let's see the ex. The extruion goes diagonally. I don't need that, so I'm going to control. And I will go back to solid, deactivate x ray, grab those, hit E, but tritical to cancel the extrusion. But here we have phase above phase. The extrusion still exists. What I'm going to do is I'm going to hit g to the x to move a stright like this. And that's what I want. It S and scalt like this. And maybe I can scale it to the x axis to make it a bit straight, and it can roll r to add lop, maybe two here, or maybe one, we can start with one, and grab these vertices in the x ray and take those down. Something like this maybe. Those as well again take those down. All right. Hit SN scale this, make it small and control, I apply the scale. Now what I will do is I will duplicate this, but I'm not going to use Haft D. I will use old D to make link duplicate. I will tell you what the difference. I will hit D first and I will take a CB right here just to give you an example, and I will tap it for the CB. If I move any vertex with the B, This one will be affected to the king that I will make, but this one will not affect. This one will not be affected if I edit this at all. But let's tap out de this. But if I hit Alt D and tap edit mode, any king I make to the, this one will follow it. They will be linked with the idea. It can troll couple of time. Let's go to front. I will hit Alt D and I will take a co right here and I'll rotate it and the front it and rotate it like this. Align it. S and scale it. H move it maybe right here. Scale it just a little bit like this. H move it. Now we got this shape. After that, I will start manipulating this and by manipulating this, this one will follow it. Tabulate it move for example. Bring back the image, minimize it just a little bit. Here we have this handle. I just need to understand how to create it. I can maybe start with these four vertices here, or maybe I can add one e here for now, something like this, and the grab these faces, and hit E to take this up, and in the front, let's scale this a little bit. And hit E another e to extrude this. And scale this even more. It to this up. Maybe I can rotate it just a little bit, it and give it a bit of curve like this. Even those vertices here in the x ray mode, you can with them. Think we got some problem? No, there is nothing. Hits and move them just a little bit. I just need to got some care. Grab those, scale them, make them a bit smaller. Let's see. Yeah, it's now okay. Think this result now is similar to what we have here. Hit and move it just a little bit grab those, it key and move them as well. Hit and move those right here. That's cool. That's great. Here we have the whole. Les grab these. Is grab this vertex, it control and three. And because of this vertex connected to these faces, these phase will be selected. It to ins and hit e to extro this inside like this, and hit F to delete that phase. Go to click volt to make this area harp one A at subdivision surface like this. And these edges as well, hit control r and at one H right here to support this area, like that. And what else we need to do here. All right, control R right here to support this area as well. Control R here. Something like this will work. Let's see what else we need to do here. Maybe add an edge right here like this, and one here as well. I'm adding these edges because I need to support this edge, because when I add the subdivision surface, this area will become smooth like this. But when I add this edge, the smoothness will be tiny and the result will be harp. That's great. But we got one problem. This edge reach this area, and I don't need that. I just need to end it. I'm going to activate the auto smooth grab this hot contral grab this, twice and push it to wold it, and now it's folded. T. You can d select this and will those wilted like this. The same thing, crab this one ad control crab this at wise and wilted like this. Let's see what else we can do. One right here as well to support this area and one here. Here as well, control r to add one right here. That's cool. Control r to add one here. Now let's see what can happen if I add subdivision surface, let's see the results. Cr this to two critically it smooth. The result is nice, is not bad. Now let's see the result that we have here. By the way, we don't have subdivian surface. We added the subdivian surface on this one. But I will add a subdivian surface for this one as well and see the result. Great. The idea is whatever king I made right here, this one will follow. This is very nice technique if you want to use, if you have, if you want to model something diagonally, you can follow this way. All right. I think this area become a bit harp. Maybe I can fix it. By getting rid of this edge, Let's grab this age, hold control, keep selecting these edges. Control and dissolve them. What about this one? Maybe I can key to end this with this, and the same thing on this side, Kew end them like that. Let's activate a subdivision surface. Stine. The same result we got here because they are connected. That's cool. When you finish, crab this and delete it, and that's it. Well, before I delete the acc, I just need to extrude these faces inside. Tab and let's tub and to date it mood. Sorry. Do we go some problem, turn off the sub surface and tap mode. I'll click on these edges inside hit E and S and extrude those like that. Something like this, we got two edges close here, grab one of them, g twice and weld it like this, and this one as well. All right. P, it to Z and extrude ale bit and I'll click and grab those manually can be bved. Yeah, that's nice. Or if you don't like to do this, you can grab these faces, all of them and hit to ins and insert them inside like this. And now let's activate the subdivision surface. Great, nice and smooth. Let's see what we got here. Activate subdivision service. Awesome, Awesome. Great. Here we have the coin here. Let's see can we created. Let's go to the front, it it A and add Q very big, make it small like this. It and move it right here for now, something like this. Hit d D and diga ob right here to manipulate this CB. Now, grab this one, rotate it like this and put it in the right position. Something like this, maybe. All right. At it just a little bit. All right now tap to the mode and his control to add one edge here in this area. And maybe I now I need to adjust this edge and push it up I can do this here in the x ray, grab this one, this edge or tab out, grab this tub in. Hit key to the z and take this up almost right here, maybe. A that cool. Here we have some. Let's try to achieve this. Grab this edge, with this one here, it can troll tobo it like this. What else we need to do here? We got care of here as well. Crab those. By the way, whatever change you made here, this one will follow, so don't worry. You can work on this one alone. Grab those here. Something like this. Maybe I can level those, control B, even this one. Yeah, that's makes sense. Or maybe I can delete some phases here. I don't need all of these phases. For example, right. Maybe I can grab those here, and it X F to delete them and make this area open, and they grab these edges, level them, Cro. Something like this will work. We got one, two vertices here. Hit ge and enter, and it will be welded automatically because here we have auto merge activated. This one as well Ge and enter, and it will be merged. All right. What about this phase? I don't need it, X and deleted. And Okay. That's cool. Maybe now I can add solidify above this result, but let's go to the side view end. Maybe I need to Manipulate the vertices and put them down just a little bit. Let's grab the vertices here. Let's start with this one adding two edges here, and let's see the result of the t pot here. All right. I'm going to grab these vertices, but my eye will be right here watching what's going on here. Hit key to the z, and now it's attacked. Now let's grab those three here. Hit key to the z and put those down. A cancel this one. That one and hit key to the Z. The same thing, Clove this. That's this as well and this one, the z, and take this down like this. On the other side as well, the same thing. Let's maximize this and let's cycle this vertex with this one with this one. All of these, it to the z. Cancel this to the Z I. Cancel this one as well um the z. That's great. Now we got the curve of the spot. Tap out and use the solidify modifier to see what's going to happen. Cr this up a little bit and use en thickness and try to avoid any overlapping habit here because if I activate the wire frame, notice here if I cr the solidify more, you will got some overlapping here. Keep in your mind to avoid that overlapping. Give it nice thickness. That's very nice. Cool. Let's see what else we can do here. I can accept this result, but it just need a bit of tweaking here. I'm going to apply the solidify, and I think you cannot alight because these objects are linked. In this case, I will delete this one and grab this and apply the solidify. I will work with this one. Tab and let's grab. He and in the right view activate X ray, just pick those up ale bit. Cancel this G. Sorry, G and move this up here as well. Yeah, that's cool. And go to phase select this entire edge loop. You can select it like this. In this case, you can go to select. I just need to target the edges outer edges. Go to select and select loop and select loop boundary. You just need to target the boundary. I think you got the idea and v control like this. Or a tab out and no subdivision surface above this. Right turn of the wire frame, right click a smooth. Yeah, the result is okay. We just need to add one beam like what we have here and it will be finished. Okay. Let's go to the rights and put the three decors right here, hit A and d. Uv sphere, hit S and scale it, and scale it even more like this. Rotate this to the x x r x 90 degree like this, and tap go to the top, activate, delete half of it, delete all of these phases, and now hit A and S to the y to scale it and make it narrow like this. Or you can tap out and scale it S to the y. All right. Something like this. Make small, right head smooth, that's cool, heavy, take a copy on the side, right click mirror and the y axis. Key and take it close to the body. Now we got something similar to what you have. I H C to put the three D courser in the middle of the world. There we go. Grab this and delete it. We don't need to manipulate it, or if you want to extrude some faces here inside, I don't know, maybe I can cancel it or do it. If you like, you can grab these faces and extrude them, a little bit and extrude those again like this. Again, something like this, if you like. T got this result. All right, We got some overlaving. That's mean we need to put some faces here. Let's circle all of these faces, and those here, and those here on the other side and scaled into each other like this. Let's see what we got here. S to the y again. All right tab out. That's cool. That's nice. Now grab this and delete it. Don't worry about it. Cool. Now let's see what we've got so far. Great. That's very nice. We did something great and now the keyboard is finished with all the details. That's we'll do it and see you next. 49. 049 Modeling Level 2 modeling kitchen part 1: Hi, Bron. Welcome back. We are still in the modeling level, too, and I'm planning to model a lot of object in front of you, so you could understand and make the modeling part easier for you because the most important part in a three D in general is the modeling. And I want to make it easy for you by modeling a lot of stuff in front of you and make it easy. And this video, I need to create the scene. This image. I got this image from Pinterest, and I want to create all the details that we have here. Most of them, let's say. And let's start doing that. First, let's start with the walls. Let's create this wall, and this one as well. All right. Maybe I can start with the cube, or if I I can create blan and extrude it. All right. Let's stick with the cube. Let's open the this panel here, and here we have the dimension and the x and y, and z. I prefer to work with the centimeter. So I'm going to open the scene properties and go to the Niscon and switch the meter two centimeter. All right. Now we are working with the centimeters. Let's manipulate this cubes add 25 centimeter and the y. And in the Z, I will add, for example, 400 centimeter and the z. Let's go to the front end had key and move this to the ground. Sorry. I guess I made a mistake. Key to the z and take this. Hit key to the z, and take this up. Right here on the ground. Now I will manipulate the length. Tap to the edit mode, and now let's control the length. I will grab these vertices and just push them just a little bit like this. All right. So now I'm creating this wall right here, right. And let's grab these four vertices. That's mean we selected the face, hit to extrude this phase, a little bit, the same thickness. You can move it to the x, just a little bit like this, and then go to fase grab this phase and hit E to extrude it like that, and now we create this phase. Here we have a. Let's try to open a door here. Tab out. Let's see how can we create this door, let's add another cube tab out and head shift A and add cube. Let's change the dimension and the X 100 and tab to go to the Y 100 and tab again to go to the Z 100. Let's move this head G and lock the z axis head shift X. Let's put this right here. I think I just forget to activate a screen cast. All right. Let's offset this and put this right here, and maybe I can minimize the MF now like this and there we go. All right. Let's see, why should I put the door, maybe right here. I think, maybe here. I can control that later, but for now, let's put it right here. All right. Now let's grab the wall tab to the mod d control r to add an edge and snap the edge to the vertex of the cube that we add it. And if I do this right now, I can't because the snap the snub snapping to the increments instead of vertices. So I'm going to swing this to vertices. Now it g to move to the Y hold control and snap it to this vertex, control r to add another edge and hold control, and snap it right here. That's it. Now we don't need the cube, grab it delete. Grab the wall to. And now we have this small face here. Grab it hits e to open the extrude menu and extrude manifold. Extrude this up, and here in the top lift, we have the increments. So I'm going to hit 210 and minus -210 the height of the door. If you'd like to take this farther, you can do this by move this up to the z, and maybe you can move it 50 centimeter and that's it. I think that's okay. All right, now let's block out the scene, and let's start with the ground. Let's add the ground here, it ft A and's plane and move the plane here, just a little bit like this and tab and the crab vertices of the plane and extended hot control snubs here, crab vertex with this vertex and hit and move and hot control and snub it here. And maybe I can grab those and push them beyond the wall like this and there we go. Okay. We have the gator here. Let's try to create it. Its Shift A and add cube. And now we got the cube, hit Q to the Z, put above the ground and move it inside the room here or the kitchen. And let's give this dimension. Let's go to the item. And I don't know the size here, but I will assume that the length that we have here maybe 70 centimeter and the y, so I'm going to add 70 and y and the same thing in the X 70 centimeter. And I think it is a bit wider. I will add 80. And for the heights, I think it is I don't know, 1 meter and I don't know. I'm not quite sure. But I can add 1 meter and 70. Or the coves hit key to the Z, and hold control and snab it with the bottom vertice of the wall to snab it to the ground and hit key and cancel the Z axis hit ft Z to move it on the x and y and boot it in the corner. Something like this. That's cool. All right now let's compare the result. All right. Okay, now we got this. The first thing that we need to do now is to book this door, just a little bit, grab it and go to the vertex, activate x ray, grab all of these vertices, and hit key to the y and move it close to the revaor, maybe I don't know, right here, maybe. I think that's okay. Let's compare the two results. I think that the dimension is okay for now, maybe we can tweak this later. All right. Now let's see how to create the sink you can grab this one and HD and CV beside it like this. And let's see what we need to manipulate. I will push the origin dots at the bottom because when I manipulate the axis, the change will happen from the top and the bottom. Towards the organ dots. But if I grab this one and snub it to the ground and manipulate the Z axis, the length will go like this up, es up. And that's what I want, so I'm going to hit control Z and tap to the edit mode. Let's see grab these vertices on the ground. Hit ft S and bring the courser to selected, and now the cursor aligned with the ground. All right. Tab out with this one selected, right click and sit organ 23d Cursor. And now the organ dots. At the at the position of the three d corso. And that's what I want. Exact of the x ray, and now if you manipulate it, this is the difference that I'm talking about. So I'm going to add 90 maybe the heights for this. I think it makes sen 90, or at manipulate the y. I think I can add 60 as a width. Or maybe I can increase the width here to 80. I don't know. I think that's too 80, 60, I will change this to 60 As you see when I added the number, sect, the both side affected by the number. I mean, the length goes to this direction to the center. According to the origin dot. If you don't like that, you can put the origin at this corner here right here, if you like. For example, control, and let's isolate this one. Let's go to the local mode and tap it mode. Let's grab this H right here. It if S and bring the three dos right here. And then tap out, right click sit Ocen to three D courser. Now, the organ is right here. I I manipulate this, it will manipulate it according to the three D S according to the organ dot. Okay, this its Ls and exciting this ad here. 60 as with. I think that makes sense. I don't know, maybe. All right. Let's tab and let's grab this face and put it to the side almost right here. I'm here just need to block the scene. Here, we have a el. Let's see how can we create it. I think Let's out. I can use this tool. So let's maybe start from here like this and here something like this, and just give it a bit of w. Th that's too much tab out. This g to the y and put this almost maybe right here. Think that's okay. That's cool. You have the space and go back to select box. Or you can select it from here. And I think I can take this down to the Z, just a little bit. Here we have some stuff we need to create them. For example, this one and this All right. Let's add some cylinders there. Please go to this tool and choose cylinder. Click and hold and hold have to make the circle dimension correct and just give it a bit of height like this and duplicate them. H S and go to select box, and take this right here, H D, take another copy here. And duplicate those D like this. Ha arc time and delete those. I think that's okay. You can grab one cylinder. Right here, d to the x, and move it and cancel the Z axis, and Z. Tab just give this apit of height, like this, like what we see here. And we will manipulate that and make everything correct. What else do we need to do here? I think we have some gap here. Grab this tab, go vertex X ray, grab those key to the x and push it outle bit. All right. What else do we need to do here? I know I feel like I can't take the regator up a little bit. Grab these four vertices in the x ray and key to this put a little bit like this. I don't know I feel that's better. Okay, that's great. Here we have a pipe here we need to create. So let's put the three d coors right here hit t A and a plane and tape to the plane, go to vertex, hit a to select all the vertices, and I want to collapse them to one vertex. Just hit and s collapse. Now we have one vertex. Maybe in the fronts, I can extrude this like this and hit e to the and extrude it like that. So I just created this shape. Okay, what else we need to do here? Maybe we need to extrude this to the y as well, almost right here. Okay. Let's scrap dos here, Q d and take those down. Because I think this pipe is very close to the door, and I think these three vertices, I can put them away from the wall key to to the xe to the y, something like this. After that, I need to give them a vel. Grab this with this, H B, not control B, because control heft, we're using the two bevel the vertices. And let's level doss add a nice amount of segments, something like that. I think that's cool. All right. Calves verte push it towards the wall. Even if penetrate the wall is okay. And after that, now we got this result, right click and convert to curve because we need to use the curve properties to give this a thickness. Now let's go to the curve properties here and open the geometry, menu and manipulate the depth. And let's give it a nice amount of depth here. Something similar to the pipe that we have here. I feel that I want to give this pipe a little bit of thickness. I just need to king this number to maybe 16. I don't know. I think that's. Let's compare the two result here. Let's swa this to 15, maybe. My 15. I think that will work. Now, let's create the door. Let's see how can we do this? I will select the wall and tap and switch to edge. I just to CV this edge right here, it shift d to CV this edge. Now it's following the mouse. Hrot to leave it in the same place, and now we have CB above CB. I want to separate this new CV P and then S to separate it. Tap out and dera this new edge, tap to the mot A, select the edge, E to extrude and then z to extrude to the z like this and hold contral tab it with the ground. I mean with this vertex right here. All right, that's great. Control r to add edges here, and let's see how in g that we want. We want one, two, three in the middle. So control r, one, two, three, there we go. I then enter. All right now let's go to phase, hit A, I mean, hit three from the keyboard and then hit e, all the bases. And hit to inst let's inset this inside. But we got some problem. You note that the inst dimension is not correct. I need to apply the scale to get correct inst. It I to cancel this and then tab out and then hit control A and apply the scale. And now tab in hit A and then I, and now it's better. After that, hit I again to inst the individual phases like this and give it a bit of thickness like that. Something like this. I think that will work. All right. And then confirm it. A, that's cool. I think these now become a bit thicker as compared with the M that we have here, so I will read this to individual origin and hit s2z to scale them like this. All right, now the result is better. And I think I need to grab this egg. Let's pick this two medium points. And this one as well and scale them to the middle. You can scale them to the Z, hit S to the z, and push them to each other like this. All right. Let's go to face and grab these faces, hit P, and then to separate them from the group. And now we got this and grab the frame and slash to isolate it. Tap edit mode. Let's grab these edges. This one and this one as well and this one and just give them bubble, bubble them, control B, and bubble them just a little bit and add two edges. I just need to add some gap here in the middle. Switch to face with these phases selected at x and then F to delete these phases. All right. That's great. Okay now tap out and give them a thickness by adding solidify here. And cring this p and let's add maybe we don't know seven centimeter or maybe five and minus. And there we go now, let's hit slash, and let's push this window inside to the X and move it just a little bit like this. Alright, we got this result now. Okay. All right now, we can maybe start adding the details. We just blocked the scene. We added all the necessary details here. And yeah, we just need now to start the adding details. So that's we'll for this video in S next. 50. 050 Modeling Level 2 modeling kitchen part 2: Hi, everyone. Welcome back. Okay, now, I need to start to add the details, and I will start with the refrigerator and see how can we create it and add all of these details. Let's select it and it's like to isolate it to work with this one alone. I think I can add all of these in one collection, Let's hit A and hit, and let's create a new collection and let's call this kitchen and hit inter twice. I will take the refrigator alone out of the kitchen and put it inside the collection. Now I will hide the kitchen and work with this one alone. Let's see what we should do here. I will tap to the edit. I will add the sigment here. To create the do. Let's make this a bit smaller and control r and t A and take it down almost right here. Something like this and volt control B like that. Right. Grab this face, ship d to tab and try to click to leave it in the same place and then P has to separate it and tap out and let's grab this CB. Let's give this a solidify to give this a thickness in the minus let's if it's maybe I don't know. I think there's a problem with scale. I will the scale, control the scale, and that's right. I'm going to change this to four centimeter maybe or maybe five centimeter and minus. From the top view, maybe we can move it to the y just a little bit. Just need to make a gap here. All right. Now let's see what else we should do. Maybe we can vel the corners. Tap to the edit mode or let's apply the sold first. Control and apply it. Tap to the edit mode, go to vertex, crab this vert s to edge. Crab this edge, hold shift, crab this one as well and vt cant B. Let's maybe add four or five edges here at the corner like this. Now we got this result. I'd like to work with this one alone because I just need to bubble the other edges. I'll click on this one and grab all the other edges, and this one as well, and pubble all of this, it cantro be to bubble them. Like this. Yeah, we can add just four edges here. Or a tub out and let's see what we got. Maybe we can give it a bit of thickness from the top. Tab and go to vertices, activate X ray, grab these vertices and put them to the y. Something like this. I think that's better. And it's to. That's cool. Above the door, we have some covers here, from the top on the bottom. Let's see how can we create those here? Let's see grab the same door and tab, and maybe we can control r to add one. Let's see where we put this. Control R and at right here and take it down almost right here or leave it in the center and bevel control. Let's put those two Almost right here. That's cool. Now, let's go to the side of view or to the front and let's grab these new faces, let's grab these faces. T hold its and those here as well. I'm going to copy the d to and the right click to leave them in the same place as to separate them. All right selected, these parts. I will add the solidify above them to give them a small amount of thickness. Let's add the solidify and let's take this back to the minus. 0.2 centimeter. I think that will work in minus. Yeah, something like this. That's very cool. L to isolate and let's see what we got here. All right, I just need the outer faces. I don't need the interface, so let's activate all rim to delete the inner faces and hit control, I and apply the results. Now tap to the edit mode for this one, go to g, grab the outer edges, those here, and those here as well. I'll have to click and bevel those. Give them a small amount of beveling. Ctrol be. Let's add three or four here, something like this will work. Us it now sits slack to excite. And now we've finished this. I will take same V of this door down, I d to the Z and take a V right here, maybe, don't worry about the length. I will just that. With those selected the cup and the door tap the mode and grab all the vertices in the x ray, in the right view, you can hit to the Z and put those up right here, it to the Z and take this up. Almost maybe right here. And what we should do right now? Maybe I can grab one of these edges. Maybe this one, I'll click and de crab all the edge loop and duplicate it, shift d to the Z and take it right here with it, and then P S to separate it out of the group, and tab out grab this one tab to the moot hit A, and then hit F to fill this and E and take this down. Let's see, Why should we extrude this maybe right here. That looks nice, and this big phase, take it up z, something like this, and what else we could do? Let's create these holes, see how can we heave this. It can troll r to add here in the middle and can roll to bevel it, something like this. Then it can troll. I will bible this and make it a bit bigger, the ibling, maybe right here. Would the egge selected this one, this one, vl this one as well to two like this, and there we go. Let's see how many hole we have here or how many eggs we could add here in the middle. One, two, three, four, five, six, seven edges. Maybe we can put. So first thing, let's add one in the middle and volt. Almost right here. Between these edges, this one, and this one, we need to add seven segment here. Control R and add two, three, four, five, six, seven, and then confirm them and then art click to leave them in the center. 03, and we need to level these new edge that we created, Alif and then click them all like this and level them, and give them small space like this. Let's go to face and let's grab these phases like this. I think we need to add an right here as well. Or maybe I can go to cb this one, At this one and scale them to x and just make them close like that, and there we go. Now let's go to phase phases. Sorry, like this. I think the distance is very big. Well, that's mean we need to go maybe to the right and activate x ray and put those to each other. Z and put this down, maybe right here, and take this one. Take it up almost right here. Right now let's select those again. Right, something like this. And it tot those inside, and it X and then have to delete these faces. And now let's grab these edges inside. All right. You can control and old and click to select the edge ring and control old shift click to add the edge ring like this. Sorry to select them quickly like this. All right. Now let's bile all of these edges, control and let's add maybe three or four edges and make them curvy like that. That's great. Grab this one and heroic head smooth and activate auto smooth to correct the heading. We got this result. No, I think we got some heading here. Let's add v modifier to vl this. See what we will go All right now the amount is ten centimeter, I will speak this to 1 centimeter. Even 1 centimeter is too much. Let's add 0.2 and increase the segment, let's add two and open the heading, activate harder normal to get better heading. And I think the result is fine and okay. All right, that's cool for this. Let's select this one and it's right head smooth and activate the auto smote for it. And it looks nice. We don't need to manipulate it or do anything. The result is okay. All right. This door, let's grab this and L et's check the I don't know. I think that we had some problem with the proportion. I think I need to make this door a bit taller. So I'm going to grab the door itself and the c in this one as well, and tap to the edit mood and let's grab all these vertices. And the x ray and hit key to the Z, and let's put this, maybe right here. Now, I think the result is close. Now, let's grab this door radically head smooth and activate auto smoth for it. And yeah, that's nice the result. The same thing here, grab this with this radically head smooth and activate aut smooth for. All right, that's cool. What about the gator itself? What we should do here. Let's give this a bival that's it, I think, let's add vl. And let's change the amount to 0.2 centimeter and add maybe three. But I think we got some problem with the vling. I note that I got some stretch to the ground. And that's because of the scale, we need to apply the scale. That control I and apply the scale, and there we go now the il Now Bivel, working correctly. Radically head is smooth and activate auto smooth for it. And here, activate the harder normal to get better heading. T and now we got nice results. Write the handle. L's see how can we create those. Let's put the three d coos right here. I t A and add cube. Scale it is very big, scale it down. Et as out, scale make it small like this. And key to the mo right here, maybe. Tap the edit mode and let's see these vertices, key to the Z and take those. Almost right here, and it control out to add one here and this face E tot inside. K as cool. Tab out and now let's tically head smooth and activate the scale. I mean, apply the scale, and let's add level modifier and add 0.2 and amount 0.2, and increase the segment to two segment here, and activates auto smooth for it. Here in the heading segment is correct than normal, activate normal. Now we got correct results. After that, L et's stop the edit mode and I think I can take a cop before now, d to the z, the copy right here. Control or you can tratic and mirror to the z axis like this, key to the z. Something like this. Select maybe this one. Tab, we grab this face. You can actually hit I inst if you like like this, and it to extrude this up, Z and extrude almost right here and tab out. But I prefer to separate these new phases. I'll click on them and then hit ps to separate them out, and now the result is better. Let's grab this handle along its slash to isolate it. We will have a gap from the tb and from the bottom tab let's grab this Hes, I'll click it F to at the face right here and another face here as well. And that's K or S. The same handle, maybe we can take it and rotate them down. To the Z and put this right here, and in the front, you can rotate it and hold control to a rotate nine degree. Hit and move it in, put it maybe right here and that's cool. All right. I think we've done here. The result is very nice. If you don't like the heading on the door, you can add the hard, the weighted normal modifier that we talked about, this modifier can fix the heading and give you a better heading. But keep in your mind to activate auto smooth when you add this one. Let's add this and let's see what's going to happen. No I think there's no big difference here, but I think that because we didn't activate the to smooth. It's activated. Now I can see difference here. Yeah, we could activate auto smooth. Let's add the same multifier on this one. Let's go to the multifier and add weight normal and activate auto smooth. Yeah. Now the result is better. Let's go here, and Let's cope with the same utifier that we add here. Select this one, hold have to this one. Then it can with to open the link menu and link modifier. Where is it? Where is it? Where is it? Where is it? Where is it? C Kobe Modifier, let's see, C Modifier. All right. Yeah. Now we have the same modifier on this one. The same thing, the door, grab it hot shift, grab this, control L, and Kobe Modifier. And for this one, activate auto smooth. Is activated. Cool. All right, that's nice. The result is very nice. And Don't forget to if you like, you can manipulate the heading here by activating, for example, the cavity, you can control the heading to see the depth. If you like to work in this mode, but keep in mind that, this mode that will affect your computer performance a little bit. So if you like, you can activate it or leave it off. That's it. That's it for this video and see you next. 51. 051 Modeling Level 2 modeling kitchen part3: Hi, welcome back. Let's start with the s and let's create all of these details that we have here. Let's start with the top with the roof of this s. Tap the edit mode and let's go to the face and let's grab this face it, Hit D, let's take B from it and separate it Ps to separate it. And tap out, grab this new plane that we just copy it. And let's add solidify or you can extrude it tab hit A, select everything hit E and extrude up almost right here. And maybe we will got some problem with the normal here and just to avoid it, you can hit A, select the other phases, and then have to to recalculate the normal. That's cool. We have a big hole here. We need to create.'s see how can we achieve this? The hole is almost close to the fricator here. All right tap the edit mode and hit control to add loop. Let's add one right here, and another one maybe right here, something like this, and another loop, here and one here as well, something like this, I think. Yeah. It's like to isolate this piece and go to face, this with this and then dratic and choose a preach phase to preach these phases. After that, go to edge, control out and grab this corner to select the edge ring and then level the control to give them a vel, but vel stretched just a little bit as you see here because I think we got a problem with the scale. Control to cancel that. Tap out control I apply the scale and then tap in and vel these edges. Now deve working correctly. Add more Sigma here. And make this area smooth or something like this, you can bevel it at five centimeter if you like, that's would work. Yeah, that's cool. Now lets to look out of the local mood. It's very tall. I'm not going to worry about what's going on here because I just need to design what I see here. What else we could do here? Maybe we can I don't know, maybe we can create a hole here for the thing. And let's see how can we keep that? Maybe I can do this letter or right now. Let's create the doors for now. Grab this big box and tabulate it mood and let's add one segment right here, and control r and let's add another one. Almost maybe right here. Control r and add one, maybe right here. I just see three doors here, and I just need to create three. All right. Let's add two ages or one eggs right here. I don't know. Maybe I can add two. All right, this looks nice. Let's go to the faces, and let's select these faces, all of them and hit shift with D, take a CB and leave them in the same place and separate them P and then S. Let's grab this and go to the edge, grab these edges, and bible them with control B. To bubble them. You can bibble them out almost a I don't know, a little bit. Maybe 1 centimeter or less 0.7 centimeter. All right. Go to phase three and grab these phases, hit F and delete them, and that's it. Select all of these new phase, and extrude them out, E, extrude out just a little bit like this. Then A and then N to recalculate the normal in case we extrude them in the wrong diction. Now, the roof should cover these doors. What I'm going to do is I have two options. Maybe I can extrude this roof just a little bit, or I can book those inside. I prefer to extrude the top, tap the mode and number one to go to vertices, activate x ray and grab these and g to the y, I think, to the y, and move those right here. That's cool. I don't know what we have here. But let's see how can we create this. Let's select this type edit mode and control r to add one maybe right here, and control r to add maybe one right here. And what else we could do? Maybe we can maybe I can grab these vertices, all of them and put them to the x right here, maybe. And the grab this side have d, the CV almost right here and then hit to exclude this new face. Something like this, and hit control L to select just the new phase that we extruded and then hit Ps to separate it out. All right. Now let's select this tab again, and let's go to phase, select this and hit H D to take cob, and then Ps to separate it. Grab this alone, tab A, and then e to extrude it out like this. A little bit. And recocolate the normal in case we have a problem with the normal H n. That's great. Let's see the height of the door. I think we could take them up. I just selected them like this and tap and the go to vertices. And the extreme would will grab all of these vertices, and then I will turn off the x ray. Hit g to the z and take those almost right here. This nice height, something like this. Here we have a small handle, the can we create them. I will put the three d cos right here and I will add the cylinder. If you don't like to create a cylinder like this, you can use this tool to create a cylinder. And I think this one better grab it and create a cylinder on the surface and make the proposal correct, hold shift and make it correct and create and just move the mouse to determine the height and then click to confirm it. Then exit of the tool at it the space and go to select box. Here we have two vertices. I'm going to change this 26, and then that's it. Scale this to the y, just need to make it small like this. The size is okay for me as I think. Hit HC to push the three d courser to the center. I don't want it to be here. Now is okay. I will like to isolate this work on this one alone on top and go to phase all of these phases, hit I to ins les inset those inside like that. And you can extrude them, but I think I can vel these vertices and add extra segments. Or if you don't like to this, you can go to Gs and tritic subdivide and subdivide those 22, and that's it now, go to face and extrude this phase. By the way, I got these vertices because I subdivide this to two. Don't forget that. All it E and extrude this almost right here. Or before we extruding this, I just forget to do something here. Let's select this face and let's use this tool, the loop tool, it is add on. And if you don't know from where I got this, you need to go to edit and the preferences and go to addon section and Q and the circulop, loop tool and activate it from here. After that, you'll find it when you trilick in the edit mode. Q circle to change this to circle and extrude it like this, and then tab out it. I click had spot and activate a spot for it. Maybe I can v add bevel modifier above it, so please add the bevel and change the amount 2.2 centimeter at two segments. Mini belate the scale because we scale that we has some problem with the scale, control and apply the scale. Activate hard a normal to get perfect heading, and I think 0.2 at 2.1 is better, and yeah it does. We got one right here, to the Z, put it a little bit up and move it here, and have d and take another copy right here. H D and let's take another copy here. H be that right here on this door on the third one. That's cool. Let's center this in the front. And move them a bit to the center them. I think that's cool. How can we create the hand that we have here. All right. How can we create this? Fir, I think, maybe I can add plane here. A add plane, and scale just a little bit. Tab hit A, got to vertices, hit A, select all the vertices, and then hit M and collapse them to one vertex. Now we got just one vertex. After that, hit E to this like this and e again to extrude this again. Let's make another ext like this. And one more right here. I got this shape similar to what I have here because if you notice that I have some k here, goes like this, and I need to create it. Grab those to the y or to the x and push this just a little bit. Grab those here. I control shifts B to buvele the vertices and let's suble those. Something like this will work. Grab those and put them toward the y, which is like this. Grab this vertex and bring the three D coorsor right here, S and corso to selected. Tap out t and organ to the three D coorsor, to bring the three D, to bring the organ dot right here. Now let's go to the modifier. Let's add mirror modifier to mirror this on the other side. When you combs apply A and apply does it. Tap again and put this and make tab bit smaller. Something like this. I think that will work. You can delete this vertex control x if you like. All right now hit A and then hit E to the z and take this down. And if you extrude an g like this, you will got some problem with the normal. So I advise you to hit A and select everything and then hit shift and to recalculate the normal. And just make sure because sometimes this causes some problem. All right now, right is cool. By the way, we got some problem right here with this. I can hit tab and hit a select everything and hit and calculate it. Let's go back here and let's turn of the phase orientation. That's a great radical hit smooth and activate a smooth for it. I will give it I will add solidify to give it a thickness inside a little bit like this. Then can apply it and tab control at two edges here, the center and ST z and scal it like this. What else we can do here? All right, that's cool. Let's take a C of these phases. Sorry, control z. F d to the y and take co right here and then Ps to separate them. And let's select this in new Cob Let's bring the origin here to this metre. Tab let's this t zero enter, to make the strike and to the z. Take this up and hit at bit like this. Control B and vel dose. That's too much control B, a little maybe three or four. I think I can scale it, make it big, and take those down g to the z. A, something like this. That's great. Prab this radically hit smooth. And I think now I can add subdivision surface to make this smooth. It's like to isolate it first, and here we have these phases. I think I can delete them. Those here as well, F to delete them, and then tap out, go to the modifier subvgan surface. Let's increase this to two or leave it one and Here in the auto smooth, let's cring this up because as you see here, we have sharp edge. That's because of the angle here because the angle is small and the corner here is bigger between the faces. I'm going to increase this to avoid that audio can turn off this. That's what work as well in this situation. I like to exit and grab this one. Let's give this a bit of thickness by adding solidify modifier. Let's go to the modifier and add the solidify here. And give a sofi minus. Let's apply, that's it. Maybe I can add level above it and add 0.1 centimeter, a two segments, activate heading, and there we go, now it's become smooth. Put this toward the handle like this and take another copy for the other side like that, and the front, maybe you can understand the better in the top key and move this right here. Crab this with this and Where should we put those? On the front, let's go to front Q to the C and take those up a little bit right here, maybe. And move them towards the door like this. I think I can grab the doors and just and make them or from the top. Let's take the like this and tap to the mode and go to the Let's go to not to the right to the left, control three to go to the left view and let's go to the vertices X ray and grab these vertices to the Z and take those down. Maybe right here. Let's go back. Yeah tap out. Okay. What else do we need to do here? I think Let's take those out. Let's select this, hold here to grab this and this one right here. E to the y and take those out right here, e to the z and move them down just a little bit. The roof of the sink as well, let's go to the left, control three from then bad and tap to the edit mode and in the x ray, I can grab these vertices and push them back right here, maybe. What we have here. I think I can grab the store as well and take it back just a little bit, key to the y and tab. Let's take that of x ray and there we go. Let's move this just a little bit to the key to the x and this let's put it right here. Cool. Maybe we can scale this. I don't know. We can scale them, make it pick, and take this to the y and to the z. I can kink just a little bit, take these vertices and push them, right here and then take this one and ph like this. I don't know, but I think now the result is better. The doors, let's give them a bible. Maybe I can cope with the bible that I added to the handle. Let's grab the doors, hold, to grab this one and then hit control and CV modifier to the door. And now we could have the bible on the door and the ad that's correct. We need to activate the auto smooth activated from here, and we are now become smooth the door. Okay, I think now I can create the hole of the sink. So let's select the big box here and let's grab the counter edge. And let's go to the let's stop the edit mode. Let's maximate this. What I need to do is, I need to go to and grab these edges or I can add one in the middle and just selected. Have d to CB this one and then hit ps to separate it out from the group. Grab this one alone top a select everything and then F to grad big phase and E and take this up almost right here. Now we got this and we got the big box. Grab this one and hit like to isolate it. Let's put this one inside it. Penetrate like this, and we need to use the pulion to subtract this. Grab the big one and add the pulion modifier above it and pick the cutter like this. Then grab the cutter and you can after that, just apply the polyan and delete the cutter. We could have we go some problem. All right. We got some problem. We have the edge, but we got some problem. Sometimes this kind of problem happen. I will let trogic a couple time if that's happened, that's sometimes happened because of the phase orientation in the because of the phase orientation, we got wrong pulion. In this case, you can select the cutter and tap it A and have to to recalculate the normal to fix this and turn off the phase orientation. Now select this and pick this again and apply the p for this box and delete this one. We don't need it. There now we got nice result Tab to this one. Let's scrub the phase and can roll b to the ballet, and let's give it a small amount of bevel, but keep in your mind if you increase the number of the width, you will get some overlapping here because these aches will overlapping like this. Keep in your mind to give it a nice amount of beveling. That's cool. That's great. Now, select it and tab and let's grab this face in the middle. I controls to grow the selection until you reach the edge and then have Ps to separate it out. Grab this one alone and it's to excite and maybe we can give it a thickness just a little bit by using the solidifi minus, something like this will work and apply the solidify. I don't need it. Go to the edge, I click on these edges and level them control. I just need to got a corner here. And right head smooth and activate auto smooth for it if you want? The same thing, the counter edge, the same thing, you need to give it head smooth and activate the auto smote fort and give it bevel modifier to vl the edges. Let's go to the modifier at vel modifier and add 0.2 amount and three maybe segment and activate heading normal to get patter heading here, and now it's become smooth and beautiful. What else do we need to do here? All right, Let's see what is this design and how to create it, but not in this video. All right, so that's it for this video and see you in the next one. 52. 052 Modeling Level 2 modeling kitchen part 4: Hi, everyone. Welcome back. Let's see how can we create this object. This design here. Okay. I think I can start with the cube, but let's put the three dorsor right here on the counter edge and hit H A and let's add the cube. It's very big it S and Scalet plane. Let's add the cube, not plan and the scallet. Is very big. It key to dz and make it even more small like this. Scale to the y and maybe scale to the x, control by the scale. Tap the mood and grab these vertices, move them up like this. K to the z, something like this. Don't worry about the position. I will just to create and then I will but it anywhere I want. All right. So I'm planning to create this this piece of wood first, and tap out and take another B to the other side right there and take another cop right here in the middle. And rotate this one in the middle. But let's put the organ.in the middle. Get triticg, set organ to the coma. And rotate to the x axis, this is the x axis, the next 90 degree. And move this up ke to the z, and you can stop it with this vertex. You can grab all of these and like to isolate them and work with them alone here. The top, maybe I can move this put right here, and I think I need to rotate to the Y as well, 90 degree, R Y nine degree like this. Let's go back to the top. Let's move it just a little bit and All right. There we go. Tab and go to the vertex, and the x ray crab these vertices and key and move them right there, hold control to snub it to this corner here. Okay. But I think there's some variation here. I need to take this down, and hit key to the Z and take it down. Hold control to snap it with the vertex. All right, so we got this. After that, Maybe I need to another one from this, I mean, CV this one and move it down, maybe right here in the middle. And what else we should do, hit the again and take another CB here and center the organ to the umetry, and rotate it to the x x nine degree and hit S and scale like this, and just give it a bit of foot and apply the scale. Hit and move this right here. Let's move it just a little bit forward like this. Maybe I can tab and grab these vertice of the x ray and key to the z and stub them right here, and this one as well grab them and stub them right here and tab out. No right. After that, if d to take the B, let's put this right here and Ht arc time to repeat that. Now we go something like this. I think the result is not quite similar to what we have here, so maybe I can cancel all of these duplicated object and scale this make it a bit narrow. You can move it right here, and then D take another B and H arch time to repeat that CV. Okay. Let's take up all of these pieces and let's center them in the right view key and put them in the center. I'll have to make the movement slowly. That's cool. Okay, what else we need to do? Maybe we need to duplicate this one. I shift D and let's take an dro copy right here, we need to put this Let's rotate this tint degree for now, R, hold control and rotate like this and hit key and move it. Let's put this maybe right here. I don't know. Let's put this right here for now. But first, let's put this side to the Y, and this one as we, key to the y. Something like this. In manipulate this one, tub and covers in the X ray mode, grab this key and move it, and stub it and this one as well, it key and stab it with this corner. And what else we need to do here? Okay, let's grab this piece of food and hit key and move it right here. Or maybe I can put it inside right here as I think could be here like this. That's cool. What else we should do here? I think this one as well, we need to take it down, key to the Z. Let's put this right here. Let's take all of these pieces of food, grab them like this and let's a key to the Z and push them down. Something like this. Let's push them to each other, I think, I forget this one, key to the z, and snap it with this one. Or at least grab them all. I just need to I don't know, make them close to each other, a little bit not too much. Maybe in the tobe, I could make that a bit better. All right, let's go to the option and activate location because I need to scale them to the y, but I don't need to I don't need to affect the dimension of these objects. So as to the y, and just push them to each other and key to the y and center them again like this. After that turn off the location is very important because sometimes cause some problem. You don't realize it. Okay, what else we need to do here? Maybe I need to extend these pieces, grab them one by one. At have to select them like this and tab and go to vertices in the x ray, grab all of these vertices on the side and hit key and move them. Maybe right here for now. Let's see what else we could do here. Maybe I can grab this piece of wood and duplicate there on the side and hit e to the Z and wood here. Let's go to the front, it key and move it just a little bit down like this and rotate it to the y axis, it R Y 90 degree like this, and center it like this. N center it. What else we could do here. All right. Maybe I can grab this piece of food and shift the take a KV right here and move the e a little bit inside. In the top, I think that would be better. Hit move this right here. And as it shifts to take another V on the other side and move this right here. After that, grab this with this and manipulate the height. The x ray would crab this and this hit to z. Take this one down, and those here, and the x ray crub them and take them up, something like this. All right. Let's grub this and copy it to the z, and let's put one right here. I don't know, I feel that I can grab these woods and duplicate them and use them here. J grab them all head and take copy. Let's put this right here. At the top of you. Let's go to the top and can move them most right here, maybe. After that, maybe I can, let's go to the vertex and in the tray let's make them bit harder, get the z and take those down. Something like this. We have some overlapping here. We got one right here. We don't need to deleted and on the other side as well. I think. We got one right here or not. Yeah, we got one inside this piece of food. So I'm going to select it in the tray and delete. And we should add a piece of food here underneath these pieces, as I think. Am I right? Yeah, let's scrap this one. Hit shift D and let's take Kobe and let's put it right here. Let's go to the front to control that patter and hit key and move it. All right. What else we could do here? I think that's it. I don't know. I feel that that's it. But maybe I can extend this piece in that one. Cast a little bit out. E to the x and move them right here as I have here. All right? And do I need anything else here? I think that's it. Okay. When you complete all of these details, just grab them all like this, and it control J to make them one umatre. And now I can give them a Bival modifier, and this pval modifier will apply on everything here. Add the bivalen at 0.2 centimeters as amount here or maybe 0.1, two segments. I think that's two M 0.05 maybe. Yeah, that's where. All right. Let's go to the heading and activate harder normal, but you need to activate auto smooth first. Now we got this nice result. Now, when you complete, let's hit to excite, and let's put it on the sink, key to the z. To the Z and put on the sink. And let's sy grab it and select the sinc edge and sect to isolate them. And let's go to the fronts. I will go to the transform bivot point, and I will speak this to three D coorsor, because I need the bivot working according to the three decorsor. I'm going to show you while, let's go back to medium point. I want to rotate this new geometry. If I rotate it, the rotation will be according to the origin dot right here. I don't need to chang the origin dot, but I can use the three D coorsor. I will put the three d coorsor right here and rotate this geometry according to the three D coorsor like this. And I will give you an example, let's go to the three decorsor. And now when I hit r, I will rotate from three d coursor. If I have the three d coursor right here and rotate it, this one, the three d coursor will be the pivot points. So what I need to do I need to put the three d coursor right here and rotate this, it rotated and make this edge attach the counter edge. I control space to maximize it, at r, and hold heft and move it down like this. We got some problem, this one, we need to extend the gas a little bit. Grab the tab the edit moot in the extra mood, grab all of these vertices and it gwi to slide and then to put them forward. Gas a little bit like this and tub out. Now we got this, but we need to scale it because it's very small as compare as I think to the ma. Six of this moot control and space. L es scale this according to the three D coursor, because I think it is very big. Hit and scale it, make it big like this and position it better. Here and take it back just a bit, like this. Let's hit like to see to compare the two image. I think I can scale it even more. Let's push this to the wall just a bit. Let's put this back right here. Okay, that's it. That's very nice. By the way, I just forgot to mention that I activated the cavity here. I just need it better above view because activating cavities give you some shading here behind object, and that shows the scene a bit clearly. All right, this is it for this video and see you in the next one. 53. 053 Modeling Level 2 modeling kitchen part 5: Hi, F and welcome back. Let's design this och that we have here, and I will start with this one. Let's put the three D courser anywhere you like. Let's add Que or you can use this tool. I think this better. Let's create Que right here, subject like this and give it a height like this. That's it. Let's exe of this tool at heft space and go to select box and let's scale just a little bit to the Y. The scaling work into the three D course I will swing this back to media point and tap to the Edit mode. Let's grab these edges. And the control B, like this. Let's like to isolate this one to work on this one alone. Grab these edges as well, and ble them like that, and here as well cantro B and uvle it. That's not make sense. What we should do here, I will hit e to this up and I think I can scale it like this and scale it to the y and to the x. And he radically and use the loop tool. But before we do this, I will add two edges here on this side and on this side as well, control R and add two g loop here. Let's connect it from here. Let's connect the s c this with this K, and this one with this one K. I don't need to leave here big in goon because of that, I connected these two edges here. Or a here on this side, let's grab this phase, go to phase radically accuse the loop tool. Go to circle and circle to make that circle, and the scalts, make it small like this. Make it pas a little bit too much. Then it's e to extrude this up. Let's go to edge, grab these edges, and control me and level them like this. All right. We got some problem with the scale. You note that the result here is not perfect circle. And that's because of the scale, because we scaled this to the y. This case, tab out, right click and sorry control and apply the scale. And then tab in and now let's do that again, go to all click. Right click, go to the loop tool and Q circle. This one as well a grab it, right click circle. Now the result is better. All right, now let's as subdivision surface and let's see what's going to hen. Tab out, and let's go to the modifier a subdivision surface. Crack this to two and tap with the edit mode, and you just need to delete this pack face here. Hit XF and to delete it. Let's see the result that we got. Tab out rat click and it smooth. All right. I think we need to manipulate a little bit because I note that we have stretch goes down and goes up to the center. That's because we didn't add a here and one here as well. Let's do this tab. A control r and add one right here to support the side control r and add one here as well. And turn off this. I need to see what I do here. Maybe I can bubble this, I can throw B and bubble it like this. All right. That's great. Now let's go to this edge. I'll click hit E and S and scale those inside. I'll click pile dose like this. Control R adding here in this area. Go to face I'll click, or maybe grab those I'll click to select the faslop, control plus to grow the selection like this, and it Hit d to take a CV, right click to leave it in the same place and then Ps to separate this sNoV. Tab out to grab this, tap with mode, go to, I'll click to fill this area and give it a thickness. It select all the faces hit S to inflate this object out like this. Now, grab this, hit E and S and scale those down and before the edges, I'll click control B and before them like that. That's cool. Now let's activate a subdivision, and now the result is beautiful. Let's just and grab this with this key. Let's move it and put it in the grit place. But I think it is big. In this case, it key and hefty z to cancel the z axis. Let's put this right here. Let's make it small. But I will use the three D cours, streak the Bot to three decorsor, and put the three D coursor right here and scale this to the ground. You may ask why I did that because if I leave it on medium point and scale it to a scale to the center and I will have some space here. After that, I need to hit key and take it down. To avoid this, I can I can put the three cursor on the surface and scale it according to the coursor, and I will avoid that. Scale it like this. Think we need to make it a bit big. Compare this one to the ocult we have here. Yeah, now the size is okay. And let's see how can we create this another object here. Let's put the three D cursor right here, and Let's go back to medium 0.4 now. At Hit A, we can add the cylinder here or we can use this tool. Let's add the cylinder, hold Hft and create it to make the circle correct and take this up almost maybe right here. Here we have six side. Let's crease this two maybe 16, and let's manipulate the roti just a little bit like this. All right. H ift space and go to select box, close this panel, and now let's see what else we can do. Tab and go to this phase. Let's put the three d course right here in the middle. Maybe we can add another cylinder here to create this this design that we have here. Tab out it A and add another cylinder here and it's very big scalts. We are inside scalts, like this, control I scale. Take this up almost right here. Tab and go to vertices. C these vertices, key to the z, and take those down. It in and it tote up just a little bit like this and extrude those even more right here maybe. You grab these faces. At open the extrude menu and extrude log normal. Something like this will work. After that, take one of these vertices and let's extrude it. S, hit E and extrude it like this and extrude it to the z as well and move it forward to the y like that. When you comb, this N and then hit ps to separate it and take it to the z and take it down right here. All right top and the grave this vertex it control if to be to bevel it. Let's add three or maybe four here. C convert this to curve and in the depth here, just push it just a little bit to give this a bit of thickness, hold if, and push it inside. And there we go. Right now, grab this and tally head is smooth and activate the outer smooth for it and give it a modifier. You can co the bible that I added to this design here. Select this one. Hold have to grab this and go to this arrow and hit COB two selected, and now we have the same bible. That's great. Grab this one head smooth, with this one selected hold he to grab this, go to the modifier that you want and CV to select. I don't know. I think we don't need to copy the bible here because we don't have an edge. Unless we add a face here. Yeah, let's add a face here. Right click convert to mesh first. We lost the bible here. Okay. So I just selected this one with it, grab this one alone, right click convert to me. And the tab go to edges. I'll click to grab all of these edges and hit E and S to extrude those inside. After that hit F to create a big phase here and hit E tot this inside and then delete this phase hit X F. We don't need it anymore. That's cool. I think we got extra edges here. I don't know why that's happened. You can grab them I click I H to click on all of these edges that we don't need that colored with that blue, and we can delete them. Control X and solve them. Okay. Now we can add the val modifier that we have here. Select this one here to go this and COVID to select it, and there we go. The amount, I think is very big. I will change this 2.2, or I don't know. Maybe I can, change this 2.2. And let's activate auto smooth to this. You noted that I got some problem here in the bile. I need the bile to target just these edges here, but instead of that, bivle targeting the edges that I have here as well, and I don't need that. In this case, that heaven, can go to the bivle here and increase the angle to avoid that. You can make it more than 40. The same thing here in the auto smooth, you can manipulate this. But now I got a nice result. Grab this one and the same scene erratically had smooth and let's give it a bible, activate auto smooth for it and take the same bible that we added here. Select this, hold here, we grab this and go to the modifier and cope to select. Okay. If you want to make this even more smooth, you can add subdivision surface to it and it will become very smooth. Now we grab all of these, and cancel the z heft z and take this and puts right here. Use the three d coursor to scale it on the ground, stick this 23 decors hold heft and put this right here, and scale it and make it pick something like this, and move this right here. 54. 054 Modeling Level 2 modeling kitchen part 6: Hi, everyone. Welcome back. In this video, I need to create the facet. Let's see how can you create it. I have the three de coursor right here. If you want to change, you just hold shift and right click and put the cursor anywhere you want. And then shift A, I will start with the plane. All right now we have a big plane here, tap the mode and go to the vertex with all of these vertices selected at M and Qs collapse, to got one vertex here. Now we have one vertex. L et's extrude this to the z e to extrude it to the z like this and extrude this to the y and extrude it down to the z, like that. The ivot working according to the three D courser, I'm going to sad this back to medium point, and now I cut this result. O can I sec these two vertices, I cant be to vl them. Let's bevel them like this, or something like this. That's it for now. I will tap out and heroically and convert this to curve and go to the curve properties here and manipulate the depth inside inside Bevel second here. Let's give this a bit of depth. Something like this, I think will work, maybe 0.9 centimeter or even 1 centimeter, maybe will will work. After that, control and apply visual geometry to mesh or you can go to object and you can go to convert to mesh. Now we cut this results. After that, let's top the mode for this new Mg and now let's start make some editing. Let's add one right here, and I need to create this I need to scale it in this area. I go to Another edge maybe right here. Let's start with, let's add one here, control r and add one here, and let's grab in the x ray. Let's grab those and hit S but cancel the z axis. S H Z to scale into the X into the Vi like that. That's cool. Let's scrap those in the x ray and hit to the z and take this up, maybe right here. This egg that we have here, I'm going to eval at control and let's add extra phases here in this area. Maybe I can make this a bit bigger. Let's go to X ray S and f z to cancel the z x and make it bigger like that. Maybe this, I can scale it, I guess ale bit like this. Yeah, something like this. I think that's correct. Now let's select these phases that we have here starting with this one. Control plus to grow the selection. I think we got the wrong selection. Let's ing this with this and hit control plus to grow selection. Yeah, I think this is what I want to select. Okay with these phases, now selected. Let's hit to extrude them like this. And I will use the loop tool to make this like circle and hit key and take this out and scale it just a bit, I think, I need to scale it. Like this. About these edges, I'll click, grab those and those here and those here as well. You can use the smooth if you want to make them smooth. Maybe something like this will work. Let's go back to select box. Let's select these pass again. Let's make them pi, and E to them like this and to the X to make the pace flat. It and move it almost right here. Or maybe here, I will d to take a cop of this phase, maybe right here, and then hit to extrude it again, something like this. L like to isolate this alone. I need now to make a biv, but I will these phases to one giant phase, hit F, and pile these edges like this, that's cool. Very nice. Let's see what else we can do here. Maybe we can grab these phases that we have here and start extruding these phases to create the hit that I have here, the handle. Let's see how can we this? Let's tb those here as well. In the front of view it tote this and it to rotate it just a bit. Maybe move it here. I think I can delete these phases and work with the edges. To delete these phases and cliff to grab the entire edge love this one scale this just a little bit and it to make it flat like this and keep extruding those and rotate like this scale it. Another e to extrude it like that and rotate it and scale it just ale bit. And ether extrusion here and extrude this right here and rotate it. Extrude this here as well. Something like this. L et grab this result and I will make this like a circle and let's scale this down like this. Grab this one as well right go to the loop tool and make it a circle and just make it a bit wider. This one as well the same scenario here like this. This one here. This one as well. And this one right here. I think for this one, I can use the smooth tool to make it smooth, like this. This one as. Again, let's use the smooth here. L et's open this menu and let's see what we've got here. You can manipulate the strider here. This result looks nice. Let's tag up these phases here and let's go to select box and go to pace and Qs Grill. Let grab this face, hit S to put it forward, like that. There we go. Now, Let's select these edges here. I guess hit two accidentally, let's unhide this collection. Let's tab the mode and go to G, grab these ages, hit E and S and those inside, and grab those and vl them. Let's add three segment here because I need to add subdivi modifier. And Let's support this edge, side to support the edge right here. Here as well. Let's and take this pick and maybe bvle it to support this area as well. From this side, maybe I can I can scale this bit, and take this down and scale it even more like this. What else we can do here. I will buffle this edge and control B. And two edges like this and I will grab these phases, go to face end open extrude minium and extrude along normal and take those inside and delete these phases inside XF, and the grab these outer edges. This one to end grab this one as well, and level them control. Three segment. Let's add a support edge to this area and this one as well to avoid any stretching when I add the subdivision modifier. For this edge as well, grab it, and hit g twice and slide it up right here and hit control be to level it. Let's add two edges here very close. I'm going to repeat that vel, control and add two edges like this. Go to phase a Alt to extrude menu and extrude along normal and put those inside and delete these phases, hit X f and de grab these edges, click alto tali, vel them, control B with three edges like this and support the to avoid any strike when you add when you add the subdivision modifier. All right, that's great. Here in this area, we can manipulate this. And sic and scale a little bit. Lets scale this and ke to the Z and take this down. E and S and scale this inside and e to the z and put this up. I'll click. I'll have to click control B and ivle them and control r and let's add right here to support this site. This control, we just need to vl it because here we have some small curve here. Now let's add the subdivision modifier and let's see what we will got here. Let's cr this to two. All right, the result looks nice, but we need to make some much weak. Here we got some problems, let's see why that's having, turn out the subdivision and tap the put again. We didn't add a support egop here. And maybe we can delete these phases inside by going to the front and activate x ray and grab these phases alone like this. Even for the other side as well, or you can if you don't like to do this, you can just level them. Let's see grab this entire e loop by hitting at, have to click, and those here as well. T the same thing, t cloud them like that and level them, control B. Add the support egg here on this area. Maybe on this area as well, and tap out now activate subdivision surface with two level, and that's cool. Right click head smooth. Now we got something nice and interesting and Almost it's close to what we have here. If you want to give this a bit height, you can grab these vertices and hit to the z if you like, can make it a bit higher like that. Et's like to exact and let's see what we got so far. Let's make sure that we got this in the middle. Let's scrap those two book them, and we selected the wall as well, Her click and deselect the wall, and it key and move this just a little bit right here and take the past and book in the middle. That's cool. Let's convert the facet with those. It's a bit small, so I'm going to make it pick and I will scale it, it and make it pick like that. It to the Z and push it up just a little bit like this. I don't know, I think now the scale is okay. That's nice. Cool. This is how to create the facet. That's it for this video and see next. 55. 055 Modeling Level 2 modeling kitchen part 7: Hi, everyone. I will come back. This video, I need to create these cups. Let's start with this one here. Let's see how can we create it. I have a little bit bold here. It's a KV, and let's start creating this one. I can boot the three d courser anywhere, maybe right here and after that, move it up. Let's start here and I'm going to add plane, and I have big plane right now. Let's stop to the edit mode and let's switch to vertices hit number one. With the vertice, selected hit M to open the Mor uminum, and let's hit collapse to gout one vertex. Let's go to the front, for example, now I have one vertex right here. I will hit key to the z to move it up. You can see it now. I will hit E to start extruding this and starting following the shape of the cub that I have, this shape right here. Let's scrub this vertex as well hit E and move this a little bit like this. Something like that. I have the organdot here in this position, and I want to use the scromo difier to rotate this shape and to get a cup like that. But the scromodfier depend on the position of the organ doot. I need to move the organdot and put it right here in the center to got a shape like this. Tap out and go to can and activate the organ, hit and move this right here, or you can do something else, turn this off. You can grab this Have and tab and go to vertices, this vertex, it H S and corso to selected, then tap out, right click sit organ 23 ds. That will be better. I think. Now with this done, let's go to the modifier and let's add the screw modifier right here. And that's nice. We got the hey that we want, but we need to make some adjustments. I think we need to book some vertices here and edit it. Let's tap the edit mode and let's sagra this vertex, key to the x and make it a bit wider, and maybe this one as well key and make it a bit wider. I think it's s Let'sg this vertex key twice and slide it down, something like this. The base I need to make it a bit big and de grab those maybe and just move them just a little bit like that. I don't know, I feel that the result right now is makes sense. Now the hap is good and it's almost done. Let's apply the scromdfire, but let's tab out firs and hit control A to apply. By the way, before I applied, if you got any problem with the if you didn't get the ha that you want, try manipulate these axis. Tweak it to y or tweak it to x. But for me, the z axis is working. So let's apply it it control A, and I'll step to this, and maybe we can give it a solid pi. Let's go to the modifier at the solidify here and let's take this to the minus, hold shift, and give it maybe 0.2 centimeter minus. Let's see the wireframe here. This is the thickness. Yeah, snic thickness 0.2 centimeter. Hit control, I end up light and y, that's it. The stub and maybe I can grab these faces. What I need to do is, I need just to book these faces up just a little bit. So I'm going to grab this vertex, and then I need to swa this vertex to faces. I mean, by selecting this this vertex right here in the middle. I need to select these faces that connect to this vertex. If I go to face mode, nothing will happen. But if I hit control three, I will swa to face. But I got some problem. I think these vertices are not connected and yeah, these vertices not connected. In this case, What I will do is I will hit eight to select all the vertices and then hit and go to merge by distance. And here we have 30 vertices removed or merged. And that's what I want and here we have the threshold. The threshold is nice here 0.0 1 centimeter. All right. Now let's go to grab this vertex, and then it control three to select these faces that connected to it, and it control plus to grow the selection. And let's take these phases up just a little bit like this. All right. Maybe I can activate proportional editing and grab this in the x ray mode and take those up to Z. But if I do this, the whole mooch will be affected. Let's hit to the Z and make the circle small, rotate the wheel, and move this up. And even if I do this, the other side, the outer phases will be affected with it. In this case, I got an option here connected only like this and hit Z now. Now I can move these inner phases alone. Let's take this up just a little bit like this, and turn off proportional editing, and here we have one vertex. Let's take it down. To the z, and take it down like that. All right. If you don't like this shape, I mean this one vertex in the middle and this triangle, you can erupt them, and you can hit x and delete vertex to delete all of these phases connected to it. After that, let's go to the G. Let's isolate this. Let's go to the local motes. Now, let's grab this entire a loop of the base. Let's go to the phase and use a grid fill to filter with the grid. This one as well if you like, you can fil with the grid or fil with the grid. Grid fill. That's it. After that hit two inst let's inset those inside, it I again or something like this. The same thing for this side, grab these faces like that. And inset them at I and take them inside. These edges here, I just need to make them a bit harder I'm going to control be to vl them because when I will add the subdivision modifier, I will got big curve like this. But by adding these edges here and here I will make the curve small. Here, the same thing as well, I need to support this edge, and support this control and vele them like that. A that's cool. And yeah, that's it. Now let's stop out and let's sub division service modifier. And now it's become smooth and beautiful. Hits and let's take this up. After that, I need to move this and put it on the shelf here. I can move it manually. But I prefer to use Face Snap, switch the snap to face snap, and here we have an option, activate align rotation and chose metian. Now hit and now you can put this cup anywhere you want. I'm going to put this on the shelf like this and it will be perfectly snap to the shelf. But make sure that the origin dot on the base exactly. What about this cb, L can we created? This is very easy. I can start with this cylinder and let's delete all of the cylinders. We don't need them. Grab them all like that and delete, delete them. Let's stick with this one. All right I like to isolate it and tap to the edit mode, go to face, grab this face, hit to ins. Let's insert this inside and it e through this inside like that. It to this and take this even more inside. Yeah, something like that will work. With this peak fase selected cant be bival this phase, something like this, maybe will work. Let's make it smooth by adding more edges here. This side as we I'll click on this edge and Bival control be, something like this will work. These edges as well control be and bival. All right, that's great. Radically head smooth and activate auto smooth. If we want to get better results, we can add the weight nor modifier. Now the result is awesome. It's exciting and let's duplicate this one here on the y axis and let's scrap those both and shift, let's duplicate them. I think we have penetration here with the wall, to the y and move those just a little bit right here. Let's scrap those four, shift D and take a CV shift to repeat that. That's it. Now, it's a time to create this. Let's see how can we create it Let's scrub this cylinder, and I think the cylinder is not going to work because we have too many vertices or faces, and we need to use subdivision modifier to achieve this results. But I want to start with low boli mesh. I'm going to delete this and put the three d cs right here, heft A and use maybe I can start with a circle. Here we have 32 vertices. I'm going to swig this to maybe 16, and it is very big circle, H S and scale that make it small like this. Hit k to the C and take it up. D. Control A and apply the scale. Tap with the edit mode, it A and then hit to the Z and extrude it almost right here and grab this phase the have to create a big phase. And let's hit control r and add one right here and one here as well. Let's grab this Old have to grab this one, hit control B to bubble them. Let's add maybe let's bubble them like this. All right. What else do we need to do here? Realistic of this face with this one and those here as well. And I think I can I don't know, least try to make them a circle. I got some problem because the typology, it's affected. I mean, you know this ag goes like this diagonally, and that will affect the final result. So this is almost not going to work in this case. I will hit ts and sorry. I think I need to add extra as one here, and may let's go to the local mode it slide from the ambat. Let's add another ag, maybe right here. Because I need to grab these four faces and here the same thing. Let's go to the face and let's grab those here, these four faces and here as well, and maybe I can extrude them and heat circle to make this as a circle. And, I got now something like that. All right, that's cool. What else do we need to do here? Let's go to the individual organ and scale those like that. And let's delete these faces. X F to delete them. All you go to the front and let's grab this a lobe outt click. Let's start extruding make some extrusion to create a curve like this, something like this. You can hit control right click to make extion. I think that will work in this case. I'm not quite sure, but if that works, you can use it. You just need to hold control and then right click, move the curser and keep doing that, and you will get extraion like this. But what you need to do is after that, you need to scale with each extrusion. Let's start from here. Let's add one extrusion here and scale it. All right hold control again and right click, and let's extrude this right here and scale it and scale it, and keep doing that one here as well, and maybe one here as well, and here, Something like this, and one here. Let's make it a bit pick and one here, and lets. We got a nice shape here. Let's connect these edges with this here with this selected hold old shift and crab those and go to edge and bridge clop and grab those here and control x and dissolve them. You don't need them. That's what else we need to do here? All right, let's go to vertexes, let's se grab this vertex with this one. And let's swa this back to median point and tweak those two z like this. It's better to scale those away because I need this area to be rounded a little bit. You can use another way. I don't know if that will work or not, but you can grab these edges. You can use the smooth and let's manipulate and let's see what we will go. You can use them smooth this area ale bit if you like. The same thing here, you can grab those here, and the smooth the same thing. I think that's cool. I will accept this result. What else do we need to do here? We have a small g right here or care. Let's see how can we create it. Let's go to grab these edges here. Let's go to select box and hit e to this up and hit and make it a bit pick. You can grab, for example, this vertex right here and just push it forward just ale bit like this. Yeah, I think that's it. You can cb these edges a control B and Buble it, if you like. And what else we need to do here? Let's see what we can do here. The base as well, grab this pace, hit I two insets. Let's inset this inside and cb these edges and hit contro to bevel them like this, add three edges. Because I need to add subdivision surface, and I need this air to be a not like this. I add these edges to achieve this results. All right. Now, let's add let's add subdivision modifier. Let's see what got here. Let's tweak this to two, and the result is nice, but we need to make some tweaking by adding some eggs here and here as well because I note that the subdivision in this area is too much v. Tab and control and add one A here, and one A here as well. What else maybe we can let's turn off subdivision for now. I don't know, I feel that I can add another eight here and the reason because I need to make some bulge in this area. You can hit old S and inflate this just a little bit like this. The same thing here, control r and add 18 right here. Grab this old and inflate a bit like this and activate a subdivision, and now we got small bulge in this area. Right. Let's stop out. Let's turn this off. What else we can do here? Maybe I can grab these edges and scale them inside and push them to the jog and here as we, scale them and push them inside. Those here as we push them just a little bit like this. In the front, you can do this and push them like that. That's nice. Maybe now I can use the solidify to give this a thickness. Let's go to the modifier list and lets a solidify and let's manipulate the thickness. I need to give it maybe 0.4 centimeter. I think that will work. Let's apply the scale to see maybe we got some problem. No, there's no problem. Apply the solidify. That's it, but we got some problem, the solidify now, we have a hole here in the handle, and we don't need that. In this case, let's top to the edit mode and let's de grab the edges here. I'll click. Maybe I can grab those or even these phases, maybe. Yeah, let's grab these phases, go to phase I click. It XF to delete these phases, and the same thing here, I'll click, XF to delete these phases as well, and select these phases inside and then it can L to link select to select the pass inside and then F to delete them all. Now that's select this and you can go to face and crit. This. I think I can get better results here. Let's grab these pass and hit F to make it one phase here, and let's connect these vertices. You can connect them or you can delete all of these phases and it creates a new one. So as grab this hit control XF and let's grab all of these, and then go to phase in gritfl. I think that's better. The same thing here. Let's go to phase, I'll click on this XF, go to g. I'll click on this egg loop and go to the phase and secret fill. Yeah, this one now is better. Let's go to the egg that I have here and let's give them a bvl. Because if I don't, this will be very, very smooth. I just need these egges to be a bit tighter. Let's add v like this. A smooth, and let's activate auto smooth, and now it has now become a nice result that we got. After that, let's make the deformation that we have here, at scale V like this. I will use lattice to achieve this. So at f A and go to the lattice and add lats right here. This is very big, go to the top and let's scale it. Let's make it match the sides of the j here and scale this to the X, scale this to the Y as well. Make it small y and scale. Like that. In the front, scale this to the z, take this to the up almost right here. All right, Let's cool. Let's go to the lattice here and let's add two segments not here to the V, I think the V, the W. W mean the z axis. Let's add two here. And now let's grab the M and let's go to the modifier, and let's add lattice modifier and let's pick the K. Now, grab the e, tap the edit mode and grab these vertices, it key and bo them to the ax axis like this. Let's crab this as well and hit and move them forward like that. Maybe those here and hit key and move them like this. All right. Let's crab those. Maybe I can hit and move them just a little bit. So we got this shape. All right, let's stab out. I think that's it. Maybe we can grab these four and hit S and scale them, make the base a bit pick to the y as well. I don't know. I feel that should be like this. Maybe I can take this package a little bit because now we got too stretch. All right. I think we made the mistake here. Let's scale those back. All right, I think that's it. Maybe I can make some which we can here to the handle. I don't know. Maybe I can go to the vertex and activate retal editing and move this up just a little bit to the Z and make the circle. Maybe something like this. Alright, that's not going to work. I'm going to cancel this effect. Maybe I can grab the k here and the grab these vertices key to the z and push those up. Let's go to the lattice effect and let's add two edges to the U, I think the grab those here a key to the Z and let's see what's going happen. I just need to affect the handle alone. Let's turn a proportional editing. Key and move this up. A little bit. Not too much. Grab this key and move it inside. All right. We got something similar, not quite perfect, but it's similar to the result that we have here. Let's hit late to excite. Now we got this. You can grab the cake and hide it if you like. You can find it here. Let's see where is it. This one, the latch you can hide it if you want. How to create this. Need to take it down and put it on the and move it just a little bit. I don't know. Maybe I can scale it and make it smaller. L et's scale a b, not too much. But notes when you scale it. Before you apply all the modifier you will have some deformation. You notice this. I'm going to leave it like that. I'm not going to play with it. I know I feel that I need just to manipulate the cake ale bit. Let's see grab these vertice in the middle, and I need to p them for just a bit, too much. Something like this. A so that's we'll do it for this video, and see you next. 56. 056 Modeling Level 2 modeling kitchen part 8: H i, welcome back. All right. What we need to do now. Maybe I can I don't know. Maybe I can add some details to this pipe. What we can add here. Subdivision surface, I make it smooth, the head smooth. And let's tab to the edit mode sorry, I think I need to apply this first, so let's delete the subdivi for now. Control A apply vehicle *** to me because it is a right now. I'm going to sweep this to M. And let's a subdivision surface here. And the top, let's sc some re some edges, for example, this one right here and this one maybe and this one as well here, maybe I don't know. I think we need to take this down first. Let's sc these key to the C and take those. Maybe right here. Let's go to the select these edges again, and this one as well and this one. I think It shifts D and take those as a CB and right to leave them in the same place and then Ps to sureate them. Let's grab this new circles and apply the subdivision for them. And what we need to do now? Let's change those to curve, right convert to curve and let's go to the depth and push this just a little bit. Now we got this results. Right cl the smooth and grab them. You can manipulate the tips a little bit more like this. The result is okay. Now let's go to the door and let's see what details we can add here. Let's grab the glass and the borders and hit e to the x and put those almost right here. And The first thing, let's add a oval modifier to the border. We have a solidify, we add solidify control A and apply it, and let's add a bival and apply the scale first control a scale. Let's add 0.3 maybe centimeter or 0.2. A two segment or three heading, activate hard normal to get better heading and don't forget to activate auto smooth because hard normal will not work without activating the auto smooth. R as great. Now let's see how can we create these joints? Let's put the three d courser right here and let's add plane and rotate the plane to the x x is 90 degree, it r and hit x rotate to the x s to the y and hit 90 degree. Scale it and small like this. And move this to the x a bit forward. Control I the scale tab and the grab these vertices to the y. First, let's add an right here, sorry. After that, grab those to the Z and take those almost right here and scale them like this. With those selected control shift to go to make a bivle, let's puzzle those or maybe make them close even more and shift and bivalent, pivle them like this. H k to the z. That's great. After that, scrub these vertices, hit to extrude them like this and then extrude them to the z axis, the same distance to the Z and take those down. Maybe extrude them back like that. Let's, I con B to bubble them, but those first. I control to bubble them. Let's give them a thickness by using the solidify modifier and let's at 0.2. I think that will work and radically hit the smooth and don't forget to activate Auto smooth. H. What else do we need to do here? Let's see. Let's create this one. Let's see how can we create it Let's hit d to take a copy of this down and right click and mirror to the z axis like this, hit Q to the z and put this up. Let's turn off solidify for now tab, and grab these faces, starting with this one, hold control and grab this and this hit x F to delete them and this one as well. X F, we don't need them. Let's grab this with this hit E to the x to extrude those two x axis. Maybe right here. Grab this vertex with this one, it Q z and take this up. Something like this. And with those vertices selected, a control he be to vel them, took out this curve, and those edges here as well, control B and bevel them as well. Something like this. All right. Let's kill this just a little bit, and make it a bit big and let's give it a stify. Grab this hold shift and grab this one, and let's co the same modifier. COVID is selected. Now we got a soldify here. Great. I think I need to maims little bit to kill the edges that I have here by pushing the angle up. Now we got smooth result here. Now hit key to this and take this almost right here in this one, move it down just a little bit. We got some overlapping. In this case, I will tap here and it control r to add an age. Hit to isolate. With this selected, I'm going to control B to bevo it to maybe three or two. In the side or in the front view, I will grab and these retices and move them just a little bit like this and activate even thickness. All right, Let's excite, and now we got something here. All right, let's put the three decosor right here, and I need to create a cylinder in this area, so a Ht An Q cylinder. This is very big now we are inside the cylinder. Let's increase the number of the vertices to two. Let's hit S and the scales because we are inside it. And rotate this to the x r x 90 degree, and scale it even more control able the scale. Tab and the x ray mod grab the side key, sorry, key and move it on that side. Something like this. Okay right hit the smooth and activate the auto smooth as well here and give it a vial modifier. This to matches at 0.02. And add two segment here and activate harden and now it's become smooth and nice. You can add the same level to this obvia this one hold this and OB selected, and now we got the same level, we need to increase the angle of the vl modifier as well, increase this to prevent the vl to be here to affect this area. Let's add 40 here. Sorry I need to select this one. Let's go to the Bible and where is it? Let's add ft and there we go. This one as well, let's give it a bible, clop this and where is the bival right here, COVID selected, and now we got it. I select those three. Let's copy then. Hit D to take a copy here, and H D again and take a copy here as well. Yeah, that's it. I don't want to add more details. This is what I want to add here, and the result is nice and beautiful. I'm going to end this video and see you next. 57. 057 Modeling Level 3 Bool tool and carver tool: Hi, everyone, and welcome back here. Welcome to the modeling level three. I got this mold device from Sonny. I gathered these images from Pinterest, and you should find these images in the project folder. I think it will be the last section. I need to create this device and add all the necessary details and finish it. But before we start creating this device, I just need to introduce new tools here. I need to use. Let's go to the edit and go to preferences, and here in the Ad section, let's s for B Tool. B tool and activate it like this. After that, let's go to this icon and save preferences. Okay, now we have this tool activated. Let's excite, or at where I will find it. Open this panel, you can hit in or click this RO and go to the edit you should find a new option here as called it and open the pool to this. And here we have a bunch of option. And let's see how this tool work. Let's go for example, to let's add a cube or cylinder from here. For example, I will add a cylinder maybe right here. And I will book the cylinder inside the cube. What I need to do is, I need to cut the cube by using the cylinder. I need to create a hole in the place of the cylinder. I can use bleion here, Blean Multifier, can help me to achieve this. For example, you can erupt the cube at bleion, and then pick the cutter and you could have a hole here. But I don't want to use bleion because using bleion is time consuming, and I need something faster. Because of that, I will use the bull tool. All right. How can I use a ball tool? Here we have two section, the autoban, and the brash ban. To use this tool first, I need to select the cutter. A, select the cutter. And then hold heft and grab the target object, the cube that you want to cut. And then go if you want to make a hole, just hit difference. And there we go. We just created a hole. And the cutter to be deleted automatically. The short cuts for the auto bion the difference that exists in the auto Bolan is control shift num bad minus. All right, so let's do that again. Select this, hold Hit to grab this. You can go and press this pattern or you can control shift minus to achieve that and there we go. We got a pole here. And here we have the union. I can make this united with the box. But I don't want to use union. The shortcut for this for the union, you can control shift Num bad plus. Here we have the intersect. Let's give you a quick example. Let's r twice and rotate it just a little bit. Maybe I can move it right here. All right. Here we have the cylinder intersect with the cube, and here we have this part inside the intersection part. Let's call it. L et's grab the car hold ft, to grab the target, and then hit intersect, and just check what left here. Just this piece that was inside the cube. So this is how the intersect work. If you want to use the hold cut, you can hit control ift and the star and the num Bad. And here we have the slide. The slice is very important option that we have here. All right. Let's grab the cylinder let delete, and let's, for example, add the cube and the cube. And let's move this one, and let's put it right here. S to z scale it, scale it to the y as well. And what I need to do is, I need to here we have the cube. This big cube covers part of the small cube, and what we need to do is, we need to make guest slice. We don't need union, we don't need intersection. We don't need to cut anything. We want to make slice. On this cube from this side. All right. So in this case, grab the cutter, hold you have to grab the target object and cube sli, and there we go now, we have this part separated from the cube. All right. And the short cut for the sli, control ft number slash to a the sli. I mean it controls a couple times, select the cutter, hold you have to grab this, control Hit slash, and there we go. This is done. Here we have another the other seconder ph bulion, the difference between this side and this side. The first one when you achieve the operation, the tar will be deleted automatically and you will just see the result. But if you use this one, If you use this one, the cutter that you will use, it will remain in the same place, and the operation will be done. And I will give you example here. Let's add the cylinder here like this. And let's go to select box. Hit key and move the cylinder inside, make it penetrate the cube like this. All right, I need to cut the cube, and the cylinder is the cutter. The cylinder is the cutter. Grab the cattle hole shift to grab the cube, and let's use this option, the difference and check what was having. We got the operation done, but we still have the cylinder exist. I can move it anywhere. This is the difference. But if you use this difference, you will get the operation and the cylinder will be deleted. This is the difference between those here. The shortcut for the pro puling is just control minus slash control plus without hitting shift. This is the difference. If you use this operation, if you want to a apply the result and you accept it, you need to grab the target object and apply all to apply it. This is the difference. So maybe I use this sorry. Maybe I can use this or this. There is no problem to use this one or this one. Choose whatever one you would like to work with. This is about the Bool tool. There is another nice tool is called Carver tool, and let's see what is Carver tool. Let's go back to the edit and to the preferences here and delete the bool and for carver. CAR, and here we got object carver just activated, and then go and save preferences and excite. Okay. Bull tool exists here in this panel, but carver not exists here. You need to activate it. Okay, now let's see how carver tool works. To reek carver or to activate it, you need to control heft X to open the carver tool. And here we have the carver tool. If you didn't select any object, for example, if you hit A A to deselect anything or at A. And if you activate the carver tool without selecting any object like this, you will see a create word here. And here we have what you want to create. You want to create rectangle, here we have. And if you want to s, you can hit space to s, you can create a line, or you can create a circle, it space again, you can go back to rectangle. So in this case, if I hit left to click and hold, you can see that I created a rectangle here. Let's go to the top, for example. It control don't slate anything. It control ift x, and let's create a rectangle like this. All right, we done. Again, control Hft x, click one left click and move the mouse to determine area, see how you want to create it like this, maybe, and there we go now, we got this. If you want to create anything else, this select all the object, control shift X. If you want to create by using the line, hit space and use line and hit click. Another click here, click here, click here. And after that hit space, I think you should need hit space, and there we're going now we create a line here. So this is how to use carver tool if you want to create anything. But keep in your mind that you need to deselect the object or not select anything. Okay, what if you select anything, for example, if I select this and activate a carver tool, H control heft x. Here we have another options here. We have difference Now I can cut the object by using the carver tool. I can cut or if I hit space, here we have another kind of cut by using the line. And here we have a circle cut and the subvigan of the circle. And here we have the rectangle. Let's stick with the rectangle cut. All right. First thing is go to the top, and it control heft X with this box selected. And there we go, now we have the carver. All right. Hit click and move your mouse and determine the size of the cutter. So I think, for example, I need to make my cutter like this, and there we go, I cut this box easily by using the carver tool. Let's go back to top. Hit control shift, sorry, M c cut, just hit left to click and move the mouse. And maybe I need to cut like that. There we go. Let's go back. Let's cut like this, and there we go, again, one here, one here, one here. It's very easy and very beautiful tool to use the carver tool. Okay, Let's hit space to come to the line cut. This tool, let's give you the way to draw your cutter. For example, I will hit left to click here and one here and one here and one here and one here. And after that hit space, and there we go. I got another kind of cutter. All right. Let's do that again. On here, one here, one here hits space. There we go, we got this cut here. Let's do this again like this. And then hit space, and there we go. Even in the perspective, you can make a cut if you like. Yeah, that's cool. If you want to be per size, hit number five from the amber to jump to the orthographic and you can cut in the orthographic view. I think the cut will be perfect. Yeah, that's right. Let's hit number five again. Hit space again to activate the circle cutter. Okay. Let's select sorry. Let's select this cube, and let's go to the top. Hit control ft x and hit space and space again to go to circle. Now hit left click, and there we go. I have a circle. If I hit W, I can decrease the number of the vertices, and the circle will be very let's say low ball or let's say the circle will not be higher resolution. But if you hit X you will increase the number of the vertices and the circle will be smooth. All right, I got the circle, but maybe you made a mistake by adding the circle in the wrong position in this way you can hold t to move your car any where you want. So for example, I need to move it here. Release the old, and there we go. We have it here. After that, just hit left to click again, and we have a cutter. Again, let's do this. Create a circle anywhere. Hold old, and let's move this right here and left click again. Another one. Hold old, and let's put this right here and another click. Very cool, very nice tool you can use and very beautiful. So this is the carver tool. If you want to use, by the way, I just to now, we just talked about how to create and how to cut. But how to make a slice like what we did here. By using the carver tool, you can make a slice, and I'm going to show you. Lest like this, it can roll shift X and activate carver, and let's go to the top. I'm not going to create a rectangle like this. But what I'm going to do is I'm going to hit shift and create the rectangle. Now the rectangle is different as compared with the first rectangle. Here we have color inside. That's mean, this is not for cutting object. This is for creating slices in the object. So, as you see, even the name, now it's become repoll. So determine where you want to add the slice, and then hit left click again. And now we cut the slice very quickly and very clean as you see here. Let's do this again. Let's go to the top, activate carver tool, and hit hit hold shift and create your rectangle. There we go, we got another slice here. This is how it work. And by the way, you can make the slice like a line or even circle. Let's activate the line, hold heft and create your line, and then it space, and there we go. Now we got this slice like this. If you want to use circle, activate car tool, control heft X, and speak to circle, hold H to create your circle, hold and move it anywhere for for for example here, and then hit left click and there we go. So this is Carver tool. You just need to practice it, create any object and use Carver tool until you be familiar with it. So I I will end this video, and in the next video, we will use all of these tools that we learned to create this a solid device. And while I model the device, I will re explain these tools again to make them familiar to you. So that's it for this video and see you next. 58. 058 Modeling Level 3 modeling Sony device part 1: Hi, everyone, and welcome back. Okay, now, it's a time to create this device. I will use all the tools that we learned in the previous videos, and let's see how can we use all of this knowledge to create something like this. I have the cube right here. Can make this cube small because this device is maybe it has ten centimeter length. I don't know. I'm not quite sure. But the cube that we have here is about two meter in height. So here you have two options. You can scale this cube and make it very small or you can make it big and create something big like this, and after that, scale it and make it small. For me, I prefer to, I prefer to work with the big object and when I come believe everything, I can scale it down. This is the cube. Let's try to edit this cube to got a result similar to what we have here, the ape. Let's scale this to the y first, like this. Let's go to the front ma. We can scale it to the x just a little bit. Let's compare it, let's Zoom, bring the image right here and bring the object side by side here. Let's make it close to it. A right now, I think the result that we got now is similar to the device dimension. You can scale to the way just a little bit more like that, and I think that's it. Let's take this up on the ground. And there we go. Now it's a time to add details. Before I add anything, I will apply the scale first. Now let's see the dimension here. The height is two meter, and yeah, that's cool. Don't worry about the dimension now. Create Cblete everything and then scale it down. What we need to do now. Here we have slides in this area. We can cut the side, and we can cut the side. You can assume that it's combined of three objects. Let's say that. This one. And this and this. Let's separate let's cut this box that we have here. Let's go to the front. I prefer to use carver tool, so it can troll heft x to activate it, and then let's create our shape to make slice right here. Hold and left click in the space and create your shape. Let's cut it maybe almost right here. Another left to click here, and there we go now. L exit escape. Now we got this piece separated. Let's go to the front again. Let's see this. It control if x. Hold ift to slice and make another cut right here to cut from here, maybe. That's it it scape to excite, and there we go. Very fast and very beautiful. After that, let's start with the front side. I need to create this cube here. Let's go to the front and deselect anything. We can use the carver tool, or we can go here to this option and use a cube, and I think this one is better. Let's create the cube started maybe from here and maybe end here, something like this. And just give it a bit of tip, move the mouse up and another left click to confirm it. It it the space to go back to select box. All right, Cobare the distance here and here, and here as well. And from the top and from the bottom as well here. I think it's very close. Now, let's book this inside just a little bit like that. And we can use this as a cutter. We can use this as a cutter, but I need to book this out just a bit right here and I can cut this area. So when you do this, Hold this as a cutter and then hold this shape. Hold shift and left to click on this, and then hit control shift minus to cut it. All right. If you didn't interest in what I did, I used the ball tool, this op right here, control minus number. All right. After that, I think I can go to the cavity and activate it and squeak this to both and manipulate this option here. I just need to some depth here. Let's see what we got here. Let's take this down just a little bit. Let's make this a bit dark. I don't know, maybe this one. Yeah, I think now is we I can see something. Tap to the edit mode. Now let's go to ge, L's grab this g hold this. And this one as well. I selected these edges manually one by one, or you can. I can and click one of them, and you will select them. You will select the edging all of these edges inside. When you com belete, let's go to the front and let's be them. Let's give them a, control and bevle it. Let's add some segments, three, four, five. Let's make it smooth, or something like this will walk. I gave it five segments. Five Sigment, very nice and good, I will accept it. Let's zoom and just a little bit here. Let's see, we have two level here. Let's try to achieve something like that. Let's go here and hit control r to add one H. These phase is selected, select these phase, I'll click and hit and go to phase along normal and extrude those just a little bit like this. When you comble, open this menu and activate the even offset to make this perfect and even. Now we got this. We got two level here. That's great. Okay, tab out and now we got this shape. Inside this, we got the glass here. Let's try to create it, grab this tab and go to phase, grab this phase, and then hit shift D and let's take a V to the y here, and then ps to separate it. Now we have this p separated. Tab out to crap it alone and tap the edit mode, go to the edge, I click crap all of these edges and hit e to extrude this, a little bit right here. If you have a phase on the other side here, you can delete F and delete. We don't need it. And let's go to the phase orientation, just to kick the normal. Yeah, I is right. We need to fi it tab A, and then heift to recalculate the normal, and now let's check this again. C blue. Hit and pot this inside. Key to the y and this almost right here. Something like this. I think we got some problem here because this one could be in this level. And I note that it's bigger than the edge that we have here. In this case, we can make an inst to avoid that problem. Or we can delete it and go back here to understand what's happening inside let's tub and let's see what we got go I got the problem here. We have when we extrude the faces. We got these phase, we forget to delete them. Let's grab this and hit F to delete all of these phases. Again, I'll click to grab this phase loop, hit X F to delete as well. I can create a new one. I'll click on this one, and hit F to fill it, then shift d to the B to the Y. P S separated, tab, crabs alone tab, hit E to extrude it, extrude it forward, if you like, and delete the back phase. We don't need it, x F. Then to make sure that we didn't have any problem with the normal hit A and then shift to recalculate it. Now it's perfect. Tab again go to edges, grab these edges and give them abov control B and beval it and make it smooth, maybe like this. 0.0 1 meter, almost it g to the y and pk this inside. Something like this will work, I think. This is the first thing. Let's see what else we need to do here. Let's check the other images and let's see what we could do here. All right. This I think we have a door here. This one could be open. So in this case, we need to cut this area as well. Right. Let's see how can we achieve this? Let's go to the ad que here and let's create a queue here like this. Go back to select box, H space and tap to the edit mode. Crab this face a key to the X, put this just a little bit, make it bigger than the a that we have. And this one as well, key to the z and take it up. Let's put this face inside just a little bit in the front view or in the left control three. He Z, go to wire frame it key and move it inside just a little bit, most right here, maybe. Got a slid back. All right. Now with this one selected, hold to grab this, and then it can shift slash from the bat to make a slice here, and now we got a slice. Okay. We separated the site. Now maybe we can give them above. Grab this tub and's go to the edge, grab this edge, and this one and this one as b here, and Bovel them control and give them above. Let's see how much bivl, we need to give them here. The bival is done, but here at the corner, we got some problem because of the h that we have here. So I'm going to controls you to cancel the ivl, and it like to isolate this piece alone. And if I want to avoid this problem, I need to take this edge to another place and don't leave it here at this corner to avoid this problem. For example, I can use the knife tool hit K and make a cut from this vertex to this edge like that and then hit enter and grab this hit control x and dissolve it. Now let's go back and let's make another, grab those here. All right with these three edges selected, it control B and vl them. And when the bevel menu here opened, you can add the number that you want. I'm going to add 0.02. And I think this number is works for me. And as you see here, we avoided the problem. And you may ask why I got the problem up, but I didn't gut it down, because I selected three edges. And this way, Bivle knows how to work. But because here I got just one edge, iv modifier or Bile command will act in weird way. This lash. And let's grab this piece and tab to the edit mode, and let's grab this side and this side as well. Let's give them a bevel. Control B and bevel. Give them any number that you want and here at 0.00 0.02, and enter, and now we got the same amount here. Tab out, and there we go, now we got something. The same thing, this piece, we can give it the same bible on this edge and this g as well. Can t roll be give it a Bible and here you can edit it 0.02, enter, and us it. This one as well, grab this edge with this edge. It can troll be for and here as 0.02. All right. Where should we add the Bible? All right, sir, I think I need to grab all of these edges, hit control Z, and add those here as well, and Bible them, hit control and 0.02 enter. That's cool. Maybe this side as well. These edges here, let's select them top and the grab those. I control be to bubble them, and let's go here and it 0.02 enter. Okay. A. Cool. After that, we can add details here. All right, so I will end this video right here and I will complete in the next videos. Thats we'll do it for this one and see you next. 59. 059 Modeling Level 3 modeling Sony device part 2: Hi again and welcome back. Let's start from the top. Here we have some details. We have two holes in big or button. I think. Let's create these details, and let's start with the circles that we have here. I think the position of these circles should be one right here and right here. Let's go to the top. Or before you go to the top, go to this icon and choose cylinder, just click and hold left to click. Let's create a cylinder right here, hold heft and make the cylinder correct, take it up like this. Now let's go to the top. Let's kick the size. Go back to select box heift space and go to select box. I just forget to activate screen cast. Let's activate it, and let's add number one here, and let's slide it right here. That's great. Close the spale. Let's compare the two C, and let's see the size of the circle all right. That's means I need to manipulate the cylinder mic a bit big. So I'm going to manipulate the radius here. By the way, the radius 1 meter is very big. I know, but don't worry about this. I think now the side is okay. Let's put it right here. Walk the distance here and compare it with the distance right here. And from the side as well. It looks like we make the circle a bit pick. In this case, I'm going to use the scale and ke it down. Scale it done even more. I think now it's okay, it key to the y and move it a little bit. That's cool. After that, control and apply the scale, and let's make this one smooth, right to click head smooth and activate auto smote for it. And push this down inside. Something like this will work. As you go to the top again, shift D to take another copy maybe right here. Yeah, that's nice. And select the cutter and grab the target mesh, and it control shift minus to add a hole here. Grab this one as well, hold Shift to grab this, control shift minus from the bad to add a hole here or you can open the auto p and s difference from here when you select them. All right now we cut nice holes here. After that, grab this alone and tap with the edit mode. Go to edges. Let's grab these edges. Shift D to take a copy and the right click to leave the copy. In the same place, M p has to separate it. Grab this and let's go to the top, slate the circle and scale it, but scale it according to the organ dot. I'm going to put the ogion.in the middle right click, set organ to geometry, and then S and scale this a little bit like this. After that, tab to the edit mode, hit E to the z to extrude this inside. Something like this will work and tap out and go to the modifier. But make sure that you didn't have any problem with the with the pace orientation. So I'm going to activate this option. And as you see, we have phases colored with and with blue, and that's wrong. When you extrude when you extrude a circle like this, always expect to have problem. Always expect that you will got problem like this to avoid this tab and select all the or all the vertices and then shift in to fix this problem. Before you do anything else. Or at least excite now from the phase orientation. Let's give this a solidify here. Okay. I need to create the red ring first, and I think the thickness will work for me. It's about 0.0 1 centimeter. Let's take this down just a little bit, something like that. I think that's okay. That's cool. I will hit shift D to take another cob from this and then hit S to scale it, but I will scale it to the x and y and cancel the z. I shift to cancel the z and take this inside something like that, and hit control I and apply the scale. Let's put as a little bit more. Let's give it a thickness, and there will go, now let's grab this one and maybe I can add let's alot the solidify here, control A and a the sod fi. Let's add a bevel modifier above it because I think this circle, I got a small care here in this area. I don't know, but I think it's not flat. I gue need to create this, how can we keep it. Tab and control A and add maybe two or three or four vertices here. Let's grab this face and the middle click. And activate proportional editing and activate I don't know, maybe the sharp one, e to the Z and make the circle, very small and move this up, make it small to guard that care. Or something like this, I think will work. After that, I'll click on this side, I have to click on this side and hit control be to bevel them. Let's add the three edges here. If you want to make this even smooth, you can to isolate it and if you don't like this side, you can go for example to the front and the grab the vertices and take this up maybe and delete the side. XF and delete them, and maybe you just need to got this, the ring like this. If you want to make it more smooths add subdivision surface with one level. That's it, and radically smooth. Now it's become okay. For this one, the cob, I think it's made of cob. We don't need to make car here. I'm going to add I'm just going to add abital. But let's make it a bit tal here. Let's go to vertices and the x ray grab those ted those inside. And then slash to excite. And with this one selected, I'm going to add above modifier. And let's go to the avel modifier here. Let's see what we got. Let's add two segments, and let's change the number. It's very big. Let's add 0.01, or that's still big 0.001. If you don't like to work with the meter, you can switch the length to centimeter from here, the same properties, go to unit and work with centimeter. I think that's better. Switch the length from meter to centimeter. Then let's go back to the bevel modifier. I prefer that, so I'm going to add 0.2 and make this a bit big. After that, let's like to isolate it. I think this phase I don't need it, so I'm going to grab these phase inside. Let's turn of the v modifier. If I want to delete these face inside, I need to apply the solidify. But I will leave them. Let's not to a u. Let's activate the vel. Let's collapse let's plus the solidify like this. Let's activate harden normal to get better heating, and it tells you to activate auto smooth, so let's go here and activate auto smooth. Now we got nice results, and radically heat the smooth. Very cool. All right. Now let's grab though, this one and this one, let's go to the top and hit Shift D and take a Cobi right here, hold shift and put in the center, something like this, eye bullet. Now we got something nice. All right. We have another hole right here, Let's see how can we create? Let's go to the top and let's grab another cylinder and let's create one here hole shift and create a cylinder. Something like this. Let's go back to select box, it key, and let's move it position it. Let's put it right here maybe and scale a little bit like this. Now we got this. Push it inside the geometry, a little bit, not too much. Something like this will work maybe. And give it had smooth and activate the auto smooth. Grab it to grab the body and then choose difference or you can hit control shift minus from the bad. The body we didn't give it auto smooth because of that, I got some weird result here. I'm going to activate the auto smooth for the body as well to avoid any problem. There we go. With this one selected, tap the mode now, grab this pig face, it I to insects like this, and e to extrude this inside and put it inside like this. K to the z, and put this inside. That's cool. That's great. What else do we need to do here? We have a rectangle here. We need to add. Let's go to the top. Let's go to this tool and let's add cube. Let's create a rectangle, like this and give it a bit of height. Now we got it, go back to select box, hit key, and let's position it better. Let's kill this to the X alphabet. I don't know. We need to make it like this. Something like this will work. Control A by the scale and the scale the zs a little bit and make it penetrate the body like that. Let's see what else we can do here. Maybe I can take a B H T take B right here for now. Let's grab this, the cutter, hold he to grab the body, and then hit control H minus to create a hole right here. Let's grab the body again and tap to the edit mode. Let's grab the corners. All of them Cro hot and click to select the edge ring like this, and it cant two and let's bubble those. Let's give it maybe four segments. Something like this will work. A, that's great. After that, I'm going to select this space and hit ke to the boh it up out of bit. And then hit ins to insert this inside. Need to create this, and then E to book this inside, extruded inside. Now, do we have another image show me what we got here? All right. After that, maybe I can use this face or maybe I can use the cube that I have here to create the buttom. I prefer to use the cube that I have here. I'm going to key and take this down. It is big. Let's go to the top, tap the mode, and go to vertices, and the X ray mode, grab these vertices and pick them. I can't see You can go to the top deactivate x ray. I'm going to hit z to go to the wire frame like this and deactivate the x ray in the wire frame, it Z, and move this right here, those vertices, H move them like this. Turn off propional editing. We don't need it. Grab those key, and those as well key. That's cool. Let's go to slid, Z and go to solid, or we can select slid from here. Now we need to give a veal to this pattern. Before that, I'm just going to scale it just a little bit, not to hit S and scale it like this. I like to isolate this one. And tap the mode hit control R to add an edge maybe right here. The grab these phases and hit and extrude along normal and extrude those like this a little bit and activate offset even to make the extruion correct. This phase control plus to grow the selection, F to delete, we don't need it. Now, let's grab all of these edges. And those here on the top and it control be two able them. S three maybe to something like this. After that, I'm going to control r two at one age and bevle it like this as two, I just need to support this side because I need to acceptiv surface and I want to prevent the stretch to go to this direction. The same thing here, control at g and bevol it. All right. But we got a problem when we made the bible. We need this ag to go like this as well, and this one go like this as well. In this case, when you company the bible, grab one a hit G twice to slide it and hit E for even and put it like this. The same thing for this one, and E and puck it like this. This one as well. Wise, and I hit E, but the result is working on the other direction to fib it hit F and move it like this. This one as well. I click G tie, E, and move it like this. That's great. That's great and cool. This edge as well grab it, it control be bible it. Let's add two. I think we've got a problem with the scale. I don't know. Tab out control, App scale, tab in control be ble this. Let's add three, something like this will work. Now let's give its subdivision surface, and right hit the smooth, and now we've got nice button here. Let's like to excite and let's see what we got so far. This looks nice. All right, that's nice. Let's check and see this image. All right. Basic close. Let's tap out. That's it. This is how to create these details, and we're not finished here. We need to add Bible and make the corners smooth, but we will do that later. For now, we just need to create details and we will correct any heading problem and all the corners when you add the details. That will do it for this video and see your next. 60. 060 Modeling Level 3 modeling Sony device part 3: Hi gains, welcome back. I just update the image. I just added the new images, find them in the Google because I just need the detail that I have on this side, on the bottom side and on the right side as well. This is a new image, you should find it in the project folder as well. Let's start maybe I just need to edit this door. I think I need to move the vertice just a little bit because if I compare what I have here to the image, I noticed that the distance here is small as compared to the distance that I have here. I need to push this a little bit. Let's grab this and hold to grab this one as well and isolate them in slash. Let's go to the top Tap to the edit mode, go to vertices, and the X ray grab those vertices and let's push them and side just out of it like this. Maybe right here. I think that's k. All right. I will accept this result and tap out, and there we're going now. We just gave it some space. All right. Here we have a join. Let's create these details that we have here. First, I need to cut it. Let's hit to of the local mode. I need to cut this area just to add these details. These beams. So Let's go to the left control three to go to the left. I don't know. I feel that I need to move this even more. Let's go to the tab in the x ray and let's grab them again, and let's move them just a little bit, like that tab out. Let's go to the left control three and let's create a cube here like this. And give it a bit of depth like that. Let's go back to select box and let's push this inside, hit key and push this inside like that. Something like this will work. All right tap the edit mode and grab these top vertices and hit key to the Z and move them up like this. A, something like this. What I will do now is I will select this cutter and hold you have to grab the door, and I will create a hole right here. But what I will do is, I'm not going to use the auto b. I'm going to use approach bul because maybe later I need to control this deposition of this cube. I'm going to difference by using this, and now I got this cube still exists. Call approach. I can move it and change the position of it. And when I complete and satisfy with the result, I can grab the hole, sorry, I can grab the door and here apply the pulm modifier. Because by the way, it's adds automatically Bolu modifier in the modifier list. So I will accept this result now. And let's see how can we create these details. Maybe I can start with a cylinder. Let's go to the top here and let's add the cylinder by using this tool. Maybe I can add it here on the roof, hold ift, and create small cylinder like this. At this one, we got it. Go back to select box and hit the key to the Z and move this here. Take it out like this. Let's go to the left control three from the number in the scale, that's just a little bit like that and move it here in the center. Let's see how can we create these details? A S to the z and the scalet like this, almost right here. We need to cob it at St d to the z and take a CB right here. Hit r to add another CB and select those three at D and take a CB right here. It to the Z and move this here in this area, there we go. Now let's grab this hit D and take this up almost right here, tab to the edit mode and go to the vertices. Hit ke to the Z and move those up and those as well. G to the Z and the x ray, grab those and hit ke to the Z and take those down. Almost right here. And those here as well. Something like this. Let's see what we've got so far. Now, let's grab all of them, and let's push them just a little bit inside like this. With the selected tic had smooth to had them as smooth and go to Auto smooth to activate it, but keep in your mind to hold ult to activate the auto smooth for all of these pieces. There we go. Because without ult, the auto smooth will be activated just to the active object. As we say, the active object is the object that has a brighter orange color around it. That's great. Let's see what else we can do here. We need to create a hole here in the last one. Select this hit D to the z and take a CB and hit S to scale it inside like this. With this one selected, hit D and take another c to the top one. Here as well. There we go. Now let's start with the bottom one, grab this. Hold he to grab this and use difference and create a hole here inside. Or if you want to make this cylinder penetrate the whole mix a S to the z and make it penetrate like this, grab the cutter, hold he to grab the target and hit difference, and there we go. The same thing for this one, it ke to the z and move it here to the z and scale this. Grab it as a cutter, hold he to grab this and hit difference. Control shift minus the aba. All right. That's cool. Now we got this result. Very nice. Let's see what else we need to do here. Okay, great. Now I need to give those above. What I can do is I can corrupt them all like this and control j and make them one piece. Then let's go to the modifier and add abovel modifier above them. Here in the amount, I'm going to add 0.01 maybe. Yeah, and add two or three segment here and go to the heading, activate hard and normal to get better heading. You can add if you want three or maybe two, that's okay. I don't need to add too many vertices here. It's nice and beautiful. Let's hit control. I end ap scale in case we have got any problem with the scale, and we got some problem and now it's fixed. Maybe I can increase the amount just a little bit by changing this one to maybe three or even I can change this to four. Because when I apply the scale, I got some difference. Now, I think it's better five. If you'd like to add the beam inside them, that's easy, you can grab any EPs and you can grab the edges here, for example, and shift D to take a KV, for example, put it anywhere, and then Ps to separate it and select a tab and hit E to the Z, and then shift to recalculate the normal in case we got any problem and make this beam penetrate all of the z and take it down here. To the z again and push it right here. Then with this vertices selected, F to create a phase here in this area. Or something like this. If you want to make it more smooth, you can control it by the vl modifier because still exist on it. Grab this hit F and hit heft N when you complete in case we got any problem. Grab those hit to the z and move those inside and manipulate the amount if you like, make it more smooth, if you love to do this. I think that's 20.1, think that would be enough for us. Yeah, we got something nice here. I think we need to give it head smooth and activate a smooth. I think it's activated or it is activated because we don't have a warning letter here. That's great. Okay. Keep in mind to leave this box in place because in case you move it, you will go some problem. Leave it here in this place. When you come bet can delete later. If you want to manipulate this box by changing the dimension of this box, you can grab it and tap it mod, and you can control the vertices of this box, if you like, for example, I can grab these vertices and a key to the y and move it a little bit. Make the area a bit pick. You got all of the ability to make anything that you want. Let's create this thing. I don't know what is it, but I think we need to make some extrusion demag and create this design above it. I got some images show me what we have here. For example, this mage is a very nice image to understand what we have here and this one as well. I think I got another image here. I don't know where is it maybe this one. Yeah, this one. Let's stick with this image and let's see how can we create this. All right Let's go to the left head control three, and here we have the left orthographic. Let's add another cube. Let's create like this. Or by the way, I don't need to create another que, what I can do is I can select this cube that we created already. Just take a COBI and put it right here and scale it like this. Don't worry, it's not going to affect our ape because it's a new COV. If you want to see the cube, as you see, we just have the wire frame of the cube. We can go to the object properties and here, I speak this to solid if you want to see it. Anyway, now let's Let's see what we can do here. Let's check the dimension here, or let's go to another image to see where should we put this? All right. Let's go to the left top and grab these vertices here in the extra mood and put this I don't know, almost right here, maybe. Because we got another slice here, we need to create, keep that in your mind. I think this distance is okay and working and after that, push it inside theme just a little bit. Maybe you can determine that in the top, grab these vertices and take this bag, maybe almost right here, make it a void to penetrate with the bible. I think it's far away from the bile. With this box selected, hold, you have to grab the body and use difference, and I will leave it like this because maybe I need to control this letter, so I will use this option pch polen to keep the box as to control it. I note that I have some curve here in this area. It's a bit curvy. And here we have a curve as well. Well, if I want to do this, let's go back to this image to see what we got. We got something here. We need to cut this age as well. In this case, I'm going to tab and grab these vertices as well, Q to the z and move them all way right here. To the top here. Yeah, something like this. Then tap out, grab this body as well, grab the tar first, hold he to grab this and use difference as well to cut this area as well here. Like this. Am I right or not? Right Let's manipulate the box tab and grab this vertice on the side. In the right view or left view, move these edges right here maybe because I could not cut this area as you see here. Let's go down and let's see what we got If you move these vertices farther, you will go some problem. You will leave a small phase here, not cut it. Keep in your mind to avoid this. If you want to solve this, I think you can, I just need to move these vertices key and move them right here to cut everything. No here, I cut the who I cut all the phase. I don't have any left face here. The result is nice and great, can accept it. When you be satisfied, grab this part and go to the modifier and hit control and apply the b this one as well, grab it and apply the ph this box, There is no I don't need it because the cub is done here. I can delete it. I will do this because I have I need to create some c here in this area. I need to make it smooth. The grub this body first, go to the edge. Grab is, cant roll the two b and give it nice bubble with four maybe vertices here. Grab this part and the grab this age as well, it cant roll and give it nice roundness, but. I just forget to do something here. I controls a couple time. I will bubble this again and the bile menu here. I just need to present the amount here that I added. I'm going to add two maybe here, here as well, I need to add two. Grab this control and bible it, and add two. That's great. Let's see what we got here. The same thing on this side, grab this Ctroll B and add two here. That's great. Great. Grab this body along slash and isolated and tap the edit mode. Let's see grab these edges just these edges. Maybe I can bevel them and give them nice amount of l like this. Right. But maybe I can ing my mind later and delete this bubble. In this case, I'm going to use a Bovel modifier to achieve this. In case I want to delete it, I can frequ and delete without any problems. Let's add a Bovel modifier. As you see Bovel modifier right now targeting all the corners, and we don't need that. We need to switch the limit from the angle to the to the weight because I make a bobble according to the weight. What's going to happen now let's go to the atom tab. Select the vertice that you want to bobble them. All right. And increase the mean level weight, hold it and move it? And now we got some bubble, as you noticed. Now the bubble modifier or on these selected edges. Let's add two, three, or four maybe, and now we got a curve here like what we want. Later I can control it and turn off this to delete it or leave it. It's non destructive way to create a bubble. When you complete a tab out and there we're going we got a nice bubble. If I don't like it for any reason, I can't just delete it like this. It's very nice way. By the way, just keep in your mind, with this big ge selected. You can pot the vl 21. Here you can control it from the amount. For example, I can add 0.2 here. You can add 1 centimeter vl, and I think controlling the vl from the amount is better. Pot this 21 and control it from here. Let's see. If 11 is nice amount, Tap out, and that's it. I think we need to give it smooth, I don't know, and let's activate a smooth for it. I just forget to do this. That's great. Is to excite and let's see what else we need to do here. Now, I think it's the time to create this piece. Maybe I need to put these vertices up here and those here as well, key to the z and move them right here. I need to give this part the same vel that we added here. Tab, go to the edges, I click or select them manually, all of these edges and go to the Man vel and put this to one. And with this one selected hold, you have to grab this and go to the modifier and COB, the same vel that we added, COD selected. To give this area above. R head smooth and activate auto smooth for it's activated as cool. That is nice. Now we just need to give it. Do we have any problem here? We got some weird heading, and by the way, as you see, we have some weird edge, not edges a heading issue. You can fix this by adding the weighted normal above it. Let's see what's going to happen. Let's this. Let's activate phase orientation to see what we got. I'm going to delete this because maybe I can control it by using hard and normal and yeah it does. Just activate the hard and normal and everything will be good. This one as well just activate hard and normal. You don't need to add weight normal. That's great. I'm going to end this. Need to make this video log. The next one I will create this detail that we have here. That will do it for this video and see you next. 61. 061 Modeling Level 3 modeling Sony device part 4: Hi, everyone. Welcome back. Let's create this shape. L here can be created. Let's go to the left control three from the numpad and Let's add cube right here, you can create it by using this tool. Let's create cube right here in this place. And give it a bit of depth and a switch back to select box, and tap to the edit mode. Let's go back to left, and the x ray grab these vertices, and move them right here, and those here as well, grab them and move them close to the to the beam that we have here and grab those here as well. G to the Zn, take those down. And for the top as well, the same scenario, grab those up right there. And let's excite of the x ramode, and Maybe I can push this just a little bit to the x. Like this. You may ask how I know I should push this to the x because I'm not seeing the grid line. Actually because of the green line goes like this and the green line is y, the x should go like that. Here we have the gizmo, the x and the y. Anyway, now see how can we achieve this. L et's hit roll here and let's add a couple of edges or something like this, maybe 19 or 20. Let's add 20 edges here. With these edges added, I'm going to hit roll B two bubble them. Let's add I don't know, maybe two just two edges like this. And after that, I will select these faces and all and ext them along the normal and put them inside like this. Something like this. After that, I will add control, I will hit control to add an age right here in this area to support it because I need to add subdivision surface. If I didn't add an g right here, the subdivision surface will stre too much on this area. I need to add this edge to support this area to prevent that stage. The same thing on this side, control and add ge, move it down. Right here maybe. Let's see what we got. Maybe we can add a couple of edges in the middle. I think that's better. I added these edges because I need to prevent the stretch as much as I can. For a tab out and now let's see what else we can do here. Maybe let's try to add sub service and let's see what we will go. Let's weak this 22 or live it one. Let's try two. This is the result that we got here. All right. Top to the edit mode and does go to the vertices, go to the left again. Maybe I can move some vertices down, key to the z, and take this down those as well. I just need to got a curve here, something like this. On the other side as well, key to the z and take this down, take this one as well. All right. For this side, the same thing, Let's grab those. Hold have to grab this, key to the z and move those right here. Now select this and hold you have to grab this, key to the z and move this just a little bit. Let's tap out, let's exact of x ray and let's see what we got here. That's nice. Tap to the mode again, and I don't know. Maybe I can grab all of these edges, turn of subdivigan surface. Maybe I can bubble them. I think when I do this, I will get better result. Let's bubble those contro and let's add three maybe, something like this will be very nice. The same thing on this side, I'll click control be and bubble doses add three here. I tap out and nos activate subdivian surface and let's see what we've got. The result is still nice and good. Great. High school. Here we have this area. We need to delete some of these edges that we added here. Let's try to find it. Let's go to the left again and try to find another image, maybe this image right here. Let's start with the cube and let's create a cube close to the bottom area. He may I think the should be here. Let's hit to the z to move it up just a little bit. All right. Do we have another here? No, I don't have another. Let's count on this. And it should be close to the beam from this area. That's been. I'm going to sift the space and go to select box, tab and grab these vertices and push them just a bit towards the beam here. I think it's a. I the Z and take this up just a bit. Now we got this result. All right. After that, let's select this and turn off subdivision surface for now. Let's move the cube. Let's see. Before I cut these pieces, I think I need just to edit this new ome that we added because here I have a big gap. So let's edit that first. Let's go to the left control three from D and bat, and let's tap to the edit mode. I don't know. I feel that let's move it just a little bit to the side, something like this. And make it very close. Let's put the three d coarser here in this area. As to three d coarser, the bivot. Let's kill this to the y. It is y, and just make it a bit big. Now the scaling will work from this point and to the left. This is the idea because of that, I added the three d coursor right here. Now let's see this two metian point or the boundary if you like. Now let's edit this area. I just need to keep the curve that I have here. Tap grab it and tap with the edit mode and grab these vertices and manually, I will hit key and move this down almost right here, and those here as we hit key and move those down just a little bit of the Z axis. Something like this. I think that's would work. The same thing here. Grab those to the Z and move all the way right here. This one as well to the Z and move it down. Maybe those here as well. The same thing. What about this side? I think I need to grab those to Z and move them just a little bit. From the bottom, grab those, hit to the Z and move those here. Key to the Z and move this right here, and this one as well, something like this. This one as well, grab this hit to the z. Sorry. And this one as well to the z. Right tab out and let's see what we got. Now let's grab the new box that we added here. H to grab this piece, slid to isolate them. Let's go to the left or to the front maybe. I think I don't know, maybe to the right. Let's go to the right to the back control number one. Go to the x ray and let's see where we should this e. I can't see. What I need to do is, I need to push this Q forward just a little bit, and I need this line. I need to align it with this he that I have here in the middle. In this case, hit ge, I just need to grab a vertex. Let's activate the wireframe. Ge I want to see the vertices. Let's go to the wireframe and activate it and let's add an H right here control. Sorry. Tab and control r, let's add and align it with the box. Sorry, I just forget to activate the vertex snap head to the Z and snap it like this. All right. Now I have a vertex right here. Can use it. Select the cube H E to the y, I think or to the x and align it here like this. That's great. Now let's cut these faces. But before we do that, let's tap the mode for the cube and I need to make small tweaking. Let's add one here, almost right here. Let's grab the site and this site as well. D S to the z and scale them like this. Just add table here. L grab this one g to the x and move this inside, just a little bit like this. That's great. Tab hold to grab this and then control Ht minus to make the cut and now we got a flat phase right here. That's great. But now if I activate, sorry, I just I'm going to control Z because I need to push the cube just a little bit away from the center of this piece because that's going to it will be a bit difficult to fix. I'm going to hit to the y and move it a bit away like this. Now let's make that cut again, grab this hold heft, control heft, minus from the lamba to cut it like this. We got this, but we need to fix the typology because now if I activate a subdivision surface for this, I will got some problem. This ad subdivision surface again. And kick what we got here. It's very bad and does not make sense. I'm going to delete it and I need to connect these edges with this sit with this site. Lit tab and go to vertex. Let's start with this vertex crop this, hold here to crap this, hit g, and make a connection. The same thing with this one here, it and make a conn like this. Let's do this for the rest. This one as well. I think I will speed the video. After that, the grab this vertex as well with this one and hit K to make a connection here, and this one as well with this hit K to make connection here as well. Let's see what else we need to do here. Maybe these, we can't leave them like that. We need to add an lop here as well hit control r to add an here in this area and connect this vertex with this one to avoid any heading problem because here we will have a big gone. K and on the other side as well here. I think we don't have a problem right here. That right. We just need to connect this with this maybe. That's cool. Let's see what we got on this side, it control r to add an H right here, control r to support this side, maybe, something like that. Grab this with this it K. Let's go here. See what we got so far. Grab this with this. But I prefer to grab this entire that we added. Let's say control couple time. I just need to move this up. I just need to grab this new age that I added and move it up. I mean, move it up above the corner here because if I leave it down, I will got some problem when I ask subdivian surface. If I leave it right here above it, I will not get a big stretch goes down. But if I leave it down, the age will go like this when I ask subdivian surface. I need to catch it from the top area from here. Right to achieve this, I just need to take it up just a little bit. I'll click to grab the entire AC that we added and let's hit G to the Z and move it up almost right here and that's it. Now grab this vertex with this one and it J, control J. For this side, grab this with this J. H control again to add one here. I just need to support these edges. The cut that we add here, we just need to support it. And let's see what else do we need to do here. Another edge loop here. All right, this vertex with this one, let's connect the K. I just need to avoid the ones. That's it. I think I can delete this ch that I have here. Let's scrap it and control x dissolve it and this one as well. I think that would be better. And this one here, control x and dissolve it. And this one as well. This vertex right here. We don't need it to be here, control X s. We have problem here? I think we have double edges. Yeah, that's right double edges. To avoid all of that, I'm going to select all the vertices and hit M and dele Mage by distance. Here we have 54 vertices s merged, and hit enter. All right. I think that's it. Now I can grab this vertex and dissolve it and I can book these aches as well. I'll click. He ge twice and book those up just a little bit like this. Yeah, that's great. Okay. What else do we need to do here? This area right here, we need to support it with an edge because if we don't, the stretch will go down when I activate a subdivision. I need to add an edge loop here. It control r and add edge loop to support this side. Something close like this and on this side, the same thing, you can grab this one g twice and slide it down. That will work as well. What else here we need to do? Can we add an H here to support this area, one here, and connect this with this it K to connect it, and for the other side, control R and add one here as well and connect this with this hit K, and the same thing here K, and here as well. Well, the that we added doesn't reach this area. Hit k to activate the Neto cut here all the way right there to that vertex and then hit enter to confirm it. All right. Now let's activate the subdivision surface, and see what we've got so far. Turn of the wireframe, we don't need it for now and activate it, or let's add it, let's see what we got so far. It is cool, but we need to make some tweeting here. We have some strike as you see here in this area, and I don't know why that's happened. Let's tap the moon and let's see why that's pen. All right. Because the eight that we added, we need to connect it to this one. That's why we got some problem here. Let's grab this with this K, and there we go we fix it. Do we have the same problem on the side? I don't think so. Another thing here we can do, let's go to the phase. We can select all of these phases here. If you want to get better results. And those here on the side, the same thing. We can erupt those here. And hit to ins, and lest ins those inside. Hit I, We got some problem here. Let's turn off subdivision surface and let's see why the inst doesn't work. Let's do that again, it. Now hold if and add small amount of inst right here and then tab out activate the subdivision. And we still got some straight goes down like this. In this case, we can maybe add another loop here in this area. Let's add an right here. I'm going to turn off subdivision surface temporarily. Hit control and let's add and let's move it up. Beside this one, the same thing from this area, control. Let's add one right here as well. I get to the Z and move it down. Let's see now what we got so far. Now, the result is a bit better. Radically hit the smooth. And we still got some ste here. Let's turn this off and tab again. Maybe I can add another one right here. And the same thing here as well, control r. Tab out in a subdivision surface or activated. Right now, the result is better. That's great. Let's turn of optimal display because I just need to see the result of subdivision surface. I need to see the wires. Let's go here and activate wireframe to see what we got. That's great. Let's turn off wireframe right now. I think we have some problem right here. I just need to understand why that's happened. We got some straight goes like this. If you want to avoid this, you can turn off subdivision surface and select this egg that we created and hit ge twice and slide it and make it close to these vertices to this side, I mean here. I think this egg now will give us better results. Tab out and let's activate the subdivision surface. Yeah, it does. All right. Cool, cool. We have some holes here, we need to add as well. We have one right here and we got one right here as well, and we have a hole, we need to create as we need to cut this area as well to create a hole right here. So let's see where should we put this hole? Let's try to check another image. So it is close to the bottom side, and here we have some space. All right. I think I will do this I will create this hole in the next video. That we'll do it for this video and see you next. 62. 062 Modeling Level 3 modeling Sony device part 5: H man come back. Let's create the sole that we have here. Let's grab this and its to isolate it, and let's go to the left control three from the am bad. I will activate carver tool because I think it's easy to use it. Click and create the rectangle that you want, hold and move it, and the position that you like, for example, right here, and left click again to cut it. But you need to cut it after you apply the subdivision surface or if you want to leave the subdivision for now, you need to edit this area. Now we got the cuts Cvlete. But here we need to connect some vertices because as you see now if I activate subdivision surface, I got very bad result here. Turn off subdivision surface temporarily and tab it mode and let's see why that's happened. The first thing that we need to do, we got very we got close edges here to avoid that. Maybe I can Let's add one edge right here, one g here first, and one here as well. Hold control and stop it with this one and make a connection between those by hitting G. And the same thing maybe here. Let's grab this with this K G. That's great. Now let's grab this vertex, hold to grab this hit K to make a connection between them. After that, this, I don't need it. I can delete it. Control x and deleted. Let's add another a clip here in this area almost right here and control r to add one here as well. Hold control and snub it. Grab this with this head K, and this one with this one, you can head as well and connect them. For this side as well, the same thing, grab those head. This side, I think I don't need it, I can delete it. All the side. I can delete it and just leave the front area. In the top, maybe we can achieve that. Let's go to the top and tab out. Let's use carver control heft X and create your pox to cut this area. Now we made this area flat. Now we got this area plat. After that, you can delete this phase, if you like, crab it at x F to delete it. Let's see what else we can do here. In this area, we need to got some ca here. I'm going to use vl crab this control and l this like this. And connect this vertex, these verte connect them and connect by distance, the same thing here. M and connect by distance. Here we have very close react that's wrong. We can connect them. Let's activate automo g twice and put this up, and there we go out connected. Let's add another right here because I think it's better to connect this with this one. Yeah, I think that's better. Let's grab this control disolve, grab this with this G to connect levels. This, I don't need it control X and disolve it. But here we got an gone. I think in this case, I'll click and de select this one and this one as well. In this case, I'm going to take this up heat wise and hold it like this. Yeah, I think that's better. Now I have a quad here with four vertices and here we have triangle. It's not a big issue. If you want to avoid this, you can just add an right here and now you got an ink here as well because now we got four vertices. But for me, I'm going to hit control and disolve it and let's see the result. If I got any problem, I can add this edge. The same scenario here on this side, bev this area hit control B and vol it like this. Let's grab these vertices, hit the x ray, grab them and hit and merit by distance to make those, and here it control r to add an e. Control to add an right here and take this down. Grab this with this hit J. Let's move this vertices you need to understand. Yeah, it's connected. That's great. Rob this egg, deleted. We don't need it. There we go. Now, I think I can grab all of these edges. I don't know. Maybe let's try to vel them and control and let's see what's going to happen with the three edges like this. Let's take this down key to dz. Let's leave this in go, control dissolve this. Maybe this one as well. Let's leave it in go. Let's see what's going to happen when I add or activate subdifican surface. Ke wise and slide this a little bit because I need the topology to be care like this. This is the idea. It's better to fix it than I leave it like this. All right, what else we need to do here? Let's add subdivision surface, activate it, and let's see the result. We got some strike goes down, and that's because we didn't have an right here to subord site. Control R and let's add right here and control r and let's add right here as well, and maybe sorry. Let's move it here. Maybe I can add two here just to avoid any strike problem. Right click head so, don't forget that and activate subpan surface. It looks nice and smooth, beautiful. Yeah, that's cool. Let's lash let's see what we've got so far. Great. Now, let's see how can we create this thing? I don't know what is it. Let's try to find another image. I can understand what we've got here. I don't know. Maybe it's for on of button or something like this. Yeah, I can see it better from here. I just understand what is this boton the design of it. I thought it is RV like this, but no it's not a RV. To create this, I will just create a small cube right here like this. Let's go back to select box and Let's move the castle bit right here and tap the edit mode. Let's delete this phase to the side, I don't need it, XF. What else we need to do here. Let's hit A, S to the z, and scale let make it thinner like this. Control to two ages here and the grab this phase hit to the x, I think and move it forward a bit like this. No, that's great. Try to see what we've got here. All right to grab these two edges. I click, I click, can roll the end bevo deems at three edges like that. For this phase and this one hit x F to delete them. Now, let's use the array modifier, just to array this on the Z axis. Zero out the x, zero enter, and let's add in the z one, z doesn't work. Zero out the z, and let's use the y. I think. Let's add one here. Let's duplicate this couple of time here. How many we have here one, two, three, four, five, six, seven, eight, nine. All right. Have nine pieces here. There we go. All right here in the marriage, activate the marriage because we need to make them. The distance is 1 centimeter is very big. 0.01. Gas would be enough. Hit control A end of light. We don't need it anymore. Let's go to the left control three and it g to move it and let's put it right here for now. We have a distance here and tap and grab this side in the rate and move it right here. All right. What else we could do here? It to the Z and take this right here in the middle, and let's try to see what we can do here. The top area, we got this this area a bit big as compared with this one. I don't know. I feel that we got a cut here. I'm not so quite sure. All right, I think it's easy to create a t and let's grab these edges, it E to the z and extrude this up and hit F to create a phase here. For this side, as well, grab the three, and hit E to the z and take them down like that. I have to create a big phase here. All right. Oh my God. I got some problem. Oh, my God. You notice that on this side, we have the vertices wed. That's because of the array modifier causes this problem because we had to make the may threshold very, very small because of that, I got this problem. All right? The question is how to fix it, how to fix it. I can control the cole te and go back to the array and edit the it the wild threshold, or I can go to vertices and grab the site and hit x and use vertices to delete all these vertices and select this site and hit E and extrude it again like this. They are wooded again. That's great. That's mean is because of the auto mec. This tool is very important tool, if you want to use it, but don't forget it, activate it because as you noticed, when I hit e to extrude, everything cool, but when I confirmed that they are me because of the tool. I thought it's because of the modifier, but it was not because of the modifier. It's because of this automi turn this off is very important. Let's delete these vertices again and let's hit A and E to extrude those again. Now, everything is okay. Let's go to the left and move those just a little bit, and now. Everything is cool. All right all right all right. What else we could do here? I think I can cut this side the corner here. I just need to make a table like this. I can add a cube and cut it, but I prefer to use the carver. Let's go to the top view here and let's activate the c, control shift X, and I'm going to switch to the line, and I will cut it like this, create a line like this. When you comb hit space, and we got a nice cut like this. Okay, we got the cuts, but we need the same result on the other side. In this case, I can use mirror modifier. But first, let's put let's put the organ.in the middle, right click organ to the to the metre. Now let's add mirror modifier here. Where is it? Yeah. Okay, the x axis is the correct one, but activate bicect, and the flip the result. That's what I want. Apply, we don't need it anymore. Let's go to the left control three and tab in the grab the side in the x ray and move it just a little bit right here. Yeah, that's it. That's great. Now let's use the vl modifier because I got small curve here and here as well. Grab this les at the vl modifier and weak this two not angle. I'm going to use the weight and tap to the edit mode grab these edges and those here as well. And those here. And those. Let's open the panel here and let's manipulate the mean vl weight, and let's just give them a bit of maybe 0.3 0.03. After that, let's add some segment here, three or four, you can control it. Okay, 0.03 is. And what else we need to do here? Maybe we can target those here as well. The result now that we got is, I'm going to add another val above this one. I'm not going to use the weight val. I will keep it angle, and let's add the small amount 0.01 maybe because now I need to target all of the edges. Let's add two segment here and radically smooth and activate a smooth for this piece. Like this. Activate hard and normal. What else? I think that's it. It's become very nice. Let's go to the lift and what else do we need to do here? Maybe we can scale it and make it big just a little bit to fill the space. A hit and move this inside. Let's let's see what we got here. I think we need to push it forward just a bit. Let's tab before we do that, let's crab these vertices and move them up because I think it's shorter from the side. Yeah, I think now it's okay. We can push it forward if you like to the x like this. Let's isolate it because I think I need to go to the top and grab these vertices and push it them forward just ale bit like this. Backboard, I mean. There are something here, I just need to mention. All of these vertices, we don't need them accurately. I prefer to delete them because they are not affecting anything. Grab them like this, make a selection and dera them. Hold have to grab those here as well, and those here, don't grab them in the trade. Crowd them like that and just delete them, hit control X, and that's it, tap out, and we got the same result clean and nice. Hit slash, and that's it. That's great. All right, so that's we'll do it then. I will end this video and see you in the next one. 63. 063 Modeling Level 3 modeling Sony device part 6: Hi, everyone. Welcome back. Let's create these holes that we have. The screw hole we have here near by the base, we have one and here in the top are, we have two, and let's get started. Let's create this. I have the subdivision modifier here. I need to apply to achieve this because I will use the pollen method to add these holes. I can leave the subdivision, but it will be a bit complicated to add holes here in ME like this. I mean, I need to fix the topology of this MEC to make the subdivision working on it correctly. I prefer to apply the subdivision surface and then add holes. Leave the level one. It's very okay. I think the result is very nice with one, is smooth and nice. I'm just going to have over right here and hit control A and apply it. And let's go to the left, control number three from the um bad, and let's choose a cylinder here. Let's create a small cylinder hold to make the circle correct the dimension and give it a bit of depth. For the vertices, I'm going to cring this up to 30 vertices because I need to make it smooth the roundness and go back to select box and that's it. Let's go to the left again, and let's position this. Let's put it in the middle as we have here and move it up a little bit. Maybe right here close to this beam here or coin. I think in the middle of this. And let's do the same thing, let's put it close here. And we need to make sure that we got it in the middle. You can Pole it. For me, I can ip it and move it maybe right here. I think that's okay. We can scale gas a little bit. Okay. That's nice. I just need to mention something. Keep the cylinder away from the extruded lines that we have here. Just keep the edge of the cylinder, this side and this side in the middle of the lines like this to avoid any problem and make the cut easier. Or at least tumble around. Alright, that's cool. We have this inside our mesh. Before I make add a cut, I will duplicate this or before I duplicate it, I just need to make some small tweaking here. Let's grab the cylinder and I will hit tab to go to the edit mode and hit control to add an edge. Maybe right here. Inside almost right here and control R and add one here as well. Let's grab these outer faces after that hit S and just put these faces out just a bit because I need to got some tilt here. Okay? Now, I can duplicate those. So with this one, select to hit HD and take Kobe up to the z mo right here and one underneath it. HD and take one could be maybe right here. Yeah, something like this. Let's start with this one. I grab hold heft to grab the target. It can control Haft minus, and now we got a cut here. Great. But the shading here, it's ruined. Now it's a time to fix this I'm going to hit control z because I need the cut, but I need the brush as well, stay here. So I'm not going to hit control heft minus. I'm just going to hit control minus. Select this, select the target, control minus, now we got we got the bruh or the object, the cutter g to the x two bush, just a little bit inside. All right, that's great. The result now is fine as I think. Cool. Maybe I can take it out or something like this will work. All right, that's cool. Now the next step that we should do is, select the target. Let's activate the auto smooth for it. A that is cool. Rat and head smooth to avoid these edges here or you can grab the box itself, and rat head smooth and activate the auto smooth for it to get nice heading because it is the, and we got flat heading because the cylinder, we didn't gave it head smooth. Let's see now. Is this the result that we want? I don't know, I feel that the care that we created is not so quite beautiful. I don't know, maybe I can keep it or delete it. But let's keep it for now because later I can fix this problem. Let's add a bival above the result that we have here. Let's leave the ball here, and let's add a bile modifier on the target. And let's sake this to weight because I just need to target some edges here. And I think I can target the edges here. So let's go back. I can't because if I tap to the edit mode, I will lose the hole. So I don't have the ability to s this to the weight to select these edges to give them a specific pivle. So I'm going to sake this to angle, and I will count on the angle. Let's see what I will got here. T. L et's activate the wireframe just to see the end results. We got small bival right here, if you noticed. And the amount is very big, but the bivl here is not big as compare with the amount. First, let's increase the number of the angle because I think here we have bivl as well and that's not what we want. So I'm going to change this to 40 maybe. Yeah. I just avoid the bival that happened here by increasing the number right here of the angle. But we lost above in this area and on this edge as well because the number here is very big. So I'm going to change this manually back, take it back. To maybe I know 35. I think this number is okay as cool. Because we have clam overlap activating, I cannot manipulate the bubble here. I'm going to turn this off to see the actual bibble. And as you see, it is mass what we got here. Let's change the number from ten centimeter to 0.2 centimeter. And the problem that we have now, Bible applied almost everywhere, I think, we have a mass here, the bubble is too much big 0.01. 0.01. Okay, 0.01. Let's add two ages here, and let's activate hard and normal. What else do we need to do here? We got this face. We don't need a face right here. I think we got a face here or a hole. All right, don't worry about the face here. Let's see what we go. Let's turn of the wire frame to see the heading better. Let's go to the object properties here, and hear the wireframe. By the way, you can assign a shortcut for the wireframe if you like. For example, I just added the number y to toggle the wireframe on and off. It's very easy to assign shortcuts. For example, for the axis. You can hit right click, and here you should find assign shortcut, just hit left click and add any pattern you like. For example, for for assign for the axis. I can add I or U, just hit the number and it will be assigned. For the wire frame, I already assigned the y letter. So now if I hit y, I can toggle the wire frame on and off. You can do that the same thing. So let's turn the wire frame off. Now we need to kick something else. Now we need to kick the heading after all. We got some weird this call artifacts. This happened because sometime a vertex become over a vertex, and we got some weird heading in this area, fixing these kind of problem, it could be done manually. So Let's grub this and tap the edit mode. The bad thing is when you tap the edit mode to fix these, you can do that because I can't do this, unless I apply the bully. I just got maybe one way to try to avoid this. Maybe I can move this just a little bit to the y axis, y, and move the cylinder just a little bit and see what's going to happen. All right. We moved the cylinder, and we killed the artifact that we have here. We can move it even more e to the y and move it just a little bit. Not too much. We still got some pinching here. If you want to avoid it, you need to apply the modifier, the pool. After that, you can try to fix it. So for me, let's apply this. I control and apply it. That's mean this cylinder is not useful anymore. You can just hit delete and delete it. Now we cut this result. But before applying the bol tool, I'm going to control Z because I think that the result that I got here is not beautiful. The table that I made here. I just think to avoid it. I'm going to tap the edit mode to the cylinder itself and grab these vertices and just put them out because I think it's better to leave it like this. I think this result is better. Let's go to the left and just center it move it just a little bit. Let's put it right here. All right. That's better. As I think. Now I can, Even even for the heading. Now the heading is better. Anyway, let's grab the body and apply the ball modifier here. And now this cylinder, I don't need it, you can delete it. And now I can work with this the target mesh alone. I can tab and fix some problem. But before we do this, I just need to give it a bit and increase the amount of the able to maybe 23 or maybe even more to six, I think. Right. When I increase the number, I got some problem, for example, this one, this one, this one right here, and together we will learn how to avoid them and how to fix them. But first, let's give it the amount that we like, maybe point 0.1, let's see what's going to happen 0.1. If you do that, you will got too much problem. But 0.1 is very nice amount, I think. I will accept this number, and I will tap to the edit mode because this phase right here, I don't need it, so I'm going to hit control. X F to delete it and leave it empty like this. Now is the time to make some fixing here. Let's grab this and it's like to isolate it to work with this one alone. Tap to the edit mode. Now, I can go to the vertices. For example, let's try to understand what's happened here. Take this vertex right here. Let's zoom in, hold control and press the middle mouse wheel to zoom in smoothly like this. But we got some clipping. I can't zoom even more. All right let's go to the item here. We got to the view, sorry. We have the clipping, where is it clip start. Let's make this very tiny number, 0.1 centimeter. Now I can zoom in more like this. A Let's see. What's the problem? Let's grab this vertex and move it to see what we have here. All right. What's happened is there is some overlapping with the vl modifier. The vl modifier works like this, and on its way, the vel find this vertex. That causes some hading issue. To avoid that, we need to push the vertex just away from the modifier path or area. Let's say that. I'm going to grab this vertex, a gateway and move it away like this. And there we go. Now we got another problem. We got a vertex close to another vertex. If you want to avoid this, activate auto merge and hit get wise and slide it and merge it. There we go, now, we got nice heading here in this area. I'm going to take this back to show you what I mean, it get wise and move this. Notice when this vertex reached the bible area, we got some weird heading. I'm going to control the because this vertex wilted with this one because of the threshold here. Let's king the threshold I don't know, to 0.01 to make it very small. All right. Let's see what we got here. We got a problem, right to fix it, Wold this with this, git wise and slide it, and w there we go. Now the heading is better. Here, as well, we got some problem. Git wise and move this to this, and now it's better. Another problem that we have here move and wild it like that. Here as well, we got some problem, I think, it key and move it a little bit, slide it. Grab this ge wise and merge it, and why we have a problem right here? I don't know, let's hit ge wise and move it criteria. That's cool. We don't have any problem here, but here we have very close vertices. Grab them like this, hit M and collapse. What we have here. All right, the same scene grab this get wise and put this up and Mic it, the same thing here, grab this. Maybe you can grab those both hit M and collapse. And here we got some problem get wise, and mark this here, and this one as well, mark it there. We still got some problem here. And what we have here in this area, right, we got this, intersect with the vl modifier. To fix this, just move this atle bit away from the vl area, and you will be good to go. What else, we got the problem right here, grab this, Kee wise and market with this. Here as well, we got some problem. This one, kee wise and market. This one as well, kee wise and market. Here we got two vertices, I grab them hit and collapse, and those here, the same thing, and collapse. They are close. Wise and just move them a little bit. All right. I know it's time consuming and a bit annoying, but this how to fix the problem. Grab those hit M and collapse. Maybe grab those as well because here we have some heading problem here, hit and collapse, and what else as well and collapse. All right. I'm going to control because that some problem. Grab this one gat wie and make it. Oh, my God. We got another problem right here. All right. See how many vertices that we have here. Let's hit gewiss and move it and weld it. Yeah, we just fix it. And here as well, we got a problem. I don't know. Maybe we can move this a little bit. I don't know if that we'll fix it or not. Let's wild it like that. And it's better. And what else we have here. Let's grab these two vertices and slide them just a little bit. I will grab this one G twice and push it here and now better. You can add an edge here if you like control R and add edge if you want to support, for example, this with this to make I mean just to kill the artifact. For example, grab this vertex with this one H, that's going to make the bibble modifier diagen work correctly. I mean, I just need to give you an example here. As you see here, the biv at this area, work like this correctly without any problem. And you noted that this area is normal and white. But here in this area, I got some problem with the bivl. The bivl is thinner. Why? Because the edges goes down like this? But if these edges go right like that, the biv will will be normal here in this area. So I keep that in your mind. I can add one egg right here, control r to support this as, and there we go. Notice here because the edges goes up, the biv become narrow here in this area. Alright, let's tab out. Let's see what we got. All right. It's almost smooth. Maybe we got some artifact here. Let's wold this with this. Grab those. It's collapse, tab out yeah. Now it is better. Now, the result is better and smooth or it's nice. We got another problem right here because we worked with an angle and the bible modifier. Now, the bivle modifier targeted the angles that we have here, and we don't need that. We just need to target this edge here. In this case, I prefer to switch it to weight and tap to the edit mode and the grab these edges. Hold control and select these edges. Keep holding control and select these edges of the circle and go to the weight and here in the atom, just increase the mean vl weight up to one, and then tub out and it. If you want to make the vl less, you can control it from here, from here or you can control it from the amount that we add here. Think we got some heading problem right here. Let's move this one g twice and slide it away or maybe will it. Yeah, that's better. Even if you want you can make the amount here a bit smaller to make the heading issue less, for example, I can add 0.06 maybe. And that's going to make the heading a bit better because the overlapping and the interscing between the vertices will be less. All that's it for this video. I will end it and in the next one, I will create these holes up. So see you in the next video. 64. 064 Modeling Level 3 modeling Sony device part 7: Hi again. Welcome back. Let's create the holes up here in this area. All right. Let's start with this one. You remember that I made some change to the cylinder, so I'm going to make the same change here. Let's go to the x ray, crop this side. I mean, all of these vertices and hit and take those out like this. And let's slate this hole. Hi, crop this the target, and then hit control shift minus to make a cut right here. But I think we lost the bv, we lost d z. I'm going to use this the p p. Grab this or grab this, and then it can troll minus because I need the bival to stay. After that, put the bible underneath the bleion, because we need the b and then the bivl. And we are not seeing any effect because we need to grab these edges and push the weight the vl weight, and I'm going to show you what I mean. But before that, I just need to give heading smooth to the cylinder that we used as a cutter right click. Had smooth. A right now, we got smooth area here. Cool. When you com belete, grab the vol, control A applies school and grab this cylinder. We don't need it. Delete it, and grab the target, go to the edit mode, and let's select the edges that we want. These edges, hold control, and keep selecting these edges. This one and this one as well, and go to the mean bevel and put this to one and tap out and let's see the result. If we got any problem with the heading, we will fix it. Okay, we got some problem. For example, we got a problem here, and we got a problem right here as well. Let's see how can we fix those Tab grab this tab with the edit mood. For example, this vertex can weld it with this one right here. This one with this one. So it get wise and don't forget to activate the auto meeric right here. Get wise and merges and boom done. What we have here. We have some Q get wise and merges right there. And what else we have here. We have this H intersect with the bevel, e and move this in this area, for example, think we got a problem right here as well. Get wise and mic this right here, and this one as well, heat wise and mice like this. Move this just a little bit slide it. Yeah, I think that's it. Now, it becomes clear clear and smooth, and that's what we want. Maybe just this vertex, I can hit key twice and move it up. I think, like this. The same thing for this one top, go to x ray, grab the sit, G, take this out, grab this. Please give it smooth and activate the auto smooth for it. Hold have to grab the target here and then hit control minus to make the cut. K. All right. After that, crab the target, and let's go to the modifier and let's put this underneath the pulion. Crab the pul and control A and apply and delete this. We don't need it. Tap to the edit mode for this phase and this one, we don't need them. Crab them and hit x F to delete them. The same scenario. Let's do it right here. Let's crab these edges. Keep holding control and click these edges. And select them all and this one as well and cring this to one. Now we got above, but we got some overlapping right here. We got an issue here in this area. We need to fix tab again. Let's see how can we fix this? I think we can add an edge here and go to vertex. Let's see G twice and book this up almost right here and we grab those and hit j to make a connection, and they can add another edge here. And the grab this vertex wise and move this up and grab this with this K. And with these two vertices selected, we can slide them away from the val border and tap out, and I think it's become I don't know, nice. We got some issue, for example, here, get wise and market, what else grab this get wise and market like that. We got some weird heading here get wise and verts right here here as well. Tub out and it looks nice. All right. Okay. Let's activate the wire frame. Let's see what we've got so far. Cool. Now we just created the hole that we want, and now is the time to create this screw. Let's try to find another image. Let's go to the left control three and let's see how can we create this. Maybe I can start with a cylinder or start with the sphere. Let's start with a cylinder. Let's grab the cylinder, and let's create one right here. Something like this and give it a bit of depth. Let's tumble around and take this out right here. Let's go back to the left, and it to move it, and let's put it right here in the center a and scale, just a little bit. G to the x, take this out for now. Scale just ale bit, make it big like that and move it right here. Hit if the space and go to select box, control and apply the scale to the cylinder tab, grab these edges, and hit control B to bove them. Let's add some Maybe three edges here in the middle. And yeah, that's it, I think. Okay, that's cool. All right. After that, what we need to do is, I need to grab this big face here and hit Hit and bring the three d courser right here. Top out it hit Hift A and let's add cube. The cube is very big. We are inside it. It and scale, small. Make it small like this. All right. That's cool. Take this out for now and tap to the edit mode. Let's grab these sites and hit Alt and Qs, sorry, it Alt E and Qs extrude individual faces, and let's extrude those like that, just push them out forward. All right, it out as and book those even farther, like this. And now take those back, key like this, I think. Let's grab this one key and move it as well right here and snap it here. Where we got this result. Put this inside and put it maybe right here. Something like this. After that, select this and scale this space. Not too much, just a little bit like this. Let's just like to see what we've got so far. A, thats not make sense. It controls to cancel that scaling. If you want to scale this phase like that. You need to make sure that you grab these edges and scale them and make them a bit shorter because if you notice at this from this angle, I can see that the phase goes like this, and that could make some problem to me when I make a bulion, I need to be flat like this. I can grab these edges, all of them. And go to one angle like this, maybe and use individual organ and S S and scalet until I see until I get flat face like what I have here. I can kick the other corners, and I think now they become flat. All right. That's cool. Now, tab out, hit slash to to make the bulion, grab this, hold to grab the target, and hit control minus, and now we got a cut here. If you want to push this farther to the x, hit g to the x, and move this inside, if you want to make it big. Something like this looks nice for me. That's cool. Now we grab the target, and you can apply the bulion and delete this one. You don't need it anymore, and tritical smooth and add auto smooth right here. Now's the time to give it a bible. Let's add a bible, and let's deactivate clam overlap to make the bible go free, and now go crazy. Let's change this 2.1. 0.1 is 0.05 maybe it is better. Let's a two segment here, and we got too much overlapping actually. See we got too much problem. Let's activate hard normal and activate auto smooth, and forget that. Now let's try to make some fixing here. For example, here we have very close vertices, three here. Can taken let's see what we can do to this place, let's merry those, grab them, hit M and collapse, and those here as well, M and collapse. Let's crab those here, hits M and collapse and the same thing for those here. We fixed this site, see what we got here. We can grab those M and collapse them. Those here. You can use collapse just for the vertices that they are close to each other. But if you got a big distance like this or maybe like those two, it's not recommended to collapse them because may affect your shape. So for this, that's not going to affect it too much. That means it's not a big problem. Cab those collapse, and those here collapse. Those here as well collapse, the same thing here, and collapse. Okay, what about this site right here? The same thing, M collapse collapse. All right. For this one, you don't need the git wise volted here, and this one as well, get wise volted right here. Now we got a nice result, I think. Yeah. Very cool. Now I can hit and put this to the x inside, and I will hit slag to isolate because I got a phase here. I don't need it. To grab it. XF to deleted, hits slag to excite. Let's go to the left control three with this one selected, Hf d to the z and take this right here. Great. Hit g to the Z and center. That's awesome. Right shift D again to take this down to the Z, and that's cool. Rotate this to the x r to the x, and rotate just a little bit to make some variation here. This one as well r to the x. Rule x, y, that's cool. That's great. Cool, we done. The result is nice. I like it. This is how to create this screw by using the bull tool. So that's it for this video and see you next. 65. 065 Modeling Level 3 modeling Sony device part 8: Hi, again. Welcome back. Let's create the battery cover. I have this image show me the shape or the design of the battery cover, and this image as well. And what else do we have here? We have this image, maybe. Yeah, I think this one right here. Let's see how can we create this? I think I can use a box, start with the box, create a box right here just like this. Let's go to the select box, and now let's try to manipulate it. Let's position this box in the right place. Tab and select this face and just move this up. The same distance that we have here. So head key to the z and move it just a little bit not too much, something like this. And from the side here, we need to got the same distance, and I think we got the same distance. Okay. What else? Let's grab this, it move this out, and grab this space as well and make it penetrates the design, and we got this image. I can understand what I need from here. I think it's close as cool. And for this side, I'm going to control r to add an edge, almost right here, similar to the distance that I have here. Something like this, and it to move it a bit back, maybe just a little bit more like this. For this side, let's grab this face and move it like this. Maybe right here. The distance right here, I need to be the same distance that I have here and there we got it. Now let's grab this face, hit to extrude it inside, maybe right here to create this shape. Okay, what else do we need to do here? I think that's it. Yeah, I think that's it. When you be satisfied with the results. Now we got this as a tor and hold you have to grab the body. Then What we need to do is we need to hit control slash to make a slice. If you don't need the cube anymore, you can hit control shift slash to create the slice and delete the cube automatically. Now we got this new battery cover. All right, let's see now what else do we need to do. We got some space here here in this area, As can be created. Grab the battery cover and tap to the Edit mode, go to the vertices. Grab those four vertices and hit g to the y and move this just a little bit back right here. And maybe I can grab those as well and just move them a little bit to the X. Make some space and here as well because it's not perfectly attached with the body. We got some small space here. Try to grab those here and just move them a bit away from the device, and those here as well. We can grab them, key to the z, and take those down just a little bit. And I think we need to add something right here. Yeah, we got something here. We need to consider. For this set, as well, grab it, hit key, and move it to the x a little bit, maybe. K, cool. Great. Let's go to this image, and let's see what else we need to do here. Here in this area, we got some curve here, I think we got some holes here. I think we have a joint here in this p as well. We need to create what else we need to do? Let's it to isolate this piece, and let's work on it. Let's tap to the edit mode and let's select these faces. This one as well. All of these and hit x F to delete them because I don't want them. After that, let's go to the modifier, and let's add a bibles add solidify to give this thickness and activate even thickness. Okay Let's add 1 centimeter. Yeah, I think that's okay. Plight. Now let's sop to the edit mode, and I got some small curve maybe right here. Let's try to create it, cant be and bevol it. Let's add three edges or maybe five, something like this. This area. What else do we have here? Yeah, I think yes this area, we need to make to give it a small care here. We have small holes here, we need to create, let's go to the top and we got hole right here in this area. That's mean it could be right here. Another one could be here as I think. Yeah. I'm going to use the carver tool, so tap out select this, control he x and create a rectangle that you want, hold out and move it in the right place almost right here. And hit leftic click to cut. And we got the cut. Let's go to the top again, create another rectangle similar to it and hold out and move it and let's put it in the right place almost right here and hit leftic click to cut it. And we got another cut cut. What we need to do now is tic lick to cancel the car tab and let's grab these vertices in the tab, I think that would be better hold here to grab this one and scale them to the y to make them at one level. Hit S y zero and that's. All right. We didn't see any difference because we are in the individual organ. Swig this to medium point and let's do that again hit S y zero enter. All right now the result is correct and accurate. Let's go to the edges. Grab this edge in this edge, hold shift. Grab this one and this one as well, and let's bubble them control, and let's give them S bubble like this. Create a curve here in this area. That's cool. What else do we need to do here? All right, let's activate autos moodier. It's activated. Alright, it's the time to add Bivil modifier. Let's open the modifier, lets then add Bivil. And let's add 0.2 maybe. And activate harder normal. What else do we need to do here? Now, let's open the umetry, and here we have this option is called clamp overlap. Because of clamp overlap activate, I can manipulate the number here. Because this option here make Vivle stop at a point to prevent any H or overlapping in the vertices. Now if I turn this off, I will give the Vivl of freedom to go and I can add any number and I can see it right here, even if there was a problem. Okay, so I have this problem right here. For example, the co to vertices. We got a problem right here. To fix this, I think I can just add one egg here, hit K, make a cut from this vertex, for example, to this egg, maybe, and then I enter. L turn of bevel temporally. I fix this? I controls to cancel this. All right. Let's do that again it K. Me a cut from this egg to this vertex, maybe. I can do this. Let's see why that doesn't happen. I think we got some problem, but I don't know where let's go to the top. I just need to add the cut here and here as well by using the knife tool, hit K to activate the knife, and make a cut like this and hit C to make the cut str and z to cut and then hit enter to make a cut. Did we get a cut here? Let's see what we have here. Why? That doesn't work. This crab this vertex with this one hit K to connick in here, and let's go to the top, hit K with a knife tool. Make a cut like this, hit C and then z and then left click and then enter, and now we've got a cut here. Grab this A hit key and move it right here. Okay. Now let's go to vertices. Grab the knife tool at K and make a cut from this vertex. Maybe to this one right here and then enter. And I think we got double vertices here. Yeah, we got some overlapping here. All right. That's Let's grab those here at M and s collapse and the same thing for this side as well grab those at collapse. Hit A select all the vertices and then distance Mr by distance. Here we have zero removed. That means we didn't have any overlapping. That's cool. After that, I can activate the bible and let's go to the harder normal activated and activate auto smooth. I think it's activate as right. I think we can go to the geometry data and the normal here because we got a normal already exists. I'm going to reset it by it clear custom split normal data to to debend on the hard normal that I have here, because here we got an old normal and I just delete it. Sometimes when you see when you activate the auto smooth and activate the hard normal, and you didn't see correct results, ag this area right here and delete the normal and start again, especially when you find this this number here grade out. Keep that in your mind. Now I got nice results. Give a head smooth to make this smooth. And yeah, there we go. Now it's like to excite and let's see what we got so far. L, that's cool. We got pad heading here in this area. To fix those, I think we can add an right here, control r. Let's add an right here. Let's connect this vertex to any vertex maybe with this one and hits J. Now, I think we just fix it. Keep in me don't leave vertices like this without without connecting any one of them with any edge. Now when I added this edge right here, I fix the healing issue. But without it, I got a heading issue goes like this. And I think we still got a problem here. You note this line that I have here. In this case, let's go to the top again and let's add a cut here with a knife. Hit K. Make a cut like this C to make the cut straight and z to cut through and then enter. Sorry, again, K, C, left to click, and then enter, sorry. You need to hit left click. Hit and move this just out of the right here. And we got these vertices here, the same scenario let's one of them, and let's make conning here and boom, we killed the problem. Let's move this right here. And what else do we have here? I think this one should be here. Yeah, that's right. T I could move them right here. And what else? Let's say grab this, the grab this it K. Maybe one of these vertices with this one K. That's it. I think now it's become smooth. It's to excite, there we go. Very nice. I like the result. Now let's add some details here inside these joint. These should hold the battery cover. I think I can add a cube right here. Let's add a small cube here in this area like this, and let's go back to select box. From the bottom seven, H and let's move it right here. I think, something like that. Had to the Z. That's cool. What else we need to do here? Top the mode, and let's go to Hs, grab this site and this site, and control to be vet like this. And grab all of these vertices, it key and move them just a little bit forward to the y axis. K, something like this. After that, maybe I can add the bevel modifier above this. And K the number 2.2. Maybe add two, three segments, activate harder normal and to a smooth here. And then dratic smooth, something like this. Or you can add just two segment here, and you can add another bevel above this, if you like. Hit this row head duplicate. With this new one, lets add 0.05 So let's just to understand what we have done. All right with the first bevel, I got this result, this big angle. And this is another bevel, the next one, that will target these new edges of the first bevel. I don't know if you got it or not. Et's turn this off to understand what you got. Let's go to head flat and turn off hard and normal just to understand what we have here. This piv I can control the edges normally, and the Bival number two will target these edges, the result of the oval number one. Let's activate it, and now I think we've got the idea, let's activate hard the normal here and right head smooth. Okay, All right, Let's change this 2.3, make it very small, and for the first one, let's change this 2.1. 0.15. Something like this will work. That's very nice. From the top control seven, let's hit shift to take a copy on the site right here. That's cool. I think I just need to make this a bit wit, grab this t, grab these vertices here and the x ray and scaled and just a little bit like that. All right. That's cool. Create great great. Here we have some shape we need to create. Let's see how can we achieve this. Okay. Let's add a cube here, something like this. Go back to select box. And from the side, it's close to the edge, the same thing I have here. For this side, I just need to move this or make it just a little bit and b in this direction. Tab and grab these ices and had key and move them just a bit like this right here. All right. What else we need to do here? Let's grab these vertices here, and I think I can o them just a little bit like this. And from here, I can take this back, maybe right here, the same distance that we have here. All right. All right. Now let's grab this edge, and control b to b bullet. Let's add two edges like this. And tap out now let's put this inside the cover ke to the Z and just make it penetrate a little bit like this. And select the t here to grab the cover and then control minus to add a cut here and put the bible underneath it like this. Something like this. When you comble, grab the body and apply the bulion, control and apply it and delete this shape that we created and acids. Grab this tab the mode and let's see what we can do here. All right. Let's like to isolate this piece, and let's go to faces. Grab this face, turn off the bible to see what we got here. And I think I can just scale this in the middle. Something like this and scale to the y. Okay, we got this result now. Tab out and let's activate the bible again. Okay, that's cool. I don't know. I feel that I need to manipulate the angle here. Let's take this down just a little bit. 26, maybe. And I don't know. I feel that I need to king this to 0.1. I think 0.1 is okay. That's cool. We got a problem right here. These edges here. They didn't get a bubble. That's mean I need to take this number even down just a little bit more. Now we got bubble here. I can tap to the moot and I can target these vertices at the corner and bubble them. Or I don't know. I can bubble them or leave them. Let's try to do this. Let's add three or four. Let's see what we got. I don't like the result. I'm going to control z and leave it like this. I prefer to leave it like this. That's cool. He lash to excite. And now we got this. We got some weird heading right here, I think. Let's see why that's having hela and maybe I need to add an A to support this area, for example, I cant this vertex, with this one he J. Maybe that could give us a better result. That's not going to work to have a triangle right here. Maybe I don't know. Maybe we can add an right here. And connect this vertex with this one hit J. Let's move those just a little bit. Right here and this age and this age, we don't need to control X, and this one as well. I just put these vertices forward right here. Because if let's take those back, I just need to hear what's going to happen. That can affect the level as you see here. Putting these edges in front of the corner can give you a better result like this. That's why I moved these edges right here. Now let's see, we still got some problem here with the heading. In this case, I can cut this area at all go to the top and hit K. Let's make a cut hit C and z to cut through and hit left to click and then enter. And this new edge with this new edge added here. Sorry, grab it alone, it key and move it right here. Hit cant roll ambivalent, to maybe two or three. Now let's see. Now the problem become in this, in this area of the heading that we have here. Let's see how can we fix this? That's happened. Maybe if I add weight normal here, I can fix the problem, and it does. You can add weight normal and can help you to fix the heading here. That's cool. All right. That's great. Cool. Now it's become clean. It's like to excite. And yeah, that's it. This is how to create the battery cover. We just need to add some details here. We can create that letter. This thing here to open and the battery, and we will do that in the next video. We do for this video next. 66. 066 Modeling Level 3 modeling Sony device part 9: Hi, Ron. Welcome back. Let's see how can we create this? This is the area where you can open and close the battery cover. Let's create it. And I think we need to go to the bag. I control number one, Bag view, and you can see here we have orthographic. Let's start with the cube. I'm going to create by using this tool. Just click left to click and hold and drug to create and just release that click and give it a bit of depth like that. And now you can put it in the right position. Shifty space to go back to select box, key to move this, I don't know. Maybe we can put it right here and scale just a little bit. Push it inside or hit control I apply the scale first. I key push this inside, or something like this, maybe. And let's create a hole here. This is the cutter, grab it hole heft to grab the body, and it control minus to add a cut right here and it's none. Okay. After that, I need to create this. Let's see how can we do this. Maybe we can go back to the bag of view and I don't know, maybe we can start with plane or Okay. Let's start with another cue create it right here and give it a bit of depth and go back to select box, tap the edit mode, and let's trap this phase, it control I inverse to invert the selection and then hit x F to delete the other phases. Tab and take this right here, position it patter, maybe it right here, and then push it inside. Tap to the edit mooted control less at one edge right here. The same thing we got here. And I'm going to grab this edge and put it, push it to the y inside like this and hit e to the z and extrude this down like this and extrude it back like that. Or that's cool. I will grab this and like to isolate this piece, and let's see how can we work on it alone. The first thing maybe I need to give it a depth first, so let's add solidify modifier here and activate even thickness. When you've done, it can troll and apply it. What else we need to do here. Let's see what we can do here. Let's top to the edit mode and maybe I can grab this entire age loop and bible it. Control B. You just need to bubble it like that. What else? I think that's, we don't have much here to do. Maybe the corner here, I can bubble them, grab this with this control, B and lets add maybe four or five segment here. Yeah, five segments. Tic shade the smooth and activate the auto mode for it. Let's go to the modifier list and let's add the bobble. Let's add 0.1, Let's add two segment here, activate hard the normal, and now we got nice shading here. Let's hit slash to exact and let's see what we got so far. Tap the edit mode again, go to vertices grab this side and take this e to the Z. Maybe right here. And now we got a nice result, I think. Let's go to the back of view and I don't know. Maybe I can manipulate the vertices and move them just a little bit. Close to the edges, and the x ray move them. Let's move those here as well, and those here z. All right. Something like this will work. I will accept this results, very nice. Let's see what else we can create here. Let's try to find something easy to create. Maybe it is the time to to create the details that I have here on the other side. I mean, this side right here. Okay? Do you have anything here to it? All right. Let's start with this image right here. The fair thing that I need to do is to start with the site and create it. Let's create a cube here in this area like this. And go back to select box with the mode and grab the top vertices here and the X ray and move those up. In the Z, I can determine where should I put those vertices. Just move them maybe right here, I think, or maybe that's too, something like this, and make this cprate the design that we have here. By the way, if you don't like this, that to take too much time, you can simply delete it and go to the top and use carver tool if you like prefer. Control heft X and create your cutter and hold and move it in the right position maybe right here. I think and and make your cut like this. I think that's easier. The right click to cancel the carver tool. Al right now we made the cut. Let's see what else we need to do here. I think we need to copy this phase because here we have another level here. So let's see how can we achieve this. Let's try to find a and to understand these details better. Okay. Do we have another image? Maybe this one. Yeah. Cool. Now let's grab this go to the face, grab this phase, and let's co this face, shift D to COVID, and let's move it right here temporarily, hit P S to separate it out of the group. Now after that, what we need to do is, I think I think I can make some ins here and push the pass inside because here we have a hole, and we just need to know how to create it. How can we keep this? I will grab this and tap the edit mode, grab this pace and hit I two inset. But if I make the inset, the inset is working normally. But what I need to do is, I need to cancel the site. I need the inset on all the edges except the site. In this case, I can do this. Unless I extrude it, unless I extrude extrude this piece of plane from these edges that I just selected. I mean, if I hit E to extrude like this and leave this one alone. Now I can do what I want. Let's go to face, hit I to inset, and then just hit B to boundary, and now I got what I want like this. Just give it the right amount like this. Then I will use this phase as a cutter. So it's shift D, and let's take it right here. If in P is to separate it, tab out to grab this alone, tab it A, select everything hit E, to give it a thickness like this and hit A again to select all the faces and recalculate the normal in case we have a problem with the normal. Shift in, and that's it. Now, take this and push it inside like this. Inside this mesh, grab it hold have to grab this and then control h minus, and now we got what we want. When you come ble, grab this tab, grab these new phases. We don't need them. F to delete them, and hits A and then hit F, sorry, grab this phase, it controls to grow a selection, and then hit F. To make it one phase. That's not going to happen in this case. That doesn't happen, we can grab these edges manually and delete them. Let's grab those here and those here as well, control X. Control doesn't work in this case because as you noticed, everything is deleted. In this case, you can hit x to open the delete menu and use limit dissolve to delete these edges without causing any problem. So, we now we got something here. After that, what we need to do is we need to give this a bit of thickness. It E to give it a bit of thickness like this and hit and move it inside. Something like this. But I think this is not going to work is very big, so I can delete accurately and start afresh with this one. I will grab this face and just hit shift D to copy it and move it just a little bit right here or leave it in the same place, and then Ps to separate it, and you grab it again t A and then e to exude forward like that. And then hit a shift to recalculate the normal and that's better. Now, I got what I want. All right, let's see, how can we create these holes? Let's create a cube here in this area, like that. Let's go to another image. You need to see what we have here exactly. It is rectangle. Tab and grab the vertices, go to the right view, grab those here to the Z, and let's move them up and grab those in the x ray. Hit and move them maybe right here. The same thing, grab those move a little bit. We need to move those up just a little bit. That's great. After grab this and move this inside a little bit, not too much, and move the whole cube inside this new piece. I mean this inside this. After that, tap the edit mode and grab these edges at the corner, control and grab them. I just forget to activate the screen cast. Of this right here. Give them nice amount of bubble. Control be and bubble them like this. What else we need to do here? After you make the bubble, L et's grab these edges inside. I'll click. After that, just scaled, but let's go to the front view, right view and hit S to scale just a little bit, like that. That's cool. Let go back to this image. We have some tilt here. Let's grab this face and hit key and move it inside to the X axis. And there we go now, it's become nice. Now we grab this a new piece, have to grab this and control to blast to unite them. Now they become one piece. Now we got this piece. After that, we got a hole here. Let's go back right here to understand what we could do. Let's go to the right let's I don't know, I feel that this area is a small as you compare with what we have here. The space here, it's almost reached the middle. If you compare the button that we have here, the line this line that we have here is aligned with the line of the side of the button. But for us, we got something different. I think we need to move it right here. Okay. Let's see how can we achieve this? It would be easy, not something complicated. Tab and grab this side and move it. As you go to the right. I think that would be better g and move it right here. Now, grab this, tap it move, and let's move it as well. Grab this and let's move it just a little bit. Right here, Let's make this a square key and take this inside or something like this. Now, I think the result is close to what we have here. Okay, Let's create this hole here. I will start with the cube. Let's create a cube maybe here, something like this. Let's go back to select box and push it inside like that. And grab it, you have to grab this one, it control heft minus to make the cut and now we got the cut. Let's isolate this new piece alone because I just need to give it a bit of depth. Let's grab this side, hit key to the x and move it a little bit. I just need to give it a bit of thickness. I just forget to turn of the atom because sometimes this some problem. It slash, and that's it. Even the phase that I have here, I can push it back it key, this hit slash to isolate it, it key to the x and push this inside. All right. Now let's see what we can do. Grab this tab and let's add here in the middle. Something like this, will work. Let's grab this egg with this one and this one here as well and bubble them control and let's give them an amount of bovelg like this. We need to go to the right and push it ge a little bit toward the edge. I mean like this. Let's grab these vertices and hit ey and move them a bit right here maybe. That's great. Now what we need to do is we need to select these phases that we have here and put them just a little bit like that. I don't know, maybe we need to extrude them. But first, let's grab this with this and scale them to the Z. Ale bit, let's go to the right to the z, something like that will work, and hit to extrude and extrude along normal and give them as extra like this. That to control, A, sto along normal, es a little bit. That's cool. Cancel this age, cancel this age, let's go to the right and push those a little bit even more like this. Now we've got another level here. Something similar almost to what we have here. The only thing that we need to do here is just to add the bottom. Now tab out, right smooth and activate the auto smooth for this. Now it's okay. 67. 067 Modeling Level 3 modeling Sony device part 10: Hi, welcome back. Let's create the button that we have here. Let's try to find another image. Which one, maybe. I don't know, maybe this. Or maybe Yeah, I think this one is better. Let's see how can we create this button? Let's start with with the box, go to the left. Hit three and e the tool. Let's create a box right here. And give it a bit of depth. And go back to select box, top with edit mode, and let's select this phase alone. It control I to invert the selection hit x f to relive these phases. All right. We have this image right here. We can use it and depend on it, and we have this image as well here to understand the shape better. So let's see what's the next From here, I can see some details as well here. And maybe this one as well, this one is nice and clear. Okay. With this plane selected, hit control are to add edges here, maybe five edges, and less hit control be to level them. Just two edges like this. I don't know maybe something like this. After that, let's grab these faces, and hit e to extrude them. A little bit not too much, and go to the transform Bot point and squeak this to individual to scale them, scale them to the y, like this. Let's go to the top of you, I think I need to move them back just a little bit, something like this. Now we got this result. After that, let's add an here in the middle and the bullet control let's go to the left again and this sit to face. Let's see lex some faces here. Maybe these faces, and let's hit to extrude them like that, and then hit S to the x and the zero to make this face flat. I don't know, I feel that I should cope with this face as well. I think it's better to copy it. Or maybe I can grab this one and decel like this one. I think that would be better. Hit E to extrude it and S to the x zero enter and make it flat like this. G and take this bag almost right here, hit S to scale it down like this, and there we go. All lets hit control r to add one right here. Let's hit control r and add here in this area. And here as well, because I need to use subdivision modifier, and I need to support this edge and this one as well. Or you can grab all of these edges and vel them if you like. I'll click on all of these edges, and those here as well. And guests grub them and give them a nice amount of bubbling. L this one, this one, and you can bubble them, so it can troll be to bubble. Let's give them nice bubble like this. Let's see what else do we need to do here. After that, let's go up here and let's go to phase and let's select these phases to delete them like this. Hit X F to delete them, and let's grab these vertices, all of them, and let's go to the front from the side. What I need to do is, I need to create a small care of goals like this, something like this. Similar to the result that I have here because I got some band here. Let's try to it. With all of these vertices selected, let's go back to the front and I will use this tool, the spin tool activated, and the spin tool is depend on the position of the three D coursor. Hold shift and let's move the het click, hold hf and right click to put the three D courser maybe right here. Let's turn off proposal anything. I don't know why it's on. Let's go up this plus, and by the way, choose the correct axis. For me, the Y axis is the correct and click hold and move this like that. Give it 90 degree and here you can determine the angle at 90. The number of the steps, that's too much. I need to swing this to maybe three or four. Maybe three, that would be enough. Let's stumble around and let's see what we've got so far. This result is ness. Go back to the front. Key and I don't know, maybe I can move manipulate the spin alone, and just try to get the result that you want. Or something like this will work. Yeah, I will accept this result and let's go back to select box. Now, I got this. Let's see what we can do else. After that, let's go to the edge and let's grab the entire edge, and what you can do is you can grab gues those here on the side. Let's like to isolate it. You can grab those here as well. And you can at S to the x, but sw this to medium point, S to the x to the y maybe or to the x. Or a S to the x zero enter to make it flat. L et's go to the right. Let's see what we've got so far to the front story. All right. I think we need to grab all of these vertices here. Let's go to the top. We can grab them from top or that's not going to happen from here. Let's grab all the edges and the edges on the side as well. I'll click. I'll have to click here and here. I don't need to select this one. We got some weird results we got here. This one, those here. That's what I want to grab and S to the x is zero enter to make them flat. Now it's okay. Yeah. That's great. I'll click to this. These ages at the top and hit E to the z and extrude them like this at s2z0 enter to make it flat like that. Let's hit g to take those down and maybe move them like this or that's not going to work. I think I can hit to extrude them. The grab the sides, cancel this with this, and hit E to extrude them as well and hit control to snap it right here. Now we got this result. Maybe I can move this edge up like this in those here as well. And the same thing for those here on the side Q to the z, and move those here manually. All right. So the glades will work. After that, we got these vertices not wed. I'm going to hit eight to select all the vertices and then hit and Q by distance. And here we have two vertices wold, and that's right because we got one here and one here. After that, what we need to do is we need to manipulate these edges as well grab them. Need to edit this area. Maybe I can activate proportional editing smooth and hit to the Z and make the circle, the effect very small because I need to target these edges and just space them out like that. Maybe I can make this big. Yeah, something like that. All right. That's cool. I don't need these edges to be close to each other. Now we've got nice result here. We just need to add a mirror modifier and mirrored on the other side, and that's it. Add control to add one a here in the middle and delete this half, if you like, you can do this. Or if you don't like to do this, mirror modifier will handle it. Add x f to delete it and us it. Let's try to fix any issue that we have here to make it ready. Le grab may be those here, and maybe I can push those up to the z gets a little bit like this. Yeah, something like that would work. What else do we need to do here? All right let go to another image to see what we could do here now. Maybe now we need to extrude it just a little bit. But I think we have some here if you notice in this area. I'm going to grab these faces, all of them, and hit e to extrude it, and the same thing for the other side here. Its e and extrude along normal, extrude them like this a little bit. Give them a small g. In these phases now that we got, we need to delete them. We don't need them. X F, what else this one as well, we don't need it, this one. This one, all of these faces on the side here, it x if we don't need them. After that, we could grab the result and hit key and move it like this. Maybe let's go to another here. I think let's go to the left. Let's see what we got. All right. Maybe I can grab this side alone, this side. All of the vertices that we have here. In the right, we can move them just a little bit like this. Something like this will work. Maybe you can cancel this, It's not a big deal. Let's go back to the right view and let's see what else we can do here. Maybe we can this corner with this corner and activate provocional editing and key to the Z and make the circle bit to create a small roundness here. I think I can cb these vertices as well, get key to the Z. Let's make the circle a bit pick. This is not going to work this shape. Let's try to pick this one, the harp one, get the Z, and let's see the effect. Yeah. I think the hard one is better. We just need to got very tiny curve here. This is the idea. I think that's will work. Tap out. That's cool. I think we need to extrude now the button or tilted. I'm not what's going on here. Maybe I can find another image, show me what I could do here. Yeah, I think we need to push push this side. Let's to grab these vertices here. Let's add an H first in this area. With with these vertices selected, and those here as well, it and move them just atle bit like this. You can turn off proportional editing. Let's move it like that, and go to the edge grab this entire lope hit to extrude them like this inside. Slightly, let's see what we got so far here. Hit and move the button in the position, and let's see if that makes sense or not. That's not make sense. Maybe I don't know. We just need to manipulate it just a little bit. Or we need to make the device a bit wider. I can scale this to avoid this problem. Can scale it, I make it small and let's take it up. It and move it just a little bit here. Or maybe I can manipulate this. Let's grab all of these vertices and hit and move them. I just need a small room here. Let's grab those inside as well here. Hold have to grab those. Let's hit and move them just a bit like this. Right now we just made a small room to the button here. Let's move this a bit here. Now is better. Let's move this even more. All right Tb and let's see grab these edges inside more. This edges here, it and push those inside like this. This g, maybe we can push it to the x axis, and I don't know, maybe I can bev it. Ad the three edges here. Now, we got something nice. All right. Now let's add mirror modifier to this. Let's go to the modifier and add mirror, and we need to mirror it on the y axis, I think, and activate bicect. We don't need to activate bicect accurately because you already delete deleted halve of the ometry. All right. We got one problem, though. Let's not fit the size. So I'm going to make it a bit tall to avoid this problem. Let's turn of the mirror temporarily and tab. Let's grab this side of vertices in the x ray and take this down. Maybe right here and grab the organ dot, take it down, maybe here and snub it to the edge here in the center and turn of the organ, and now let's activate the mirror, and let's see what we go. All right. That too much. Okay. Let's go back to the organ head key to the Z and move this up all way right here, maybe. And now tap to the edit mood and de crab these vertices as well, head key to the Z, and move them. Up Zoom and to see what we got, or something like this. When they snap like that, you can leave it because meg is activated. Now tab out and turn off organ. Now we got a nice part. Rich smooth, and you can leave it like this accurately, but if you don't like, you can abi surface and make it smooth. Now it's become smooth. At least what we got. Okay. That's cool. One thing here we need to do. We didn't gave this edge above all, so let's grab it had control be let's add the three here to support it to get a harp edge here. Let's go to another image to see that correct. Not so quite perfect because I think we need to make it a bit taller. I think let's go to the right again, and I need to grab these vertices, it to the z. Take those obj at b. And we got some penetration here. Let's move to the side. Let's see grab these vertice, take them down a little bit. Yeah, I will accept this results. That's okay. All right. Do we have anything else here in this area? We don't have just the text and the holes, we need to create the holes right here. So let's go to the right and let's use the tool to add the cylinder. Let's hit left click and track hold to make the circle correct and just give it a bit of depth. And, let's position it patter, or maybe it is in the right position. Let's go back to select box and let's put this or let's scale out to the x and push this inside, control I apply the scale. Let's go back to the right. H D and take a Cop. How many holes do you need to do here five, I think. Let's add one here, shift r cou time. Now we got five. Let's try to position them better. Hit key to the z. Let's center them like this. With those selected, hit shift D, let's add five here as well. Give them the same distance. You can i pole it, and t r like this and cool. Very cool. In the tub view, we can grab them like this, all of them and deselect this pattern, and I will control g. But I need to make sure that I selected just this circle, the cylinders, and the others right. Control J, K, to make them one piece and the radically head smooth and activate auto smooth for them. With those selected as actors, hold have to grab this, and then had control H minus to add the holes right here and Bingo, we got holes here. Very cool, very easy, very nice. After that, I think we got some circle here inside. Let's tab this and isolate it. And let's see what we need to do here. Okay. All right. Let's go back to the right and create another cylinder in something like this, maybe. And give it a bit, sorry. I just made a mistake. Let's do that again. Hold heft, make it perfect, and give it a bit of depth like that. There we go. Let's go to the right and hit key and center. It and make it small Now, I think the position is correct. As you go back to select box. Tap to the edit mode. Let's to isolate this alone. Cut the side with the side to in set. And then with these two sides selected, tray click and approach phase to get a circle here in the middle. S and let's see what we got. All right now, I need to scale these phases. It old S and push them like that. Let's go to the right, and let's cut them. Hit control shift x to activate the car and just cut it from here, make a cut here and make a cut here as well, and one here and one here as we. Something like this will work. Right cancel the car, push this inside, right here. Need to create an effect like what we have here. I think we got it. All right. With this one selected, ratically, head this smote and activate auto smote for it. A cool. Maybe we can edit this later. Don't worry about this for now. I will end this video. Now, we got a nice result here for the button and for the details there. That's we'll do for this video in SNxt. 68. 068 Modeling Level 3 modeling Sony device part 11: Hi, Ron, and welcome back. In the previous video, we created this pattern. But I note that I need to make very subtle adjustment here. The care that I have right here is very big as compared to the care that I have here. It's almost very harp here. So I need just to edit that. I need to grab this and go to the edit mode, and the grab vertice is like this. And let's go to the right. Need to make this circle smaller. So I will use the three D courser as a vote, and let's snab it right here hold control if and right click and snab it here. Scale this to the y to push those to the y. And now let's move the three d coorsor here in this area and scale this like this a little bit. Now it's become smaller, or something like this. Now it's become very small. The same thing for this side as well. Grab those here, and put the three d courser right here in this area. It S to the y and make it small and put the tics right here and hit S to the z and put this down here. Now the result is better. After that, grab all of these vertices, hit key to the Z and take those down almost right here and those here as well. Grab those and the X ray hit key to the Z and put those up. And now I think it is better. Now let's see what we got. Yeah, and now it's better. All right, so we done with this. Now we need to create this pattern in these details that we have here. This image is so this image will not help us too much. I can I can use this image. I think this one is better. All right. Let's see how can we do this? I just need to add a box here and cut this area. That's all. Let's go to the left and let's grab a box here and just create a box starting from maybe here like this and just give it a depth. And we need just to move it to the middle just a little bit and push it inside or scale ale b to the x. But let's tweak this back to medium point and push it right here, maybe. Something like this will work. With this one, selected hold shift to grab this piece and hit control minus and cut it but keep the price. I mean, don't hit control shift minus. Use the control minus. I mean, don't use the options here. Use the option here to keep the pri and to manipulate it later. Hold shift space, and let's go back to set box. And maybe I need to box this price a little bit more down. I don't know. I think now it's better. All right, that looks nice. After that, let's tap the mode for the brush for the tar and decrab these vertices and take them down, ke to the Z to create a table right here. All right, similar to what we have here. And now we got this. After that, what we can do is we need to create another brush to create the holes of these buttons. So let's create another one right here and give it a depth, and let's go to the lift and let's manipulate it. Hit and move this maybe right here, starting from here, or, I will use this image. And Kick the distance here and here as well, and here and try to create something similar to what you have here. Okay tab and go to vertices and the x ray, grab this and let's move this right here, and this one as well, just a little bit right here and move the hape up key to the z. Maybe here, I think that, and put it inside, it key and put this inside. A little bit, like this and make a cut. So this one selected hole, have to grab this and hit control minus to add another cut and keep the brush because we need it. Grab the brush. If you want, you can hit Half D and take another brush right here and make another cut, or you can do something else. Grab the brush and tap to the edit mode and select all the faces, it Half D in the Edit mode and go inside to create another hole because they will be connected. Okay, something like this, maybe. I don't know right here, maybe. All right to. Now we got two holes. Let's go to the right. Yeah, that's cool. That's great. All right. Okay, after that, I need to make another cut to create the egg here because we have two level, this level and this level. So this one is higher as compare with this one. And to achieve this, I can make another cut this way. Okay. Let's go again to the left, and I can create another cube. I think I prefer that. And let's go back to select box and tap with Edit mode, and in the x ray, let's hit and move this and snub it with this vertex. The same thing, the side hit key and snap it with this vertex. And what else grab these vertexes as well, it and snub it with the top and those here as well, hit key and snub them with the bottom. Okay. Now tub out and G and push this inside, but not too much, just a little like this. All right. Now what we need to do we need to scale it just a little bit to make it bigger than, then the hole that we have here. In the right we can do this. Scale a little bit where the organ dot. Let's put this in the middle, the organ dot, right **** organ to the eumetry. Scale this to the y a little bit. S to the z, a little bit like this, and you will be good to go. Now with this one silted hole, you have to grab the body and then control minus to create this and it's done. That's great. We got another B hole here. We need to create as well. So I will grab this at Heft D, take a copy down right here. You can cut this by using this box and make the cut again, or you can jump to the edit mode for this piece and grab one cube at Hf D and take another Cp here and use it. Let's put it right here for now. Maybe right here, and the grab the button vertices here and take those down. I don't know, maybe something like this. And I think we got a mistake here. All right. Hit g to the Z. Yeah. We got a mistake because it is very big. The result here. I don't know, but I feel I need to make some manipulation here to this side to get a better result by grabbing all of these details or just this tb and grab the vertices here. Let's push all of this up almost right here and take the button and take this up with it. All right. If I do this, now I can just pick this shorter by grabbing these and take those up right here, and that's not enough actually. We need to push this almost right here to make the result correct. In this case, that's mean I need to make the button a bit shorter. And yeah, I should do this. Let's go to the right, grab this body tab, grab this vertice and the x ray head key, and take those right here because they should be here. And now it's the time to edit the button. Grab the button and grab these vertices head key to the z. And let's put it right here anywhere temporarily. And now let's grab the organ head key to the z and put this here. Or something like this. Don't forget, we got the mirror modifier exist here. And now tap and the grab these vertices and take them down until they snap together, right because we have the marriage activated G to the z. Snapped and turn of the origin. And now I think the result is correct. Okay. Now it's correct. One more thing here we need to do is we need to grab this tab and both this ate a little bit right here. All right. Now let's grab the small cube here for the edges, it HD and take another be here down. You can cob it like this and cut it again or you can cove it in the edit mode to make the cuts. Hit tub A, select all the faces, hit D to the z and take C right here. Now we cut the cut. Okay. Now let's manipulate these vertice in the x ray mode. Hit key to the z, and let's put this almost right here. The same thing for this one, hit key to the z and take those down. All right. Is there anything else? Now, I think the result is okay, and we are ready here. One more thing here, we need to control. We need to control the roundness that we have here and here and the other pattern as well. Let's can we keep this? Let's start with this. I think I can give it a bevel modifier. So let's add to the cutter avel modifier. By the way, I'm adding bevel modifier to the cutter. Let's add the vel. Okay, that's cool. Let's change this to 0.2, maybe. Okay. Let's increase the number of the segment 23 or four. And now I can cancel this and add maybe 0.3 And if I don't like the result, I can make it a bit bigger and the right view, maybe I can I can control this matter. Let's add 0.5 and there you go. But what I need to do is, I don't need to use the limits. I don't need the limit to be an angle. I need to swing this to weight to target some edges, not everything. So swing this to edge and tap to the edit mode and grab the edges on the side and go to the etham here and increase the mean level weight to one. And yeah, that's what I want to close this after that tab out. And now we got nice result here, let's go to the right. Can I make it a bit bigger? 0.7? All right 0.7. Let's go. The same bevel, I need to add to this box as well. Grab this box, hold you have to grab this one and go to this arrow and copy to select it. The idea is, I just copied the information or the bevel from this one to this one. Let's select it and tap the edit mode and we need to grab the edges that we want. Grab them like this. And push the right. I think I need to go to the x ray mode, and the tab again, let's do that again to select all the edges like this and there we go. Now, open this panel and increase this to one. And when you come top out, and now we got nice corners here. Cool, cool cool. Everything is nice. You can apply the scale in case that we got any problem. This one can reliable scale. That's nice. For this one, I think I just need to edit the vertices here and take those down just a little bit to the z and move those down right here. Maybe on this side, the same thing, the x ray of those to the z and take those All right now this makes sense. And for this for the upper area, everything is okay. I don't need to tweak anything. Okay. After that, what I need to do is, I need to grab the body and it a head smooth and activate auto smooth for it. And these cutters that I added, I need to activate the auto smooth for them as well. Okay, to get nice heading here at the corner. Let's grab the body and let's give it a val modifier. Because I just need to make these corners smooth, so let's keep it at angle and let's at point 1 centimeter and activate hard the normal. And what else do we need to do here? Maybe we can turn off the clam overlap because I can't see any. So let's turn this off and let's try to find where is the problem and fix it. So turn this off. Okay. Now the B is working correctly. L two segment here. What else we got some issue, prevent the Bival from working correctly and. I can grab this body and it's like to isolate it. And there should be a problem. Yeah, I think it is right here. The stub and hit a to select all the vertices and then hit and Qs by distance. A, there's no vertices met here. We got a bloom here in this area. We need to fix it manual, let's turn of the veal for now. Let's see, where is it? How many vertex we have here. We have vertex and A in this area. Well, that's mean we need to maybe I need to bring a vertex here. Let's use the F to t k and make a cut goes from here to here, it ter and make a cut here to this edge. I think I can't. Yeah, I can't do this because I got some weird problem here. Let's try to see how can we fix this. All right, to fix this, I think we need to boh this vertex away from the edge for now. And maybe I can delete the ge itself. I mean, let's go to the egg and grab the egg that we want because we have two edges, one overlapping the other one. So select the egg that we don't want. This one right here. Let control x to dissolve it. And now we now the problem should be solved. And this one I don't need it. Now it's activate the bubble and let's see the result tu out. And now it's correct. Now we don't have any problem. That's great. That's cool. Erratically head smooth, we added and yeah, we got the auto smooth activated, but we got some gagged result here and see why that's happened. Let's like to excite. And let's grab the small box here, ratical it smooth. Was because of it. That's cool. Now it's become smooth and ready to add the buttons. So in the next video, I will see how to create these buttons here. That's we'll do it for this video and see next. T. 69. 069 Modeling Level 3 modeling Sony device part 12: Hi again. Welcome back. And this video, I need to create the buttons. Let's start with this one. Let's go to the right and let's start with a cube, create a cube here. Something like this, and give it a bit of depth, and let's position it and put it in the right place. Let's move it right here. Key and move it here and tap with the edit mode and the crab is vertice in the x ray, and it key and move them a little bit like this. And maybe those as well, it ke to the Z, move those down and those up and the x ray. Now we got this. After that, let's grab the side and hit key and move this back just a little bit like this. Hit control out to add an g right here, maybe, something like this, and Let's grab this and push it back like this. Right. After that, what we can do is Let's see what else we can do here. Or at least grab the corners and let's bubble them. Or maybe those as well here. Almost all the s here. This one as well, it control and give them nest pubble. Let's add three or may stick with three. That's okay. We grab this face and hit E to extrude and to scale it inside like this. That's cool. I think I need to hit controls the cable time because the ball that I add is not enough. I'm going to hit control B again to make the bubble a bit bigger and increase the number of the segment and the crab this face, hit e to extrude it like this and scale it inside. Let's go to the right and let's fix the dimension when we hit scale. I mean, the thickness that I have right here, I needed to be the same thickness that I have here. Let's manipulate it manually like this and there. D. Tub out. Let's go to select box, right it smooth and activate auto smooth for this. One more thing here, we need to do. We need to maybe I don't know. We need to add another val modifier above this. But now what I need to do is let's hit slash to isolate it, and let's go to the right because I just need to add another rectangle right here. And scale like this. Move this like that and go to select box. Tap to the edit more to grab these vertices on this side, and at S to the z, and scale them like this, make them a pit clause, and those here at S z like this. And g all the vertices and scale them to the x to make the a bit shorter or thinner. Let's go to the right and key to the Z and move it a little bit up right here and then it Hf d to the cob down, maybe right here and then hft couple time to repeat that. Maybe I can grub all of them, key to the z and center them like this. When you comb, grab all of these pieces and push them to the geometry like this and leave small space here. But I will got some problem right here because if I make the cut, I will got this small space here and when I will add the above, this area will be affected. In this case, I can delete one of these and center those, put them at the middle, it g to the z, and move them like that, and it control to make them one piece. Let's do that again. Control J. Yeah, now it's okay. Hold he have to grab this and then control minus to make the cut, and now we got this cut. After that, grab the bottom end add another level here, and let's add two segment en z 0.2 maybe. Centimeter 0.1. Do we have any problem with the scale? We got some weird result here. Let's add 0.02. 0.03 and this activate hard the normal. Maybe something like this will work. We got some problem right here because of the bibble. I increase the number of angle 235. Okay, we change the number here in the angle 235, but we still have some bad heading here or sharp heading. That's because of the auto smote here we should an it as well to 35 to avoid this problem and there we go. Now it's okay. Okay. Let's like to see what we've got so far. Let's go to the right. And let's try to find another image. All right. I think the result is very nice. You can grab the cutter with the button and it key and move them in like this. All right. That's cool. It shifts to the z and take a copy right here, right click Quiz mirror to the global Z in the right position, Q to the z. Let's put it in the right position. Right. I think what we have here is different as compare with just need took a big example here. We've got an image. I don't know where is it. Where is it? Oh, my God. I think I lost it. Yeah, this one right here. You notice that in this example, they flip they flip the buttons. The ache that I have here, now I have it down. And this one, they are the same and pointing up. So here you have the ability if you want to flip it or leave it like this. It's not wrong to leave it like this. There's another version of this device with the flipped button. Anyway, let's see how can we create this one here. How can we create this? Let's grab this with this one shift or maybe this one with the cut, S, grab the cut, to grab this. Shift D and take this all way right here. Let's move this right here, maybe. Grab the D to the edit mode and the grab the vertices and a key to the z and move those up all way right here. And now is the time to duplicate the cattle, grab this tab. With these face selected, go to the front to the right hit shift D and take a Coby up. Almost maybe right here, and then hit shift r. Again, now manually, this one of these pieces, maybe this one, a shift D, to take a Coby up like this. Maybe someday like this. Hit arc time. And that's it. But we didn't get a cut here. I don't know why. All right. Why that doesn't happen. All right. Let's go back to the right. And let's see why that doesn' happen. Let's go to the vertices H D. Yeah. Haft arc time. And there we go. Tab out and that's it. Cool. Very cool. This is how to create these patterns. By the way, you can grab all the cars if you like, select them, and this one. This one here and this one, and it to open new collection and collate cutters, and it twice. Here you can hide them if you like. There we go. If you want them back, just hit and hide and you will find them. You can add this one as well, this one as well, it and move it to the cutter collection and hide them all like this. That's great. Any cutter, you add, just move it to the cut collection, select it hit M and move it there. That's it for these buttons. What else we need to do here? Do you have anything. After that, the next video, I will create the details that I have here. I will end this video and see you in the next one. 70. 070 Modeling Level 3 modeling Sony device part 13: Hi again. Let's create these details. Okay. Maybe let's go to the right and let's use this tool to create a que here. Let's create one like this and give it a bit of depth and go back to select box. Tap the mode, grab the vertices, those vertices and the tra mode, it G and snub them with this vertex here. For this side, grab it, and move it a right here, something like this. Now, grab these vertices and put them inside in the extreme, I can see where should I push those, put them deep inside, maybe right here, something like this, not too much. That's cool. Tab out and select this hold have to grab the body and then control minus to make the cut. With this one, selected CB to the z d to the z, and let's move it right here, and I will use that as well, but I will take it out just a little bit right here. Let's take this out just a little bit. Maybe right here. I think I just need to make something. I snub this side of vertices to this vertex. But keep in your mind, we add the vl here, so we don't have one vertex here. We have three vertex. I just need to be precise here. What I will do is, I will grab this body and I will turn off bevel temporarily, and I will re snap what I did here again to the same vertex without the effect of the bl. Hit y and move it and hold control and snap it again. Now the result is more accurate. The same thing for this tub grab this side and the x ray and hit and stub it right here. Tub out and that it. After that, hold you have to grab this and then control minus to make this slice right here. Similar to what we have here in this area. All right. We got a curve here if you noticed in this area, and I think I need to achieve this care. If I want to achieve this, I need to unhide the cutters that I created. Let's scrub this one and tap to the edit mode and I just need to give it a bubble, but I prefer to add a Bible modifier and use weight. I just added the Bible modifier and I will see this to weight, and I will grab This edge alone and let's go to this open it and push the weight level to one. After that close the panal and controlled from here, let's add maybe 0.2. It is very small, let's add maybe 1 centimeter level and increase the segment here, maybe can add five. Now we got an angle here. We gave the cutter the angle and we got this result. Now let's compare the result, and now we got a close result what we have here almost. For this one as well, by the way, let's hire the other cutters. For this one as well, the same scenario because we have cc right here. I just need to remember the number 1 centimeter. Now let's hide them. Let's scrab this and give it above as well. Let's turn off the ove for now and tweak the angle to weight and tab, and let's grab these four edges of the cutter. And those here as well. And open this panel and push the mean bubble to one and close it. Now let's add 1 centimeter. Let's add five segment and activate the bible. Now we've got nice care right here in this area. That's awesome. Now let's go to the right to see what we've got so far. Cool. Let's grab these cutters, this one with this one and hit M, and let's move them to the cutter section, and there we go. Now check the rest that we got. You can now grab the body and activate the bobble for it. That's cool. I think we got some problem right here. Let's try to fix. Let's tap to the edit mode. I think I can't. Well, here in this area, we got some problem. The ibl is not working right here because I think we got some issue here with the vertices, and because of that, we don't see any vl. I can fix it, but I need to apply all of these bulion, and Maybe I can, sorry. This is the problem. The bubble was open like this and because of that, I didn't see the two bulion that I created. I need to reorder this modifier. I will take the bubble and make it the last one. This is very important thing. I just forget it. Put the bubble in the last and you should get the result that you want. We still got S right here, and let's see what that's happened. Let's unhide the cutters, and let's grab this raically had smooth and let's activate auto smooth for it. And the big one as well grab it, radically had smooth and activate auto smooth for it. Let's see how can we avoid this problem? Because I noted that I got some weird heading here in this area and we didn't get a bibble. Here as well, the same thing. Let's go back to the modifier. Let's select this body and let's go to the modifier. Let's see what we got here. I think I can't fix this right now. Unless I apply all of these pollen that I added here and delete all of these cutters. But if you like, you can grab the cutter that we used to create this small extrusion. You can grab it and tap to the edit mode and go to the vertices, and you can grab this site and move it to the y a little bit and just check what's going to happen. I e to the y and move this back, and you can create something like this. If you can accept this result, that's okay. We don't have any head is right here, just a little bit here. We can tab and maybe move this a little bit more to kill this problem. Something like this or let's go back, something like this. You can accept it if you like. That will work, or you need to apply all of the cars and delete them and fix this manually. For me, I can ignore it. I can hit control the co time. And leave it like this, and I will create the patterns that I have here, and later I will see what I can do with it because it's undestructible. I mean, I can change anything in the time that I want. So it's not an issue for me. Now let's hide the cutters, and the result that we got now is okay and beautiful. Now let's see how to create these patterns that we have here. Let's go to the right and let's create another cube here, something like this. Give it a bit of depth and take it out shift space, and let's go to select box and tap to the edit mode, and let's make some thing here. Grab this H, for example, and move it just a little bit like this because we have a tilt here. And what else we need to do here?'s control to add an are in this area. I don't know. I feel that I need to make some extruding here. Let's grab this face and ad g to the z and move this up just a little bit and extrude it like this. Let's see what else we need to do here. Okay. Let's grab this again, it g and move it like this. Hit control to create these details, the big one. Hit control r, and let's add right here to create these details, and control r again to add one A here as well. Grab those together, it control B, and let's extrude them like this. Now grab these faces here. This one as well, hit E to extrude them. A little bit, not too much. Let's kill them like this. Let's go to the right, let's read this to individual and scale those to the z. Maybe, something like this s will work. What else we need to do here? Maybe we can hit key and move them just a little bit back. Let's read this back to medium point. That's cool. We don't need these phases. Grab them like this hit X F and delete them. All right. Let's add a bibble above this result. Let's go to the modifier and add the bible modifier here and let's increase the number 22 or three maybe, something like this. Radically head is smooth and activate auto smooth and let's go to the bile to activate hard and normal to get better heading here. Now we've got nice heading. After that, I need to create these slices here. Let's grab this tool and create small box like this. Let's go to select box tab, grab these vertices in the x ray key and take those back here. Let's put those inside to penetrate the design and take those out in the x ray like this. And grab those here. Push those just a little bit here. Hit S to the z, scale them like that. Then to the z and let's push this right here, maybe. Let's go to the right, it Number three, grab this, d to the B, and move it down, give it a nice distance here, and then have to co time to repeat that KB until you reach the other side here, right now, grab all of them and deselect the button and hit control to merge them. Now they are merged. Hit G and move this inside. Like this. Now I need to cut this. If I cut it, I will get some problem because I have bival here still exists. Let's see what's going to happen if I use the bivl and cut this button with these details, grab this, hold heft grab the button, control minus, and we got some flat shading here. L can we avoid this? Maybe we need to give this had smooth. I don't know. Everything is. But maybe the cutter, I need to give it had smooth and activate auto smooth for it. All right. We got some problem. Let you go to the modifier. Did we activate it harder than normal? That's not a big issue. I'm going to grab this head flat for now, and I will fix this later, but let's leave the result like this. I just need to make some tweaking here to the button itself. Inside the vel modifier, we have some option. If you open the cume re tab, you will go the meter outer, I am going to sw this to arc because as you see now, the algorithm of the obl working like this give you triangle like this, call sharp result as you see here and here. I'm going to swa this to arc to get an arc here instead of sharp result. So increase this to maybe five. I don't know, or let's leave it four is okay. And we got some weird heading because above amount maybe too big, let's teak this to one. A 0.8. I don't know, 0.1 is very low, 0.5 0.4, 0.3 0.3 is. That's cool. Now we don't have an issue here. After that, let's close this vel and let's add another vel modifier here. Let's add 0.1 temporarily. Let's go to the geometry to turn of clamp over lamp to give the vel the freedom to work. I know we got some overlapping here, but let's see can we fix them or not? This amount is very bigs at 0.05. We still got some problem here. We couldn't fix it. It seems like I can't fix this unless I apply the first modifier here. But I just need to try to see is there any way to avoid this? You go to the hanging activate harder normal to this, and maybe I can grab the cutters and move them just a little bit up or down. Maybe that could help to fix the issue. I need to try something in new here. I added the bible and I gave it the amount that I want. I got this here as you see. But I need to see what's going on behind the scene. I don't know what we have here actually. It's very easy. You just need to activate the wire frame for the same object. Select it and go here and activate the wireframe. And you remember, I just create a shortcut to the wire frame, the letter y, so I'm going to hit y to activate the wireframe and this is the problem. Let's go to the modifier. What you see here, this a big care is for the first vl. This small care that we have here is for the second vl. We got some overlapping here. We got these vertices now overlapping with each other and that causing some problem. To fix them, I need to wold them. I need to find an ability to wold those. But the problem is, I need to apply all of these modifier, so I can go here and grab these vertices and wild them like this, and that's okay. Let's finish. But here inside the modifier list, I got a modifiers called wd. This modifier It's like you grab a bunch of vertices and hit M and s mec by distance. The same thing, this modifier do the same job. Just add it, and let's give it a nice amount because now it's very big. As you see everything is wded. Trak this to 0.01, for example. Now we ge see before and after. Now, let's modify weld that some vertices here and fix part of the problem. I will increase the number 1-2 and now it's well these as well and it fix the problem. But we got some weird heading here and now's the time to add another modifier is weighted normal. We talked about this modifier. Now this modifier sul kill most of the problem. Now after that, we got another of lav here ac, I don't know why that's happened here as well. Let's go to the first pl because this problem is for the first level, maybe. L et's change the number here. Let's see. 0.3 0.4, that's work. No, that's not going to work. 0.25. Yeah, I think that will work. Let's turn off the wireframe, and now we got almost nice results with some problem. I know because because the word modifiers this problem. Make some vertices here in this area. Let's this and activate wireframe just to see before and after. All right. This is weird. Why I have this right here. Let's stop with eight mode. I just need to understand what we got here. We just got this vertex. Maybe in this case, I don't know. I feel that I need to select all the edges and and weight instead of angle or I take the angle b just ale bit. Maybe that will fix the problem. Yeah, let's stop out and let's see what we got. I don't know, I feel this now is better. As I think. Let's see, do we have any heading issue here? All right. We don't have any heading issue. Okay, cool. I know it's a bit challenging for one pattern here, but I'm here to teach you. And when you will learn the complex shape, everything else will be easier for you. Let's grab this with the cutter and boh it inside. Maybe right here. Let's go to the right he and move this right here, maybe. And it to the z, take this down, something like this. Hit d, to take a B, and right click go to the mirror and mirror it on the y axis, it and boxes right here. A little bit here, give that room here. We got some space here. In this case, I think I need to manipulate this one of these. Let's grab this. Maybe I can grab this side of faces and extrude them, extrude them like this. And tub out. That's great. I think we got some problem here. Let's grab this with this slash to see what we got here. We got some problem. Yeah. We got this face. We don't need it. These faces, hit X F to delete them and that's it. Now let's hit slash to excite of the local mode, and let's go to the right. Let's check the result and the result is awesome. I like it. Let's try to find another ma because I think I need to take those out. Well, it seems like I don't know. I think we need to take them in, not out. This mage show me that these buttons so go inside a little bit more. Let's recrab the cutters and the buttons g to the x and take those inside just a little bit. That's great. We got a hole here. Let's see, can we achieve this? It could be easy to create, I think, we can create a small box here, and we can go to select box and scale it just a little bit like this and Tab and go to vertices these vertices down right here underneath the edge that we have here, and above the edge as well, the top one, I mean here, something like this. What I can do is let's go to the right to the front top. The x ray, you just need to make it a bit thinner, it g and move it back like this. With this new pox selected hold have to grab the body and then it can minus to create the hole there. But let's see what we got. Do we got what we want? Yeah, we did it. That's cool. You can push this forward if you like. We can hit to the x and move this forward if you like. Maybe right here, a little bit more. After that, go to the ct, activate the collection. Let's take this one and move it forward as well. U to the x. Something like this. Tub out. Now let's hide this cutter and let's grab the new cutter that we added in the x ray and hit M to add to the cutter collection, and that's it. Those here as well, grab them. This one and that one hit M and add them to the cut collection. That's great. See, do we have anything else? It seems like we have nothing and everything is done correctly. I can book these buttons inside if I like like this. But don't forget to grab the cutters as well. Let's activate the collection and let's grab this cut and this one. Hit and move this right here maybe and this one as well. It and move it there. Tap it moved. I just need to give it a bit of width. This one and this one as well. Yeah. Grab this one first, grab these vertices and move them just a little bit. Maybe right here. Something like this. Tab out to grab this one, tap it mood and grab these vertices as well and move them just a little bit and give it the same with that we made it here. What else? Now I need to grab those vertices and move them to the side right here. Something like this will work. Great. Now the result is better. That's for this video, and I will see you in the next one. 71. 071 Modeling Level 3 modeling Sony device part 14: Hi, from welcome back. We don't have that much detail to finish the device. We just have a little. First, let's start with this circle here. I think is for the charging plug. Let's create it. Let's go to the right and let's use this tool to create a cylinder here. Hold he and create a cylinder to make it correct the dimension and give it a bit of depth like this and go to select box. It is to scale it. And let's go to the right. I just need to compare the two I just need to compare that dimension here. I will take this p. Hit key to the Z. I think it should be right here. The size, I think is nice. But maybe I can take a little bit like this right here. No too much, something like this. All right. That's cool. All right. With the cylinder selected, hit control A and a b scale, and let's put this inside just a little bit more. Hold here to grab this body hit control minus to create a hole here and let's see what we got here. Right. I think I need to move the ible and put it underneath these two vol modifiers. Let's close them and close the ible as well. Let's close everything actually and move the ible and put it right here. Because we always needed in the last and we got flat heading, grab the cutter, right c head smooth, and activate at smopha it if you like, it's activate it. No, it's not. All right. We got this result. C. Let's go back to the by the way, let's grab this cutter, hold and move to the cutter coll. Let's go to the right again and let's create another cylinder inside. Like this salt shift, and create give it a bit of depth. Let's change the site to six site and then hit enter. And let's go back to select box shift space. Let's center it and boot in the middle. Almost right here, maybe. Scale just a little bit, make it ab like this, take it out for a temporarily, to work with it scale and scale like that, and cool control A the scale. Tab grab this face with this phase, we don't need them for now it xF to delete them. Let's grab these edges. I'll click, tot click, and then trot click and chose subdivide, and cring this up to add maybe four or maybe six or five in each side. And now we grab this loop, hit E and S to extrude this inside, and then right click, go to the loop tool and Q circle to make this a circle. When you do that, scale this even more inside like this, and then hit E to extrude this, and then hit F to create a big face here and vol it. Bile it like that and cool. We got net result theoretically, head smooth and activate auto smooth for it and give it a vel modifier to vl the edges. It's very bagless at 0.1 with two sigment or three and activate hard normal. Smooth, very cool, take this inside, something like this. A. Let's go to the top and go to wire frame tab and move, sorry. Just grab these vertices in the wire frame and move those forward. Maybe right here. Tab out and Let's go to the cat collection activated. I think I need to put this just a little bit from the top or from the front forward, right here, maybe. That's great. Go back to solid, Z and go to solid. There we go. That's very nice. Do we need to do anything else here? Maybe I can do something here. I don't know. Let's create another level inside by using the tar itself at D and taka Cob. Let's go to the object properties and Display as solid, and scale will cast a little bit like this and tap crab this face with this phase, it e to inset, in set them like this, right click and the pre phase. Then crab this side, I'll click, control B and bevle it. Let's give it nice amount of vling, but we got problem with the scale. Bv is not working correctly. Tap out control like the scale, bev again. Sorry, I control z first. Let's cancel the bubble, tap out control scale, tap in and beval this again. There we go. Call this one and bev as well. Nice bible. We don't need these faces. I'll click XF and put those inside. Something like this. Think I can make this a bit thinner. Let's try to hit eight like all the ps and then old S. Let's see what's going happen if I use the old S. Now I think they become thinner and now maybe I can grab this side and go back to write, activate proposal editing and hit S to move those a little bit. I just need to make it thinner, but a proposal editing car that's not going to work, maybe linear. Something like that. Now it's become thinner. After that select it all and make it bigger a little bit. Cool. Let's increase the number of the auto because we got some sharp edges here. Let's make this bigger to kill these sharp edges and there we go. This one is done as well. Now maybe we can start adding the logo and this arrow and the sonny logo here. Let's see how can we create them. Let's go to the front and I got images. You could find them in the project folder. We have the walk man logo, click and hold from the folder and put it inside blender like this, and it will be like an image. Had and move it. Let's put it right here. Now what I need to do is let's push it back just a little bit like this in the y. Now let's go back to front, we need to follow this text. To achieve this, I will put the three d coos right here first. Or maybe Maybe I can use a cube, let's add the cube here. Let's create a cube. All right. Let's create on the other side. It's not a problem. Hit G and move it right here tab and grab this face. Control I. Sorry, control I to invert the selection hit x F to delete everything and leave this face Aalone, let's go back to front and move this to the right position. Tab and go to vertices, and now start following the logo to create it. Let's grab this g to move this right here. And let's take up this vertex it E and start following the logo like this. All right. Extrude this right here, maybe. And this one right here. This one here, maybe. This one should be here, maybe. Sorry. Think I can make the transparent, select it and go to the MIC properties, and here we have transparency or opacity. Let's take this down just a little bit. So we can see the edges. Now it's cool. Now let's select what we have here and tap, grab this vertex it E and extrude this here. This one maybe could be here. I don't know. Yeah, let's put this right here. This one, Let's leave it. I control. All now we grab those at F to create a phase. Cb those here at F, those here at F The same thing for those F. It trough this hold control and snub it with this vertex, grab those four hit F to create a big phase here. Kenrmi to activate a vertex snap. Now grab this with this hit E and take this up all the way right here. Snab it with this one if you like. Now let's grab this vertex with this one hit to extrude it on this side. Take this down G. Or if you don't want to do this, you can grab these three vertices and hit ts and bring the three D coorsor to the selected tub trite click and set organ organ to three D coorsor, and now give it a mirror modifier here. And there we go. Okay. Apply the mirror with the fire. Tab and let's select a vertex may be any vertex may be this one. Hit Ft d to take a cop from it and let's put it right here and hit e to extrude it. The c is a, hit E, let's extrude this all way right here. And let's extrude this vertex C time to follow this. And by the way, I just need to try something new here. I can put the three d courser maybe right here. Something cri, maybe. I can use this spin tool and spin those like that, if you like 180 degree, and let's move this just a little bit like this. And let's reduce the number. We don't need that. Something like this will work. Yeah, that's it. We can accept it. Okay. For this one, as well, I can do the same thing, grab this and rotate this 180 degree. And how many vertices we should add here maybe, the same number that we have here, one maybe Yeah. Now it's the same. Let's maybe move this just out of it or leave it. Okay, something like this. Let's go back here. Or you can delete these vertices if you like x and delete vertices. Let's grab this with this hit F and F again. Okay, let's grab these faces that have d and let's move them, maybe right here. Control and to activate the mirror and mirror them on the x axis. And it key, and let's move this here, maybe. Cool. Now crab these four vertices hit and used mec by distance and increase the number if you like a little bit to make them. Now we got this. Let's grab another vertex, it d, take a vertex right here. It's e to extrude it here. Grab those, it E again to exclude it right here. And let's put the three D courser in this area. Let's use the spin again and let's grab this vertex. And spins like that, maybe 90 degree. And let's decrease the number of the segment here, two maybe two here, and that's it. Grab this with this hits F, and then E to make a extrusion here. Now we grab those hits F, and there we go. This one shift D, take a copy of this vertex, e to extrude it here, crab, extrude those up. Another extrusion here, and there as well. Grab this one hit E, extrude it maybe right here. Follow this, extrude a couple time here like this. All right here. And grab this one, extrude this right here as well. Extrude here, stamped with this vertex, and extrude these vertices as well again like that. There we go. Now let's grab those four hit F. And the grab those as F and F again to connect. I think I need to book this vertex. Let's activate atom k twice and make it with this one. Let's slide this one as well here and this one. To grab this with this t f. Control r to at one in the middle, grab those four F. I can delete half of this and use mirror, deleted and delete faces and select these faces a d to the z and control to activate the and Z to mirror the z axis and it to move those close to these vertices and now grab those manually hit and choose by distance and there. We created a W here, so we can grab it he d to take a COVID of it here and can roll to the z to mirror it, and G to the z to move this up here. And we got the A as well, grab it, electro vertex, and then it control to link, select H D and take Cb here. Hat d to take another cob right here. We just need to create the circle. Let's grab this vertex, for example, a d and let's put this circle right here, and let's put the three d coors in the middle here, and e pin. Let's go to front again. Use a spin and spin this 360 degree. Like that, and that's it. C, hit S and make it big hit key and move this down just out of it, then hit F to fill this face. With this one selected it heavy and take a Cobi right there. Very cool. We finished that, but I think we got one problem with the normal. Okay. So let's go to the phase orientation, and let's see what we got here. All right, that's right. We got a problem. Tab hit a select all the faces, and then hit it n to recalculate the normal, and we need to flip some phases manually. Let's ingrab this vertex and this one and this one and these vertices. Hit control L to select these meshes, and then hit n this time to open the normal menu and hit flip to flip it and now it's correct. Now everything is cool. After that, what we can do is we need to smooth the results by using subdivision surface modifier. Let's turn off phase orientation for now, and let's grab this image and hit to create a new collection. Let's call it hits enter and hide it for now. Let's maximize the view. And let's see, now, how can we use subdivision surface? Hit all these pieces, it E and give them a bit of thickness and delete the other side because it's still selected, hit XF and Let's make sure of the face orientation. A is flipped. Hit A, select all the faces, and shift anti calculate the normal and is done. Okay, now let's tic hit smooth and activate auto smooth for them. That's great. Let's increase the number of the auto smooth, to kill some sharp angle that we have here. Now the result is nice. Very cool. Let's make this small for now. Let's add the vl modifier above this results. Let's change this 2.1, or maybe 0.3 at two segments. Let's apply the scale in case we got any problem. Let's give the angle of the v the same number that we added here. I control Cate and go here, control V, and hit enter and there we go. Okay. Now, the result is fine. I'm not going to work with the angle. I'm going to sweep this to weight to target some edges. Let's top to the edit mode and open this piano. Don't forget it. Let's now start targeting some edges. Let's target these edges that I have here and the corners and this side as well, I have to click and this one here, and the corners here as well. I think it's after that, just push this to one, and now we got some of right here in this area. The same thing for this Old click Old click, those here and those here as well. This corner here. Automatic click on this one and push this to one, the mean bibble weight. Now we got bubble here. The same thing here. Grab these edges, this corner, those here as well, because we want to give them a bibble and this one as well. And this edge, and push this to one. Now we got a nice bubble here. This one as well, don't forget it. Push this to one, create. The same thing here. And those here, and this and this edge here, and this edge, what else? Those here. And this one. I'm going to select those here as well because if I didn't select those, I will got some problem when I add subdivision. I will hit control z and I will leave it like this just to show you why I need to select them. I'm going to leave them right now. Push this to one and now we got a bubble. I'll click and those here, this H in the center and those here. And those here. Book to one. There we go. And those sorry And book this to one, great. The same thing for this one. And Book to one. Great. L et's ing the number 2.4 maybe 4.5 to make the bibble a bit big. Now we got the bibble. Let's go to, let's go to the list and let's add subdivision surface. The result is fine as you see, and hear what I got. I got some problem. Let's activate the wireframe so we could understand what we have, and let's turn off the optimal display. This is how the subdivision goritm work. If you don't support these edges here, you will got the problem black what you see right now. So to avoid this, you need to go to the you need to tap and de grab these edges and give them a able as well to kill this problem. And I just need to give you a quick example so you could understand what that means. Let's create a cube like this here, and let's move it right here. All right tap, it can troll at one edge and key to the Z. Let's make it like that. Let's support this side with edge and the side with edge. And maybe we can add an edge loop here in this area and here as well. Something like this. And what we can do is let's leave it like this and let's add subdivision surface. Let's see what's going to happen. Let's increase this too. All right. You notice that we got a smooth result here as compared to the original original mix. Subdivision surface will change this sharp angle to a curve like this. Because we have an edge right here in this area, we didn't go any problem here. Okay. But if I grab this edge and this one as well, just watch what's going to happen if I delete these edges, control X. See what's happening. We got some problem because we didn't have a supports edge in this area. Let's grab this edge. I'll click in this one and bevol it at control B, just to give it a support edge loop. Let's activate that subdivision again. This area become very sharp, but here, the edges on the side jump out because we don't have enough support edge loop. Even if we add one in the middle let's add one here, see what can happen. Notice I added one, but I still have some edges jump away from the mesh to kill this effect, I need to support this side as well. So I can grab this with this J and notice that I how I fix this by adding support go. The same scenario with the K letter here, I added some edges here in the bevel just to prevent the edges to jump from this area out like this, like this. I don't know. I think I hope you got the idea. When you combate, go to the if everything is okay, by the way, I feel that the A we got some problem with the A. I think we got some straight goes down like this. So to avoid this, what I can do is I can tap in at A right here to support this and here as well. And I think you noted the difference for the M as well. And here and here, the same thing. A control, by the way, and d ac is here. What else for the W? All right, that's cool. Yeah, just keep that in your mind. Tab out, and now the result is better. When you come ble, and if you satisfy with the result, you can hit control A and apply cal metric to and take those down. And now we applied everything here in the modifier stack. Let's go to the front it g and take this it S and make it s. See this two medium points, that's better. 'scale this. Let's put in front of the device and move it. And scale it like this. Let's try to find let's see where could we put this. Like what we have here. I move it right here, put it in the center center it, and that's it. And put it towards the device. I feel we got some problem here. I don't know. I noticed that something weird here to happened to the W. I'm going to it controls a couple of times just to see why that's happened. It controls and let's bring the modifiers back. Oh, my God. I just forget to give this abival. Oh, my God. Let's put this to one and this one as well that's bad. All right. Let's put this in the front of the device. Let's put the organ.in the middle. Sit organ to the geometry, and in the front, hit key and take this right here. Scale it like this and hit key and let's move this here and scale it even more. Subject like this. Et make it pick and push it to the device. I. Let's go to the right and push it like that, and there we go. That's cool. Now, we got nice result here. Hit control A, apply visual uma to. Apply everything. If you want petro heating, I think I can add it normal. I don't know maybe this can give us a patter heating here. And yeah, it does. Really, we get patter heating here. We activate, we activate Auto smooth. That's great. So that's we'll do it for this video, and I will see you on the next one. 72. 072 Modeling Level 3 modeling Sony device part 15: Hey, again, welcome back. Now let's create the Sonny logo as well. I got an at right here. I will leave it in the project folder, and let's go to the front, hit number one from D and bat. Let's click and hold and track and let's put the Ma right here. That's cool it G and move it. Grab it hit g and move it, maybe I can put it right here for now. Let's push it just a little bit back in the way access. And now let's here, can we create this? Let's go to the front and where the three decosor. Okay. I'm going to leave the three decosor right here. L et's go to the front head number one it sift A. Or before we do that, select the image, and go to the opacity and take this down and make it very transparent. At Hft A, let's add plane tab, select all the vertices of the plane, and then hit M and Qs collapse to make it one vertex. Okay, move this vertex. Let's move it right here. I think I can start from here. To create the S, it E and extrude this right here. Let's scrap this vertex, and let's start extruding this and follow the heap that we have here. Hit let's extrude this here and one here and maybe one here. Let's maximize viewbard, its E, and keep following the ape After that, when you reach the end point, grab this vertex and snap it with this one, and grab those here at F. Now let's create a phase. Grab this four and five. F to create a big phase here, and now grab maybe those here and those as well at F. I don't know, maybe I can grab this one. Let's create a phase here. Hit F and F keep creating these phase right here. Something like this. Right. That's cool. Now let's sec up all of these vertices. Let's create a big face here in this area. Now we finish the S letter. Okay. Now let's sera up a vertex from here to create the O. It's E, and controls it. It have d to take a copy of this vertex. Let's put it right here, and let's start creating the letter. Ext this vertex to follow the letter. Somebody like this. Can I grab those and hit it D techo Cobi and after that, just mirror it hit control M to the x axis and move this right here and put vertex above vertex. This one case, I need to move it manually here. Grab those and the x ray, it and Qs merrick by distance, and now we've got two vertices wolded. If you want to make the distance between these vertices even, you can use the loophol and Q space to space out the distance between all of these vertices and make it even. Now hit e to extrude and then hit S to extrude this inside. I think I need to scale it just a little bit like this. If you want, you can make it a circle, and you can manipulate it after that, just a little bit like this. Hit and move it just a little bit, maybe right here. Scale. Yeah, something like that will work. Let's create the grab a vertex D take a C here, and E to this right here, grab this one as well to extrude it here as well. And one here as well. Trow this down. Let's this here and here, something like this. Throw this up. Let right here, and this up here. Crab those hit key to the z and snap it with this one. Hit E and this Crab this with this hit F. Y, that's it. What else? Let's grab, here, it to extrude it like this. Trod this here, and this one here as well, crab this with this. And it to extrude this right here. Maybe here. And grab this one hit E to extrude it down. Grab this one hit to the Z and move this right here. Control let's add one vertex here and push those on this side, something like this. Grab those hit E, extrude those down, and extrude those right here and this side as well. Grab this one hit E and move it like this. Push this forward. All way right here. Grab those hit E to the z, snap it with this a with this vertex, and grab those hit E, those as well it and put those right here. Or that's great. Now let's grab all of these vertices of the n. And hit F to create a big phase here. Let's make some connection. Maybe I can grab those hit in case I want to add subdivision surface. It's wrong to leave it like this because it will be a big gon. Maybe those as we hit. Yeah, something like that. Okay. That's cool. We got some close vertices here, and this area needs just a little bit of editing. I will grab this vertex, hold control to grab all of these vertices here of this. What I can do is I can smooth this area. The loop tool, I got options relax, hit the relax, and then shift to repeat the relax again and again until you get something smooth. T. Now, I cut something smooth. The same thing here for the side, just need to smooth it, right click. Relax, our cou time, and tell you smooth the result. Manually, just put these vertices the correct position, like this. There we go. All right now, let's give this a solidify. Yeah. L et's give the thickness, but we got some problem as you see. That's because of the normal let's the solidify see what we have here. Let's go to the phase orientation, and let's see what we got. Here, for the O, for example, let's grab the side with the red color and then hit lt N. Open the normal and hit flip flip this, flip the n as well, H over the n and hit L, to select the n alone. Alt Q flip, hover over the S hit L. L to select the S alone and then hit lt and Q flip. What's the problem? Grab this, A, alt and flip, school. Now, let's give it a solid pi. That core now is working correctly. Turn off phase orientation and give it a bit of thickness like this. When you be satisfied, control I and apply the solid pi, grab the MI hit M and move it to the M collection and hide it. Grab the sonny tab, go to the top, activate x ray, grab this side of vertices. I mean, these phases in the back and then hit XF to delete these phases, I don't want them. All right. Now, let's see what else we can do here. Let's tic smooth and activate the auto smooth here. We have some sharp ge here, let's push this forward, the number until you kill the sharp ages here. It's nice. Now maybe we can use a bevel modifier here, and let's Okay, let's turn off the clump and let's add 0.1 centimeter. We got some close vertice that prevent the bible from working and let's see where are they. I don't know. We got some problem here. Let's put this manually just until we find the problem. Maybe right here, I think, I don't know if this is a problem or not. As you see here, because the connection comes like this and then go up, we got some variation here in the vl. But if I make another connection goes at this dark en, the vl will work correctly. Let's fix this hit k to activate the knife and cut here and here and here and then hit enter. After that, you go this control and dissolve it. Now Biv I think it's correctly. Let's go to the vertices. Tab hit A, hit the name hit control apply the scale in case we got a problem here. Maybe this one as well, I can king the direction of the edge. It K, make a cut here, goes here, and ends here, and then enter, and now we fix the issue here. Maybe another cut here goes from here and ends there, er and there we go. D this one, tub out. All right. Now there's a two segment here. I prefer to add goes like that, and then hit enter to fix the bible from this area, to king the direction of the bible and make it correct. The same thing here. Enter. Yeah, there we go. For the n as well, it's working here. But if you want to get better results, you can make a cut goes from here and ends here and then hit enter. This area as well, control r and a here, and here as well, now grab this with this hit, this with this hit. Sorry, it here. That's cool. Let's cring this forward. Yeah, that's very nice. Maybe I can speak the geometry to the arc. Think that can give me better result and add more segment here. Think that better. And I'm not going to use subdifan surface because I don't need to make it complicated. But what I can do is I can add extra edges here to make this smooth. For example, I can grab those this area and volt. I can add extra edges here. When you comblet, you can grab this face, hold can grab this one and trite click and space to space out this area. Let's turn of the bible cant turn off the pivle. Let's see can we achieve this? In this case, let's grab the edges, the outer edges alone, and let's do that again. Yeah, now it's okay. The same thing grab this, hold control grab this and this hold control grove this one. Right click and space. That's cool. That's great. Let's try to grab the side until I reach this age and the same thing from here. Let's use the relax and let's see what I will go. It's arch time to see what's going to happen. Let's go to the top. I think now has become smooth and nice. But what about what about the? I'll click to grab the s and the sit? These four sides and heritl and Q subdivide to add trachs here in the middle. Now grab these four sides again, four s and heritcl, and go to the space to space those out. After that, you can relax to relax heft to relax that again and again. Now it's become smooth. Tab out and now let's stick just with the bibble. Let's activate the bibble. There we go. After that, let's add weight it normal. Or let's activate hard the normal y. That's cool. Now it's become very nice. Very cool. Let's go to the front, grab the sony organ to the geometry. Hit key and move it right here, it and scale make it small like that. Let's use this image as a reference, hit key and move this right here as calle. Where should we put this maybe right here and scale it? From the top hit key and take this out from the right, maybe I can position better, maybe. Okay, that's nice. Take this down right here. Right now we got the sonny log go here. Maybe I can push it inside, it key to the y and push it just a little bit like this. You can go to the tub actually and tab to the moi grab the side of vertices and hit key and move them right here, maybe if you like. Very cool. Very awesome. What about the that we have here, we created. This creates box here and tap the edit mode. Grab this face, control I invert the sel F to delete all the the other faces. Let's go back to the front. Hit control r to add an here in this area. Control r to add one in the middle. Bevo, control B like this. Corrub these vertices it and Qs collapse, and grab this phase with this fase hit F to delete it. Crab these phases and then hit F two, make them one face hit I two ins. I to insert and then hit P to turn off the boundary. And then hit F to delete this face inside, A, select the other faces, the outer, hit A and give it a bit of thickness. Hit A, select everything, have to recalculate the normal. Put this to the body like this. After that, give it above modifier, go to select box, select this. Let's add aboval. King this 2.1, maybe two segments, activate halt the normal, activate auto smooth, and now we cut this tie result here. I think is similar to what we have here almost. Maybe I can move it to the middle here. I could be here. I don't know. Anyway. All right, so this is how to create the Sonny logo and the arrow. Okay, that we'll do it for this with you and see you next. 73. 073 Modeling Level 3 modeling Sony device part 16: Hi, welcome back. We almost finish everything. We just need to add small details. But before we add any details, I just need to give just need to make sure that I gave a bevel to all the object. For example, this one, I didn't give it Bv yet, so let's add the modifier or maybe I can C one of these. I give this one abovl. I'll select this, hold the carbs body and go to the ov and hit COVID selected, and now we got the same level. Kick the M if there any problem and kick the auto smooth. Maybe we didn't give it. Okay. Everything is cool and nice. We got the vel here, and we gave the battery cover able. And maybe this body, we didn't give it above. Yeah that's right. Let's co the same vel that we add here. Grab this, hold, grab this piece, maybe, and CB the le that we have here. Let's check the results. Let's make sure of the auto smooth activate it, yeah, it does. Okay. Maybe we got some problem right here. Let's like to isolate this alone. Let's see where is the problem? Because I feel that I got that shading here in this area. Why is that? Let's top the edit mode and try to understand what we got here. I don't know. Maybe I can add couple of edges just to make the result better. Because I notice that these vertices are not connected to anything. This vertex as well, and this one as well. When you try to use the Bible and the Boolean technique, always keep in your mind to connect some vertices. That will give you a better result. For me, I'm going to hit k to activate the tool and I will make cut from there to here, then hit enter, and another cut goes from here and ends here and enter. Maybe I can make a cut goes from here and here and hit enter. K. Let's make another cut from this vertex to this ag maybe and hits enter and the same thing. K for this sit hits enter. Now we grab this vertex with this one hit K to connect them, and the same scenario here hit k. All right. We can grab this vertex with this one hit K to connect them, and let's move those right here. Just move. Let's leave those here and hit S to the z, zero enter to align them, make them flats, and Let's cool. Else, maybe these vertices, I don't know. I can mark this vertex with what? Can make connecting goes like that? I don't know that work or not. Yeah, I work. That's cool. Here as well, the same thing. Grab this maybe K. Connect this with this, maybe a tab. That's not going to work here because as you see we cut a problem. In this case, I'm going to K and make a cut goes here and then goes up maybe here and then enter the same problem. In this case, I will make a cut goes like that, and then goes up here and then goes down here, maybe to this vertex and then hit enter. For the problem that we have here, that I can do is I can hit K to make a cut here and goes right here, hit enter for now. And grab this vertex k to make a cut right here. Maybe we can end it here with one of these vertices, maybe this one, and end the enter. Grab this. Al have to grab this it K. Now let's stub out and let's see what we've got so far. I think now the result is better. We got weird result here. Maybe I can add I don't know, let's try weight normal, and this modifier can kill all the artifacts or the bad heading. Yeah, that's cool. Let's like to excite. Okay. What else do we gave this abi we gave it this one. We gave it a bible. A try to click head smooth and activate the auto smooth for this one, and hold have to grab this and give it the same bible. COVID is selected. There we go. Le check is there any heading problem here? We don't have a heading problem. This piece, maybe we didn't give it a bible st Hold you have to grab this piece and go to above COVID is selected. K. That's great. This one, maybe I can take it up just a little bit, it to the z and move it up, maybe right here. Maybe that to much, to the z, and take it down just a little bit like this. That will work. What else do we need to do here? I think we gave the ball to all the necessary details and now it's become nice and smooth. But I just need to recheck the the again in case I forget something here. I think every Let's move this to the collection and hide them. All right. Let's go to this image and let's create these small arrows here. Let's go to the right and let's add the cube, maybe we start with the cube. And give it a bit of depth and maybe I can let's go back to select box, tap to the edit mode, grab this face, control I to invert the selection to delete the other faces. Now let's go back to the right. Grab these two vertices, it and Qs collapse, and what else we need to do here. With this triangle selected, tub out or hit A, it E and extrude this inside. A again, hit A to select all the faces and then have to to recalculate the normal. With this o selected less position patter in the middle. Something like this, and maybe we can move it just a little bit up. I don't know, maybe it's a bit pick or not. Let's leave it like this for now. Let's move it right here. We can scale just a little bit. Control a the scale after that. With this one selected hold have to grab the body and hit control minus to make a cut here, and then we're going to be cut a cut. Let's go to the body and here we have another bully underneath the bubble, so take the bubble underneath it like this. And push it inside just a little bit to the X s. Not too just a little bit, something like this will work. Hf D to take another Kobe and sorry. Don't take another C lets this Kobe. Tap to the edit mode for the cuttle and it H D and take another b down. Maybe right here. Key to the z. It key to the z again, move it down, maybe right here. Let's go to the right and let's see what we got so far. Okay. Let's scrub this tab, I elate everything and then hit a d to the Z and take those here, and then hit control to activate the mirror and Z, to mirror them to the z, and then hit enter. Let's go back to the right. And it key and let's move those down here, maybe. And tab out. Tab in again because I think we just need to recalculate the normal H N. That's right. When you mirror, when I mirror them, the normal is flipped. I just I had to recalculate the normal to fix it. Right now it's okay. But if I compare this triangle to the buttons here, I think they are a bit big as you compare with the buttons. I'm going to grab the cut and Tab, and hit A and go to the individual here, and hit S to scale those and make them smaller. Now let's go back to the right and let's reposition them again. The tray cb this hit to the z, and move this up here, and this one C this one hit to the z and move it right here. Clo it close. Tab out, and there we go. One more thing here we need to do. I need to grab one arrow and move it right here. Let's crab the cutter tab and maybe I can grab the top one. Just grab one vertex and then hit L to link select and hit if d to the z and take a CV down right here. And then tap out, and there we go. Crab that car and hit M and move it to the cutter sec. Now we got this nice result here. Let's see what else we need to do here. I think everything is now correct. But some shading issue here we have you notice. Let's grab this hits like to isolate it and let's see why that's happened. Tab. Because the circle has just two edges, maybe can cause some problem. The solution is just to make some connection to support the circle. Maybe can make a cut goes from here like that. And from here as well, I don't know, maybe here and here, maybe to the circle, and the enter the spot, and I think we killed the effect and the as right. Even if you don't add the edge, let's try that. Let's de this edge, and we got the problem. Let's add weight normal. Let's see maybe this can fix the H. Yeah, you just need to add weight normal and this can kill it. Let's to excite and there we go. I just noticed one thing here. The heading here is harp. You just need to select this and go to the auto smooth and push this forward to all of the harp heading. Now, I think it becomes smooth, all of the. We just got a few here. Yeah, I think that's it. All right, so I will end this video and let's see what we can do in the next one. 74. 074 Modeling Level 3 modeling sony device part 17: Hi again. Welcome back. In this video, I need to create the details that I have underneath this piece of glass. I have these images here. Let's maximize this view here. Troll space. I have some details here this pulleys and some stuff here. I just need to create a few of this area because I have a small window here and we could add something underneath it. Let's get started and let's see how can we achieve this. Maybe I think I will start with this C because the details here is a bit sharp, and that's what I want. But I need to edit the door that I create here. Let's see grab it in its slash to isolate it. Let's see what we can do here. I will tap to the edit mode end. Maybe I need to apply some modifiers here. Because if I go to the edit mode, as you see here, I will lose the details that I added here. By applying the pool, the ban modifier, I can accept the result and go to the edit mode and delete what phase that I need to delete. Tab out and hit hover over here, hit control to apply the ban and keep the vel don't manipulate it. If you did that, the cutter that we have here, we don't need it anymore. If I go to unhide the cutters, I got this cutter here, It's not useful anymore. Now if you if you hit key, nothing will happen. Grab it and delete it. Grab this hits like to isolate it or to go to the local mode, tab now to the Elite mode, and let's delete some faces. The phases that I have here, I don't need them hold it and add these faces, this one as well. Let's add this one to the collection and maybe this one as well. And hit XF and delete all of these phases. This one as well, I don't need it XF. Now we just ended with this result. Let's see now what else we can do here. After that, let's add solifi modifier to give this thickness. I prefer to take this phase back because if I add no solifi modifier, I will got some problem in this area right here. And I will hear it. I mean, let's turn over the level for now and let's add solidify to give this a thickness. Not that what we have here. We got some problem, let's activate even thickness. That's not correct. We have some other laving phases here happening. And that's what I want to avoid. To get better results, I prefer to tap with it with any crabs, hit e to extrude it, hold control, and stab it right here, and hold these two vertices, crop in the x ray hit and by measure them by distance. I think they merge automatically because the autom here is activated. Now the result is better. One more thing here, we got some phases here. We have some extrusion happening here. Because of these details, the slid fam fire will got some problem in this area because I will got some overlapping here. I can keep it like this or I can delete these phases and bring them back later. For example, I can go to face mot t to grab those seg selection control blasts couple time. After that, you can hit P S to separate them out from the group and the grab the door alone and manipulate the thicknesses a little bit. Make it a bit thick. But keep in to avoid the overlapping that could happen here. When you push the thickness forward. Now the result is okay for me. I'm not getting any problem here. When you be satisfied with the result just at control an applied and there we go. Now we got these phases that we just separated, and we need to put them back. I'm going to hit the solidify that applied on these phases, and I will tap to the edit mode for the same phase and delete this interphase that we have that we got from the solidify a F and delete them. Let's attack this these phases to the to the door, grab them, hit control J, and tap the edition would go to vertices hit A to select all the vertices and hit M to merge by distance. And now we got some vertices merged. Actually, the vertice that we have here and other corners. But we got some gap here in this area as well. Let's see how can we avoid this. In this case, I can grab this edge edge loop and hit g to the Y and hold control and snap it with the side. It click t have to click on those as well and we need to select all the edges around it like this. When you select all these edges, you need to go to the phase and approach. And make a brick like this and everything will be okay. Now the glass so install inside it. That's great. When you be satisfied with the result, just activate the bubble and everything will be okay. Let's check the bubble here. A working correctly. Let's and let's see what we got here. I will grab the door and hide it to hide it, and for the glass, I will isolate it just to make somewhat weak here. The glass doesn't have any thickness. And the polygon is headed flat. I'm going to try to click and had smooth first and give this a solidify as well and change this to 0.5 centimeter. That will work better, and maybe activate auto smooth here. When you be satisfied, can throw a end up light and leave it like this. All right now I'm going to grab the glass as well and to hit to hide it. And the tax that I have here and hide them as well hit H. Now let's see how can we create the details. A, the first thing that we need to do is to extrude this face back. I will tap the edit mode and go to face, and grab these faces I have in the middle and hit I two inst first. I think we will get some overlaving here in this area. It controls you to see what we got. Got all of these faces, hit in it, like this. I'm getting some overlav here, but I will fix those manually, and here what we got everything else is. Before I made the ex, I will go to the vertex and slide these vertex keys twice and slide this right here to avoid that overlaving, because it was like this. Here in this area, maybe we can use this smooth. I don't know. Let's try this. So the smooth where is it, this one. Let's see what's going to happen if I use it. I just pace these out. Or you can grab those and try to click and to space to space the distance right here. And that can give you a better result. After that, go to face and grab all of these faces that we just select and put them inside by using the xt root. I just need to give this area a bit of thickness put this inside, almost right here, maybe that's be okay. Or maybe I can take this peg just a little bit. G and put this peg. I need the thickness because I need to add some bets here. Let's go to the front and let's see from where we can start. Maybe I can now add I don't know. Let's see what we can add here actually. We got a cut here and what else we need to do here. The first thing, let's grab this pace maybe, or maybe I can create a new box inside and try to manipulate it to get the result that I want. A. In this case, I will go with the new phase. Let's go to the cube and let's create a cube like this side this area, and go to select box, top the edit mode, and go to vertex hit number one from the keyboard, and the x ray grab this side and push it on the x y right here and just make this new box fill the area, like what I'm doing right now. Let's go to the front, grab this in the x ray, it key to this and push this up here and the grab the side as well and the x ray and push it just a little bit like this. Now is the time to make some cut. What I will do is I will tap out and create another box here like this and tap to make some editing here, grab these vertices at S to the z, and make them diagonal here like this, maybe has too much S to z and take those back and push this just ale bit like that. Push it inside, grab this to c this NU cube and it control H minus to make the cut here. What else we need to do here? Let's create these cylinders. Let's go to the front and go to the cylinder, grab one here, create hold shifts and give it a bit of thickness. The depth here. I think we got some problem here. S to the y. We didn't give it a thickness. I will delete it and create this again. That's cool now we've got some thickness here. All right go back to select box and tab and grab this side, hit key and put this back almost right here, maybe. Something like this. What else do we need to do here? We need to hit to hit to ins and put this inside and put it forward just a little bit like this. Maybe I can now hit the tacocoba of this new piece and hit SN scale, make it smaller, and then hit e to extrude this like that, SN make it pick and extrude it again, and extrude again even more right here it SN scale. I think the result now has become a bit pig. Hit control to link select and hits to separate this to separate this from this. It as to the y and make this a scale just a little bit. And push back, control A up by the scale, and you can push this back as well maybe right here. All right, now let's go to the front. Select this one. Go to the front, tap the mode. Let's select this edge right here. And this one as well, shift D to cop it and right click to leave it in the same place. And then Ps to separate it tab out, crab sew selection, Sine H story, tab hit A selects, the two edges, now hit E to extrude it to the z, z like this. Let's push this, maybe right here, something like this. This vertex may be to slide it, it twice and push this pack. I think that's too much let those to the z and take those back just a little bit like this. That's cool. After that, tab out, go to the modifier less and solidify and zero out the offset zero enter to make the offset working from the center out. Let's manipulate this just a little bit and give it a bit of thickness like that, and that will work. Now what I need to do is, I need to rotate these and create three of them. Let's go to the front. Now what I will do is, I will use the array modifier to copy and rotate these pieces evenly. Let's go to the front and let's add the array modifier here. By the way, you can apply the solidify, you don't need it. It can troll and apply. Let's add the array, and now the array is working. Now what we could do is zero out the X factor to zero. All right after that, we need three copies, let's add three here and the count. What we need to do is, we need to rotate this around this object. In this case, to make the array work correctly, we need to use an t. Let's bring the three D courser in the middle of this piece, selected and it if courser to the selected or the courser is back. What I will do is, I will grab this phase tab Grove this face hit heft S and corso to the selected, and tap out right click, set organ organ to three d corso to bring the organ right here. This one, align the origin dot to the same place because that's very important. Hit Heft S and sorry, right click, set organ to the three d corso. Now this piece and this piece, they share the position of the d of the organ dot. Now hit heft A and lets add an M t and as we say before empty is just a helper, help us in some situation. For example, I will use it here to achieve the array. Now grab this, and let's go to the object offset, activate it, and let's pick the empty because we need to rotate this around the empty. Pick the empty like this, and now we got the empty right here. We got just three cops and zero out all of the axis. Now grab the empty and rotated to the Y R, y. Now we've got some array, rotated, 360. Sorry, that's not going to work because what we need to do is we need to divide 360 on three. In this case, we need to rotate this along the y axis. Here in the y axis, I will type 360/3 and hit enter, and now we got 120 the angle, and there we go we got the result. This how to work. After that, let select one of these pieces and apply the array because we don't need it anymore, just hit control and apply it. The empty, we don't need it, grab it and delete it. Let's select this piece and let's stop and make some adjustment here. Hit I make some inst in e two through this inside, and just a scale just a little bit. HT is to push this face forward just a little bit like this. There we go. That's all what I need to do. Maybe these edges, I can push them back maybe right here. Something like that, and maybe these pieces as well. I can grab them with the x ray and put them back and align them right here. This piece, maybe I can go to the he and I click and pot this like that. Let's see what else we need to do here. All right. Now we got this. Maybe we can adjust this later if this become very close to the window. Let's make these pieces smooth and let's give them above, starting with this one, right head smooth. Let's isolate it because I have a face right here on this side. I don't need it except and delete it and tab out like this. Let's activate head is smooth, and now we are good to go. Hits, grab this one, right head is smooth, and the same scenario activates auto smooth here. What else now is add the bevel modifier from the modifier list at the bl. Actually, you can copy any level you have here. Let's delete this one, for example. And hold shift. Maybe we can grab this beam, hit control L and link or cob modifier that we add here, and they're going to add the same level that we add here. Or you can hit control just to show you another way if you like delete the veal that we have here. Crab this, hold he to grab this and go to the modifier that you want, yes hit COVID to selected and that's it. Now we got the same bevel. Grab this hold have to grab this one, go to this ro C to select it, and the same for these pieces, hold to grab this, COVID to select it, and the grab those right head is smooth and activate auto smooth for them to get power heading in there. There is was nice and beautiful. When you com bele grab all of these pieces and hit HD and take a COV, but let's try to see where should we put those it HD and take a cop right here. E wallet, maybe right here. Yeah, that's it. Now let's hit t to bring back all the pieces. These images, I don't need them just hide them like this. All right. That's very cool. Grab the window and hide it hit to see the position of these pulleys, and maybe we can go to here, which one? We need front side, we need to determine the position. It should be in the center these pieces. We need to push them just a little bit. Toward the X axis. Let's go to the and push them right here. Like the M I have here. And I think we need to take them down just a little bit like this. Yeah, that's it. The most important thing they should be underneath the window and they shouldn't penetrate the glass. Old to bring back this piece of glass and that's it. Now it is almost finished. If you don't like to keep the cutter like this, you can apply all of these. You can apply all the polyan with the fires that we got here and leave the bobble don't manipulate it don't delete, up this one by one to get the final result if you like. For me, that's not going to cause any problem for now, I can leave them like this. For any reason, if I want to apply them, I will apply them. There's another way if you like, we can delete the vel temporarily and it control A and apply Vical uma time to apply everything. Grab a COBI, just need to give you an example. S C right here. For example, let's apply the body that we have here. I'm going to turn off the vel temporarily and then control I apply vehicle human time. And you note everything here is disappeared. Now I can take the vel modifier from any place. For example, I can grab it from this B to select it, and now we are good to go. Now this piece just have the v modifier and all of these caters. We don't need them. They will not affect anything. This is how to get rid of all of this cater. But as I said for me, I'm going to leave them right now. That's all what I want to create here. We modeled almost all the important pieces and we don't have here to do. We just need to add these details, te and some stuff, and we will do that in the material second. That will do it for this video and see you next. 75. 075 Modeling Level 4 modeling Carl Jurisch's 1957 Motoplan part 1: Hi, welcome back. All right now we are in the modeling level four, and this we need to model this small car with three tires. I don't know. I think they call it Carl moto plan, something like this. I collected these images from Google, and I just created a blueprint for this car. So we want to make the modeling easy. We need to learn the right way when it comes to model cars. So we have here the front, the back, the left right, and the top side, and let's see how can we created. And I have this image. I just made this busing photo. And I will put this image inside blender, and we just needed to understand the car even more by prowcing these images and see the details. So let's split this window to two. By putting the mouse right here on the corner on the right corn and left click and drag to create another window and swag this to mage editor because we need to add the image right here, go to the folder, and the crab image, and let's put it right here inside this area, and then we're going to have the images. Now we can zoom in and pan and see the details right. After that, we don't need this queue, select it, hit x and then D to delete it, and we will start with the front. So hit number one to jump to the front view. And let's go back to the folder. Here we have the front view, the front image. Click and truck and leave it release it inside the view here. And there we go now we have the front. But it is not in the center, and that's not going to work. We need to put it in the center, so just selected the same image and then hit old key to reset the location. And now we have this image in the center. All right, I need to see this image from this side. And that's right, I can see it, but I don't need to see it from the back side. So I just need this image to be visible in one side, but not the other right. I This case, we need to go to the image properties right here and here we have some option. We have the side, switch it from both to front, and now I can see it from the side, but not in the side. When you come, just push it a little bit back right here and that's it. Its not matter if you push it here or here. You have the the freedom to b it in any distance and the y axis for the front. Now let's go to the bag hit control one to come to the bag. Let's go back to the same folder and let's bring the bag image. Click and Drag and put right here. Selected old key, and there we go. Swats select it first, and then go to the property, swa it to front as well as I think, yeah, that's right. And it key and put it right here. Let's go to the left hit number three and let's go back to the same folder. Let's bring the left image and let's put it right here, select it old and again, select the image, old to reset it and swag this to front and push it just out of it right here. Let's go to the right control three, and let's put this image, the right one here, and hit old to reset it and push it back like that and turn off one side, sw this to front. Now we have the top go to the seven, and let's bring this image. Select anything, go to the folder and bring the top here and hits old with to reset it, and there we go. All right and turn of both to front and had to the Z and move this down. All right now we have all sides. Let's make sure that everything is correct. Okay, let's go back to the front and I just need to put the tire the bottom edge of the tire on the x axis. So it eight, select all the images and hit to the Z and move the car top until you make the side of the tire aligned with the x axis. All right when you complete all of that, it A, select all of these images, hit to create a new collection, and let's call it images. It enter, and I just put all of these images inside this collection. Now I can hide it. I can do anything. I just need to organize the scene. And now we can start modeling the car. So this is the way how to set up the scene when you want to create a car. You just need to make sure that everything is correct. Everything is aligned correctly. This is the left sub front. I think we need to flip some images. I don't know. I just I want to make sure. Yeah, I need to flip the left and the right, I think. Yeah, that's not going to work. I need to mirror them. So I just need to flip this mage because I need the front area to be on the side like this. So that's very important to do. Had control and mirror to the y. And the same thing, this a control and mirror to the y. And now it's correct, and we are good to go. Alright, so I will end this video and see you in the next one. 76. 076 Modeling Level 4 modeling Carl Jurisch's 1957 Motoplan part 2: H i, everyone, and welcome back here. Now we can start creating the car. The question is from where we can start. Before you add anything here in the scene, try to analyze the car and see from where you can start, where is the easiest part? I think the front area is the easiest part. Maybe we can add the cylinder here because I think this shape right here is something close to the cylinder shape. I don't know, something like this. I can add cylinder here and comfort it like this and start extruding the polygons and follow the shape to create it. So for me, I will start with the cylinder, and the CF can we do this? I will make the image a bit smaller. And maybe I can focus on this image or this image right here. I think this one is nice. Okay. Let's go to the right hit number three, and hit heft A, and let's add the cylinder here. The cylinder comes with 32 vertices, let's read is to 12. I think 12 is a good number to start with, and I need to rotate it on the y, hit Ry 90 degree. Like this. From the right hit number three from the bat, hit and move it in the right position, H Z and go to wire frame, just his Z alone, and hit S to scale it because it's very big position, it's better. Maybe I can put it right here and scale it even more, make it small like this. Something like this, maybe will work. We can go to the top to see what we have here. We need to scale it the x axis, scale it just a little bit. Something like this, maybe. Let's start with this. In the front, go to front and kick what we got here. Maybe we can take it up and make it big just a little bit, to the Z, and make it small like that. We got this shape, go to slid. After that, it can I just need to apply the scale and apply the rotation because I rotated the geometry and I scale. After that, I can maybe add the vl. Let's hit top to jump to the edit mode and go to edge, I'll click on this side, I have to click on that side as well. Let's go to the top and let's see what you got. Maybe we can go to the wireframe. I can troll bit val and let's val this. Let's add three maybe three edges here, something like this. I think that's too much. Let's go to solid to see what we got so far to the right. Let's go to the top. All right. What we got here is not the final result. What we can do is let's go to the right and move it in the right position. Stub out first and I need to move it right here. Following the care that I got here in this area. After that, I need maybe to delete some phases like this and delete the sit. Tab again to the edit mode and hit control R and add one egg here in the middle and leave it. After that, go to fa, grab this face, F to delete it. Maybe we can grab this half and delete it. XF. We don't need all of these polygons, you go to the right and go to the x ray and grab these polygons right here and delete them as well, those here. And now we got a have like this. Now let's grab those here, and put this up. What else do we need to do here. Let's grab this vertex and move this right here. Something like this will work for now. Let's see what we've got so far. Let's go to the top. Maybe we can grab these vertices and move them back a bit like this. Or something like this. Grab these vertices right here and move them. All right. When you be satisfied, you can tab out and add mirror modifier to mirrors on the other side, so let's add mirror. Then we're going we add the mirror. Activate clipping because I don't need any overlab having in the middle. And now let's tab and start extruding the svg to create the body. Okay, U let's see from where we can maybe I can grab those here. I'm not going to street this to the right. I will streak to the lift and start with the lift. It e to extrude and extrude this right here. And maybe I don't know, maybe I can rotate a little bit like this. Hit and move it and put in the nice place, maybe here in the middle. Maybe I can rotate a little bit, hit again and extrude it. And maybe we can extrude this right here in this area. All right. What else do we need to do here? Maybe we need to manipulate these vertices and I just need to I think I got the care of right here, he'd go like that. All right. Let's manipulate the position of these vertices. Key and move this maybe right here. This one as well. Something like this. For now, like this, maybe we can move them later. This one like this. Let's see what we've got so far. Let's go to the top. Let's put this tic just a little bit, maybe right here and this one. Let's move this here. Maybe we need to add another edge in the middle. C, maybe we can deve it to two and take those back and move those right here. Okay. Now we got this shape. Let's go to the left at control and three from Debt. Here in this place, maybe I can move this vertex right here. I need to put them underneath the fender. This is the edge of the fender. Grab those as well. As I said, I say that we need to manipulate this letter, and I think this is the right position for them. They should be underneath the fender here. What about this one? Maybe we can put this right here. Let's see what we got here in the perspective in the front. We have a lot of extrusion here. In the tb, let's move this one hit key and move it right here in those here as well. Let's rotate those just a little bit like this. I just need to follow the have of the body. Now we got something. Grab this one and put it in the middle, G twice and slide it, put right here. Maybe those as well, the same thing. The front, maybe I can push this out like that. Let's see what we got in the perspective, go to solid. All right. I think the result right now is. We can t, maybe we can manipulate this vertex and take it down. Can go to the left and hit key and move it just a little bit. We're right here for now. Let's put this just ale bit to put it in the center. Okay. Let's grab these vertices now. Maybe in the tb. Let's put this just a little bit right here. And grab these four vertices and hit E to extrude those this area, and let's go to the left again. Let's see what we got. All right. Hit S and scale this to the y and hit move this bag maybe right here. Maybe I need to move this, something like this, maybe right here and this one. I just need to follow the curve that I got here. This is the idea. This should go like that. In the right and the left s. Maybe we can extrude those again hit E and extrude them. Maybe right here and take the whole vertices here, take them down, just a little bit like this. Even these vertices right here, hit s and click to grab the entire H loop, and it to the z, S G to the z and take those down just ale bit. That will work. Now let's grab those and take them down here and maybe those as, something like that. Now let's say grab this with this hit key. Take this down. Hit key twice slight those just a little bit right here, maybe. Hit control to add a here in this area and let's manipulate this. Hit can move it right here. Something like this. That's cool. Let's go to the left again and let's sec these three vertices it E and take those almost right here. Hit S to the z to scale those to the z to make the vertices aligned, zero er, and now we need to push those inside like this. He can roll to a two edges here and take these two edges out to create this small care here in this area. Let's go back to the left here and let's see what we can do to this area. We can manipulate the vertex and push them. Let's try that. Let's see what we all have. Grab. Or let's grab those here, it E and extrude those almost right here. Grab this vertex E and extrude here, grab this with this one hit F, and grab those four hit F, and I'll click. Or let's grab those for vertices and F to fill this area. Let's see what we have done so far. This one, I need to take it out almost right here. The school. What about these vertices here? Let's see what we can do for them. Let's go to the left, and hit S to the y hit zero enter to align them, and maybe hit right click and go to the look tool and use space to make the space between them even. This a as well, maybe, we can do that. He twice and slide this just a bit here in the middle. Those here, grab them it E or move them just a bit like this and then hit to extrude them right here at S and scale them. Right, something like this. Let's go to the left again. Maybe I can grab those three for now and hit E and extrude them right here. From the top, hit and move those here, in this area, can roll out to a two edges here and pot this out like this. Right now we got this curve. Right now, after that, let's go to the left again and put these vertices back. Something like this, starts extruding this vertex, E, let's put a one vertex right here. Grab this with this, its F to create a connection. Grab this vertex, it control t to level the vertex. Let's have a two here. And let's see crab those hits F, and those here hit F, crab those here at F to create a phase. The same scenario here, hits E to extrude this almost right here, grab this with this hits F. And grab this hit control H T to bevele. Let's manipulate this one hit here and move it right here. Grab those three hit F, grab those hit F and then those F. Let's use the knife tool at k and make a cut goes here and hit enter, the same thing here. K, and make a cut like this, enter. Now we just need to manipulate these vertices to get an nice curve. Let's see those or maybe those two here, and let's pick a nice angle here key and move those a little bit. The same thing for these vertices, let's pick a nice angle and move them like this. The top, what we can do here, let's put this as a little bit. That's cool. Maybe I can grab this vertex and in the tub, we need to move it right here in this one as well, and the x ray. I think. It seems like I need to book the entire egg or maybe even extrude it. Let's push it just ale bit. And the grab this edge as well, key this and take it down just a little bit and move it here. He kee to put this here in the middle. What else we need to do here. Let's mini this vertex. I just need to have a correct in this area. Maybe we can add an A here in this area and support it. I think we can do this. Hit K and hit left click here, hold control to make a cut in the center until you reach this vertex right here, and it enter Maybe we can erupt those three vertices, hit and move them like this. We got a triangle right here and maybe we can avoid later, but let's apply the subdivision modifier and let's see the smoothness. That doesn't work. That affect the heading. I will find a way to delete it. But first, let's use the subdivision modifier and let's see what we will get. Let's rotate this just a little bit like this and move them. Tab out and let's add subdivision surface. Let's cr this to two. Grab the syritical a smooth, make it smooth. The triangle affect the heading as you see here. That's mean we should avoid them. Top the mode and let's see what we can do for them. In this case, maybe I can delete them and move these edges, just a little bit right here. Can we do this? Grab those at control x. Let's grab these three edges and in the top, we can move them here, just a bit forward. Even these vertices here, we can push them like this. We can scale into the x axis. Let's see what we got so far here. There is all this nice. Maybe this vertex, we can move it just a bit forward. Maybe this one we can take it back. Maybe what else This one, we need to take it forward because I should have a curve and I just need to make the equiv correct. If I don't, I will affect the final result of subdivision surface. I need to move these vertices and try to align them or put them in the right position. For example, this one is a bits I need to take it a bit up like this, as I think, not too much, just a little bit. Now, let's top out and let's see what we got. Let's see the result of the hap. A it's nice. We got a nice care here. Right? Maybe we can grab these vertices and push them down even more and align them with this vertex. Let's sick this two vertex snap. Hit e to the x axis hold control and sap to this one. Tab out, and there we go. This is nice. The ab is most ne. Okay, Let's go to the left here and tap that mood. Maybe I can manipulate the space here between these vertices. It's right to click, and let's go to the loophole and quiz space. Or something like this. Tab out. The tab in again, maybe we can push this vertex, a little bit inside like this. From this angle, maybe I can take it back here. This one a bit, move it. What else do we need to hear? That's cool. All right. After that, we can grab this vertex, hold control and grab those as well until you reach back to this one, and extrude those again at E and put those inside. All right. Maybe I can add another A here to support this vertex and this one as well. Let's stop out and let's see the result. Okay. Something like this. All right, so that's will do it for this video. I got some problem with the heading and I will fix it. But let's take break here and I will complete in the next video. 77. 077 Modeling Level 4 modeling Carl Jurisch's 1957 Motoplan part 3: Hi, Bron. Welcome back. Let's continue modeling the car. Let's see what we have here to edit. Let's pick this geometry, and let's stop to the edit mode, and we just need to tweak some vertices. I need to push this and put it almost in the middle right here because I don't want this air to be tight. I need to be carefully like this. Okay. And maybe this vertex, I can move it right here. To got a curve like this. And let's go to the left. I have these vertices, I can leave them like that, and at the same time, I can take them down. I think if I take them down it's better. So first, I will use the scale to make these vertices aligned and flat like this. S, zero enter, and then hit the Z and take those down, something like this. Let's tumble around. Let's see what we got so far tub out, turn off x ray and the hap is, let's go to the front and grab the this measure. We need to move some vertices to this direction. So I think I will grab all of these vertices on this side and move them g of it. Go to x ray and grab all these vertices and then hit g and move them right here. The idea, I need to put these vertices to align what I have to the geometry because as you see, we have some distance. So it key and move them just a little bit like this. Now, the result is better. The tub maybe we have misalignment here. The tub and the front as I think, that's not a big u. Let's grab the body and lets tab and maybe we can manipulate some vertices. This one. I need to adjust the curve. Now it's okay. Tub out excite of the x ray. Yeah, this nice result. All right. L et let's see what else we can do here. Maybe we can start with the headlight, we can add it. So, let's add this. I think I can go to the front and a shift eight to add the cylinder here. Here we have 32 vertex. Let's change this to 12 maybe. I don't know. I think that's too much, maybe eight. Let's start with eight and let's see what people got. Rotate this to the x r x 90 degree and hit g and move it forward, and maybe in the top, scale it, and let's put it in the right position right here. Scale it even more. And scale it more, something like this. Exit of the x ray. I can go to the wire frame. I think that's better. Scale it just a little bit and make it pick. Move it. Yeah. Now it's okay. Let's go to the left. Let's take it up. G. Let's put this right here. Let's put this back almost right here. Something like this. Let's see what we got in the perspective. Let's go to solid. I got this result. Grab this body and let's turn off subdgan surface, and let's activate the wire frame for them. Let's go to object properties here. And activate wireframe. After that, let's move this just a little bit because I need this to be a bit far away from the body. I need to move it just a little bit forward. Had and move it, maybe right here for now. After that, if I compare the mag to what I have here, I'll notice that the head light from this area, I should take it the same thing that I have here here and the reference image. So I need to put that in consideration. In this case, I can go to the left and tap to the edit mode and grab this side and hit S to scale just a little bit. And then hit g to the z and take this up right here, maybe. Something like this. I think now the result is better, and now it makes sense. When I combate everything, now I need to mark this new piece to the body. Now let's select the head light and hold H to grab the body. Open this menu and go to edit and Que union to merge this with this. When you complete and satisfy with the result, grab the cage and apply, and then delete it. And let's go after that to the modifier stack, and let's see everything is okay. Now is the time to connect some vertices because if I leave it like this, I will got a problem when I activate a subdivision surface. I will hit n to get rid of this panel. And if you notice here that I have one vertex two, three, four, five, six, here we have an gone. Here we have gone as well and gone everywhere, and that's not going to work with subdivision surface. We need to try to avoid them. I I activate subdivision surface, you will see let's turn off wire frame. You notice that the result is very bad and that's not going to work. Let's conate these vertices. Let's start with this one, and grab it, get wise and slide it. But before that, don't forget to activate the atom git wise and move this right here to Mc let's move this just a little bit here, and this one, make this close to the headlight. And this vertex I maybe I could take it down just a little bit right here. And the grab this one gat wise and make this right here. Grab this with this hit J to connect them. This one with this one as well J. And this vertex, get wise slide it and milk it here, take this down, heat wise, and let's take this right here. This one with this one hit J. These vertices, gat wise, and take those here. This one, as well, let's move it just a little bit not to mark, take this down. Because it's very close. I need to give it a little bit of space. Kewie, and let's take this here and merge this one. Ket wise and slightly and merge it. This with this. Now we got something nice here. When you combate, you can go to I'll click to grab this entire gebe bivalent control. Let's add the three edges if you like, and the result will be nice. After that, you can go to face and grab this face here, I two ins and inset this inside here, and or you can leave it open for now because maybe I can add a shell to give this a thickness, so it x F to delete this phase and that's it. Tub outt raical had smooth to get rid of the harsh line here, and then active subdivision surface. And now check the result is better. Now the result is beautiful and nice. But I don't know. I feel that I got some problem here. All right. Let's see what we can do here. Let's grab these faces, control plus to grow the select. Maybe I can move the head light just a little bit forward. Maybe that can affect the heading and give me better result. This area is very smooth. I'm thinking of adding edge here, I don't know, or maybe sliding edges down, for example, those here, Kew maybe I can take those down. Maybe that could help me to fix the problem and put those in the middle as well. Let's see what we got so far. I can tap with it mood and take this down even more key wise. Maybe I can take those forward just a little bit. And those here as well. T out and let's see what we got. All the result now is. It's n. And I can accept it. Maybe these edges, I can take those Maybe those here as well, G wise. G to the z, just a little bit, not too much. Let's see what we've got so far. This nice. Now let's add hill to sif to give this a thickness. Turn off subdivision surface, and let's go to the modifier and let's add solidify here. Let's close the mirror modifier and let's put the subdivision in the last because I need the last effect to be the subdivision modifier. The question now, how much thickness that we want here. Maybe I can swag this to centimeter. Why should I work with me? Swig the length to centimeter and go to the modifier and manipulate this but, don't worry about the thickness. Need to make a thick. Something like this. Turn off the solidify and activate the subdivision surface. Let's see now what we got. I think we got an edge in the middle. Maybe. I'm not quite sure, but I think we got an edge here. All right. Maybe I can give it even more thickness here. Something like this. Let's activate the wireframe because I just need to see the thickness and turn off subdivision service temporarily. Yeah, it's very thick go back and take this mo right here. Think that's will work for us. To centimeter. That's ok. All right, two centimeter thickness. A 20 you will be satisfied with the result, you can apply the solid dei. You don't need it anymore. And here you will have in pace here in the middle, you need to delete it. It's very important because that's will affect the heading. Tap to the edit mode and go to wire frame. Turn off X ray in the wire frame? Go to the top here and in the middle, go to face and grab these faces in the middle. You can see them unless you tumble around. And as you see, we have faces inside. So these could be deleted, grab them and then hit X F to delete them, and now the heading is better. Right. What else do we need to hear? Uh, maybe one more thing here, we can hit Tab and hit control to add one A here along along the car and bivalent. Hit control B and just bev, something like this. Now let's activate subdivision surface and turn off wire frame. All right. The result is nice. I like it. Smooth and good. All right, that's it for this video. I will end this video and see you next. 78. 078 Modeling Level 4 modeling Carl Jurisch's 1957 Motoplan part 4: I and we'll come back. Let's go back to the image and let's see what next? I think I need to create this part the windshield and all the details connected to it. Let's see how can we do this? Let's go to the front and hit shift A to add. I think I can start with the plane. Move this to the g to the z axis, right here, scale it make small rotate this to the x r x 90 degree and move this forward. Almost right here for now Timbery. Let's go back to the front and it is to scale it down and take this down just a of bit right here, maybe tab, grab these vertices. E and take those, maybe, I don't know, right here for now or something like this, maybe right here. Ctrol R add one H right here and grab the site at xF to deleted, tab out, go to the modifier and add Miro modifier. Now let's start extruding this piece to create the hey that we have here. Tap the edit mode and grab these two vertices, and let's go to the top and A select all the vertices. Let's move them right here, maybe. I don't know. I could take them back here. Let's grab these vertices. These two vertices it and move this right here. For now, grab this with this, and I will put them back a little bit. I could see them from the top. With those selected it E and extrude those here to this area. Grab this vertex, just put it in the right position, maybe right here, and the front. I need to take those up here, and this one down just a little bit, something like this. Let's go back to the top and maybe this one can move it here and the grab those three vertices and hit E and extrude them right here. My I on this side, Pot these vertices, make them follow this here. All right. Let's put this and put in the right position, maybe right here. Let's put this in the center. Let's scrub those two, hit E and extrude this here. You can rotate them a little bit like this and it extrude one vertex here. Grab this with this. Select these vertices hit F to create a phase here, in this vertex in the front maybe or in the left, I can take it up just a little bit right here and take this down maybe here. Yeah. Now we are doing something here. After that, let's go back and let's grab those. Or you can start with this vertex if you like, if you prefer this here and keep following the age. Something like this. Until you reach this point. Let's grab all of these vertices. Before I extrude them, I just need to put them in the right position, maybe. I think that's better. So, from the lift view, take them down one by one. Let's put this here following this ado here. Grab this one he and take this almost right here, and this one as well, and this vertex as well, and those here. And those here, maybe I can take this up. And this one, let's take it down just a little bit. And that's cool. All right. Let's grab those, or maybe we can extrude them one by one. Anyway, Yeah, let's extrude them one by one. Or I can grab these vertices and extrude them. I can do that as well. Yeah, let's do that. Let's extrude those here and align them with this vertex. And you can wrote it in just a little bit like this. Extrude those again here. Where the x vertex. This one. Those should be here. Let's go to solid and activate x ray, I think that's better. And extrude this one here as well, rotate it. One more extrusion here. And this one could be here, and this one right here. From the side, let's go to the side, and let's select those new vertices that we extruded. Let's take them down. Ke to the z to take this one here, and this one as well, just a little bit here and grab this here and this one as well. T here. All right, let's see what we got here and the three D. Alright, that's cool. Now let's connect these edges. It's F and the grab this one alone, it F couple of time and til we reach to the end. And the other that's nice. After that, I can extrude this to the Z, hit e to the z, and take this down maybe here. The grab this vertex, and the sea the snap to vertex snap and hit to move hold control and stamp it with this vertex to Mc There we go. Maybe I can book those a little bit like this. What else? Let's go back to the MEC and let's see what we need to do. That's nice. Now, maybe I can grab these edges and hit e to the Z and extrude them like this. Let's grab those three and maybe I can take them a bit like this. Maybe can put them to the center just a bit like this. That's nice. All right. Let's grab those again and let's go to the front, maybe it E to extrude those up, something like this. Let's go to the right and let's see what we got so far here. Maybe I need to push them back, something like that, and start pushing some vertices and put them in the right position. Let's start with this one, and let's move this right here. You can use the slide G tie and slide it here. And this one as well. All right. Now let's push this vertex, and those here as well. This one here, maybe I can put it. Let's see what we got in the front. Everything looks fine. In the top. Maybe in the top, I just need to manipulate some vertices. Maybe push, put them at the center. Something like this. Something like this will work. Let's see what we got in the perspective. That's nice. Let's go back to the left and I think I need to move this slide just a little bit. Yeah, that's okay. Maybe those here, I can slide them just a bit here and this one as well. Maybe right here, those here, I can push them slide them here maybe. Let's timble around and let's see what we've got so far. Now I need to make an inset. I can grab all of these phases and hit two insets. But if I do this and accept it, I will have the thickness here will be too. I think I can delete this age I can add or make inset here. Let's go to phase and the cb all of these phases, hit. Let's go to the left first and activate x ray hit I. Let's give this nice amount of inset like that. We need to create this shape here. Let's go to the vertex and let's manipulate these vertices, maybe those here. Key tis and move those just a little bit here and this one as well. Yeah, I think that's will work. And what else we could do here? Let's go to the phase. Let's grab these phases here. Or before we do this, let's connect. Let's use the knife tool to make a cut from here to this side and it enter, and for this side as well, it and make a cut here. Then grab this vertex, grab this ge, it. Sorry, this x and dissolve H. We don't need it. And this one as well and this one. But yeah, let's trap this one, it control x to dissolve it, but we will got some problem here. In this case, use limit dissolve because I don't need to lose the vertex that I have here in this area. X and Qs limit dissolve, and this one as well, control x, I don't need it. Let's go to phase, grab the Let's see which phase we could pick. Yeah, this one, and this as well, those here, and then hit F to delete them to get the shape, and now we got it. Now let's go to the vertex and let's manipulate some vertices here because I think I need to take this down, maybe all of it, all the details here. I can grab those two vertices and activate proportional editing and pick a nice angle from here maybe and hit to move and move almost the whole umetry. Something like this, maybe. I just need to attach it to the body. Yeah, we got nice result here. That's cool. Tab out and let's try to give it a bevel. But before that, I just some vertices here, tab for example, this one, I need just to push it turn off the pro editing. Just need to push it and put it right here, something like this, and maybe those here, it move them. A little bit right here in this area, and this one I can take it back here and those here. And that's cool. All right, let's see what else we can do here. Let's add an edge here in this area, and maybe I can grab those and push them just a little bit. Those here as well. Something like this, maybe. On a here as well, this place. Yeah, something like this. Maybe we can move this just a little bit here. Let's see what we will go if we add subdivian surface to this result, tub out and radically smooth and let's add subdivian surface here. Let the two, that's cool. Let's activate clipping. And what else we could do here. Maybe we can I don't know. I think we got some problem with the Modifier. I don't know. Turn off the subdifin surface, and let's see what we got here. We got some problem. Let's grabs all these vertices and hit S to the x, zero er, zero them out and hit and take those back. Don't forget to activate cliving, because if you don't and hit to take those to the x axis, you will have an open open area. So turn on clipping and book those back to the x until they snap to the center. And now tab out and activate subdivision service and you should have correct result here in this area. Okay. The result is almost nice. Maybe we can go to the side and start manipulating some vertices. I don't know, maybe grabbing those and book them up just a little bit like this and those here as well. I just need to get some thickness here. And those here as well. Something like this. All right. That's nice. What else we could do here? Maybe those I can put these vertices up. I don't know. Yeah, something like that. That's cool. All right. Let's give this a thickness. Let's add solidify. A like this. Close the Momdifier and subdivision. Let's put division underneath the solidify because I need it as a final result and lets manipulate the thickness. Too. I think we scaled the plane when we use it. I can troll A and apply a scale. We could do that. Now let's give this a thickness. Turn of the subdivin for now. I just need to understand how much I have here. Turn on wireframe. I just made a shortcut y letter, and you can create a shortcut if you like or you can activate it from here. Anyway. All right. I think the thickness that we got here is okay and it will work. And we just need to make just a quick manipulation here. Or a turn of mirror modifier. Here we have face here in the middle. We don't need them. Let's apply the result of the solidify for now and delete these phases. Tab and go to face and delete these phases in the middle. X F to delete them, we don't need them, tab out, activate mirror. Now let's tap to the edit mode and let's grab this line. I think we got some overlapping here. Let's go to the top and grab these vertices in the middle let S to the x and align them to the x perfectly, and then hit g to the x and move them until they snap to the x axis. You can do this just if you have clipping activated. Now let's go back to the edge, grab this edge. Hold to grab those here as well. Then it control be to bevel them. Maybe I can add three edges here. What about the side? I can do the same thing here as well. Crabs control B and bevel them. But I think we got some problem here in this area. I don't know. Some overlapping happen here. Because we have a phase here, we didn't delete it, and that's causes some problem when we use the solidify. Maybe I can fix this manually here by moving some vertices and, something like this. I think let's see what is the nice solution. Let's grab this phase with this phase and delete them hit X F, the grab those here hit XF Let's reput something new here. Let's grab this hit F and F again, and the n the resolve is better. Maybe this one, I just need to move it just a little bit here and those here as well. This one, maybe, I don't know, something like this will work. Okay. All right. Now the resolve this matter. Let's grab the inner edges here, all of them, and here as well, those here. And what we can do for them, maybe we can wile them just a little bit. All something like this will work. And the edges here, the outer edges, and bevel them as well. Control B and vl them. We will have some problem here with the vl because this edge will not allow us to bevel this correctly. I'm going to control to dissolve it and reach this edge again and bival it alone until I get nice results, something like that, I will reconnect it, it K, and that's it. All right. Something like that. Let's activate subdivisan, and let's see what we've got and turn off fire frame. You just need to see the final result here. It's very nice. All right. This result is nice and beautiful. Let's tumble around. I just need to see can I edit anything? Let's go to the top and let's see what we have done. If you notice that I have some misalignment here. Let's pick this shape and let's top the mode and let's go the top and let's see what we got here. All right. Don't worry if you have some misalignment. The blue print line goes like this, and what I have a bit shifted away from the blueprint. That's not a big issue. That's okay. You don't have to be 100% accurate when you want to create this area, it's okay to shift to the left or to the right. And I just need to Mandibul some vertices from the top, I think, just need to push some vertices. I don't know. Maybe I can go this gelope here and just move it a little bit like this. This one, I don't know. Let's see what we will go. Something like that, maybe. Maybe I can take this to the x axis just a bit because I just have a wave in here in this area. I want to eliminate it. All this result I think is nice. For any reason, if I want to edit it, I can edit this later. Let's move this just a bit here. Maybe this one as well. Not too much. All right, something like this will work for now. Okay, tap out, and yeah, that's it. And I will accept this result. It's very nice. So I will end this video and see you in the next one. 79. 079 Modeling Level 4 modeling Carl Jurisch's 1957 Motoplan part 5: Hi, Ron, I welcome back. Let's see what we can do here. I just need to make some adjustment here because if I go to front, I notice that I have some waving is here in the middle. So I have to take these vertice down or take the group of vertices right here up. So let's tap the edit mode first and let's see what we can do. Maybe I can let's crab those. Maybe I can grub those up. I think that will be better. This one and those sorry, these vertices as well. Maybe I can take those down just a little bit. Let's see what we got from the perspective. All right. The result looks nice. Let's now add the windshield. Lo can be created. What I will do is, let's turn off subdivision timber. I just need to pick one of these edges. I'll click to grab this edge loop here and if to take a B and right click to leave it in the same place and then P to separate it. Let's grab this new edge. And let's like to isolate alone and activate subdivision for now and that cool Tab. Let's go to the vertex and let's see, how can we connect these vertices? Crab those F and F couple time until you reach to the end. Let's grab all of these at F to create a giant phase here, big phase, and control, maybe we can add A here and connect to this vertex with k. I just need to add the quad here in this area in this area as well, and crab this with this t k. We don't need to have going here. Yeah, it looks nice, let's go back and activate a subdivision for this one. Looks nice. Grab this, right click he smooth, very cool. With this wind healed, selected ift D to take another Kobe, right click leave it in the same place, and then Ps to separate it s. No, you don't need to separate sorry, guest it's like to isolate it because we are not in the edit mode to separate it. Now tab grab this, go to the face, select all of these faces, it e to inset. Let's make some inst, something like this. I think that's will work. Here we need to make or s Maybe I can activate Mural because if I hit e to inset, I will have inst right here on this side and I don't need that. In this case, if I Sit Catz, if I apply the mirror and now answer this I will go what I want. This is almost what I want, something like this, and then x F to delete everything because I just need the frame and the outer vertices. Maybe I just need to push them just a little bit, if I hit key to to see what I will go, will go inside, but hold to push it out, just need to give it thickness, something like this. T out. I think we got something here. Grab this and give it a solidify let's manipulate it just a little bit, and put the subdivision underneath it like this and select it, apply the solid pi. But before that, let's turn off subdivision because I just need to see the thickness here, activate wire frame, and by the way, activating wire frame from here, objected properties, a viewbo display wireframe. Anyway, L et's kick the result of let's see these images. I just need to have something close to what I have here, this piece of rubber. Yeah, that's cool. The result looks nice. What I will do is let's go to the modifier. I will accept the thickness. I think it's nice. Or maybe I can zero out the site because I need the thickness goes out from the center and its to activate subdivision surface. A manipulate this cold it and manipulate it just a little bit. Yeah, now I go something nice. After that, apply a certify, turn off subdivision for now and that's cool. Let's hit control r to add A here, tap edit mood, control one right here. Maybe control r to add one A here as well. Grab those. Maybe I can hit Alt S to push these edges inside. That's not going to work. I'm not going to got the correct result. In this case, maybe. Maybe I can extrude these face here, Alt click and extrude them. E I'm going to t e two extrude along the normal a little bit, not too much. Let's see what I will have if I activate subdivision surface. Turn off wire frame. I got this result. It's nice. L et's go. The same thing for this window that I have here, grab this tab, and let's pick one of these edges. Turn off subdivision surface. Let's see which edge that we could pick. This age right here, this one will work, or if you like, you can add one edge in the middle and use it if you like. Add one and use this one. H D take a copy, Ps to separate it out from the group, grab it alone, and it's like to isolate it, tape to the edit mode for this, go to the vertex. Let's grab those I don't know. Maybe I can start with those. Yeah, let's those F. C this with this, maybe hit F F couple time. Let's all of these vertices at F to create a big phase and tap out activate subdivision surface. Do we have any problem here with the heading? A it looks nice. That's very cool. H it d, take a CV from this, leave it here. Hit slash again to grab one of these CVs and tab it a select all the faces, hit I to inst. Let's make some inst. Something like this will work. X F to delete these faces inside, tab out add solidify here. Zero out the offsite and manipulate it just a little bit, give it a thickness here, put the subdivision underneath it. What else? Right the smooth end tab. Turn off subdivi temporally. Maybe I need to apply the solidify to control the faces in the middle. After you accept the result, control A, All right tab out first and then hit control A to apply, and then tab and now. What I will do is I will control two at A here, control r two at one A here as well. That's too much. Move it juste a little bit. And then go to phase Alt click to grab this entire phase to E, extrude along the normal and push it ge ale bit, not too much. That's great. Now, let's see grab this, this A here. Yeah, those control B to le them. Ple theme a little bit. That's very small, control be again, something like this will work. I think I can grab this one. I don't know, or maybe this one alone, control be ambivalent. Tub out, at least see what we got when we activate subdivision surface. A this nice? The control or maybe we can add a here. I don't know if that will work or not. It's like to excite, tap out corrupt this activate subdivision. The result is very nice as I think, cool. I can accept this. Now let's grab the windhiel, isolate it and apply the mirror. We don't need it anymore and turn off subdivision, just give it solidify and 1 centimeter is very nice. Apply the I think that's too much, maybe zero point point 0.5. Yeah. Apply the solidify tab and grab the outer edges, if you like. Those here and and those here as well. It can roll be to bevel those. That's cool. And aplize subdivision and there we go. The same thing for this one, grab this. Isolate it, give it solidify here, and 0.5 centimeter. Take the subdivision and they needed and apply the solidify. We don't need it anymore. Turn off subdivision for now, tab, go to edge, grab these edges. On this side, the same thing and Bove them. Control be, somebody like this, stub out, the smooth and activate subdivican, and there we go. It's tack to excite. That's cool. That we got is very nice, that's it for this video and see you next. 80. 080 Modeling Level 4 modeling Carl Jurisch's 1957 Motoplan part 6: Hi, everyone. Welcome back. Let's create the enders. Let's see how can we create them? Let's go to the images that I have here to understand the fender and how I should design it. Can start with the circle if I like and extrude it and I keep this result or I can extrude plane and follow the curve of the fender. There's a lot of ways to extrude this fender. This from the front. We have a curve here, and a curve here as well, goes like this. Follow the body curve from the back, we have a small curve here. That's cool. By the way, if you note here, the care that I have here, is not so big. The curve is very small just in this area. That's mean what we did here is not quite correct because we have a big curve right here. In this case, I can fix it if I like or I can leave it like this. It's not a big issue. If I want to fix it, I need to put some edges back to this direction and make the curve small. But for now, I'm not going to focus on what I have here. I just need to create the fender and laterally see, do we need to fix it or leave it like this? All right. Let's start with the circle. Let's go to the left and the shift A and let's e a circle. And we got a circle here on the Z axis. Let's change the number of the vertices here to 12, let's rotate this to I need to rotate to the y axis, so Ry 90 degree, something like this, from the right or the left, it and put it in the right position and scale it. Go to tray to see how much we need to scale, something like this will work, I think. All right, that's okay. Let's take this out almost right here temporarily. Let's go back to the left and tap to the edit mode and let's go to the vertices. I just need to book this vertex, just a little bit slide it right here at the beginning of the fender here and This one as well, G, the n take this almost right here. These vertices, I don't need them. I'm going to grab this g, hold control, grab this, maybe and then it's x and e to delete the ag. Now, let's go to the perspective and go to the vertices and let's put these vertices and put them in the right position, align them to the car, something like this, this one as well just puh atle bit here. All right, this one, put it to the X axis and align it with the body of the car and this one as well. All right, that's cool. Let's take this out just a little bit to the x axis. All right, that's cool. This one here. When you do that, hit A, select all of these vertices, and then hit E to extrude those out, and let's go to the top, and let's see what we've got so far. When you extrude it, you need to align it to the y axis. I need to make it flat because now as you see, it's wavy. So it S to the x, sorry, align it to the x like this and there we go. After that, maybe I can hit key and maybe, let's push it like this right here, and I will cut it. I can use n tool to make a cut goes from here. Two here, and then enter and delete unnecessary faces, these faces, x F to delete them, or you can manipulate the vertices one by one and put them like that until you achieve this line here. All right, let's tumble around and let's see what we got so far here. All right, this is the result that we got here. Can only see what else we need to do here. Let's see grab these edges. And I think I can I don't know. I can extrude them and scale them inside. Let's try that. It's e to extrude S to scale those inside. Yeah, something like this, hit to take those down, the results. Scale those again, just a little bit hit g to the z and take those down and the see the results we got so far. That's cool. I'll click to grab this ag and then control be to be vet and let's add three ages here. Something like this will work. On a right here to support the site, it's E to activate even and F to flip the alignment right here, and control r to add right here, E for even and align it to this sit like this. All right. Now let's see what's going to happen if I add subdivision surface, right clear head smooth and add subdivision surface, ring this tattoo, and yeah, the result is nice. Let's go to the front. We have some misalignment in the front, but if you go to the top, I think, yeah, the same thing for the top. All right, I can grab them like this and just push a little bit out. And in this way, I can solve the issue. All right. Very cool. Very nice. Let's turn off subdivision surface temporarily, and now it's a time to give this a thickness. Let's go to the modifier, and let's add solidify to the modifier stock, and here we have the solidify. I grab the subdivision underneath the solidify because I need the solidify effect first. I don't know. You remember when I scale the circle, And I think that will affect the number here. I will grab the fender and hit control A and apply the scale. And that's right. Now it's correct. Cring this up just a little bit, give it a bit of thickness and don't worry about the number here. Let's activate wireframe. The thickness is okay for me. All right. After that, after that, maybe I need to I need to apply the solid control A and tap the let mode again and at right here, and on the other side as well here, control and at here. And I add this edges because I have a small bulge here in this area and I need to. So go to face, grab these faces. And then hits lt to extrude along normal and extrude those out just a little bit. The same scenario for the side, grab those Alt, extrude along normal, and extrude them just a little bit, not too much. I think that's too much hit Alt S and push those face back. There we go. Top out and now let's activate subi surface. Now we got something here. If you want to make this area a tight, you can tap control R and at here and on the other side as well, control R and at here to make this area harper if you like. And you can I think the edges of the fender from inside, I need to make the a tighter, so let's grab this edge. I'll have to click this one as well. And what else here maybe those. I don't know grab those first and those here. Let's like to isolate this piece alone torque to grab all the necessary edges, those here and maybe those here as well. I can bevel them or I can add edge in the middle if I if I didn't like the bvling. I prefer to add g. I think that will be better. One edge in the middle and Biv cant be something like this. I think that will work. And it to. Let's see what's going to happen if I activated surface for this result. That's very nice. By the way, when I work here, I when I work on the geometry here, sometimes I select the image, these images by mistake. I just need to make these images s. I have a filters here. I can activate this option right here, will help me to achieve this. Activate it and you will find it here, go to the image and make them unselect now I can select them. H that's cool. We got nice result here. Maybe somewhat tweaking. I can do here in this area, like pushing this pack, just a little bit like this and on this side as well. That will affect the result and make it better, I think, something like this. I need this air to be a bit curvy. Tab out, that's very cool. When you be satisfied with the results, now I need to mirror it on the other side, so grab this, and I will put the organ dots in the middle of the of the space here. We have the three d courser right here in the middle. A right click and use set orgin to three d courser to make the origin here follow the three d courser right here. Right click, set orgin, to three d courser, and now I can add the mirror to this mirror on the other side. Let's add the mirror and we got some problem with the rotation. We didn't apply it because we rotated, it control A and apply rotation to fix the problem, and there we go. Now that you're working correctly. Very nice. I can say it's finished. Yeah, that's will do it for this video and see you next. 81. 081 Modeling Level 4 modeling Carl Jurisch's 1957 Motoplan part 7: Hi, Cain and welcome back. Let's design the back side of the car. I will select the mind body and tap. I just need to copy one of these faces. For example, I will copy this one for the back side, it HD and take a cop right here. I want to take a copy because I have the MR modifier and subdivision already exist here for this new copy. When you complete hit P and then ST separated, sorry, P S two separated. I just activated proportional editing accidentally. And now I can turn off subdivision service temporarily to work with this tab out. Let's select this. Crab this one, turn off subdivision. There we go, now, let's start modeling this piece. I can go to the move first and go to the left and let's see where should we put this piece of plan? Hit and let's move this right here for now. And the crab this vertex, it and align this maybe here for now. And let's go to the top. Let's see what we got here. Do we have any problems to the top? Yeah, there we go. Let's select those who can align them like that, and let's start extruding this vertex E and follow the image, the reference image. All right. Let's see what we got here in the perspective. That's cool. From the left, let's manipulate these vertices, for example, grab this and take this down here and this one as well. And this one right here, same thing. All right. Grab those and smoke this here. All right. Let's grab these two vertices now and from the left again, it e to extrude this and let's follow the reference image again. Almost right here, something like this. Now we have this area between, we need to fill it. Let's go to lift again. I just need to fix the area that I got here. I can extrude extruded and put this right here and take those down these vertices. And I will make penetration here over labing between the two pieces of the mind body and this piece. I mean, I will got some penetration here in this area, and that's okay. I don't need to follow the care that I have here. It's not necessary. After that, let's go to the left again and grab this vertex. Its E to start extruding this vertex alone to create a new edge. Let's follow the images to go to extra mode and E to extrude these vertices. Let's put this maybe right here for now and the other we go. Let's go to the top. Let's see what we got here. Now maybe we need to move these vertices just a little bit. Something like this. All right. Let's alone. I least see what we've got so far. Do we have a correct result, right? I think I need to put those out right here. Something like this, I guess made a mistake. Let's bring them back to the original position, something like this. Now let's make some connection here between these vertices. For example, let's arab this vertex with this one, and hit F, those two hit F, four here hit F to create a phase here, grab this with this hit F, and one phase here as well, and what else? Maybe All right. I think I can interrupt all of these vertices and hit F to create a big face and make a cut by using the knife tool from here to here. Yeah, that's cool. After that, I would control our to add H or two here and hit key to the z to push this up. Or something like that. Now I can pick the right angle and push some vertices to get a KV shape. For example, from this angle, maybe I can book this just a little bit because I need this line to go like that, something like this. Grab this more than just a little bit and those here as well. Let's go from another angle to see what we got here. Maybe those here as well, maybe I can push those just a little bit. I don't know maybe those here. Something like that. Grab it and hit and move it. Now let's make some connection here. Grab this one hit let's move it just a little bit right here and take it out. Yeah. Crab this with this hit this time. What else this one, twice slide right here. Slide this one as well, grab this with this K. One may. Crab this with this. Maybe I can grab this with those here and right click and Q space to make the space even those here as well, right click and Q space, the same scenario for those and those here as well. All right. That's cool. And let's era this vertex with this one and let's correct the space here between them. That's p and those here, maybe those here as well. Maybe those here. This result is okay for me. But I just need to make some adjustments. For example, this one, I should take it just a little bit out and some vertices here. Maybe it is vertice as well I can. Adjust the space between them. Yeah, that's very good. All right. Let's like to isolate and let's see what we've got so far. You can Mr these vertices, make a connection goes from these vertices to this side that's okay, will work if you'd like to do this, you can do it. But what I prefer is to achieve the bulge that I have here. I can put this underneath this body. And here we have two choices. Either you put it inside here or you follow the curve here to create this bolt. Let's try to achieve this. Let's go to the left. Let's to excite. Okay. We have an or vertex right here inside, and I need to follow. Maybe I need to add another vertex here in this to achieve this. Let's go back to left and grab this one it key, and let's move this here, something like this, and maybe can take this back. Just a little bit. Hit K to make a cut from this vertex to this edge and then enter, and now we've got a new cut here. Maybe we can add control to add one vertex right here, key twice and move it here and grab this one key and let's push those just a little bit, like that. This one as well, I can adjust it like this. Let's take this page out a bit. Maybe I can add another edge here. Grab those control me and level them. And the grab this one hit key and move it here, and this one as well. All right. I got nice here. We just need to complete the extrusion to create the whole area here. I think from the top, we need to achieve a like what we have here. Leo, can we achieve it? I will grab this vertex and hit a couple of time to follow the here. And crap those F. F. Let's erupt the vertex with this one and correct the space between them, and let's do that again. I think we got some problem. Yeah. We just need to push them up. G to the z for this one, and those here as well. This one as. Let's see the curve. I think we need to take this up even, something like that. Those here. Okay. That's cool. Grab this one and keep wise and let's slide it just a little bit. This one as well. Keep wise and slide it. The same thing for this. Let's connect these vertices. Let's put this one in front of this vertex like that in this place. Keep wise and let this right here, grab this vertex with this one hit F to create a phase. Maybe this one as will grab it and let's put this right here, it F. I think I don't need this vertex, Ct to dissolve it. Clob this one twice, and let's put this right here in the middle. Cb this with this hit F and F again, and now we got the curve. What else do we need to do here? Maybe we need to space out these vertices, starting from this one, ending here, right click and Q space. Maybe those here as well. Maybe those here. Very cool. The result looks nice. Let's see what else we need to do here. I think we just finished here. Now let's give it subdivision service and let's see the result. And tab to the eighth mode and let's see what we can adjust what we can do. Maybe we can push some vertices out just a bit, like this. Not too much. Maybe I can take this out es a little bit. That's cool. After that, I will use the knife tool hit K to make a cut the stern of subdivision temporarily. I need to create this pool here, it K to activate the knife tool and hit leftli, to make cut here close to the edge, like what I'm doing. Stop here, its space to confirm it. Let's start again, like this. And maybe it could I know right here for now. C e grab this with this one and hit M and Qe collapse to make them one vertex. Averg put it maybe right here. Hit control to add one a right here, it even to align it. Something like this will work. That's great. All right. Is there anything else, maybe we can add another a here in this area. That's cool. Yeah. Now let's give this a thickness tab out, let's add solidify. But before that, I will apply the mirror modifier. I can apply it right now or maybe later. Let's apply to avoid the face in the middle when I add when I add sf, control and apply it and add solidify. Let's see what we got. Make the thickness goes inside not outside. And make it thick. Don't worry about that. Activate fire frame to see the thickness. The thicknesses. Apply the solidify tab and then go to face, grab these faces. These faces the outer faces, all of them. And then hit old E and extrude along normal and just extrude them just a little bit. Or something like this will work. Maybe control to support this area. I can hit slack to isolate it from the side as well, I cannot and connect these e with K and from the side as we grab them and hit K. Crab these vertices hit key tics and push them to the front. What else we need to do here? We got this vertex hidden inside. Maybe we can take it out here, control, maybe we can add a here. And control here. Yeah, let's add an here and delete this one, control X. S dissolve it. Grab this one, G twice the E to align it, and let's put this right here. That's very cool. Don't worry about that other side because I will add another mirror modifier. What else do we need to do here? Maybe I don't know, this area. I need to manipulate it by adding a here, and let's see where this a will go. That's not going to work. In this case, maybe we can grab these faces and its its control I to invert the selection and hit to hide them. Let's add an edge here in one here just for these faces. What else do we need to do here? Maybe we can grab those to dissolve them. And just keep it here in this area, like what I ad here, something like this. Then hits old to bring back the other fases. When you be satisfy, you can go to the top and tap the edit mode and grab half of these faces and the x ray mode like this and then hit x f and mirror this. Let's add or modifier again, and that's it. Put the subdu underneath it and activate it. A let's see the results. Turn off wire frame. Okay, looks nice. I can make some area s harp. For example, I can add an right here and hit E to and hit F to flip the alignment, something like this, tap out. That will help me to make this area a bit sharp. For this side here, the same scenario, I can do it. And this manually by connecting some ices. Let's turn off subdivision surface. Let's see how can we achieve this? For example, I can erupt this with this J. To make a connection here in this area and for this side as well at k. Here we can use the knife tool at K to change the direction. Maybe we can end it here or even here for this one and delete this a. We don't need it. The same scener for the site, can it k and make a cut goes like that and end here. Maybe even if you end it right here, that will work. One A here and connect this vertex with this one because this area we will have an ing right here and we don't need that. Let's make connection here to king that from ing to qu. Grab this with this, and now we have this qu and this one qu as well. For this side as well, grab this with this. There we go. What else is to grab this with this and then hits and collapse? That's cool to kill this triangle. Grab this with this hit. Hit and Qs collapse. Yeah, that's cool. We can move it just a little bit. From this side, maybe. Tab out and let's activate subdivision surface, and let's see what we got so far. All right Los nice. It's okay. Beautiful. From the top, maybe I can adjust the curve here by moving some vertices, just a little bit. Maybe those I can move them just a little bit. And move those as well. And when you move these vertices, put your eyes on this side and see how much you need to move them to get nice care. So when I move these vertice right here, my eye is not on this side, my eye is here, right? Okay. That's cool. Maybe I don't know. Let's try. Okay. Something like this will work. That's very nice. All right. Maybe I can grab those here and put them out. Let's pick a nice angle, and let's put those out like that. It key and move them a little bit. Oh, I think that's too much. I don't know. Or maybe I can grab those in the middle as well and take them out. Something like this. We got some problem with the alignment because we didn't activate it cliving. Tab and let's go to the tab here. Grab those hit to the x zero enter and hit and align it perfectly and move it. Compare the result to the images that we have here. All right. It looks nice and close. That's very cool. Alright, so that's folded for this video. We finished this part, and let's see what we can do in the next video. See you next. 82. 082 Modeling Level 4 modeling Carl Jurisch's 1957 Motoplan part 8: Hi, everyone, and welcome back. Let's see how can we create the tires and the wheel. I have this image. This one is very nice, and I have almost all the details that I need. Let's start. Let's go to the left. Control three from the bat, and let's start with the circle. Shift, let's add a circle. Here we have 12 vertices, let's rotate this to the to the y axis, hit R y 90 degree. And what else let's move it, and let's put it in the right position? Let's put it right here. And scale. Sorry. Let's change this to select box, it and the scallet. I just need to focus on the wheel and later I will create the tire. Here I have a nice image to understand the details that we have in the wheel and that's cool for now. Let's see now what we can do. I think I can take it out. Maybe I can go to the front and push it almost right here. Don't push it here to this area because this is the tire. The tire will not align with the wheel. It should go like this. We have a bolt here. Just keep that in mind. Let's tim around and let's see now, how can we create the wheel? First thing control A and apply the scale, tap to the edit mode and select all the vertices and hit E to extrude this bag just a little bit to the x axis, to create this small ge, and then hit E and Stroh this inside just ale bit to create this corner, and then hit e to the x and extrude this bag almost right here, something like this, and then to extrude it and then S to b to the center, maybe, something like this will work. Then you can hit F to fill this area and then hit to extrude just a little bit forward, and the scale it, and E s controls the I to inset something like that. What else, I think, F to delete this pick phase. Now we got this. After that, we need to grab these edges here, it E S to extrude this out, and then E to push this bag, something like that will work. That's cool. H it A, select all the details here. Maybe I can hit shift with d to take a B. Let's put this cover right here, control and mirror to the x axis. A right now, let's grab this side. Maybe we can go to the top and activate x ray. Let's grab these vertices, and let's push those back just a little bit, maybe right here. Then let's grab this side and push it back here, maybe. We can go to the front to decide, where should we put this maybe here. Or something like this. That's cool. Now, we need to maybe take these polygons and grow the selection again. Maybe we need to book those back almost right here close to this side. Let's see where we could book them. What I will do is I will grab these polygons and hit x F to delete these. We don't need them. And we will grab these faces and let's push them just a little bit to the side. After that, maybe we can grab these edges and extrude them to the x axis and align them with the sit and grab these edges, to grab those and then go to the edge and brick to break them. But I think we need to flip the normal for the sit. Let's activate whereas fast orientation to see what we need to do here. All right. Grab these edges alone, and then hit E S to extrude those out. As you see here, we can't merge the blue with the right. So we need to fix the orientation. Let's grab the side alone, control to link select, then lt N to open the normal menu and hit flip to flip it. Now we can connect them. Grab these edges. Alt have to grab those and go to g and pre and now the back will work correctly. After that turn of the phase orientation, we don't need these edges, control x to dissolve them. Now we got this results. After that, we just need to level s area. Let's go to the edges and let's start with those here, grab them, and those here as well, because they need the same level amount. A shifts, click, and then control and level them with the three edges, something like this, and grab those here, these edges here and level them. Something like that will work. And those here as well. Cant be level them just a little bit. This a is here, and on this heat as well, cantro B and vl them. That's great. Thos here as well. Control b and vol them just a little bit. Now the result is k. After that I can add subdivian surface to see the smooth result, right head smooth first, and let's go to the modifier list and open it in add subdivi surface and increase this to two, and now we got this. That's great. It's very nice. After that tap mode end, let's turn our pace subvian surface. Let's select one of these edges. I'll click on this one and this one as well. Then shift D to take those as a CB, right click to leave them in the same place and then P S to separate them. Tab out and crop these edges, Tab molect them all and just hit S and push them it like this. Then hits to extrude those out. But the extrusion will go from the center out and we will got a result like that. We don't need this. This case, What I will do is, I will hit C, I will hit e to extrude and then s to scale them out, but I will cancel the x axis. Hit x to cancel it to get the correct result. Now we got something like this. We can go to the left to see the results. I need to compare it with the tire. Again, S and then x to cancel the x axis, and the scale ale bit like this. That's great. When will be satisfied, let's check the phase orientation. Right. Let's hit control L, and then lt and to open the normal menu and clip them. Right now is correct. Let's turn off phase orientation, and then grab this have to click on this one as well and go to the phase and the bridge. And the egg menu, and that's cool, grab those with those edges and I can bubble those, but before that, I think I can add some edges here in the center. Control and let's add two here and two here as well. Grab those and push them a bits away from each other like this to get this bolt here. On a right here, control r and add a here, and control r here to add one here in this area. Grab those here and it's S and push them like that, just a little bit. Grab those here, these edges and bevel them. Or before that, I think I can add three edges right here in this area. It is and the scale a little bit like this. Now we grab those edges, can roll B and double them. That's great. The result is nice and we just need to add subdivision surface to this one, and I think we have because we take it as a cob from the wheel. L activated and as smooth. It's very nice. This one as well activated. The tire looks nice. Maybe I can just adjust this edge, just a little bit not too much. All right. Because I just need small bolt here in this area. Yeah. That's cool. Now let's create these bolts. Let's start with them. Let's go to the left, H A and let's add another circle rotate to the y r y 90 degree. I think we need to king the number of the side. I will delete it and hit again and add another circle. Let's add six here. Tenter now I can rotate to the y, y n g, and it S and the scale like that, and ain move it right here. Let's move it just a little bit in front of the wheel and go to left again right now grab the wheel it Hit and bring the Dcorsor to select, and the grab this one Hift S and selction to to the position of the D coorsor, like this because anything in the center, control a apply the scale and no Let's go to it mode to make some adjustment. Tap it A to select all the ages, and then hit F to create a phase, to extrude it like this, and it a select all the ages and control B and just the volt a little bit like this. Yeah, that's it. Now tab at radically head smooth and you can add weight normal and activate auto smooth to get better results. Now let's go to the left again, it key and move this in the right position. We need to add six copies. Let's push this page a little bit to the wheel. Hosts almost right here. Now let's go to the deft. After that, I need to king the the organ dots position because I need to array. I need to use the ray modifier. What I will do is, I will grab the wheel and tap and let's spring the three ds in the middle of this circle, or you can leave it rights, not an is. Please try that. Fair thing, grab this. It shifts right click and sit organ to three decors to take the organ dot to the position of the three decors. This is the idea, right click. Origin 23d cursor, and now we got it. After that shift A and let's add an empty right here because we need to use an empty. Now we got the MT, can scale and make small, something like this. Right now we grab this and go to the modifier and let's add the array modifier, and now we got some array. Now let's speak this to zero, because we don't need to move it to the top or to the bottom. Let's add zero here and L et's grab. Let's open this option here and activate it and choose the empty as a bivot point here. That's cool. Let's increase the number of the CVs to six. Now let's try to rotate the empty to the x axis, it r to the x. We didn't get end result because I think because we scale the empty, we got some problem with that because here we have very small C here. I control a to apply the scale and now the scale is even for this piece, you remember when I added the circle and rotate it, I changed the rotation axis for it. I will apply the rotation again to fix it, control A and apply the rotation. Yeah, now it is. Now I can rotate this to the x axis to get to get an array r x, and rotate and there we go now we have. But now I need to know the number of what number should I add here? The easiest way to do this, I can go to the x axis here, the rotation x and hit 360/6 and then hit enter, and it's 60 degree for each one. That's cool. After that, I just need to apply the array and we will be good. The empty I don't need it anymore. I can delete it. Maybe I can take one of these copy, tap the mode, and drop S one. For example, this one, L d to the z and let's put one here and take it out, something like this. Maybe you can scale a little bit. Go to the left and I will I will use the three d coors as a pivot point, so I will sweep this to three d coors. And then hit shift D and then R, H can row to take a CB about 90 degree, and then hit shift r and Hit R again. When you be satisfied, grab all of these in the x ray and just rotate them just a little bit to make some variation, something like this. We'll see what we got so far, or that's cool. Tab out and it. Great. All right. We're done here, but I just noticed that I have some problem. This problem happened because of the atomer option is activated. Let's tap the mode and see what I got here. The edge that I got here are collapsed because this option is activated. Sometimes it's very important to turn this off when you need it and finish with it because as you see, I got this problem because of it. I will turn this off and I will repeat that. It x delete all of these. Let's start again, grab one of these bolts and let's go to the left and hit if d, take a cob right here, and the x ray maybe and scale it. Let's seek this back to medium point, scale it like this. And switch this back to three d courser, shift D and then r to take B, hold control to snab it and rotate about nine degree, and then shift r to repeat the KB and the rotation again. When you comb them and just rotate them just a little bit to make some variation, and that's it. Right now let's take them out. And then tub out. Now the result is good. Now let's create this plaque, I don't know what is it in the middle. Let's see how can we create it. Grab the wheel tab and let's select one of these edges, for example, this one, or this one, and shift D, to take a COVI from it and leave it in the same place and then P S to separate it, grab it alone and then a bit and scale it. But Swedish two medium point and scale out of it. I think I need to put the organ dots in the middle of the circle, ratic at organ to the umatry, not the three d courser. Now hit S to scale just a little bit, and Tab A, select all the edges and E to the x extruded like this. Then E and S extruded inside like that. Maybe I can push this just a little bit. And then and push this forward just a little bit like this. E and extrude here. And then hits E and Stroud this inside and then go to face, grab all these phase, hits to intrude along the normal, or something like this. Grab these edges and control and bubble them. Now we grab these edges. It control B. Tub out and activate subdivision surface, radically hit the smooth, and there we go. It looks nice. That's it for this with you and I will see you next. 83. 083 Modeling Level 4 modeling Carl Jurisch's 1957 Motoplan part 9: Hi, everyone, and welcome back. I just need to copy these tires and put them in their location. Before we do this, I think I just forget to activate the screen cakey activate it. Let's add number one here and slide this right here and then hit to close the panel. Now let's scrub these tires like that. Deselect the the fender. Do I have any problem? I think I just added the tire inside the images collection y. I just made a mistake. Let's grab all of these geometries and let's take them out, or you can hit and put them inside collection, not images, and then of images or make them unselectable. There we go. Now let's go to the front here. You can hit D to C V and then control to mirror it on the x axis. Let's put it in the right position, it key and move it almost right here maybe. Let's compare the result. You can do this or you can use mirror if you want to mirror this perfectly. I will delete this. Delete and delete it, and I will the tire again. Select like this. Before I copy that tire, I will put the three d courser in the middle of the world here. So at Hft S and s corso to the world. And there we go now, I can copy that tire at Hft d and leave it in the same place, and then go to the bivot and three is 23d courser because I want to depend on the three d courser. And then contro to activate the mirror and the axis x, and it will be mirrored perfectly on the other side and then enter. Now, one more thing here, we need to do. Maybe I can y, Let's select this tire, the same tire ft, D, take a CV back in the left view, can put it in the right position. Almost right here and in the front, I just need to put it and put it here. Something like this. There we go. Now, let's see what else we can create here. I think I can start with the head light and let's see of these images are good to start with. Yeah, this image is nice and clear. Let's grab the body and tap with the edit mode here and turn off subdivision surface. These phases inside, I don't move them. I can delete them. It's okay to delete them at x f, and even these phase right here at X F, and right. Let's grab this A here, as HFT d to take a CB and right click to live it in the same place, and then Ps to separate it. Let's sweak the bivot pack to medium points, tap out grab this new piece. Let's start with this one. All right tab to the edit mode for this new copy and then maybe F to create a phase and e to extrude it forward just a little bit, scale it like that, and then I to inset es inset just a little bit and e to extrude this p, maybe, something like this, and then x F to delete this phase and this phase as well. Or before you delete just isolate it and then hit I, I just need to make some inset here, it's very important because I need this air to be smooth. This one right here. So X have to delete this one as well. Right now, let's go to the edges. I'll click on this to grab the loop, and this one and this one. All right, start with this one alone because there is a variation in the thickness. Start with this one, can roll B to vl. Let's pivle it a little bit, something like this. Let's grab those, and let's pivle them like that and make the vl a bit big because here we have the C is very big. All right. What else we need to do here? Right click and a smooth. I just need to make sure that the phase orientation is correct, and yeah, that's cool is correct. All right. What else we need to do here? L to excite and you just need to create the glass. Tab and let's one of these edges, maybe this one, I can start with this one. Sift D take a Cobi rat, leave it in the same place and then P s to separate it. Grab this UP, sap to the edit mode A, and then hit F to create a big phase and then I to inset. In just a little bit like this, and then hit shift to repeat the inset again and again again, like this. When you be satisfied We can go and activate the proportional editing and choose one of these options. The che sphere and head g to the y and move it just a little bit. But the circle is very bit, just rotate the wheel of the mouse to make it a bit smaller. All right something like this. I think that will work. Something about this. That's cool. After that, it's like to isolate this piece alone, and let's go to the edges. I'll click to grab this edge, and then e to extrude and push it back just a little bit, not too much. Here we have these edges are close. I don't need them to be close like that. I will use one and leave one, and I will work like this and use all of these edges I don't want and then hit control x to dissolve them. This result is very nice for me. For this area, you can leave it like this. If this result causing any problem with the heading, I can use a great fill. So now, let's grab this edge and bevalt control B. Something like this will work. Then Maybe yeah, let's see the subdivigan surface, what we will got radically head smooth. It's very nice. All right. Let's add solidify and put it above the subdivigan surface like this. And we just need to manipulate the thickness. Is too much 1 centimeter, activate the wire frame. This result is very nice. I like it. When you be satisfy, you can hit controller and apply tab now to the edit mode. Can you grab this a with this a and bevel them like this and tab out now activate the subdivision, turn off wire frame. Now the result is very nice and beautiful, I think. Yeah, grab this activate subdivision surface for it and the body as well. Very nice. I think we just need to make some adjustment here from the body and, we just need to add an age right here to support this area. Hit e to align it like that and push it forward just a little bit like this. Hits to isolate it. I think we just need to edit this area just a little bit. On here, maybe one here as well, maybe that's help. I know, maybe that's too much. This result is nice for me. Yeah, that's very cool. Grab this with this and just push them and the left maybe just a little bit back key to the y and take those back just a little bit like this. R. Now, we need to create the light itself. We need to create something like this inside this area. Let's see how can we achieve this. Let's grab the piece of the glass here and tap to the move. Maybe I can grab one of these edges and and use them. Hit ft d, to take a OB and move it just ale bit here maybe, and then Ps to separate it, tap out. Grab this alone, tap with the edit mode. It a selects everything and then maybe hit F to fill this area and e to extrude it back almost right here. Turn off subdivision surface for now temporarily. And with this phase, selected as it can throw B for level, and this levele this. Something like this will work. The phase that I have here, I don't need it, F to delete it. Yeah, this result is very nice. I can grab this age, maybe, I don't know. I can extrude it out a E and S to extrude this out just a little bit like that, and grab this control B and volt, like this and tap out and let's see what's going to happen if I add that subdivision surface, Ra click smooth, k. I will grab this glass and hit to hide it. And is very nice. Alt to unhide it. That's cool. All right now the head lights are finished and the result is very nice. What else do we need to do here? Maybe I can delete one of these ACs. Let's see what's going to happen if I delete this a in the middle because this area has become very harp. I think this result is better. If I compare it, this area is, very smooth, I compare with my result. Deleting this in the middle is better. A let's see the images, what else we can do here. We have a reflector here. We need to create, and I don't know, we have a hole here and the back lights here, we need to create them and some lights here in the back area. We need to create as well, and the mirrors and some accessories here we have in the front. All right, so this is it for this video, and I will see you in the next one. 84. 084 Modeling Level 4 modeling Carl Jurisch's 1957 Motoplan part 10: Hi, Ron, and welcome back. Let's create the reflectors this light right here. Maybe. Let's see this image, which one can I use to start with? All right. Maybe I can start with this image. I can see the light from this side, but I don't know from here, kick it. The light is visible from the front area in the back area as well as cool. This is a nice image to understand how I need to push it outside. The hap that I have here is almost similar to cylinder. Shape is like cylinder like this, and I can val it for bev the edges and push some edges like that and create the shape. I think. Okay, let's start with the cylinder here, hit and let's add a cylinder. It's two t that's too much. I will change this 12 and then hit enter and hit and scale it. All right. I think I don't know. Is there any problem? I can't select it, y, because it's inside the images colloquin. Take it out here and let's turn off the images for now. All right now I, now I can select it. It SN scale, make it small in the top view, and let's move it right here, it Sn scaled even more. In the left, let's put it in the right position, almost right here. Let's check the images here to understand. Yeah, it's almost here, maybe. Hit S to the z to make it a bit tall like that. That's cool. Tap to the edit mode and maybe I can grab these phases, started with this one, hold control and grab this one as well hit x f to delete them, and those here as well x F. I guess ended with this, grab this g with this g, and then hit e to extrude it like that. And now let's see grab all of these ages and then hit F to create a big phase and deselect this one, hit control and bev like that, something like this. This will sit as well here, it F to a big phase here and hit control to bevent like this. That's cool. Now let's grab these faces, starting with this one, or maybe I can hit control to add here in one A here as well, control r, something like this, and let's grab these faces. Grab this, control, grab this and this one as well. Hit to extrude them along the normal and put them inside like this and activate offset even to make the extrusion correct and then hit ps to separate it. Al right now, We almost there. We just need to make some connection here between these edges because if I add subdiviion surface above this result, I'm not going to get nice results. So let's try that before I do anything. I will tap out et's subdivision surface and let's see what's going to happen. Let's add it and right head smooth. The result is almost nice, but if you note right here in this area, we got some shading problem and we need to avoid them. Avoiding this shading right here is depend on the typology itself. Here we have a big gone, and that's not going to work. We need to make some connection here between these edges to get rid of these gone. The best way is to grab this vertex with this one hit K and do this with these vertices as well, and those here hit k, and hit K two, activate the knife tool, hold control to make the cut in the center and make cut like this and then hit enter. On the er side, let's see what we can do. Maybe the same scenario here, K and here hit k, this one with this one hit K, and use the knife to hit K, make cut in the center hold control, then enter. All right. Tap out and now see the result. I think it's better. Let's add two level here. This is almost nice. We just need to make this area appetite by adding ge loop to support it. Tap the edit mode. It cantrol r to add one right here. Ctroll r to add one as well. Let's grab this loop. A have to grab this one as well and level them, control B. Let's bovel them with two edges like that. Something like this will work. That is very cool. About this piece in the middle, just selected and Give it solidify and manipulate the thickness. Let's take the thickness out like this and apply the result. It's like to isolate this piece alone and tap to the edit mode. I just need to add right here and there as well to support it, one in the middle and bev, like this. Because if I don't add these edges, when I add the subdivision surface, this error will be the curve right here will be too much. But if I support the age, if I add here and here, the curve will be small, and I will be surrounded in this area alone. Now right she is smooth and add subdivision surface to this piece as well. It's like to excite and now we got some nice result, I think. One more thing maybe I need to do, I just need to create a small bulk here because it's a bit curvy. I think, so let's try to do this. Let's see how can we achieve this. I don't know. I feel maybe I need to mark them, these two pieces. All right let's mark these pieces. Grab this. I will delete the subdivision surface from this one and this one as well, and I will add later, grab this with this and hit control J to mere them and make them one piece. And let's push it just ale bit toward the body, maybe here. Take this out just ale bit like this. A right. That's cool. Maybe I can rotate. I don't know. Let's go to the front and maybe we just need to rot it just a little bit, not too much like this and push it back to the body. Sorry. It key and move it to the x axis like this, just a little bit. And after that, let's bring the three D courser here in the middle. He heft to S and courser to select it. Haft A and let's add lattice here, and it S make it small. A bit, make the bit pick and manipulate it like that. And what else All right, something like this. Maybe I can make it a bit taller as to the z. That's cool. Now, let's add the lats modifier here and choose the cage this one and grab the cage and tap to the edit mode. I just need to add maybe two segments, not here sorry. I think in the here maybe one. Maybe I can add two here and delete this one and the W, or maybe I think one is okay. Now let's grab these four vertices and push this back just a little bit, turn of proportional editing we don't need it. Let's push this toward the body of the car and those four here as well. G and move them just a little bit, not too much. L est manipulate those here, g to the z, make it a taller like this and take those and put them inside. Make small deformation here, g to the x. Or something like this. I think that's nice. When you be satisfied, you can apply the lattice, grab the body, hit control and a light and delete the cake. You don't need it anymore. Now tab, grab the light, have it over here and it because I just need to select the light area here, and I don't know, I feel that I can use the lattice modifier to create a pole here. This result is okay and maybe I can edit even more. But first, I need to add two edges right here to support it because I can't create a curve here if I didn't add the edge. So I think I will control the couple time to bring back the cage. What I will do is I will tap and I will add two edges right here. And here as well, we can and on the other side here. Because if I didn't add edges here, I can't get a ve. And now tab out. Now, I have a small curve payer in this area. Maybe by manipulating the cage. I can define it even more, or something maybe like this will be nice. Our tab out, grab this, apply the lattice and delete the cage, and tap the edit or over here it L to select the class area and then hit P S to separate it. And now let's add subdivision modifier to this piece. And to this piece as well. And we got a nice result here. I don't know. I think I think we have an edges here connected to this tab and I'll click to grab this and this as well, hit X and E to delete the edges and tap out it and there we go. The result is very nice. I think, and I think it is close to what we have here. When you be satisfied with the result, you can grab them and put the three decorsor in the middle. Shift S and cursor to the center and sack the bivoo three d courser because we want to use it. Shift D to take a C B and then control to activate mirror, and then hit x to mirrored on the x axis and then hit ter to accept the result and there we go. Now we have two reflectors. That's very nice. All right, I will end this video, and the next video, let's see what we can create, maybe the mirrors or anything else. So see you next. 85. 085 Modeling Level 4 modeling Carl Jurisch's 1957 Motoplan part 11: Again welcome back. Let's create this slight. Let's start with the circle, K A and let's add a circle. King the vertices to 12. We can start with the 12 and from the top view, hit and let's put right here and scale, it make it very small, but scaling working according to the three dcursor. I mean, we need to speak this back to medium points at S and scale it and ge and take this up here, scale it even more and just position better. It may we can put it right here, take it down, maybe here for now. Let's see what we got. It's still big. We can scale it even more, like this. And let's move it here. You can take it up just a little bit timbery. All right. Control A apply the scale, tap with the mot hit A, select all the vertices, and then hit E S to through this inside like this, and then e to the z and take this almost right here. Or maybe timberal right here, we can go to the left, hit R and rotate like this. Hit k and lets position petter, take this down. A something like this, timberly. We can start with. We can scale it, make it big. Let's go to the left again, yeah, we can start with this. With this result selected, we can hit F to fill this air with the phase and then I to inset. Let's inset this inside just a little bit, not too much. Maybe we can go to phase, grab the phase hit E tot this just a little bit, and the grab these phases as well and extruded out along the normal like that. And grab the outer edges and bible them. But before that, delete this ge, I click control x, grab those here, control B to bevle them. Give them just a small amount of beveling like this. Maybe one edge here to support this area, hit E to activate the e and f to flip it on the other side like this. That's cool. Ct roll out to add right here. Go to face, I'll click, grab these faces, e to extrude those up just a little bit. Go to, grab this edge with this one, control B, and bevel them. What else we need to do here? Maybe we can add an here and maybe bile this, because we need to add subdivision surface here. But pile, I think, does not work because this will be too tight. I prefer to add one right here. That's it. Okay, so tab out raical had smooth and a subdivision surface to this one. And now we got this. All right now, tap the edit mode, grab this phase, turn off subdivision surface temporarily. And what we need to do now, maybe we need to I don't know, we can maybe grow the selection and it control x to make it one phase, and let's scare it a little bit like this. Okay, something like this, it E to extrude it out, and maybe control b to bevol it like this. A something like this. I think that will work. I don't know. When you be satisfied, control plus to grow the selection, and the grab all of these phases and then hit Ps to separate them out of the group. Tab the mod, grab this piece alone. Let's work with this. I just want to make it ready. Tab, what I need to do is to select this edge, and then hit E ands to extrude the inside and us it. Tab out activate subdivision surface for this, lash, grab this new piece, isolate it, tap the mode. Let's give this a thickness. Let's solidify here, and let's make the slidfy working inside not outside. Activate wire frame just to see the thickness. This result is very nice. Apply the solidify. I don't need it anymore, and it activates subdan surface. Turn off wire frame, and the result is, I think it's nice. Now let's see grab these two pieces, go to the left, and let's position it to the body. Again, let's move this right here. I think Maybe I need to rotate this to the y axis. Let's go to the left again. It's r and rotate like this. Let's pick a nice angle maybe right here and we can rotate it like that. Keep this and take it down to the body. If that doesn't work, and if you didn't get correct result, you can do something else. What I will do is, I will use one of the modifiers, let's call a shri crop to apply some vertices on the body. Tap to the modifiers and let's go to the vertex. I'll take lick to grab all of these vertices. All right. After that, I will go to the object data properties and go to the vertex group and create a new group, and you can change the name to anything. I will call it group X, for example. Just to recognize it. Then now as you see, I have the vertices selected, so I will assign them as a group. I just need to work with these vertices. So assign them at assign. And now these vertices are assigned here in the vertex group. This is the first thing that you need to do. After that tab out, and let's go to the modifier here and let's add shrink Rb modifier. Then the modifier tells you that you need to pick the body. So I will use the carbody, use the rubber and pick the body. And as you see, the whole piece cring crop on the body. We don't need that. We just need a specific vertices that we assigned right here. To pick this group of vertices, we need to go back to the modifier and till it that we need to use the vertex group. I mean, those vertices here. So open it and use a group x. As you see here, get the vertices that we used ring crop on the body perfectly. When you be satisfy and everything is okay, you can apply it. But let's put it underneath the subdivision surface and control A and apply, and now we got the result clean and beautiful. If you turn this off, you will see that these vertices are pushed towards the body. And that's what I need. The result is nice. I like it. It's not so quite similar to what we have here, but my result is beautiful. I like it. After that, maybe you can grab the same vertices and copy them. I don't know, maybe we can scale them just a little bit. I don't know. Anyway, it shift d to take a CV of them, and then Ps to separate them because I just need to create a rubber around it. With this circle selected that we just CV. I will go to object and hit convert convert to curve. I need to switch it to curve. Now I need to go to the curve properties here and open the geometry menu and manipulate the depth underneath the bibble. Just a little bit. I just need to give it a bit of thickness right here. And it's high resoluc I just need to take the resulucin back a little bit to two or I don't know 21, maybe, something like this. It's isolated to see what you want to do. This looks nice. That's a try to click, and do we have a convert converted to Ms again? Yeah, we got something nice. Gratically hit smooth. You can leave it like this or you can give it subdivision surface, but if you do that, you will get very high resolution result. In this case, if you want to reduce the number of edges, you can grab Alt have to grab this edge loop, and it Alt again to grab this one, and H blast to select these edges. I mean, you need to leave one edge. I will repeat that again. You can grab this. Hold shift to grab this. Now we're telling blender, we need to leave one edge and select the next one. I want to repeat that again and again. You can control shift plus and then bat and keep doing that until you reach to the beginning. Something like this. When you pick all of these edges, you can go to the select and select loop and a loop to grab the loo, and then control x to dissolve them, and now it's become low resolution. All right. That's cool. Now you can add subdivision surface with one level, and that will be nice. Very cool. All right. When you finish, grab all of these pieces that you just created. Make sure that the three D courser in the middle. S is 23d courser because we want to use it. Sift d D, tech Cob, control to activate mirror and give it the axis, h x, and hit and that's it. All right. This result is very nice, that's it. And see you next. 86. 086 Modeling Level 4 modeling Carl Jurisch's 1957 Motoplan part 12: Hi again, and welcome back. Let's create the bag light. Here we have three lights in this area. Let's see how can we create them. There are something here we need to take care of. These three lights that we have here are connected to this plate. When we create them, we need to consider that because they're not connect to the body. They are connected to the plane and the plane connected to the body. Let's see how can we start creating this? I think we can start with the plane and then create the lights one by one and take them all and put them in the right position. Okay Let's hit shift, let's a plane and hit and move it back, rotate to the x axis 90 degree, so hit r x 90 enter. This is very big, just hit S and scale at in the left hit key move it let's put it right here. Maybe we can scale it just a little bit. I think I need to scale to the x axis just a little bit. Because it's not squared rectangle. Control A and apply scale after that. Tab hit A, select all the faces and extrude the as atle bit, give it a bit of thickness here. Then hit A, select all the faces and then hit shifts and to recalculate the normal in case the faces are flipped. Now I can go to grab all of these edges, control and click to select all of these edges. And we can bubble them, control b to bubble and let's bubble them just a little bit. Let's add maybe, I don't know five edges here. That's what work. After that, you can attic head the smooth end. We can add bubble above this and K the number from ten centimeter 2.5 maybe. I think 0.5 still too 0.1 maybe. Or 0.1. Let's go to the heading and activate harder normal to fix the heading and to get better result. Here we have a warning tells you that you need to activate auto smooth. Go here to optic data properties and activate it. Let's go back to the modifier and increase the segment to two or three, and maybe 0.3 will work. I don't know, this will work 0.3. I can change this later. Now we start creating the light and I will start with this one. I think we can start with the cylinder cylinder like this. After that I can bible it from here and from the back as well to get this curve and the care that I have here. After that, maybe I can use the lattice modifier to manipulate the dimension of the light because I just need to book it just a little bit up like this. All right. Let's see how can we do this? Let's bring the three D coorsor close here at Shift A and coorsor to select it. Now we have it here. Shift A and let's add the cylinder here. So I just forget to activate the screen casts activated here. And let's add one here and let's slide it here. That's great. Close the penal hit n. There we're going maybe we can make this a bit smaller yeah. A here we have 32 vertices. I will swing this to 12 and the scale, make it small. To the z, let's put it right here temporarily and rotate it to the x axis, so it r x 90 degree, and there we go. I will accept this results. Tap to the edit mode, go to edge. I'll click to grab this edge and control B to bev let's bev it and let's add three here, maybe. We can start with three. This side, it three to jump to face, grab this gear and move it most maybe right here and bev control B or something like this. That's cool. Maybe I can craft this face and hit to inset. We can inset this es a little bit and hit shift r twice. Now I can activate the proportional editing and use the sphere effect here and hit key to the y and move the ale bit, make the circle small because I need just to get a small here in this area. I think the effect is It is the effect is hard from the edges. I need soft effect. Maybe I can use. I don't know. Maybe the smooth one, we can use it key to the y. Make it bigs out of it. Somebody like this will work. I just need to get a c here, and that's it. That's cool. I think I got what I wanted. Now let's go to phase, again grab this, control plus ice or more than that to grab all of these phase here. I don't know. I feel that we added too much edges here. Let's try to decrease the number. We can's to click here and maybe here as well, control x to dissolve them. I think that's better. All right. Okay, we got something. Now tab out and hit heft A and bring the t crosser in the middle. Then heft A to add a lattice. This is a very big, the cake, scale it make it small. Something like this. Grab the shape that we created, and let's go to the modifier and let's add the lattice and pick the cake, and now let's control the cake to deform this shape. The light. Grab this tap edit mode. Let's grab these two vertices and push them just a little bit forward. Turn off proportional editing, we don't need it. Maybe we can grab those and push those back. Put the y. Key to the z, maybe, we can take them down. I know I feel that we should do this, something like this. This is close. When you be satisfied, grab your meh and apply the lattice and delete the cake, you don't need it anymore. We got this result now tab to the edit mode, go to phase, grab this phase, control plus a couple of time until you reek here, another plus to grow the cle here, and then hit P and S to separate this. And now we have two pieces here. I think now we can isolate this piece alone to work with it. Tab and grab these edges here, e to extrude and S to scale those inside. Grab this new edge, control B to bevlent, and let's give it a nice amount of bevling, something like this because we have a small bevel here in this area. All right. Exit of the local mode and the grab the light. This one, I will give it a solidify effects, something like this will work. Don't forget that the scale is not correct because of that, we add six centimeter, and we didn't see any big difference here. If you if you apply the scale, you will get correct result here. I'm not worried too much about this. I will apply it and accept it. In top, let's go to edges, Let's those and level them. Something like this. Maybe I can add an edge here just to support this side, from the pike as well. Now, radically head is smooth and let's give it subdivision surface with one, maybe, that's enough and this one as well, radically head is smooth and subdivision surface. Now we got something nice, I think. Grab this and from the left, a let's put it maybe right here. Something like this. What else we have to light here. Let's try to find another image. We just need to see, by the way, in this area, we have a light as well. Maybe I can ignore it or if you want to create it, I don't know, let's see how can we create it. You can pick three polygons here to use them to create this light if you like, if you don't want, you can ignore it. Let's try to create this. It's not something complicated. Grab those heat tights and push them just a little bit forward like this. What else Yeah, let's grab these three pass or four phases, and then maybe we can detach them. Yeah, I hit P S to separate them and the grab this alone, and tab. What I will do is, turn off subdivision surface for now. Lets grab these faces. All right. This one as well maybe. Let's go to phase and use solidify phase to give these phase a thickness. Something like this. I think that's too much. When you com bele with these phases selected, X F to delete these phases, and these phases inside as well, we don't need them. We just need the frame here. XF to delete those as well, and that's it. All right. We got what we want here. Now, if I If I activate a subdivision surface, I will cut a big care right here in this area in this area as well. I need to make this ca a bit smaller. In this case, I can add some support edges. Or maybe I don't know, let's try to wivle this edge with this edge as well. C troll and let's see what's going to happen if I wile this. Ativle it like that. Now we need to reconnect some vertices. Control X to dissolve this, we don't need it. This one on this side, as well, control x to dissolve it. We don't need it. Maybe we can make some connection here. This vertex with this one. I don't know let's try that K. For this side, with this, the sees going to. Maybe I have two vertices here. No, we just have one. For this side, maybe this side as well, I can grab this with this ambival them. Like that and delete this edge with this one, control x to dissolve them and connect this with this K, and the same scenario here, grab those it K. Now let's grab the entire edge loop that we have here and the ballet control B. Now we got something like this. Activate subdivision surface, and now we got a result, se this 22 to make it even more smooth, we got close results. That's cool. Very cool. Let's like to excite, and let's grab this piece and isolate it. Let's grab these four vertices here and Bvle them control have to be this time to bevel the vertices and just give them a small amount of vling. Maybe I can connect this with this to get polygons and those as well here. That's cool. Maybe we can give it a solidify, give it a small amount of thickness just a little bit. Put this underneath and turn this off and apply the solid pi. Tab and let's see what we've got so far. Grab the outer edges, all of them. For the side as well. I have to click, what else Yes v control B and vt. Now let's activate subdivision service. Let's like to excite and, I don't know. It's not so quite perfect because I think we need to vl this even more. In this case, I don't know, I think I will go back go back again. Let's grab these vertices in this place and I will bivle it here, control H B. We could biv it like this. Let's repeat that K, make a conn here. Here as well it K. I don't know, do we need to add an in the middle? K to make a cut here. And here as well. This age in the middle is not so quite necessary, but I think we can use it to create a quad here. I mean, I can now grab it and vol it control me and push it to this side. Now we have these vertices are very close. In this case, I can grab them like this and go to me hit M and Qs merge by distance to merge them and they will be merged. I got quad here in this area with four vertices. That's what I want. Or tab out nove to and give it a solidify modifier and give it a small amount of thickness like this and apight. Tab now go to edges, and grab all of these edges. Select them like that. And just make a bibble. C troll be with the three edges and that's it. That's cool. Let's go out from the local mode and set this to two to make it even smooth. Let's go to phase orientation just to see it's blue cool. This ne. Let's go to the next light and it could be easier to create. Hit t A and let's start with the cylinder again and is very big. Scalet small like this, the same size to this light or even smaller, just a little bit, not too much. Bring this here, rotate this to the x axis Rx 90 degree enter, and get to the z, take this down, and what else Scalet? To the y. Control A, apply the scale, control I apply the rotation because we rotate it. Tap with the edit mode, go to the edge is a grab disc control and bevlet, something like this. Three or four. This will work. F from the front area here, grab disc control be, just give it a small amount of bevling. Grab this face to inset, make small inset, small extrusion bag. Then P has to separate this side. This this face here. What else? Go to face, grab this e to inset. Let's make this on very small because I don't need it to affect the heading of this. Now tab out and we just need to pivl this area, control be in volt. That's it. Support this side as well, control be. I need to add an edge here and one here to support this edge and to support this g because if I don't, the algorithm of the smooth will push the result in the middle and the curve here will be too much. After that, now let's add the subdivision surface with two level. This smooth and it's become nice. What about this phase right here, tap the edit mot A and then I to inset. Let's make ft r to repeat that again and again and use this provosal editing to get a curve. Let's read this to sphere, g to the y and move it just a little bit like this. Don't worry if this goes out, we can tap out G and take this back. It's like to isolate it to work with this one alone. Grab the outer edges here, and then hit E and extrude it back and grab this control B to bevol it 23 and give it a thickness in the by using the solidify. That's too much. Something like this will work. Control I app, Tab grab this edge with this one, bevol it. And that it. Now let's add subdivision surface to it. One will work and now we got something very nice here. All right. Let's put this in the right position almost right here, maybe. Take this back a little bit. Yeah, now we got something nice here. All right. I'm not going to create the details that we have here in this video because I don't need this video to be too long. I will finish this video and see you next. 87. 087 Modeling Level 4 modeling Carl Jurisch's 1957 Motoplan part 13: Hi, Ken, welcome back. Here we have a holder to hold the light here in this area. Let's see how can we create it. I can start with with the plan, it A ques it and scale make it small and rotate it to the X X 90 degree. And what else. Let's move it just a little bit right here to the X and to the z and scale let make it small like this. Take it back here. Or tab and grab these vertices and move them here, turn off proportional thing at S to the z and scale it down, control r a a here in this area. Another here and go to phase to grab this phase and put it just a little bit forward. Gb this. And move it just a little bit right here. Now let's give it a thickness. Let's go to the modifier here and let's add the solidify. T. Okay, something like this will work, and what else maybe we need to apply the solidify and tab and val the edges. The outer edges control be and vel them. And maybe those as well. All right. Now let's add the vel modifier to target the other edges. Less at 0.1. L et's activate wire frame just to see the bible. Where is the bibble? Let's increase the number just a little bit, and let's add two here. Yeah, that's what we want. Go to heating and activate harder normal and activate auto smooth as well. That's cool. We got nice result here. Turn off the wire frame and radically he smooth, that's great. Okay Let's try to find another mag. We need to take this down to the z. Let's put it right here, and the light as well, the z, let's put the light here. Create something like this. Now let's take another COVA of the light shift D, te CVA on this side, control M and mirror it on the x axis, and let's push it just a little bit, something like this. Here we have another holder to hold the big light here. We see how can we create it. Let's try to find another image. Maybe this one can understand the details a bit better. All right, so I will use this mage here. Let's start with cube. S and scale, make it small and move it here behind it. Scale to the y and move it just a little bit forward. All right, tap the move and let's scrub these vertices. It can take them down, and the cb and pk them just a little bit to the y like this. Those, we can take them back. I don't know. Can roll out to add two edges here and let's c those four and scale them to the X. Maybe we can cp those four here and scale them just a little bit. Grab the whole and make it a bit wider. Now let's grab this with this one and Bv control be let's add the three here. Here we have two vertices are not connected, so we need to weld them. What I will do is I will hit a to grab all the vertices and then hit and merrge by distance and they will be merged because they are close. This is cool. What else we need to do here, let's grab this egg and this one as well, and those here. Maybe those Let's like to isolate it. This edge as well. Now, I think you understand what edges that I grabbed. When you select all of these edges it can roll be tobvel them like this. Here we have a big gone. As you see, we have two vertices. What I will do is I will add two edges here. Let's connect these vertices with k, and those here as well with k. From this set as well, and those. Sorry. Now I can use the head smooth and activate and add subdivision surface here. It's to excite and there we go. Let's put this just a little bit forward with the lights. Something like this, maybe. Maybe I can deform it with modifier if you want. After that, let's grab the whole details here. Before I book those back and align them with the body of the car, I will take a CV of them. I'm not going to use shift D to take KV, but I will use D to take a KB as instance. I mean, now if I grab any piece and tap the edit mode, for example, if I make any deformation, the other lights will will be affected. That's what I want to do. Now tab out, and let's grab this, and let's go to the left. And Let's move this and put it in the right position. Ge and move it just a little bit, are to rotate it and align it. I don't know how to align it. Something like this. Does that make sense? Let's see what we've got here. Let's see if that's correct or not. Maybe I can grab the T and mix some deformation here. Let's see if that makes sense or not. Hat move the this is just a little bit with those as well to the s and t. I think that's better. Now let's try to manipulate this, but I will use the reference to manipulate this. Grab this and tap the edit mode and let's try to grab these vertices, and let's take them back just a little bit key to the y. Let's keep watching our geometry here, what's going to happen to it, and the other school. Now let's grab those here. Let's go back to this and a key to the y, and let's see what's going to happen. That's great. Those maybe grab them, and let's go to the lefts and e to the y to see what's going to happen. What else? Those maybe we can grab them, e to the y and move them gas a little bit. Maybe those here, e to the y. Yeah, something like this. Right now, the result is much better. When you be satisfied, grab all of these and delete to delete them and you will be good to go. I'm not going to add all the details. These details are fine to me, so I will accept this result. If you want for any reason, if you want to add two level here, you can do it or if you want to get better results, I don't know, Maybe you can make some insets B I note that the deformation or the algorithm, both the results in the center because we have small faces here, and beside it, we have a huge face here. In this case, if you want to fix it, if you are worried too much about this, you can grab these face in the middle and grow the slection just one time to select this area, and then just give it an inset to make the distance here even for the side and the side as well. Now if I activate it, I will get nice heading here in this area. Now the result is better. But if you notice that the smoothness goes like this, we fix it on this area, but in this area goes to the center because the face here are big as well. I turn this off and tab, you will see we have big face here. In this case, the same scenario, grab them at and make some inst here and that's it. Now we have the distance is even. Now activate it and it's very nice. Let's to excite and there we go. That's it for these slights, and see you next. 88. 088 Modeling Level 4 modeling Carl Jurisch's 1957 Motoplan part 14: Hi again, welcome back. I have two lines here, two silver line. Let's see how can we create them. Let's select this and let's t to the edit mode. Let's go to edges. It's to isolate it. Let's select this edge. Let's start with this one. Hold can troll grab this as well. Maybe this one here, and hit Shift D to data Coby. Maybe I don't know, let's take a copy of it. Or you can I think that will be better. I will add an edge right here temporarily this area, and I will grab these edges. The same thing, and it shift D to take a CV and right click to leave it in the same place and then Ps to separate them. When you comb, grab the same body and tab and I click to grab the glop control to dissolve it because we don't need it. Tab out and let's select these two edges. All right. After that, let's go to modifier. Here we have the mirror activate that's okay. We have the level subdivision. T I can change this to one. I don't know. If I leave the subdivision activated, I will get very high resolution result here. Maybe I can Yeah, I will leave this one activated and I will at click and go to convert convert to curve. All right now let's go to the curve properties and let's increase the depth in the babel section. Right now, I got this result. It's very nice, and I will accept it. After that grab it and radically convert to mesh again and tap to the edit mode and manipulate this just this side because I just need to use provokional editing to take this up. So I will change the pattern to I maybe sharp. I g to the z and make the circle a bit pick something like this. I don't know. All right, something like this. Let's go here and let's see what we've got. This result is okay from from here, from the side. After that, let's select these edges and turn off proportional editing. We don't need it and hit F to create a phase, and the cantro be to bev it. Something like this will work. From the other side, as well, the same scenario here, grab those old to grab those as well and control sorry it F, and then control B to bubble them. All right tab out radical smooth. Now we got smooth result and nice here. Hit slash to excite and let's see what else we can do. Notice here that those two line goes exactly towards the light if you notes here. If you want to keep the same result that we have here and the reference images, that's okay. And if you leave it like this is not a huge problem, that will work as well. I don't know, I think the light from this side, we need to make it a bit wider. I think we could do this. Trove it and go to the left, and let's select all of these vertices here in the x ray mode. Don't forget to activate it. In the top, it is in the scale, let's make it a bit big. A just a little bit, not too much. Maybe something like this. Let's see what we've got here. This result looks nice, but it's not beautiful, I think. In this case, what I will do is I will grab one of these and delete it because later I will use the mirror modifier to delete all of these phases, and then tab out and let's tab again. Let's go to x ray to grab these vertices that I have here and let's activate proportional editing and weakest to linear, it key to the x axis and make the circle big and move the whole mese. We just need to move it just a little bit. I don't know, try to see what's going on from this angle G and move this again. I just need to tilt it just a little bit because I just noticed that we have a variation. They are not going straight. Here we have this distance is not similar to the distance that I have here. They will meet each other here at this point as I think, or they will be closed here. I need to do the same thing. It to take this packages, a little bit, not too much to the x axis, something like this. After that, move the whole line. Something like this will work, I think. I think the three D Cursor is in the middle. In this case, I will use the three D coorsor as a bivot. We get to three d courser, the bivot, and it it D to take a CB and then control, and to activate mirror and hit to assign the axis, and then hit ft click to confirm it. Now we cut this. A is nice. If you want to edit this farther, you can trim it from here from this area if you like, or if you care by adding control to add here and maybe you can rotate it just a little bit, but don't forget to turn off propual editing. All right. If you rotate this, you will go some problem. You will change the thickness of this line. Let's read this back to media point. In this case, adding this age in this way that's not going to work, I will hit control to dissolve it. Let's go to edges, control x to solve it. But what I can do is I can use the knife tool hit k and make a cut goes from here to here, maybe, and then hit z to cut through and then left to click and enter to confirm it. Now we got diagonal line, to, and just slide it a little bit, maybe right here. What else? Let's go to fast select this group of pass and those here as well, and maybe those. Something like this. It x f to delete them and grab those edges here, hit F to create a phase, then control B to make a bible, and now we cut this result. For this, maybe I don't know, they are not visible, so I will delete them hover over here, and hit L to select all of these phrases that link to this M here or this line, it xF to deleted, and now let's take a mirror. Another mirror, grab this deleted. S is two Bivot 23d cours to use it as a bivot point. Grab this heft D to take a CB, right click, leave it in the same place, control to activate mirror, and then x to define the axis, and then enter. And I think this result makes sense, and it is nice. I will accept this. Here we have this hole, can be created. If I compare the reference image to my result, I will note that I have a er. And in the reference ma, this area is almost flat, so I'm not going to worry about this area and make it flat here because I think my result is beautiful. To leave this as a curve. So I will leave this as a curve, and let's see how can we create this whole, grab this body and tap to the edit mode, and here we have this big area. We can add an A here, and we can use it. So in this case, I will use let's go to the face and grab these three faces and hit to it. Something like this. After that, erotically and go to Loop tool and use circle to make this rectangle similar to circle, something like this. It's very big hit SN scale, but scaling now working to the three D courser because we use it as a ivot. So I will sweak this back to median point or you can use bounding box. That will work as well. At S N scale, something like this. All right. Let's go from this side or from the top no, let's pick a nice angle. We will note that these phases goes down just a little bit. I will to take those out again. And this vertex in the middle. I need to take it down I mean, b is a little bit like this. All right, I like to isolate this. You remember when I add a solidify, this face, we didn't have a hole on the side. What I will do is, I will grab this group of faces and delete them. We don't need them. F to delete them like this, we can leave it like this. Those as well, grab them and hit you can hit E to extrude them back. And then x F to delete the phase. After that val this area, I'll click and control B to volt. You can add three as that will work. Tab out and now, let's use subdivisan surface. The result is still beautiful and nice as I think. But I think we got some overlapping here. Let's see why is that a. We got some overlaing here, let's turn off subdivian surface and let's see why that's happen. After turning the subdivision surface off, we can grab this entire glop and just push it to the axis just a little bit like this. Need to push it away from the outer side and tap out and now let's use the subdivision surface, and right. We got something here. But it's not quite perfect. We need maybe to push these pass inside. Let's go to face and out click control plus to grow the selection co time. My we need to pick a nice angle. And what we need to do is, sorry, I think we need to push some vertices inside like this one. So it key and move it like this. But be careful not to ruin the circle shape. All right. Let me tell you something Manipulating the vertices and push those like this diagonally is not something very easy to maintain the circle shape and keep it and keep it correct. In this case, I will use an It care to achieve this. What I will do is I will delete these faces that I created and let's leave it like this. Let's go to vertices, I'll click to grab all of these vertices, and I will group them. I will go here to the object data properties, and let's go to the vertex group just to group those vertices because I need to add modifier, and I need this modifier just focus on these vertices. Do this, I need to group them. This is the idea. Now let's go to the vertex group and hit plus to create a new group. Deb click on it, if you want to king the name, if you care about this, you can call it a group A A, anything, to recognize it, and then hit assign to assign it as a group. Now we have a group of vertices. I can use it. After that, what we need to do, we need to create we need to take some edges that have the same curve of the body. For example, let's grab these these edges or maybe I don't know, maybe those here because they are close, 50 D, takacop, and then P has to separate them. Tap out and let's ecrupt this these edges. Tap mod, maybe we can go to the top A and hit e to extrude them like this, something like this, just to cover the whole, and we just need to push them just a bit right here. Maybe we can add two edges here, I don't know. The G and move it just a little bit. The idea, I just need to create a small piece of plane, have the same care of my body, and when you finish, add subdivision surface to it and make it smooth. Something like this. This one, let's activate the subdivision for to see the difference. So this. Hal head smooth. I think we got some problem with the phase orientation. Yeah, that's right. It's something easy to fix. Tap it A and to recalculate the normal and that's it. Anyway, The c that we created is almost close to the body curve. Maybe we can I don't know, maybe we can extrude those to this direction just a little bit. I see what we've got so far. Okay, something close. We can push this out just a little bit. Yeah, something like this. All right. What I will do is I will use this plane that I just created to put these vertices on it to bring back the curve of the body because this circle now is perfect and straight and not following the curve of the car. You remember when I add these vertices as a group, and they still here exist. Now let's go to the modifier here and let add ring crab modifier to use it, and I will put it above the subdivision right here. Now let's go to the vertex group and let's add the group A A because I need ring crab affect these vertices. And we need the target, the new plane that we just added. Now as you see now, this vertices following the curve of the new plane, and that's what we want exactly. When you be satisfied, when everything is finished, now we can apply the ring crab multifier, and delete the plane, we don't need it anymore and now we got the curve, we bring back the curve. Now tap to the edit pot and you can hit F to create a big phase and E to this pa, something like this. You can delete this t to push this pack even more. I don't know. That work. Okay, x F to delete this phase, I'll click control B to pivle this area tab out and activate subdivision surface. Now the result is a bit better. If you want to edit this farther, because we have some waviness here in this area. You can grab the body and you can grab some ages here and take them out just a little bit. Maybe I can scale them just a little bit to the x to make them strike and hit and take them out, but not too much. Something like this maybe. From this side, Something like this. Maybe we can take this out just a little bit. Not too much. Maybe this age here or maybe those three ages. We can move them just a little bit. Maybe this vertex as well. Maybe those I can take them back to the x. Let's see what we go so far. All right, the result is nice and beautiful, and I will accept it. All right, so that's it for this video and the next video, I will learn how to create this cover. So see you next. 89. 089 Modeling Level 4 modeling Carl Jurisch's 1957 Motoplan part 15: Hi, again, welcome back. Now, let's create the cover that we have here. Let's select this body, and let's have the ito and let's select one of these edges it ift, D, and let's take a CV and right click to live it in the same place and then ps to separate. Let's grab this new circle that we just created and lets it like to isolate it alone, here we have the mirror and subdivigan surface. Let's apply the mirror, and after that, let's tap to the edit mood hit A and hit F to create a big phase. I just need to see how many vertices that we have here. All right. Turn off optimal display to see the result of the subdivian surface, tap the edit mood and tap out of the edit mode and let's activate wire frame, just to see the number of the vertices. Let's see if this number can work or not. In this case, I will apply the subdivision surface and the pass inside actually, I don't want them. There's no need to add to create a phase here in the middle. What I will do is I will tap again and grab this face and only phase to delete the phase alone. And that one, we don't need it XF. I can mirror this one. I just need to work with one. Right now, activate the subdivision surface, top out and apply, and now tap the edit mode, and let's go to the vertices to connect some vertices. Go to the left, control three, and let's maybe connect this with this one hit F, and with this hit F, grab those two create a big phase, and those here, grab them to create a couple of phases here. Can we grab those? All of them hit F. The same scenario here we grab those hit F couple of time until we reach to the end. Those here hit F. All right now, let's go to the face grab, grab these faces. All of them and hit I to inst and hit I again to inst individually. Something like this maybe All right, something like this will work. F to delete these faces inside and then maybe I can add before I delete these faces. So it control r to add one here and confirm it. H key to slide it and hit E to align it. Let's align this on this side. Or something like this, and control r, and add another one g tie and hit E to align it on the other side. Or if you want, you can use miro Medi fier for this piece alone. Anyway, now let's select these faces. Hold shift, grab this, control Hit the blast to select the other faces. Blender will know which phase that you want. After that hit F to delete them all. Now let's go to the hes. Al shift, slick to grab those. Sorry. Or if you don't like to do this, you can add solidify. But for me, I will select them one by one and extrude them back to the x axis and the grab the whole circle and let's do the same thing. Extrude them like this. C control r to add an H right here. Let's connect this with this to god quod here because here we have a big engon, and that will affect the subdivision surface result. So I just need to connect those here. And maybe I don't know the G twice mark this here. But make sure to activate atomic, don't forget this. Let's put this right here and maybe this one right here. And the same scenario here, control ad here in this place, grab this with this H and put those and merc in there. All right. Now let's see what else we can do. Maybe now we can grab the entire age loop here one by one. And by the way, actually, you can select these faces that we just extruded and it xF to delete them. And what I will do is I will select those again. And I will extrude them out, E and then S, extrude them like this, they still aligned, we can push those back as a little bit to the x. Then I will hit E and extrude them back to the x because in this way, I will make the bival here easier and more accurate by extruding these phases out, can roll B to make a small bevel here? And that's cool. That's very nice. All right now let's I don't know. Let's tab out and let's add subdivision surface. Turn off wireframe. Let's go here and add it, and let's see what's going to happen. A, this is the result that we got. Let's see how can we fix it. It's not quite beautiful. Let's see why that's happen. All right. In this case, what we need to do is we need to delete these phase. I just forget to delete them. Sorry. Hold shift to select one You can keep holding shift to add to the selection. I don't know, maybe I maybe that's will take too much time. I think in this case, what we can do is we can select these new phases that we just extruded and we will extrude them again. But let's delete them for now. All right. A x F to delete them, and now let's select this. Hold here to grab this. Control shift plus to select those as well. Again, control to plus. That's cool. X F to delete the site, and let's go to the site, grab one, hold here have to grab the other, and then control hf plus. Until you to the end and F to delete, something like this. Now, let's go to the g. Al have to click to grab those. All right, have the blast to grab these edges. And when you do this, you can go to select because I need to select the eg loo, not this egg alone. So I'm going to I will go to select menu and ose select loop and e loop. And there we go. Now it e to extrude and push those as a little bit, something like this. We'll work tab out and endless use of the kin surface. Now we got something nice here, right ahead is smooth, and there we go. I think this result will be nice and we can accept it. It's, and maybe we can take it out as a little bit key and move it to the x axis. No too. Something like this will work. All right. Yeah, something like this will work as nice. All right. This is very nice. I can add a cover underneath it. If you like to do this, you can select this and isolate it out to the edit mode and grab the circle if you like. And I don't know, maybe you can. Let's see what we can do, let's go to the front. Hit E to extrude it almost right here, and then hit F to create a big face here, control to vol it. Let's val it like that, maybe. Well, the result is not beautiful, and not correct. In this case, I will hit control Z and go to the front again, it to the x zero enter to make this even, and I don't know, maybe I can rotate it just a little bit, something like this. Maybe foot down, and then control to v this. I just something like this and grow the selection, go to face and hit ps to separate those out. Y, something like this, because I just need to plac texture underneath it, so you can't see anything behind these holes that I have here. All right. Is y that's it. That's what I want here. And now we got nice results. If I go here and activate the cavity and I don't know, let's read this to both, maybe, and let's manipulate some sliders here, less Yeah, something like this. If I take the valley a bit up, you will see that I have a dark area here, and that's what I want. That's why I added this shape right here to get a darker area here in this place. All right, let's go back here and let's manipulate those just a little bit because that's too much and. Maybe I can leave this activated. After that, you just need to mirror it. Make sure that the three d coursor is in the middle. Shift S and go and Q cursor to the world origin, and now it is in the middle. I need to use it as a Bivt ivot point. Let's go to the Vivot, transform Bivot point N S is to three D coursor, because we need to use it. Shift D, this with this, Grab them together, HTD, take a COV, right click, leave it in the same place, and then control to activate mirror, and just use the axis, define it at x because we want to mirror it on the x axis, and then hit Enter. Now we have one on the other side and there we go. The result is very nice. All right so this is it and see you next. 90. 090 Modeling Level 4 modeling Carl Jurisch's 1957 Motoplan part 16: Hi again and welcome back. Let's see how can we create the lines that we have right here? Let's go to the scene or scene end. Let's select the body and tap to the edit mode. Let's see which line we can pick. I think this one, we can pick it and use it. The whole clip that I have here and shift D to take a cop and right click to leave it in the same place and then P is to separate it. And with this one selected, I will tap the d mood again, I'll click on it. And I'm going to push it just a little bit here, something like this. And I will push the vertex that I have here by ale bit. Heat wise and push this almost right here. And what else, I think we need to move this get wise and move it a bit right here. And select these edges and delete them. We don't need them at x F to delete them. Sorry X E to delete them to delete edges E and the other score. All right after that, I will tap out and radically and go to convert to, and now go to the properties and manipulate the depth and the vl section, just a little bit and give it a nice amount of thickness. Something like this will work. And then After that, we will, by the way, I add it maybe one, think one will be good to go. I don't know, or maybe that too much. Let's add 0.8. A 0.8. I think that will work. After that, can troll and convert visual geometry to mese applies, or you can tic convert to mese again. All right now, let's top the edit mode and let's minibe some vertices here. Maybe I can push this just a little bit. I don't know. By the way, when you move it, as you see, it's move very fast, and that's because we used vot the vot point. We use the three d coosor as a vot point. So I will also get this two boundary or medium point and then hit key and move it this just a little bit. Maybe this one as well can move it. Something like this. And don't worry about the other side because I can use mirror. So I will delete them F, and I will keep editing those that I have here, and later I will mirror them. Let's go to the left, and maybe we can push this just ale bit and those as well. Those here. All right, something like that. Maybe this one as well. By the way, I'm moving these vertices in the x ray mood. All right. That's cool. All right, Maybe that's too much. Here, let's hits. Let's push it inside. All right now let's go to the edge, I grab this and then hit F to make a phase here, and here as well, you can like to isolate it. That will be easier. I'll click here hit F, and there as well, I grab those. I'll click it F, and on the other side here, I'll click here hit F. And then select all of these edges with cleft to click, and this one as well here, I have to click. And this one as well here. And then it can throw B to Bival it. Something like this. Then tab out right click had smooth, and now it's become smooth. Let's like to excite and see what we've got so far. Bring the three D corsor in the middle, shift C to put it in the middle, or we can hit shift S and use coser to the world origin, and then shift D taka cob right click to leave it in the same place. Tweak the bivot to three D coosor because we want to use it as a bivot. Control M to activate mirror, give it the axis, hit x, and then enter. At A to deselect anything and now we cut it. All right. The result is nice. And here above the fender, we have another line. All right. What we can do is we will select the body and we grab one vertex it HTD to copy it and put it right here temporarily. Swig this back to a bounding box and hit and let's move this vertex right here, maybe. All right. Something like this. Hit and move it just a little bit here, maybe. That's cool. And now let's extrude it hit E and extrude and follow the curve of the fender. After that, grab this alone and P S to separate it out of the group and now select it alone. And now let's work with this. All. The easiest way to get better results, I will go to snap and chose face snub, and after that, let's sack the snub with to center, and I will use this because I need to snap these vertices on the body. All right now let's select this vertex, to extrude it, and hold control to snub it on the body, close to the ender, and keep doing that. Until you wreak the other end and keep the distance the distance between the vertices. Something like this. I can throw and snap to the body. T again and and snap to the body. Throw snap it again. Now, when you finish, tub out, and I think we have the subdivision applied, but I don't need to, I just need one level, and it can throw A and alight. We don't need it. And the mirror as well, we can aplight it actually. Right click with this selected, right convert to curve, and the same thing, go to the curve and change the depth 2.8, maybe. And there we go. Now, right click and convert to mesh tab and let's grab these vertices hit F, and grab those as well here and hit F to fill this area. And select this e loop, it's like to isolate them. Maybe those as well. I'll click F and on the other side as well. I'll click hit F, and now select select them. These edges and the x ray boot. After that, just beval one of them. Let's focus on this one and it control b to val it and bevle it like this. Tub out. Yeah. It's like to excite, turn off x ray and right click K smooth to make it smooth and very nice. We got nice result here. That's very cool. For any reason, if you want to push some vertices a bit out, you can grab a grab the area in the middle because we have this area goes inside and let's activate proportional editing. Let's stick with linear. Maybe this will work. This doesn't work, I can change it, and move it and make the circle small, again. Let's move the gas a little bit. All right, seems like the liner doesn't work, so I will swede this to smooth and pick a nice angle again from here and key to move the gas a little bit. All right. Maybe I don't know. I think we need to make the effect bigger. Something like this. This one is makes sense and beautiful. Maybe I can erupt those and move them just a little bit as well. Let's pick a nice angle, maybe from here and make the circle a bit smaller and move them just a bit, too much. Th that's too. I don't know. Cro z. Let's do that again. Hit key. Let's make the effective bit. That's great. That's very cool. For the other side, what I will do is, I will use mirror modifier the same thing. Tab and grab these vertices, hit x F will delete them. Tab out exit of the x ray, grab this. But the three D courser in the middle is already there. Save D, tacocb, right click, leave it in the same place. Swak this 23d courser, control, activate mirror, give it the x, x, and then enter, and then at A to D select. Anything. That's great. So, yeah, this is how to create these lines, and yeah, that's it for this video and see you next. 91. 091 Modeling Level 4 modeling Carl Jurisch's 1957 Motoplan part 17: H again. Welcome back. Let's create the mirrors. So let's see how we from where we can start? I think I can add a circle and start with a circle, at, let's add a circle and change the vertices to 12, e to the and take this right here and rotate this to the y, it's y 90 degree. All right, that's strong. I just forget to speak this to bounding box. All right. I need to rotate to the x not to the y. Hit X 90 degree and hit again, move it right here, scale it, and maybe we can move it here, scale it even more. F front, let's put it in the right position, almost maybe right here, S and scale it even more. In the left cant three. I don't know. I think it could be right here. Something like this. All right. After that, control, I apply the scale because we scaled it and apply the rotation because we rotate this. Now tap to the edit move and let's go to the vertices. Now, let's make some let's manipulate these vertices in the front, go to the front and activate proportion or anything and move it and make the effect, something like this, and move it let's just a little bit mayb right here. Make the effect bigger if you like. I don't know. Something like that will work, maybe. Or maybe I can tweak the effect from smooth to anything else. Maybe sphere. Let's try that key and let's smooth this. All right. Something like this. All right. Something like this. After that list manipulate some vertices, for example, we can hit Alt click, grab all these vertices, and hit right click and use space to make the distance even. Maybe I can move those just a little bit. Take those back. All right. What else? Let's turn off proportional editing. Yeah, I will accept this result, and I can edit later when I add subdivian surface. Anyway, Now I got this result, hit A, select all of these vertices and then go to the face and use a grid fill to fill this with quartz. And then here we have a small extrusion here. What I will do is, I will I don't know. I think I can grab these four faces and and then hit I to in it I again to inset the group like this and then hetratic and circle to create a circle right here, and then hit S to scale it. In the front, we can rotate it as a little bit and fix it like that. What else? Maybe we can move it a little bit, maybe right here and scale it even more? Or something like this. That's nice. All right, I think what I did here is not going to work, so I will hit controls a couple time and cancel that. And I will cancel the grit ful as well. What I will do is I will hit F and use inst hit. I think that's better because I think I have a here in the mirror in the back. So it and it heft to repeat that again and again. All right, that's very close. It I and make the distance a bit bigger, something like this, and then hit t r again and again. All right. Here is, this is okay to reach this area. You don't need to hit I akin. After that, right click N Qs circle, hit S and scales, something like this. And now what we want to do is I will take this back here and take those as well. I just need to create a curve here in this area. Sorry, K and move this right here to the y a little bit. Maybe I can grab those as well and move them to the y. Those here y. A something like this. Now let's go to the left, s to the front and grab this peak phase and then activate proportional tic smooth and move this, but make the effect smaller. Let's move this almost maybe right here and then turn off proportional editing and Scalet or let's activate it and Scalet something like this. Now, turn it off and then it e to extrude and extrude this a little bit and scale it down. Maybe in the left, we can rotate it like this and it can move it. And it control to our two aches here, and it is to book those out. And it to move them. Something like this. All right. Grab this, I can roll to vele it. Let's bile this just a little bit, or you can actually you can add one edge here, hit E for even and add it right here. Subdivision surface modifier will give me a nice transition here. Right now, grab this face and then hit I to inst and E to put this back inside and control b to bubble it. Something like this. Now grab this, sorry, grab this edge with this edge and ble them control be something like this. All right now after that, I can grab this edge and then hit E to extrude it. And then hit F to fill it and then I to ins, something like this. Then e tough this pack just a little bit, not too much, something like this. Maybe we can scale it just a little bit. Grab this edge with this edge and vl them can troll B. This one as well, I'll click and vl it, roll B and make it smooth like that. Yeah, that's it. This phase, we can hit P S to separate it out. Let's grab the body of the mirror, Hic hit smooth and now let's a subdivision surface modifier. And now, I think we can manublate the vertices in the front to get results close as much as we can, similar to this one. Tab and now let's scrub the vertices, those activate proportional editing and this manublate them. Maybe taking this down just a little bit. All right? I don't know, maybe we can grab those three and take them down. I think that's it. This result is very nice. Just swa this to two to get better result. But I think we just me vertices I don't know. I feel that we made the mistake here because we just forget the automer activated and This option always causing problem if you didn't turn it off when you use it. So let's go back to the front and let's do that again, hit key and move them down just a little bit, something like this. And then tab out, Swing this to two, and those as well tab and let's grab those, and the back control one, hit key and move those, the same scenario, grab them like this, and there we go. All right. That's cool. Add subdivision surface to the mirror as well to make it smooth, and let's use two as well. And now it's become smooth. Can you grab these in the bag, control one, and move them gas a little bit to make the result better. Any other there we go. All right now, let's create this stick here. And I think we can use one of these vertices that I have here in the middle. I don't know. Or maybe I can tap and grab one of one of the rings that I have here and and bring the three cos right here and tap out. I have to A, maybe you can add play very very big and scale it. Let's make it small like this. Tap to the mo, grab all the vertices, hit M and collapse to make it one vertex. What else, let's go to the left, control three, and let's extrude this here, one extruion right here and one here as well. Grab those in the top. Let's put them in the right place. I don't know. Maybe they could be here, and this one, we could move it just a little bit. We should grab those as well and move them. Forward, turn off provocional editing. Maybe those we need to move them forward. Those, maybe we can move them right here. That's means we need to change the position of the mirror. Maybe I can take those back here, something like this, and move this a little bit like this. Let's see what we got here in the perspective. He keep the Z and take this up. Yeah, that's cool. All right now tab, grab the mirror and it again move it forward. Now let grab the new line tab. We grab these vertices control H B to bubble them and give them a nice amount of bubbling. Let's add four vertices maybe to make it smooth and what else? Now, right click and convert this to curve, and then the curve properties give it a small amount of depth. All right. Because we scaled it, we add it above the 100 and we still get nothing. So what I will do is I will swing this back to one and control A and apply the scale. And now cr this All right, I don't know, the same problem we got here. Zero and hit control I and up the scale. And now let's try to do that again. All right. That's not a UK problem. I will use big number here, if that doesn't work. All right. Result like this will work for me. I think it's nice. We just need to move it a little bit, slight it here. And what else? Hit G and move it a little bit. I think we can make this a bit wider. Yeah, that's cool. That's great. Ric click and hit the smooth. All right. That's cool. I think, yeah, that's great. Now let's create the base. Grab this tap Edit mood and sorry, I think I need to k this back to mesh, Ric convert to mesh. Tap it mood and I will use the circle that I got here. Twice and slide it up. Just a little bit right here. I can push it later if I need. And now let's create what I have here. If d to the z and take a CV right here maybe. And then Ps to separate it out of the group and select it alone. Right click organ to the umetry because I need the chin to be here, and tap to the edit mode and it A, it's S to the z. I think I can I don't know. I have two option here. Maybe I need to align it to the Z, and I think that's better. And later I can rotate it. Okay? I think I can do this. Yeah, it S to the z and hit zero ter to align it to the z, and then hits E to extrude it down like this, something like that, and maybe another extrusion down. And hit S to scale it like this, and what else hit again to extrude it again like this. All right. Now we got this. I think that's too much hit control. Scale it just a little bit, not too much and hit e to extrude it. Okay. It control to grow the legion. Let's take this up here and grab this, it control b to bivalent. Let's add three edges right here in this area. What else? The extragion that we just made is not correct. I will grab these vertices and control x to dissolve them and grab those, it to make it correct. Okay. Now is correct. Now, grab those here. Or hit A, sorry, it A, select all the faces. Alt S to inflate the he just a little bit like this because I needed to be wider. And then left click to grab the entire lope and then hit F to fill it. Ct to make a bible here? And bevel here and here as well, can roll B? I mean the edges, those here, something like that will work. All right. That's hit I for this phase, a little bit to to get better heading when I subdivision surface. Because if I leave the right here and leave this big big gon right here, I will get some problem here in this area. So make a small sit here will help me to avoid that. Maybe I can hit XF to delete it. I don't need it in this phase, I don't need it XF. I will leave them open like that. Let's compare and let see. All right. What we did, it's small because if you compare the size, it's very big as I have here. So tab out, hit and scale it, make it big like this. And now the size now become better. Ic is smooth and add subdifgan surface here. And now we got something nice. Now let's align this to the body. Let's go to the left control three, and let's rotate this just a little bit. Key to move it and let's go to the front, maybe, we need to rotate it like that, and it ke to the z maybe and move it out just a little bit. Yeah, now it's aligned to the body. Tab to the edit mode, and let's select maybe this edge. And those as well and activate provocal or editing, and just scale those just a little bit. That's cool. Maybe I can scale those as well. All right, something like this. All right, I think we just need to make it a bit picker, something like that. And tub out. That's it. Now let's move the mirror in the stick and let's position it better. Maybe from the top, I can start it key and move it here and in the left, let's see what we got in the left. We can move it ale bit, like this. And what else? I think we need to manipulate The stick, we need to take it up just a little bit, maybe right here, and maybe we can rotate the vertices. I don't know. Let's try to do this like this and hit key and move them inside. I think that will be better. Let's go to the front, and let's see what we got. I don't know. Let's try to rotate this just a little bit and move them. All right. The result is nice and close. Let's compare this to the car, and let's see. All the size of my result is a bit pig as compared to the reference a, but that's not a huge problem. The most important thing that we made a correct result. Let's see grab this with the mirror, and what I will do is I will put the three d courser here in this area, it to S and bring the three d courser right here. And let's select the mirror in the body and go to the top and use the three d courser as a bot because I need to rotate from the three d courser. It, I just need to rotate a little bit toward the driver, something like this. And, now it's okay. That's great. When you be satisfied, put the three dicoso in the middle, Shift C or Shift S and choose this option, and then grab all of these details. This as well, it shift D, take a CB, swa the voto three d courser, it control, and then x, and then enter to mirrored on the other side, and the others cool. Now, let's see the phase orientation. Did we have anything flipped yeah. We got some phases flipped and we need to fix. We have the body of the mirror and the mirror itself, and those as we here and the tires I don't know what to call them. These pieces in the center, grab them, tab A, select them, select all of them. I heft N to recalculate the normal. There we go. For them, or, you can't use recalculate normal, but you can grab them and tap it A, sorry, grab this. With this one, tab it A and then hit Alt n to flip it. Okay, what else? These pieces inside that we just created, we need to flip them. Crab this, and the grab this one as w. And tab at and flip to flip it. And now. Oh, my God, I forget this, tab it A, n, and great. Yeah. That's very cool. Yeah, this it. What's going on? D I forget this? Tab it Alt N and to flip. All right. That's cool. We just finished. Turn off proportional sorry phase orientation, and there we go. Yeah, that's it and see you next. 92. 093 Modeling Level 4 modeling Carl Jurisch's 1957 Motoplan part 19: Hi, everyone, and welcome back. We didn't finish here. We need to complete the design that we have here. And the first thing maybe we can do, we need to rotate this new if that we created. We just need to rotate it just a little bit like this from the center here. So grab this and slide to isolate it and tab to the edit mode because I need to I need to bring the three D coser right here in the middle. So it shifts and courser to select it, and then tap out right the click st organ. To the three D courser. Now I can rotate this according to the organ door that I have here. It's select this or you can leave it like that. You don't need to select this one. Select this piece and let's go to the left and we just need to rotate it up just a little bit like this. Something like that, maybe. And that's it. Because if I compare the result here, you will note that this design goes up and now we got a result similar to it. All right. Now after that, let's create the hook absorber. Let's go to the left again and a shift A to add and let's add a cylinder right here, and I will use 12 vertices that will work, hit S and scale it. Something like this. Hit and move it right here and rotate this to the y R Y 90 degree, let's put it in the correct position, it and let's put it right here. Can use the x ray if you like, scale this make it small. Something like this scale it even more. Something like this. Hit and move it in the position, go to the back control one and move this a little bit to the x and top, grab the side of vertices in the X ray mode and bush it just a little bit. Right here, turn off proportional editing. We don't need it. We're going like to isolate this one to work with this one alone. Control at one here and bevol it. Pv, I know to three or four. Let's select some phases here. Grab those here. I know maybe those as well, we can grab them and hit E to extrude them. S to the z, zero enter to make this flat rightly, go to loop to to circle and hit S to the z and take this down. We can scale it a but you can go to the front and scale it like this and there we go. All right. All right now we got this result now see what's the next. Let's go back to this image. I just need to understand what I could do here. Maybe I need to extrude this a little bit more to the Z. And then exclude this just a little bit, and the scale it make it smaller. Yeah, something like that, need to make some variation here. All right. Grab this event, control be add three edges here. Control lets add right here, support this area. Or if you like, you can I click on these edges and control but the grab those as well here. Ctrol B and bev. I think that will be better. For this side, grab this with this hit I to in inset those here and trial can use a brick face to create a hole here and now grab these edges and control B and level them. Just a little bit. Grab those and those control be and what else grab this phase. We don't need it XF and deleted, right click Smooth and co. Now let's add subdivision surface to this result, and now we got something. I don't know change this to two. The result is nice, but I think we can fix the problem that I have here in the heading. In this case, when we added the bile we added three edges. Maybe we can delete these edges in the middle. A have to click on them like this and control x and dissolve them and tab out, and now it's become. Yeah, I will accept this result. I'd like to see what we got so far, what we go. All right. What else do we need to do here? After that, what I should do is, I need to go to the left and de grab the hock absorber and just rotate it. And rotate it just a little bit like this, and you can leave it like that. You don't need to add anything else because it's not so quite visible to the camera. Now, I need to create the fender that I have here, and let's see how can we create it? Maybe we can take a piece of the tire. Tap to the edit mode and let's see. Maybe we can grab some faces starting from this one. Grab those here. And those as well. I think that's enough shift D tech cob, leave it in the same place, and then P is to separate it, Tub out to grab the new piece, tab the moot A, and it is to push these faces out just a little bit like this. Now, let's grab the side and this side and let's make it a bit wider. Alt S, maybe we can push to the center just a little bit. And then hit e to extrude and S and push the new extrusion out like this and then lt and push those in the center. That's cool. This result is nice. I think. Maybe we can add an right here just to support this area here and on the other side as well control our and add one right here. Something like this will work. That's cool. Maybe we can grab those and push them to the whites a bit. Make a small curve here. I don't know. Maybe that's will make the result more realistic tab out into slash to see what we got. Perfect. This is very nice. After that, you can give it solidify. In this case, I can accept the result of the subdivision, control end blight and I add subdivision surface add solidify above it and give it nice amount of thickness, activate wire frame just to see the thickness, it's nice. The smut of thickness. You can use rim only and us makes sense because not visible, there is no need to add too geometry inside, and book is just a little bit not too much and a light, and it's like to isolate and tap it a mood and grab the outer. Ages, crowd them like this. I'll have to click until you reach this area, selected this one as well, and just give it a nice amount of bibling. Ctrol be and Bible like this. Turn off wire frame. Now it's finished. Let's to excite and there we go. What about the exhaust? Let's see how can we created. I think we can start with cylinder here, create a cylinder, rotate this two x x 90 degree. S, make it small. Put it beside the tire here. S again to scale it, something like this, make it a bit tall. There we go. Tap to the edit mood. Grab this phase with this phase, x f to delete them, grab those, select this, control, and grab this one as well. X F. I just delete half of it and grab this with this hit E to the z and extrude those down. Something like this will work. A, and scale at b, make it small. There we go. All right after that, maybe we can give it a solidify, so let's go here and add the solidify and make the amount a bit big like this and turn on rim because we don't need anythickes inside. Control, I apply a type to the edit mode, and now let's grab the outer edges. It's like to isolate it as will make the process easier for us. It it on this and it and with this one. Now let's vl them, control B. We got some problem with the ivl, because we didn't apply the scale and now you see v work correctly. It's epic. Tab out Ctrol A apply the scale and tap again Ctrol be to vl again. There we go. All right. Now tab out and radically hit the smooth, add subdivision surface above it with level one. That will be okay. Yeah, that's nice. Tab eight mood control to add one a here and equivalent to the ages just to support the edges because the rest of subdivision surface goes to the center, the stre goes to the center, and I need to prevent that by adding a here and one there as well. Tab out and now the heading is better. It's not stre anymore. It's hand. Now let's add another cylinder here, it if A and let's add the cylinder. Rotate this to the x Rx, 90 degree hit S and scallet, M small and move it to the x axis, go to the back and center it here. B S and the scalt, has cool. S to the z. Act like that. Key and move this down and the scale just a little bit like this. Ctrol A up the scale and apply the rotation. It's like to isolate this one. Tap to the edit mode and grab the side and hit control B to be vt, something like this. Now maybe we can grab these faces and hit I to inst t. And then right click Q circle, and it has to scale this turn off provocal editing, scale this endless align it better. All right, something like this. Right now, we need to just make we need to manipulate some vertices. What I mean is, I need to grab these three vertices and take those down, most right here, and those maybe we can slide them, something like this. The here, we can hit key ways and slide this here, and this one as well. With these faces selected, those here, we can delete them accate x f to delete them. We don't need them, and we can grab the outer edges and go to the left. For example, it just move it out just a little bit, not too much, and it to this and with the ext, just give it a rotation, take this down almost right here, rotate it. All right if that doesn't work and not easy to apply, you can hold control and hetrat click here and in here as well. And you will have nice ext following your mouse. Something like this. Now I got this results. Ctrl plus couple time to select the whole me here. Al just to make this a bit thinner. There we go. Maybe this age right here, we can go to the left and rotate it. Maybe we key twice and slide the a little bit. All right now let's make some connection here, for those and those as well K because we need to adds the gen surface, and here we have a big gon. What else, maybe we can merge this with this one K? What else, maybe we can g? I don't know. Let's try that. Hic circle. Does that make sense? R to the y, let's rotate a bit. Something like this. Let's accept this result for now and let's see what's going happen if I ask subdivision surface. For the bag area, you don't need to worry too much as pv it like that, and that's it. You can ignore it. I like to see what we got here. See if that makes sense or not. All right. What we need to do is we need to take this up maybe right here. For any reason, if we didn't like the heights of the exhaust, maybe we can take it up. Yeah, we can take it up, so tap the mode and the grab these edges, activate proportional editing, and let smooth, to the Z and make the effect bigger. Something like this. All right. Let's change this to, maybe, I don't know, H, let's see if that work. How that's not going to work. Which one? Maybe this one. Yeah, maybe. And I think we need to delete these phases. We don't need them at XF. And maybe we can grab this edge and rotate it just a little bit. So I turn off proportional editing and rotate this. Now it like to see what we've got so far. We got some robbing right here. Maybe we can grab this and dissolve it and go to the left and crab this. It to rotated and position it better, slide it right here. In this case, we fix the issue. All right now, rightly had is smooth and a subd can service right here. Yeah, the result is nice, as I think, and we can accept it. We can cring this to two if you like, and you can add one right here to support this area. Maybe one right here as well. I don't know. Let's see what we've got. It's very nice. Tap it moo, grab this and it's E and to scale this inside. And grab this one control and val it with the three edges. That's okay. Let's see what else we can do here. Let's stop the mode, and maybe we can add one here and one here as well. And what else? Let's go to the left. We just need to create the effect that I have here. Crab those and let's position them better. Let's move this right here, and this one let's rotate it and move it just a little bit here. Something like this. Crab those and vl them control. Something like this maybe. Let's grab edge and leave one. And maybe we can hit Alt and take those inside. But we need to be on one side. Let's go to the left and in this case, maybe we can select just three or four edges for the side, not the whole entire edge loop, and we can put those. We don't need to select this one. Let's go to the left. Alt S and let's see what's going happen. Hr tab out. Yeah, it makes sense. I like it. You can accept it. Can push this a little bit. All right tab out. There we go. It's like and let's see what we've got so far. Very cool. So now we have something here inside we can see and when we add material to this area, everything will be make sense and beautiful. Yeah, this is it, and we just forget to add polts here and we will do that later. But now I will end this you and see you next. 93. 094 Modeling Level 4 modeling Carl Jurisch's 1957 Motoplan part 20: Hi, everyone, and welcome back. We just have small details here. We need to add. For example, the bolts, these bolts that I have here and one here for the shock absorber. Let's see how can we create them. Let's go to the left control three from the num bite, and the three d courser is in the middle. Shift A to add and let's add the cylinder, and let's leave a 32 vertices. Rotate this to the Y axis are y 90 degree like this, and let's move this right here temporarily. Let's bring the three D corso in the middle of the cylinder, Haft and corso to select it, and Haft A, and let's add another cylinder here. And let's change the number of vertices to six. Lets enter and rotate this to the Y as well. R y nine degree. Make this a bit taller and scale it. Take this out. There's no need to make this taller. I think this is enough. Let's put this right here in the middle and end scale it just a little bit. Something like this, maybe. We can push this just ale bit inside right here, and yeah that's it. Let's grab the big cylinder, this one and let's grab these vertices and put them back. Something like that. Now grab the cutter and then hold shift, grab the holder. Now grab the cutter and then hold shift, grab the target. Then it control shifts minus to make a cut. I use control shift to activate the autob not the protobo Anyway, now we've got this result. Let's stop the edit mode and, I just need to grab this face and push it back to the y to the X. A little bit. I need a bit of depth here, and this result is nice. Now we grab this hit to inst and hit two right here, maybe, something like that, and we can manipulate this letter if we want. Now after that, maybe let's see what we can do here. Maybe we can now add a ove modifier tab out and let's add it and heroic and use head smooth and activate auto smooth here. After you do this, what I will do is, I will go to the modifier properties here because I need to change the limit method. I I don't want to use angle. I want to use weight because I need to control the vel here. I need maybe to make some variation here. After that tab and Sorry. Yeah, let's tap the mood and let's hit and to open this panel. Go to the eum and here. We have mean bible weight. We can control it. Leave it for now ten centimeter, and let's select these edges first, those here. I grab them and let's give them abil. Hold gift and move this a little bit. Something like this maybe. And increase the number to 23 maybe, if you like, or 22. Now we got a bival here. You noted that the bivl in this area goes like this. But because of the edge right here, this change the direction of the iv, this a should be like that to get better pval here. In this case, maybe I can this, maybe I can connect it to this vertex to get better result. What I will do is, I will go to vertices those J and grab this one hit control likes to dissolve it, and now the result is better, and even for those, I can make a connection this ok and this one as well. Notice before and after when I will make a connection, notice what's going to happen here in this area. I will hit K and see this area. Now Bevel is better. Grab this and dissolve it, and the same scenario for this one and this one hit K. M a conne maybe this with this And even this one here, K. All right. Now the result is better. Now tap out and let's see what we got so far, activate hard and normal. Don't forget that. There we go. Let's tap to the edit mode and now let's ave those maybe. But what I need to do here, I don't need to add a curve here. I just need to bivle it like this, something like this. I will show you what I mean. Can throw be in this time and bele it manually, and maybe this side, I need it as well, I need to bile it. Grab those and bevele them like that. Now let's grab these new edges and let's give them I mean bel weight. Those as well here. Hold shift in many believe this a little bit. Write the school tab out and, there we go. For this side, tab and tc these edges control bevel them like this and let sec up this with this. Let me well wait. Something like this. That's cool. When you combate everything and accept the result, you can apply the bible, and now let's scale this down and put it in the right position. I control three to go to the left, key and move it and you can move it to the x, x and move it forward temporarily, scale it key, and let's move it right here, scale it a little bit. In the back can troll one. Let's move it in. Let's put it right here. Something like this. Let's move this just a little bit more here. All right. Now, we have it in the right position. Let's go back to the to the left and let's grab the samples that we just created. What we need to do is let's go to wireframe. I think that's better, not in the x ray. I will hit have to D to take a copy and manually, I will distribute them and put them in the right place. It to D again and let's add a copy right here, and again, let's add a copy here as well. H again, and add one here, again, let's add one right here. That's cool. Maybe we can take another Kobi. Let's put it for the Hock absorber here, and let's put it just a little bit. All right. We can bring the three decorsor in the middle, it Hit S and coorsor to select it to put the three decorsor right here because I will move this to put it exactly in the center here. Grab this hit Hit S and selection coorsor, and now we have the pulse exactly in the center. Now take it out right here and scale it es a little bit. If you scale this, it will go out a little bit. But in this case, what you can do is from the back. You can manipulate the position of this origin dot. As move it a little bit, not too much, almost right here, and then turn off the origin and then scale it, now it's cool. That's very nice. Tab, and you can grab these vertices and take them out if you like. If you prefer, that's okay. All right. Awesome. Hi C to bring back the three d courser to the middle, and now we've got very nice result here. Okay, that's it. I will end this video and see you next. 94. 095 Modeling Level 4 modeling Carl Jurisch's 1957 Motoplan part 21: Hi, again, welcome back. I need to create a cover underneath this car. Because if I want to add a camera, for example, right here, at this angle, I don't want to see the back side of the body. So let's see how can we create something to cover this area. The three D courser is in the middle. I will add HTA to chose plane and let's add one right here, let's move it up almost right here, scale it. Just a little bit. Or something like this will work and tap with the edit mode, and let's extrude those. Let's take those a little bit and extrude them. Something like this. Hit key to the Z and put this up just a little bit right here. For the front area, maybe we can extrude ale bit. Sorry, I just made a mistake. I didn't select the egg, extrude. Temporally right here, key to the Z and take this up. Let's see what else we can do here. Maybe now we can grab this egg or those here, the two of them, this one, and this one here, or even this one, I can grab it. Let's grab the two side and hit e to the z and take those up almost right here maybe and scale them out. Don't worry about what's happening here. We will fix it. All right. Let's add a here, control r to support the site, control r to add one here as well. Control r to add A here in this area because I need to delete this one. I don't want it to be like this. Grab this hit xF to delete it, and now let's grab those here together. The x ray, I can grab this one and this one as well, and hit e, extrude them just a little bit, and then take those up. But move them just a little bit away from the tire, something like this. Now let's grab this vertex with this one, key wise and put this inside. Yeah. Something like this. You can see it in the X ray mood. All right. Okay. Let's like to isolate this, and maybe we can grab those here, E the z and align it with this vertex after you extrude it. Grab hold have to grab this one and Qs and s merge to the last. The same thing, grab this one as the first one. Hold here to grab this and a last to make them. Grab those three edges and then hit F to create a phase right here. And it to see what we've got so far. Those vertices, we don't want them to be like this, and those here as well, we can take those back out bit, heat wise and put them. This one, and this one right here, at twice and put those down like this. O maybe back, I don't know. Let's try this heat wie and put those back. Control to add two edges here maybe and on the other side as well, two edges right here, and grab those new vertices and push them forward key and move them just a little bit. Okay. That's cool. Let's add here, maybe two or three. Let's start with two, and I don't know, maybe we can bubble them, so I click. I'd have to click and bubble those can roll. Now grab those faces and let's take those up. I just need to be concaved. A bit, maybe I can grab those and push them. Does that make sense? All right. Maybe I can grab those edges, and push them away a bit. Something like this, maybe. Maybe I can e those as well and, something like that. Maybe I can scale those to the y and miked flat, and those here as well. The same thing for this side as to the y and mixed flat and this one. The same scenario here. That's great. What else? Do we need to do anything else here? Let's hit like to isolate it and let's see if we can now add subdivision surface, but we need just to support some edges as hit control are to add A here. And here as well, or cual I can grab all of these and bubble them. I think that will be better, something like that, and control our to add one here in this area. For this area right here, I can grab all of these edges, and even those, I can grab them and bubble them to get better result here. Or I think I select everything all the ness ages. After that, it can troll be and we will them just a little bit like this. All right now, maybe I can add subdian surface, but before this, let's add one A here because the face here are very big, and we just need to add A here and a here to prevent the subdivision to go to the center, and that will affect the heading a little bit. To avoid this, I just need to add a here and one here just to support the tooth side and that sets. Okay. Let's try to see what's going happen if we add subdian surface. And increases to two, maybe and radically head smooth. It looks nice. It's to excite. I think it's too much to add two. Maybe one will be okay. This is nice. I don't want to spend too much time here on this area because I just needed to prevent me to see anything underneath the car. If you want to book some edges down, you can do this. I think you can move this cover just a little bit down to the Z, but make sure not to overlap the D. We have some overlapping here. We can use the vertices and move them just a little bit. Maybe those all of them. Hit to the z and move them up, and that's it. Maybe for this side as well, I don't know, those here, to the z and move them just a little bit. Do we have any overlapping here? Everything looks okay and nice. Yeah. Something like this. That will work. Let's kick the phase orientation. Let's go to phase orientation. Yeah. It's, we need to flip it. Select the tab it A and then ten to open the normal menu and just hit flip to flip it, and there we go. This piece right here as well, we need to flip it, tab it Ali and to recalculate the normal, and that's all right. We have a right area here visible. Maybe I can do something here. Grab this top and let's grab this and push this back and this can row B. Something like this will be awesome. Yeah, that's cool. Before we end this video, I just need to do one more thing here. Just need to cover this area as well. Let's select this and it's like to isolate it and tap the edit mode. Let's select the phases that I have here starting with this one, hold control grab this. And the same thing grab this hold control era, this one as well. It's like to go back and it is to scale those out to cover this area. And we will get some overlapping here. We will fix it. Let's see. Can we do this? Let's go to the vertices, grab those vertices here. And maybe those here as well, the same thing on the other side, c those and those here as well, and you can book those back to the center. Something like this. Tap out, and let's see what we got. We got some overlapping, I think right here. Tab see if we can fix this area by taking these vertices back. Let's try that. Hit key and move them just a little bit. Yeah, that's makes sense. But let's see what we got here. I don't know. Maybe we can flatten them. I don't know. Let's take those and align it with this vertex and make them flat, those three S and align them with the x. In this case, I I can't use the miro modifier because I have this design right here, I need to do the same thing manual on this side. Let's see, how can we do this? We picked these vertices. I think and let's make them flat to the x, just al them to the x and push those inside, it slash to see the result. Here in the perspective, how much we need to push them. Let's go inside here and here, that's cool. He slash again. And now let's take those two vertices, Align them to the x, key and snap with this one. Something like this. All right He slash. All right. The result is nice and acceptable. Do we have any adjustment here we need to do? Okay, it looks nice. Alright, that's it. That's it for this video and see you next. 95. 096 Modeling Level 4 modeling Carl Jurisch's 1957 Motoplan part 22: Hi again, and welcome back. Now it's the time to start with the interior. And let's see how can we do this and from where we can start, I'm not going to add all the details. I will simplify the interior and to make it easy to create. And I just forget to create something here, if you noticed, if I compare my result to this image, for example, this curve right here, it is here in this area. I guess forget to extend the vertices to create this. So I will start with this one. I will create another geometry here to cover this area. And let's try to get something similar to what I have here. Okay. Let's grab this piece that we created, and maybe we can select these edges, maybe I don't know. Maybe those here. And I shift D take a CB and right to click to leave them in the same place and the NP is to separate them. Now I have this new edge. I will tap the mode for this new edge. Let's try to create what I have here. I will delete this tex, I don't need it, and I will turn off subdivision surface from it. Because we take this C from this me, the mirror and subdivision will stay exist with this new CBA of age. Just keep that in your mind. Let's grab this head key twice and maybe we can slide the just a little bit right here. I don't know, maybe we can extrude this forward. Maybe we can grab those and just move them a little bit like this. And bag maybe. This can we create this shape. I will hit tote this inside and maybe we can take this bag. In the top, maybe we can control the Patro get wise and let's take this back a little bit. It through this like this and then something like this and put this to the center until the two side met here in the middle. Something like this. Maybe we can now grab those to this and take those down. Something like that, what else we need to do here. Maybe this one, we can take it down just a little bit. Maybe now we can make some connection between vertices. Let's degra this with this F to create a phase, control ad one c here, and those f F to create a phase here in this area. Maybe those here as well, we can create a phase here. Control at one right here and let's create a phase here as well. And what else? I don't know, maybe we can add an e here, and grab those or let's grab just those two vertices and F. And again, F and F. There we go. Now we cut this result. Cool. Let's see what else we can do here to make this better. Maybe we can grab this vertex and take this up here. Move it forward. Something like this. Let's go to the top and hit maybe right here and the grab this te and pot this back. Grab with this one and to this and take this almost right here. That's great. Is this with this one H keys and take this down as well there. Okay. Now let's push this vertex, maybe right here and this one as well. Something like this because I need the care here to be small. Okay, this result is nice. I I don't know. I think I can extrude the vertice that I have here and create a following the wind Or this line that I have here. After that, maybe I can extrude it down like this and create the camber as well. Or maybe we just need to create a frame right here following this curve and that's it. So let's start with this vertic maybe this one as well, grab them and key and move them forward. Maybe right here and take them up just a little bit, and maybe this one as well, I can move it. All right. Let's stick with this vertex for now, and I will extrude it first, and I will use face snub and choose center, and it's e to extrude hold control and snub it to right here following this edge. Take this down just a little bit, it again to extrude it maybe right here, and E and extrude this here as well. E again, and here, and again, another extrachion right here, that's great. Now we got this. It's like to isolate this one and maybe this vertex as well from the top, we can do the same thing. It, and let's extrude this here. And again and make one extra right here, and E two at one here. And one here as well. Now we se create a face between those, but before that, maybe I need to book these up. For example, this one, we can take it up and those here as well. Something like this. Maybe those here. All right. Now let's grab these two vertices and hit F C ten until you reach to the end. Now we got this shape. After that, maybe I can extrude those down if I want and give them a thickness. So now let's push this verte a little bit here and this one as well. Maybe I maybe we can move this here, a little bit. I need this line to be strike. So let's take this toe out bit maybe here. Something like this. Let's go to the top, it number second and maybe we need to push those a little bit. In the x ray maybe. This one. We can slide it back. Something like this will work. Now let's give this a thickness tab out, apply the mirror for now and let a solidify. And let's thickness to make the thickness even and put the thickness just a little bit. Maybe up. Write something like this. Let's stop here move. I don't know. Maybe I think I can put these vertices forward to the, something like this. Key to the y. Maybe this one. Yeah. After that, we need to mirror the same effect on the other side. So I will use mirror again. Or if you like, you can turn off solidified temporarily and add mirror modifier and apply it later. Let's make it the first one. Lab it and put in the first here, make it first modifier, and then tab out and just apply it, take the subdivision and put it underneath the Sodifi, and activate it. Do we have any overlapping here? Let's say this side to isolate this piece alone. I just need to understand. I think I got some weird result right here. I don't know. That's happened because of the new mirror modifier that we add. I will controls a couple time to bring back the mirror Modifier because I need to manipulate activate the bisect, I think, activate it and let's see the results. L et's it. Yeah, something like this, after that apply it and take that subdivision and activate the solidifi apply, control A and the a. Let's see what's going to happen if I activate subdivision for now. Ric is smooth. This is the result that I got. It's, it's. Let's see what we got. That's cool. Maybe we can go back to the solidify and give it more thickness. I think this will be better, so it controls the couple time. Let's bring back the soif and and increase the number of thickness. To the top is okay, to the bottom. Let's manipulate the offsets. All right, Let streak this back to minus and let's push the thickness down. Something like this and apply and now s to isolate and let's see what we got right now. All right. Maybe now we can tap the edit mode to support some gs, for example, those here. Let's add two edges here and support the side and this side as well, control to add two edges right here. Let's activate subdivision surface and let's see what's going to happen and smooth and site. This is something nice. Now, maybe now I can move these vertices up and make it close to the wind healed border. Ke to the Z and take this up, and those as well. K to take this up, and those right here. That's good. I notice that I have a gap here. Let's try to fix it. Let's tap to the lit mood end. Let's cycle all of these vertices. Maybe we can pk those up. Now, it makes sense. What else do we need to do here? Maybe we can erupt those and take those down just a little bit. Key to the Z. All right. Okay, this is nice. After that, we need to create the driver Cumber and everything will be good. All right, so that's it for this video and see you next. 96. 097 Modeling Level 4 modeling Carl Jurisch's 1957 Motoplan part 23: Hi, everyone, and welcome back here. Now, I think it's the time to create that driver camper, I think I can use this new hay that I create. I think I can use it to create the driver camper. Let's select this and tap to the edit mode, and Maybe we can let's turn off sub that we can surface for now and Let's see grab maybe these as here, the entire acl that I have here and it t d to copate like this, right click to leave it in the same place and P as to separate it. Tap out the grab this new shape and grab this turn on subdgan service for it. The grab this new heap where is it this one. And tap the emote, select all the vertices and then hit E and extrude this down for now, and hit A, select all the faces because when you extrude the line like this, you will have problem with the phase orientation. Some phases will be red and others will be blue. And let's kick this and let's see. All right. We got clean result, but sometimes that's having just keep that in your mind. Anyway, let's turn this off. It's like too exciting, how can we start? I will hit S to the z to make this this get, this age alone, S to the z enter, and hit key to the Z and take this down. Almost right here for now. That's cool. Right now control are to add two ages, STDs and killds something like this, maybe. And grab those faces and hit E to extrude those forward. What else? I don't know. Maybe I can extrude those as well. Or maybe I can slide the e down twice, and maybe we can take this down. Now I can grab those, all of them hit E and extrude those forward. Something like this. T will work. All right. Maybe I don't know. I feel that I should take those up a little bit, not too much and grab these edges and push them a little bit to the y like this. Maybe I can grab the entire e globe here and hit F to fill this area. Maybe A you can use go to H and face and use a grid fill. Audio can hit F and then hit I to insert this area alone. Something like this. I like to isolate this and let's see what else we can do here. I will control two add two ages here. Maybe we can grab those and put them just a little bit forward. Don't worry about what we are creating right now because because we will add details above it, for example, the cushion and some extra stuff, what I'm doing right now is also quite visible to the camera. Don't spend too much time to make it perfect. Right. Some vertices, I can see them go through the body, so I will grab them and heat this and take those down. Let's hit slack again, and now maybe we can make some beveling to add subdivision surface. Maybe this as well. C troll be two bevel. But before that, maybe I can grab this edge, H can grab this one and hit S to the z, scale to the z and zero and turn to make it flat and key and take this up a little bit. All right now grabs edges. Grab them all like this. Yeah, maybe this as well. All right. And let's give them above. Control B. Something like this. Ric smooth, let's activate subdivision surface. Now we got smooth and nice result here. That's cool. Let's select this again and it's like to isolate it. Let's select the outer ages here and it control to add a very close to it. Now we got those and just to push those ale bit far What I did is, I just push those just a little bit to this direction because before that, I noticed that I have some phase overlapping here happen around this design here. By pushing these vertices, I avoid that problem. I will control just to bring back the problem to understand what I did. And I will tap out and not here this black dots when I move the camera to the left or to the right, you see these faces fighting each other to be visible to the camera. So to avoid this, we can do what I just did. Grab this edge and hit alts and just push it away like this and that's it. It slash and that's it. L es activate phase orienting just to see the result, everything is blue. I think I have something here in the middle. I don't know what is it. Maybe we can create it. Let's see if this is achievable or not. Maybe we can cut this ag and this ag and bevle it control, maybe with two edges like this and Let see how can we push this up, cut and those here as well maybe or des these faces. We don't need them. Maybe those as well. Hit to the z, and take those up. Like to isolate it. Something like this. Hit s2z to make it flat. Something like this will work. All right. Now let's activate subdivision service and let's see what we will go. All I can accept this result. All right, that's it for this video and see you next. 97. 098 Modeling Level 4 modeling Carl Jurisch's 1957 Motoplan part 24: Hi again, and welcome back. Let's see how can we create the cushion? Maybe I can start with plane and let's skillet and take this up here and scalle it even more, something like this, maybe. And tap it move, let's tb this vertex and take them maybe back just a little bit to the y and extrude them again to the Z, so it E and then z and take this up. Something like this and put this pack. All right. Something like that will work. I think it's too long it key twice, and let's make it a bit shorter. All right. Hit A and hit scale just a little bit, not too much. Tab and control, I elate the scale, and maybe we can tap again to grab this face and push this forward just a little bit because we need to give it a thickness by using solid. All right, this result is nice. Let's go to the modifier list and let's choose solid here. Manipulate the thickness just ale b, something like that. All right like to isolate it to see what we've got so far. Activate even thickness to make the thickness even and apply the solidify. Now. Tap mode, and this is the result that we got. After that, maybe I don't know, see what we can do here. Maybe we can grab these edges and level them. Can throw B and make them like that. And maybe we need to connect some vertices by using the n tool. All right. And those here as well k activate than I have tool and make cuts like that because I need to add subdivision surface, so I need to change this to cod. Control are maybe add two edges here and I don't know, two. Well before I add anything, let's make a connection between these vertices with K. The line will go diagonally, maybe I don't know, control are to add one ach right here and align it with this vertex, but make sure to activate the vertex snap, hit the key, and move this new line and align it here. One more and let's align this here and go this with this hit K, and those here as will hit. And the same thing here. The same scenario for the site, one and another one here, and let's connect them. All right. That's cool. Now let's grab this age right here and bevelet. Something like this. Maybe we can add extra ages right here three and here as well, and in the middle. We can add two maybe. Let's go to the top and let's grab these vertices and this activates provocal editing to smooth. I just need to scale those to the x axes. You can scale those or if you don't want to do this, you can grab it from the middle end, scale it inside like this because I noticed that I don't know, but I feel that from this area, the quin is a little bit pick as compared to this area right here. We need to take it out from here and from here as well or we take the middle area and put it inside. All right. And what else, let's see, what we can do here? Maybe we can I don't know, maybe we can erupt these edges and vel them. So get those alone. Ct roll B and vl them. Something like this. And for the other side, the same thing here. So, I just forget to choose this edge. All right. And now secol those. And beval them. All right. That's great. All right. One more thing here. Let's add one right here and maybe we can add another one here and bevel this can roll be 23 and crop this one in the middle and hit old to pk this inside. But turn off provocal editing, Alt and put this inside. Now let's crop this with this l and ple bit out maybe like this. Let's see what's going to happen if we add subdivision surface, Rally hit the smooth and let's add subdivision surface here. Now we got nice results. Very cool. If you like, you can add to resolution here. After that, let's like to excite. Yeah, we got nice cooking right here. That's cool. All right. What else we need to create? Maybe we can create these handles, and I think they are easy to create. Let's see, we have another. We have another em right here. Cool. Let's see how can we create these handles right here? I don't know from where we can start. Let's add, maybe, let's add plane here and tap with it move, go to the verte A and then and collapse to collapse, collapse them to one vertex, and let's go maybe to the front and activate X ray. Move this new vertex. I don't know. Maybe we can start from here. And it to extrude it like this. Then to extrude it up, something like that. Let's see what we got here in the perspective. Let's t that of the x ray mode and I think we need to bush it forward just a little bit. Grab this vertex, it can roll to bevel the vertex. All right. Nice beveling. After that, let's step out and let's a subdivision surface to this line, and let's make it smooth, s subdivision surface, and apply the result and the right click and convert to curve. Let's go to the curve properties and in the ble, let's go to the depth and ale bit. Give this a thickness like that, right click smooth, and there we go. Control I apply visual emery to to convert this to Michigan. We can now tap to the edit mode and. We can grab the circle at Hit d in the right click and then ps to separate it out of this group. G to the Z let's put this right here, maybe. Scale, let's make it a bit big, but let's bring the origin dot here in the middle, right click, set origin to umetry, scale this just a little bit, tap to the edit mode A and then it E to the Z and this up almost right here, maybe. And the grab this side. Let's and extrude this here and another extrusion. Here, go to face, grab these faces, Alt and Qs extrude along normal and extrude those just a little bit like this. Right now, let's go to edges, grab these edges, keep wise. Almost right here. What else? What else? For this side, let's extrude this to the Z again. Maybe we can hit F to create a phase right here. I don't know, maybe we can grab this edge and hit ke twice and take this up just a little bit. Let's take this down. Grab these grab these faces and extrude them along the normal like that, and now select this edge and this edge and level them. Control B. Let's add three here and grab this fa, scale out bit. Then what else? It e to extrude this up and with the edges, control b, like that. Let's add one right here, this area. Sorry. Let's turn off automerg, control r to add one here, and the c this one and hit S and the scallet, like this. All right, now let's grab this in your face and hit I to inside this the middle here, and let's trade this inside. Like this, and I have d to take a cob of this face, leave it right here. P is to separate it, grab it, grab the outer edges and then it E and extrude them down like this, and delete the interface that I have here, if we don't need it. A and G to take this down almost right here. Let's tab out and the sit like this. Go to edges, grab those edges here, control B and level them, something like this. And maybe we need to add right here to support this area here. Because I need to add a subdivision surface and this one bev it like this. And those here beval them as well. And those as well, control be euvel them. That's great. Now let's tap out and radically had the smooth and let's go to the modifier list and let's add subdivision surface here, and there we go. Now we've got nice results. For the button here, t go to the edges, grab this side, control be embvel them like that. We can add edges here, maybe this phase, we can make a small inst to avoid any bat heading. And now radically it smooth. Let's add subdivision with level one and leave it like this. All right. That's cool. Let's scar all of these details and hit if d to the CB and then control to the x. That's not going to work. So in this case, I will sad this to three d cos. Again control to the x and the enter. That's great. All right, do we have anything else? I think we have this I don't know. Dashboard, maybe. And here we have to put the key and turn on this car. So I just need to create something like this. All right. So how can we start doing that? To create this, I think, I can start with the camper, I can select it and tap and some phases from here from this area, maybe this phase to the G and take this down. All right, something like this. Now we got a new phase. Okay, let's go to vertices. First, let's hit ps two separate it out of the group. Select this alone, turn off subdivision service temblar tab with the Edit mode and grab these two vertices S and bring the three decosor right here. After the tab and hit tricli sit organ to the three D coos to put the organ right here. And now L et's tab move again and grab this edge, hit key to this, take this down just a little bit and maybe we can push this bag. Key and take this bag, something like that. Maybe we can hit E totrod this up and move this just a little bit like this. Grab this edge, it control B and Bival like that, what else? Maybe we can grab these edges and scale them to the y and the zero inter and change this back to boundary. That's cool. Hit key, it key to the z, eight, select all the faces and take it down just a little bit. Then take this up, key twice, slide it back and then hold all to push this forward. Now we can add mirror for the other side. Tap the mode and grab the middle area and hit Q to the Z and take this down a little bit. Now, let's grab this rough this up. S to the z zero, enter to mixed flat and grab those three here and hit F to create a phase. Again, grab those to isolate those x right here. Grab this vertex here, the grab this one hit and Q at last. And now we got this results. After that, maybe we can grab these edges here and bubble them. And the grab this here and if d to ta a cop of it and then ps to separate it and let's activate the subd surface for it with level one, but put this underneath the mirror, and apply the mirror and apply the subden surface, and the grab this line and tritical curve to give this a thickness from the depth. Something like this, Ric is smooth and control A to apply and apply vital umm to make this mese again. After that, go to the to the front or to the back and let's scrub these vertices, keep wise and hold and put those away a little bit. The same thing here, keep wise and put those forward. Then let's use You can use the carver tool if you like, control f x and cut this area. This is what I want. Now let's sc those here and maybe those here as well and it control b to level them. That's great. Let's to excite and there we go. For this one, tab, and maybe we can grab these edges and take those back even more here. Maybe we can add edge here or two or three, and the grab those and pick those up, something like this. They are not visible to the camera. Maybe we can tap the mode and the grab these edges and it to the z and put those gas a little bit like this. That's it. All right. You can add subdivision surface for this if you like. You can activate it with level one. That will be okay. This is nice. One more thing here we need to do is to add this design for the key. The three d courser is in the right position, it to A and less ad. Maybe circle, is very big S and scale, make it very small like this and rotate this to the x axis, it rx 90 degree and hit enter and scale is even more like this. Maybe we can take this up, just a little bit and scale it. E to the y, move this forward. Maybe we can All right. Now, tap the mo hit A and then F to create a phase, extrude this cat tal wit forward, and then hit I to in this inside and extrude this bag like this. And grab this and this control b to bove them. Something like this. Now let's this phase here, it ps to separate it, grab it and top the mode for this new phase, it tote this out, and then I to inset again, something like this, maybe. I again for inst that's cool. Now let's grab this edge. I control and vl a little bit. The grab this one in the middle and put this back and they grab the outer edges and vl them. That's cool. A grab this face, and bring the three d in the middle. Maybe we can use this tool to create a small box here at this area. And go back to select box and and push this inside. I grab the matry and then hold to grab the cutter and control halt minus to make a cut. Let's reverse that, grab the cutter and then grab the target, control half minus. Yeah. Now it's working. Now select the step to the edit mode, and maybe we can grab these edges and ble them. Control. But we will got some problem right here because this vertex right here prevent the bival to correctly, so I will grab this and ket wise and merge it with this one right here. But let's activate auto kee wise and take this down and now I can uvle these four edges, with this, and those here, but maybe this one as we merge this here. Grab those here and it cant and uvle them with two edges. That's cool. This vertex right here. I can merge it tie and merge it. That's nice. Now, let's sig these edges and bubble them as well. And now let's tritical smooth for this one and this one as well. And go to auto smooth act for this and this, and let's add weight normal for them and for this one as well. I think we got some weird heading here because these edges, we didn't level them. To get better results, we need to level these edges as well. So grab this old cant grab those. All of them. I can throw be to vl them. We will got some problem here because this vertex is very close. I can hit key twice and push this back here maybe and go back again to edges and grab these edges and pivle them again. At least see what's going to happen. Sorry, I just forget this one as well. Put this away, and let's do that again. Something like this. Can throw be and bvle those a little bit. Maybe we can delete some faces. We don't need all of these faces. Grab the cited control X to make it one phase. The same scenario here, maybe we can grab those and make it one phase. I just need to simplify it. Think that's better. Tub out that's it. I don't need to spend too much time for this. A C to bring the three d cos in the that's cool. That's it for this video and see x. 98. 099 Modeling Level 4 modeling Carl Jurisch's 1957 Motoplan part 25: Hi, everyone, and welcome back here. We don't have much to finish. We just have a little stuff here. We need to add them just to make this car make sense and more realistic. If I add a camera, for example, right here in this place at this angle, I will see that I didn't have anything here. Underneath the wheel or behind the wheel here. And that's not realistic. We need to create something here to connect it to the engine or to the Cassia of this car to make to make it realistic and make sense. So I searched here in Google and I found this image. And I need to use it just to take some information from here and apply it right here. I'm not planning here to create a correct mechanical results. I just need to add some ipe here, and I need to add them just to make the results, the end results more realistic and acceptable when I add a camera at this angle. Or at this point. So I need to take maybe these arms here and this arm and some stuff from here and make them visible to the camera to make the results beautiful. So Liz get started. I think we can start with those. I need to create two of them first. And maybe I can add a plan and scale and make it small and put it forward. And take this forward. All right right here, scale make it small like this, and you can scale to the x axis as well, something like this. Hit key to this and push this up. Let's see where should we put this the two of them should be in the middle of the wheel, so I will scale this to the y, just a little bit like this, this place I think is nice. Control and apply the scale because we scale this. After that, we need maybe just to manipulate just a little bit like this, and what else tap now and hit a select everything and then hit E to extrude this down, something like that. After that, go to face, grab these faces, and this phase as well, and it x F to delete these faces. Let's see here what we have. That's cool. Let's see now what else we can do here. Actually, we can do something else instead of extruding this face, we can grab those and delete them as well and grab this and this ag. After that it E to extrude those to the Z xes. E and Z, something like this, and just push those away from each other like this. Something like that will work. Now, tap out and let's add the solidify modifier and let's activate even thickness to get patter thickness and put this pack to the minus. Something like this, maybe will work. I don't know, maybe that's too much. Alt and take this pack. I think this result is okay. And then control I to at the solidify and then tap to the edit mode and fix. This geometry by deleting these phase. We don't need them. Grub this and this one as well here, and it x F to delete all of these. Maybe we can grub these vertices and those here and scale them to the x x a little bit like this. What else we can do here? Maybe we can grab those vertices here and those here as well, and hit key to the z and put those back and then hold to pk those forward like that. Something like this. Grab all of these upper vertices and hit key to the z and hide them like this. Okay. All right now we've got this result. Maybe we need to give it a thickness again by using a solid def, so let's use this again. Hold and put this a little bit and activate even thickness. That's cool. All right, that's great. Let's see now what we can do. Maybe we need to take another cob of this. If D end a cop right here. Now let's start creating these pipes. What I will do is I will start with the cylinder a shift A a cylinder. Let's sick the number to 12. Maybe we can start with 12 that's better. A scale, make it small and push this forward and make it close to the wheel right here, scale it even more and key to this, push this up. I just need to move it and put it right here in the middle. Something like this. S to the n, make it even small. Like that. Now tap the mode in's grab one of these vertices and let's extrude this to the x axis, not to the y, like this and we can push it to the y, something like this, maybe. What else we can maybe extruded to the y. Or let's take this pack a little bit and extrude this to the y here, and again, push it to the x and extrude it again to the x axis like this. I got this result and maybe I need to take it up, so I will activate proportional editing and I will choose sharp linear s and a key the z to take all these vertices. Turn off proportional editing after that. Now we got this result. Maybe we can take those back just a little bit and then control if P to give them abovel like that. Now. Go up all of these vertices and move those just a little bit to the y and when you comb to grab the whole edge that we created and then hit and it Ps to separate it from the group. That's great. Now maybe we can move this just atle bit forward right here. And grab this and right click and convert this to a curve, and let's go to the curve properties under the bibble. Second, let's use the death and put this just a little bit to go nice thickness. Because we scaled this, we got this acl result control and a scale to fix it Now, the result is nice. And let's see what else we can do here. Radically a smooth, make it smooth like this. All right now it key to the y and move it just a little bit like this. That's great. Grab this and hit and scale it. Grab this key and grab this vertex and hit key and move it right here. Maybe we can take this down just a little bit. Even down here and I can take this down as well here. Now let's se create another pipe. Maybe we can use this one. Let's secre this vertex E and extrude this here and Let's take this be a bit right here and it again to extrude another one to the x axis. And let's pick a nice angle and let's move this Nuctex to this area here, or maybe here and extrude this to the x, like that. We can grab those and take those up. Key to the z, something like this, and key and move it right here. All right the age that we have here, we don't need it. We can grab it this age and hit x and delete segment to delete this age. That's cool. All right now after that, let's convert those back to Mish. Right click and convert to Mish. Tap it move, let's seg this one here and let's pv control be, just need to make this area a bit smooth like that. That's cool. Now we have something here. Let's see what else we can do here. Let's grab this cylinder and maybe we can scale just a little bit and manipulate it. Or stroma make it small and Let's this pe and grab these edges and hit key and move it like this. And grab the cylinder itself and take this up something like this. And maybe we can tap the Emo just to make some editing here in this area. Let's go to face, grab this face I two insets just a little bit. I just need to create something like this. So maybe we can extrude to take this back like this and scale it. I and extrude this again like this and scale it, and it to make a small inset here, something like this will work. Now let's grab all of these new edges and give them nice bubble. Something like this. For this area, grab this, maybe you can move it just a little bit up to make a small cid here and grab this a and the let control B and the other school. Now control r to add one here and the volt control B. Now let's add subdivision surface to make this smooth. Radically smooth end acid. Now let's see what else we can do here. What we can add. Let's grab this design and top mod, maybe we can grab this circle and create something from it. I will hit d to take a CBI to the x axis and then hit P S to separate it. Let's grab this alone and t the mod hit and then hit E and S to those out, something like that, and its E to maybe right here, and F to fill this area, and I two insi to make a small inst like this. Let's grab these two edges and level them. Control B to make this area a bit tight. Torical a hit the smooth end, something like this, and what else we can add here? Maybe we can manipulate this face as well here. We just need to make a small design here. Maybe we can extrude this just a little bit and turn of subdivision surface because I just need to see what I'm doing and scale this I to int and forward and scale it like this. Andove these edges as well. Something like this will work. Let's grab this face and hit I and take this back, and you can hit to delete that phase, we don't need it, and just pvle this area, control B. Pvle it like this. We can select this phase and hit shift D to take a CB from it and then p has to separate it. Grab this tab, hit A, this inside. We just need to use it as a ipe and hit this forward just a little bit. Something like this. Let's put this forward again, maybe right here for now temporarily. Later we will see what we can do with it. Right head smooth, and that's great. Activate subdivision surface for this one. Maybe we can make another extruion here, control r to add one A here. Maybe we can era these faces, and extrude along the normal and put those out, like this. Let's grab these edges and revele them as well. A little bit. I don't know, maybe we can do something else here. We can make some design here. Let's to grab face and let face and hit e two inside and e two through this inside. Something like this. Ct to add one a here and vivot. Maybe something like this. All right. All the cylinder, maybe we can, let's leave it like this. It's not an issue. Maybe we can king the position of this one. Let's take this forward, maybe right here. And even the pipe, we can manipulate them a b, the secret of these vertices and maybe we can move them like this we can scale them a bit. All right, these details not so quite visible to the camera, so don't worry to make to spend too much time here. I just need to create small stuff here so we could say that we have a mechanical stuff here in this area. Let's manipulate the ads arm and this one as well. Grab them and at the mooted control to add here and there as well. Grab this a with this one and vl them like this maybe and grab these new edges, those here and bevle them as well. Now let's grab these edges here. Or maybe all of these edges, and let's take those up. I just need to make some variation here. Maybe we can era now of these vertices and scale them away. Or maybe the entire edge loop. I think that will be better. Sorry. I mean, this edge. Or something like this. Let's grab this pipe and tap it it mood. Let's put this forward just a little bit. I just need to hide it. Maybe we can create something right here in this area to help us to hide this pipe. Let's grab this in tp. Let's grab this here, to CB right here, and then with this one select E and here, it to link selects. Call this vertex it, and then Ps to separate this out of the group. With this one selected, take this bags a little bit. Right click, sit org let's bring the organ right here. Let's give this a bit of thickness like that. Something like this. What else can troll A up the solidify t, control at a here and bevol it? Maybe we can ext this face or take this down a bit like this and the grab these faces up. Right. Let's see what we can do. Maybe we can take COB of this one and use it at D or maybe this cylinder at D and take Cob rotate this to the axis at de. Let's take this and book this right here. Maybe we can scale a little bit. Yeah, we maybe we can use it. Let's take this pipe and tap it more, let's grab these vertices and just move them and align it here or that's enough. Maybe we can push this to the other side as well right here, maybe. Yeah, something like this will work. Grab this and let's give this a bit. And change this to maybe 1 centimeter or maybe 0.5. Let's add two segments or three and right click a smooth and let's activate auto smooth here and don't forget to activate hard the normal. We don't see any ages here because of the angle. In this case, let's go back to this angle, let's take this pack to bring back this effect here. Maybe the same thing here, we need to use the same number. Let's take this pack. Sorry, I think 19. Yeah, that's right. L et's grab this cylinder as well, or maybe we can select the whole group in details, we can mirror them. Let's grab this ho, H to grab these pipes and the cylinder here and let's bring the three decorsor. Let's use the three decorsor as a vote here and put the three decorsor in the middle because we need to use it as a vote. Grab the cylinder as well and if d to take a B and then con and then hit x to mir mir on the other side, enter, and there we go. One more thing here we can do, maybe we can cut up one of these ports and hit 50 to take a b right here and rotate this to the z axis, take this down. R z 90 degree, that's wrong because we forget to sweep this back. R z nine degree, let's go to the front and let's put it in the right position, maybe right here. Key and put this right here. That's great. Don't worry about the side here. You can leave it like this. Maybe we can grab the cylinder and use it r z 90 degree. And let's put this forward just a little bit right here. And scale it. Key to the z. Let's go to the front. I think that will be better and align it here and put this forward. Tap and let's grab the side and put this back, maybe right here. Now let's grab this p and move it and put it in the right position here and scale it and put this forward. This more beautiful. A nice. Now let's take a CV of this and this one as well. Let's go to the front and hit FTD to take a CV right here. All right, that's great. All right, let's take a final look. Yes, we need to see, can we make some further adjustment to make this even more beautiful? All right, to be honest with you. The result of this cylinder, I don't like it and I think we can make the result better by manipulating this shape. Let's grab this design and let's like to isolate it turn off subdivican surface because I think I can select these phases and just push them forward. Let's start with this one, hold control shat and let's select this one to select the area between it and it again, and maybe we can push this just a little bit. Lye right here, maybe we can take this back just a little bit, not that much. Or something like this, maybe we can do and tap out end less activate sub Do we can service to see the result. Or that's better for me, I think. Now let's grab this endless deleted, and we will use this one, select this and set this back to three d because we need to use it as a vote. Let's have the D take a CB and then control enter, and then we're going we got another one on the other side. All right now when you put the camera at this angle, now we can see something underneath the car and. We can say that, we have a mechanical stuff holding the wheel and we have arms here to rotate the wheel to the left and to the right and that's more realistic and more beautiful. All so now we can say that we finished this section, the level four of modeling, and we created this very nice car here. After that, we could take this to the next stage and all the design that we made here in the modeling section. We could take them to the R section. And after that, we had made them ready to receive the material correctly, and we will do that in the next section and the one that comes after it until we finish the course. So we finish the modeling section and we will go to a new section is called rubbing. So thank you and see you next. 99. 100 Unwrapping section understanding what's unwrapping part 1: Hi again, and welcome back. Welcome to this new section. It's about robbing. Rubbing is one of the most important tip if you want to complete your project. If you create anything inside planto or any three D software. This geometry, what you have did inside the three D software, you'd go through stages. You model what you want to model, for example, a car table, tapot, anything you want to model. After that, you need to give it a material. Or you want to add a ticki sture on it. So if you want to create a care, for example, and you want to give it a wood texture, so you need to bring an image of wood and apply it on the care to give it the feeling of the wood. You can't do this unless you are rub it and make it, make the care ready to receive that tiesture or that material. So we are here to make the models ready to receive the material. And that's call rubbing. We can say it is easy. In general, the rubbing, it's easy. But at the first time, if this is your first time to understand rubbing, it's a bit tricky and not so quite understandable at the first time. But after that, you will realize that it's very easy and you can handle it and you can rub almost anything when you understand when you understand correctly. I'm here to try as much as I can to make it easy for you, and we will start together to take too much example until we learn the rob, and after that, you will be ready to rob what you model, and your model will be ready to receive the material correctly. All right, now, let's get started and Here we have this small cube here. Let's try to understand what's arriving. Arriving means cutting the umetry from a specific area to open it. For example, here I have this cube. If I bring a Cesar and if I cut this cube from this edge, for example, and this edge as and this edge, what's going to happen? I can open this area as a door like this. It will be like that. Somebody like this. All right, because I cut from here and here and here as well. If I cut this side, if I cut this and this one as well, I can open it here and it will be like this. Something like this. The same side, if I cut and for this side as well, if I cut this from here and there from the other side, I mean, I will cut a result like this, and I can open this side here and this one as well on the ground, and they will be like this. Something like this. They will be. And now, after that, I can bind here and bind here and bend there and do whatever thing I need to do and closed back. I'm going to show you an image to understand what's exactly robbing. Don't forget the side as well when you open it. Robbing, we can say it's opening the geometry and miked flat. This is the idea. Now, you see that this cube become flat if I open it. Let's go to another example here. I just here to this example is just a beginning to understand what's exactly roving. I have a nice image I got from the inner internet to understand Arabic more. Let's bring this one here. You see this cube. We made the cuts by using the scissor, and we open it like this. Now, if we paint anything here, for example, if I made let's bring those here. If I made, for example, something like this, shape like that, I will see it like this here. And it will be as well like this. The idea, I need to b in the geometry so I can add a titure on it to get result like this. This is the rubbing. When I will take more example about rubbing, you will understand it and more. If you didn't understand right now what I did, it's okay. When we take examples, it will be easier to understand. I got some images here from Internet. We will use them the Pepsi here and this facade here and these images to learn why rabing is something important. All right. Now, to go to the Arabic section, we need to sublit this window to two. Let's put the mouse right here at this corner and let's supli the window to two. Let's speak the editor to to UV editor. All right now, if we taped to the edit mode for the geometry, I can see the UV of this geometry. It's opened and ready. Almost any geometry you add here inside blender, for example, if you add cube, if you add UV thing here, you can add. You will see here in the UV editor that the UV is ready and opened. But if we deform this cube, if we add if you made any extriion here, you need to add the new seams and rob it again. Let's go here before we do anything here. Let's go to this second right here, let's go to the UV map here. You will see here inside the UV map, we have the UV of this cube. Because I have this UV, because the UV exists here, I can see that I can see the result right here of this UV. If I delete the UV from the UV map second here, this one will go. And that's means I need to rub this again to get another UV map. I will hit this minus to delete it, and there we go. We don't have any UV. Now let's start with a simple object, for example, Q, let's re rub this again. Let's see how can we do this? All right. First, you need to go to the edge mode and select the edges that you need to cut. I mean the scissor. I need to cut this one. I need to cut this one and I need to cut this as well. Let's grab them first, grab this hold. You have to grab this and this one as well. Let's go to here. And here we have mark seam. Mark Sam that means you will bring the scissor and cut them. So let's go here and hit Mark Sam. So as you see here, now we got a red color, that means these edges are not connected in the UV map. Right now we made a cut here in one here in one here. But just keep in your mind, the cut that we made here is not affecting the geometry, this one. Is just affecting the UV, right here. That's mean if I grab the vertex here and if I move it, you will see that everything is connected. But if I rub this, you will note that this face right here, It's connected just in one side, the side because we didn't add anything here. I mean, we didn't cut it from this age. I will give you just a quick example here. If I hit 86 all the vases and go to U V and hit RA to rob it. Notice what I got here, I got the result. This phase that you see here, this one, is this phase here. And the rest of the faces here are the cube itself. As you see, the result here is mass because we didn't add a seams here as well. We didn't cut it. So the result here is not correct. And note here as well, in this area, we have a new UV map because we hit a rub We hit a rub when we use this menu here. All right now, let's add another seam, let's go to the edge, or you can stay in the vertex mode. Let's grab this vertex in this one and you can hit right click, by the way, and you can hit mark seam. You should go to the edge, I think to get this right click. Yeah, Mark Sam. Now we got a seam here, and here as well, we grab this one and hits right click and mark Sam. Now we got a seam here and seem here. What does mean is this phase because we add a sam will be opened like this here. And this one will open like this. We need more seam to open this face and that one as well from the other side. Let's grab this age and this one as well and hr click and mark them as seam. Now if we hit a rub, this one will go like this, and it will open like this. This one here will open here, and this one will open right here, and that one. I will be something like this. Let's say it like this. Right. Something like this. Let's see, it Aslet everything and go to the UV and hit rub and there we go. Now, we rubbed the C cube and now the Cube and I'll become ready to receive the tie correctly. Let's examine that. Inside Google, I found the sc titure. I need to use it. I will use it to see how can I apply this on the geometry. First, let's step out, and let's supli this window to two again and let's switch the editor to Hader editor because we need to create a material first. As you see, we don't have anything here. Let's go to the new pattern here, it it to create a new material, and now we have a new material. Hit and to close this panel here and there we go. Now, let's go to the folder. And grab the texture of the wood and put it here inside the material editor here. And now we have the wood tie. All what you need to do is connect this node to this one. All right. So grab this. Put your mouse right here, it left to click and move it to this node here, and that's it. Now we have a material or say the wood texture now applied on the cube, but we didn't see it because we need to go to the material material mood. You can sweak it here, it's called material review. You can z and go down here to material review. That's par. As you see now, I can see the material applied on the cube. But let's take a CV of this cube and let's see what's can happen if I delete the UV. Now we have two cube. The two of them have the UV. If I grab this in tab, I can see the UV here, as you see, and I have the wood texture as well here. If I grab this as well, I have the UV, but I will grab this one and I will go to the UV that I have here and I will delete it. There we go. Because we didn't have any UV, the tie this one will not apply here. Y, because we don't have UV. UV is something very important to make the geometry ready to receive the tikture correctly. But for this one, the texture applied correctly because we have UV map. This is the difference here. All right, let's grab this and let's tap to the edit mode, and let's see what we can do here. Let's go to the UV. Let's make this small because we don't need it anymore. Let's see grab all the vertices inside UV, Inside U V editor, we can move the U V. You can select like this and we can hit G to move. When I move the UV on the ticket, as you see here, the texture is moving. For example, if I grab one vertex for this one, and if I move it, you will see that effect the ticket as well if I take this down, you will see that I have some problem here. The titure is not correct because I move this down and that's not correct. And hit control Z. If I grab those twogether down, you will see that the titure is straight on this face. By the way, this face right here is exactly the face here. So if I deform it, I will see the effect here. I will hit control Z again. Let's grab this one and hit g to move it. I think this one here or maybe I don't know, maybe this one or this one, one of them. Yeah, this one. If I move it, I make it small, you will see that will affect the vie. If I make it tall by k and make it very tall, As you see here, the titure become sequed. Deforming the UV here will not affect the geometry itself, but it will affect how the texture will be applied on it. This is the idea. Now you have the ability to to scale the UV and make the titure here sm. As you see here, we can zoom in. Or you can make it very small according to the titure itself. And you can make it big here. So if you make it small here, there will be very big like you zoomed in This idea, is how to control it and manipulate it. Let's center it right here and scale it just a little bit like this. Let's mention one important thing here. If you didn't select all the fates here, you will not see all the UV here on the side. For example, if I deselect this M, the UV it disappeared here. If I select one face here, I can see it in the UV. If I select this face, I can see where is it here in the UV. If I select two, I can see them here. And whatever thing you select here in side three D view board, you will see it inside the UV. I select all of them can see all of them here. For example, if you want to manipulate just one phase, select it and here inside the UV, we can move it and put it wherever you want to receive to give it any texture. For example, I need to give it the texture that's on this area. That's mean you just need to move it and put it right here. Let's select them all, as you see now, this one phase now is no longer connected to this the cube. But if you hit everything again and go to U V it rap, it will be united to the group. That's it for this video. The next videos we will take more example until we enter sen Araing and make it easy. See you next. 100. 101 Unwrapping section Learn how can we make a dice part 2: Hi again, and welcome back. And this video, we need to learn more about the UV editor. Let's supply this Window to two. Let's go to the top right corner here and click and hold and sublet this window to two like this and saw this two UV editor. And now we are inside the UV editor. We have here in the scene, we have this cube. Let's add more geometry. First, let's move this cube right here for now. H itift and let's add maybe a cylinder, and let's move it right here. Hit and let's add con and let's add monkey head. Let's put those right here. Let's start with the cube. Each M add here inside the scene has its own UV. If you go to the object data properties here, and if you open the UV map, dropdown list here, you will see that we have a UV map for each object or each add here. Now if I tap to the edit mode, if I didn't tap the Edit mood, I will not see anything here on the side. So you need to tap the Edit mood so you can see the U V of e Mehubic. First let's activate a screen cast. Now let's grab the cube and let's tap the ED mode to see the UV. As you see now we have the UV, because the cube is selected, I mean all the faces, we can see the UV here and we can control it, we can move it. But if we didn't select anything here, if we tap to the Edit mode without selecting anything, we can't see the UV right here. The vertices on this side here, we call them vertices, but On the side, in the UV to, we don't call these vertices as a vertices. We call them UVs. The UV hood laid here inside the square, if we want to export it to another program like photocop or Spetans s painter. We need to put the UV like this. It's wrong to leave it like this or like this. You're not get correct results. The UV Hod inside this square. We can scale it just atle bit like this. It would be like this. Here we have the header, we have some option. Before I talk about the header, I need to talk about the difference here between the side and the side. In this side here, we have three dimensions, x and y, and z. But here inside the UV editor, we just have two dimension x and y. So if you want to move this to the UV to the x, you need to hit g x to the horizontal and y will be the vertical, had, y to move it to the vertical direction. The vertical direction inside the UV, inside UV editor, we call it V, and the horizontal direction, we call it u, because of that, we call them UV. But if you want to move them, you need to use the x and y. Now, here we have the ability to select vertices, and here we have the ability to select edges. This tool is for edges. Now I can pick the edges. This tool for face, I can pick face. And this tool here, this pattern here for selecting island. For example, if I go here to this cube and just pick one phase, the selected phase, I will see it right here, I will grab it and hit he and I can I slide it right here. Now I will hit eight, select all the UV, and if I activate now this tool now, with one click, I can select all connected vertices or UVs. So because of these vertices are connected to connected to each other with one click, I can select them, this one as well. So this is the usage of this tool, this how to use it. I will hit controls to bring this back. All right. Now I will select the whole cube, so I can see it here. And now with one click, I can select everything. Here we have this platoon is one of the important platoons here. Let's call sink. We learned that we need to select the cube all the phases, so we can see the UVs here. But I can activate this tool. Let's call UV sink. If I activate this one, even if you didn't select anything, you can see the UV right here. And the option here they will be changed. You will have the vertex and H and phase, and the island selection will disappear. So you have two options, either you use this or you can use the sinc. A tool activated. Now I can work right here and I can see which phase I selected here. If I select this phase, I will know that this phase is right here inside three D scene. But if I turn this off and if I select e phase here, let's go to the phase selection. I can't recognize it here inside the three D viewboard. This is the difference. Sometimes I use I use the sync selection and sometimes I don't. I stick with this mood. All right. Here we have this hearing selection. If you have it over here and leave the mo, you will see the name of this tool, it's called heard location. If I go to the vertex, for example, if I grab those vertices. As you see, I just tru those vertices right here. But if I swing this to shared location, and if I grab those again, shared vertex sorry, you will see that the vertices, these vertices are connected to this one and this one, and those as well here. Because of that, all of these vertices highlighted because they are connected here in the queue. This is the usage of this tool. For me, I didn't find myself using the tool too much, so I'm not going to worry about it too much. I will stick this back to disabled. Here we have some option here, for example, the UV is one of the most mens here we need to use it. Inside the UV, we have multiple option here, we will use them later, we will learn about them. And here we have the vote. We have the bounding box, medium point, two de coursor, and individual origin. Inside the UV editor, three D coursor, we call it two D coursor, because here we just have x n y, we don't have x Y Z. Let's take a quick example to understand this two decosor. By the way, you can move it the same way right here. If you hold ift and ritli in a blase, to follow. If you hold hit and hold right click to will follow your mouse. Let's take a quick example. What I will do is, I will use the snap tool here. By the way, we have a snapping system here. I will sweak this two vertex and I will put the two decosor right here at this vertex, hold heft and dl, hold control and stomp it here. I will hit eight, select all the vertices or the UVs as we learned, and I will rotate them according to the two decorsor. I will see this 22 de coorsor, and I will hit artertate, and as you see now, I can rotate it according to the two decorsor. Here we have proportional editing. We have the same modes here. And from here, I can add an image. And yeah, let's say that's it here, we have the how overlay if you want to hide or hide the U V here. And we have some options here. We're not going to worry too much about this option for now. All right now, let's tap out from the cube, and let's select the cylinder. Let's see how this UV laid out. I will tap to the cylinder and kick the result. These faces for the side of the cylinder, and this one for the cups, this one and this one for the top for the bottom. Let's go to the con and let's see the UV. This is the U V of the con. This one is for the cup, and these faces for the whole con here. And for the monkey head, let's a gravity and let's tap the edit mode. All right. These are the face and these the eyes, and those here are the ears, and these are I think the eyes. Yeah, I can make sure of that. I can deselect anything here and here and activate sync. For example, if I grab those, I just need to know where are these circle inside the three D viewboard. If I grab them like this, I will understand I learn because they will be highlighted here inside the three D scene. If I grab those here, I just need to understand what are these. As you see, I just realize that these pieces are the ears here. This one is the whole face. If I grab it like this. What you see. This is the way if you want to locate the faces, where are they here inside three D view here. Now let's take a quick example. I just need to make quick rubbing. I have the cube here and we have the UV right here, but I need to delete the UV. What I will do is, I will go here to object data properties and I will delete the UV for the cube. Just hit this minus, and it will be deleted. Now if I taped to the edit mode, I will note that I didn't have UV right here. Because I didn't have UV, you can't see the options right here because we didn't rub it. We learned if we grab an object and if we tap the edit mode, we can see some options here. That's right. But that's because we have a UV. We have something rubbed here. But if we don't, if we don't have a U V, we can't see any options here. Just keep that in your mind. Okay, now we need to rub this cube, and we need to bring the scissor, and we need to cut some area to open this cube because I need to create a dice. So let's see how can we achieve that. What I will do is, let's go to the edges and let's pick some edges. For example, I will grab this edge and this edge and this edge, and I will cut them by using the Cessor. So I will go to UV and hit mark Sam. So they will be cut it when I mark them as a seam. Now they turn to green. That's me now this face become open, right. Now let's grab this edge and this one and let's cut them. Mark them as a seam. Now, what else this one and this one as well? I think we can do this or maybe this one and this one. Corrupt them like this and mark them as a seam, go to UV and mark them as a seam like this. All right. What else? I think that's it. After that, just hit A, select all the faces, and go to U V and hit rat to rob it, and there we go now, we have the Q raped and ready. And now we have a UV map here and all the options they came back. All right now, how can I create a dice? How can I do that? Y thing we need to rab it and we did that, we rapt it. We add seams and the necessary places, and we rapt it, and everything now is ready. This activate s for now. Now, what else, what we can do here? Now we need to add a material to the CQ, so we can see the material first. I will sublet this window to two, I will sublet it like this, and I will switch this to header editor to create our header. Hit in to turn this panel right here, we don't need it. Let's hit new from here to create a new material, or you can go here to the material sec and you can hit new from here to create a new material. Now we have the material and we have the name of this material. You can call it A, for example, you can call it any name or let's call it De material, and now we have the material already. After that, we need to add image ticks here here to tick here this cube. Let's open the folder, and I will grab this dice image and I will drag it and put it right here inside the UV editor. As you see, when I selected, I got it right here. If that doesn't happen, you just need to open this arrow and search for the image and you should find it right here. If you have too many images, you can use the SR field here to search the mag that you want. Anyway, now, I need to connect this image, this image right here, I need to connect to this material because I need to see the result of this material on the cube. What I will do is I just going to connect the color to the paste color and that's it. But I didn't see anything. To do that, I will z and go to material review. Now I can see the results of the image on the Q. But we got some black area here because the image texture is not aligned with the U V perfectly. I will tap to the edit mode and notice the a right here catches the black Area. Because of that, I can see some black area here and here, and maybe in an other places and the others right here and here as well, why? Because I have the UV on the black area. If you notice, this edge is on the black, taking the information from the black area, and let's maximize it and sorry. And the UV right here as well, taking information from the black area. So what we need to do is, we need to move the UVC a little bit to this direction to align it. Please do that. I will make this pit pick so I can see the whole V, and I will hit eight select all the vertices here. What I will do is I just move a little bit hit and move it and Align one corner. We align this corner and everything now is ready. We can move it a little bit zoom in and move it. That's cool. And we still have some problem here. To fix this problem, we, for example, we can use the two decorsor. We can use the two decorsor, if I let's treat this 22 decorsor rest and snap the two decorse to this vertex. Because we need to use it as a vod. Hold, hold control and snub it here and there we go. Now I can snub according to the two de coorsor. Snub it and correct the result and there we go. Now the U V aligned with the perfectly and here inside the viboard, I can see that the m is correct. And you can do something else if you want. For example, you can grab the vertices, grab the vertice those vertices. And move those vertices. Let's go to the edges and let see. Yeah. By the way, if you activate the sync selection, and if you picked the vertices, you will note that e vert that you will pick the other vertices, the hard vertices will be selected as well. In this case, what I will do is, I will go back to the original mode, and I will hit A, and now I just need to grab these vertices alone and move them. This is another way, by the way. I will hit, I just need to t you something. And K was going on here inside three DVBoard when I moved this. So I will align this here, and I will align these Gs or these UVs right here. Now we rectify the result here. These vertices, I will grab them and move them down. Let's maximate this. Or let's go here because I just need to see the chan it and move those down right here. There we go. Maybe those they are perfect. This vertices vertices, I just need to push them just a little bit here, and then we're going to correct. What else we have the side. We need to correct it, grab them, hit and move it. Cool. This one as well, hit and move it. And the sowsom. I did this because I just need to show you that you have multiple ways to correct your UV. But the cube is something simple. But for something like the monkey head, it's difficult to control it like what I like what I did to the cube because we have too many vertices and the vertices are not aligned. You can't use this method for all the object. This is what I want to mention here. Go back here to the que because I just need to manipulate the vertices and I need to see what's going to happen here. For example, for the site, the two dots here, I will grab one vertex and I will move it. K was happen here when I manipulate the vertex. You notice that I'm not deforming the three demag here, but I deforming the texture of the three demag. I need you to realize this. If these vertices are not in the correct position, you will see something like this. This, we call it distortion here. That's not correct. The U V is not correct. If you see something like this or something like that, if you see that the image is not apply it correctly on your geometry, that means your U V is not correct. You need to correct it. To correct this, move the vertices and put them in the right position, or you can hit A, select everything and go back and hit R to rub this again and go back and align it with the design again to with the image like this, and that's it. All right, so I think now we learned a little bit about U V, and I'm not going to stop here. We will take, more examples to make the rubbing world easier and easier because it's something important to learn. I will end this video and see you next. 101. 102 Unwrapping section Learn hwo to create a pepsi can part 3: Hi again, and welcome back. We learned how to create a dice by using cube, and now let's create PPC C. Let's see how can we do this? I have this image. I have this image right here. Let's open it. I will use this to create the Pepsi C. First, let's go back to the material, and let's select the cylinder to give it a material, and I will use this pattern to create a new material. Let's call it Pepsi. Let's bring the image of the Pepsi and let's put it right here inside Hader Editor. Let's go to the folder and let's bring the image, click it track and put it right here. After that, block the color to the base color to see the result right here, and now we got it. We have a UV already exit, I will delete it, and I will rub it again, we need to learn how to do this. Delete this old UV here. Before we rave it, I just need to make a small adjustment to the cylinder. First, let's go back to solid, and let's work with this on this cylinder. What I will do is, I will go to vertex soot. I just need to make this a bit like this and a little bit more like that. Maybe I need to manipulate the faces here, for example, I can grub this and hit extrude a little bit and maybe we can scale it like this and hit two in this like that, and maybe extrude this inside and scale it back like that. Maybe I can grab these edges here, and this one as well ebubble them, control and make this area smooth. Something like this. Maybe this one can roll and make smooth like this. From the top, the same scenario, maybe I can grub this face and hit e two extrude maybe right here and just scale it just a little bit. Maybe hit I two inside this inside, hit e twotro this b. Scale just a little bit like this. Let's bubble these edges, those can throw be to bubble them. Maybe this one, I can bevel it as well. And there right here. I'm not going to make the design complicated. I just need to make it easy. After that radical is smooth and I have my design. Okay, now, I need to create I need to rub what I have here to finish my model. What I will do is, I will tap the edit mode and I need to cut the site. I mean in the U V. I will add a seam here to cut this edge. Go to the edge and maybe I can corrupt this one, or even if you picked this or this, you can do that. But for me, I think, I will pick this one. I can start from here. Spick this edge, and let's go to the U V and Q's Markm or you can Hetrlick and Q's maxim, but make sure that you are in the ge model. After that, maybe I can pick this edge as well and separate it, Hrlick and go and hit Markm like this and there we go. All right. Now we separated the top cup and the base area, this one as well, we separated. Now I just need to add one edge here, maybe right here. Along the side to open it. I mean, I needed to be open like that. This is the idea. I need to open it like this. I need to add or cut it from here by using the sm. Write a lick mark sam and there we go. After that, when you finish everything, you just need to hit A, select everything and go to U V and hit rub or you can hit you if you want to use your cut, you can hit to open the rub menu and hit you again. So you need to hit you twice and you again and there we go, now we the results. But I just need to mention something in here. If you rub The Pepsi can in this view, you will see this menu right here. Let's push this mouse just a little bit right here. This is rub properties when you rub something right here. But you can rub here as well. You can hit and hit again to rub, and the properties will jump here in this area. If you made the rub here, you will find the properties right here. If you made it right here in this window, you will see the properties here in this area. All right. Here inside the properties, I have the rob method. We have two options. We have angle rob and we have conformal rob. The angle rob is the base one. And it needs more time to calculate the result. I mean, if your geometry is a bit complex, and the conformal is not accurate as compared to the angle base. But the conformal work work with the work with with the umetry that have Strit lines. Angle base almost working with organic like you rub a face or rub a hand of human or an animal or anything. The angle base is better. But for Pepsi can, we can use conformal as well and it will give you correct results. The angle base as well will give you a correct result because it's something easy. Let's stick with the angle base for now. I like the results right here, and now we can say that we finished the rub and that's okay. This is the first step. Here we have the margin. The margin will help you to push these islands away from each other. If I push this forward, you will see that I created a space between these pieces, and that's something important. For me, I just can push this just a little bit like this. All right, I finish that. Now, let's stave out or let's stave in again. There's no problem. I will go here to the image and I will bring the Pepsi image right here. Now we have the image and we have the RRA results. I will g to move everything out. And I will start with the side. I will select it and it g to move it like this. I will go to the preview head heading preview. I just need to see what's going on. Now I put the result of the psi can on the image. All what I need is rotated. I can rotate like this, holding control to rotate nine degree, but I need to flip it because this rotation is wrong. I will go back to bounding box and hit R and rotate this again like this. And hit key and move this. I will put the corner to the corner here. Hit key and move this right here. Close to this E here. Something like this. I'm not going to put this corner right here because if I do this, these vertices will go out. Let's put this here and that's cool, almost cool. Let's bring the two decors, maybe I need to work according to the two de coorsor hold heft and put the two de coorsor right here. Let's scale this island according to the two decors. Right now, all what we need is to scale this and align it with the image, align these vertices to the image, because we need this image to fill the site. But before we do that, I just need to try to fix the tilt that I have here. I need to make a s. You remember when I rub this, I used the angle base. Let's try to rub this piece alone. With confirmal. Let's see if confirmal can fix this small tilt here, or test hit and then hit again to rub and let's tweak this from angle to conformal. I think we just fix the tilt just a little bit. Yeah, it's fixed it just a little bit not too much. We still have the tiles try to fix it again. I will grab the whole edge, and I will go to the U V and I will use one of these option here. Is. L et's use align ya, strike to the x or to the y. I need to strike in this to the x and y, now it's become straight. This side, as well, I just need to grab these vertices and do the same scenario. Let's go to the align and striking this to the x, and now they become perfect. I finish that. After that, I will grab this piece alone and hit and align it with the co, by the way, I just discovered that I have tilt goes down like this. This vertex and this vertex. That's easy. I will grab all of these vertices. I'll click to grab the e loop and go to the UV and strike and align and strike to the y this time. I think now we just fix it or not. Let's do that again. Let's grab them like this and go to the UV and strike align to the y. Or let's try to use another one, let's hit auto. Align auto. Yeah. Align auto will work as well. Align auto will figure out where you want to stry this according to which direction you need to stry this edge. It will figure it out by the next vertices. I will use this for the side as well. Go to the UV and align and auto align, and there we go Now let's grab all of these vertices and I will put this corner to this corner, he key. Let's move this maybe right here. After that, I will grab these vertices because what I will have here. By the way, we just need to rotate it. I just forget that. I will hit r to rotate this and rotate it. There we go. Now let's grab the upper vertices, and let's take those down and watch what's going happen here inside the three D viewport. Watch these vertices now catching some information from the cup, and here we have the results of this area. This right here, we have it right here. I will grab all of these vertices and push them, and take those down and kick what's going to happen. Make sure that you cover this, something like that will work. Maybe this vertex, I just need to push it just a little bit, not too much because that will distort the result. That's cool. We did something great. But now we need to push all the vertices to this diacin. Let's e grab all of these vertices and hit S to the w to the x. It S x and scale this until you make the vertices aligned with the corner of the image. Now if I tap out, I can see that is something beautiful here. That's call. This is the first step. After that, I grab the C can again and tap it move in. Let's see if this is the cup of the top of the buttom. I will bring this and hit key and hover over here. And see, this one for the bottom, so I will do I will move it right here for now, and I will grab this and hit key and s, Let's put this here for now, move it here. Grab the bottom area and put it right here in the middle, maybe. And scale a little bit until you align this circle with the image. Something like that, scale it even more and don't make the island wreak the dark area and now we something here. That's cool. From the top top again with it mood, and let's grab this circle and let's put it right here and scale it and make it pick. Something like this. Maybe I can move it just a little bit up. As you see now, we just rubbed despic and we got a nice result. And I think now you understand what's rubbing and why we need to use it. It is quite difficult to put these in the right position without using the Rb technique. Yeah, how to texture the Pepsi can, and delete this Image we don't need anymore. D from the UV editor I mean, that's it and see U next. 102. 103 Unwrapping section how to unwrap a table part 4: Hi, everyone, and welcome back. You remember this lesson when we created this table. Let's see how can we rub it and create something similar to the mic that I have here. Let's de this copy. We don't need it, and we don't need the three copies. Maybe we can start with one, and that's it. Let's pick the biggest one here, and let's see how can we rab this and how to apply the wood ticket here on it. Before I do anything, I just need to add the bubble to the edges to make it ready. So I will tap to the edit mode and go to the edge. I'll click here, I'll have to click here. At have to click here and here as well. I just need to target all the edges to buzle them. You can buzle them by using the edit mode or if you like, you can add a bile modifier, and I think that's better. And just give it the amount of bubble that you want, maybe 0.01 or 0.008, maybe. Maybe five, something like this. Let's add two segment here and activate hard and normal and activate auto smooth as well and there now it's become smooth and ready, and we don't need the bevel modifier, we can light. Control and alight as it. Now we can tap the Emo to start this table. Let's hide this piece and this piece as well here. Let's ing the view to UV editor because now we are inside editor. Go to UV and delete the image. And let's start to mode and hit A. As you see, we don't have correct UV. We have the UV, but the result here is not correct. What we will do is, we need to re arrab this to get better results. We can delete the UV map and start fresh. Let's go to the edge and Let's start rubbing this. I think I can hit Alt click on this edge to select the entire edge loop, this edge loop. Maybe I can delete this blue line, just need to clear sharp, and let's crab this line. I click to select the entire edge loop here and then hit right click mark Sam. Now we add a seam right here. This phase will be sublated. The same canel right here, I'd click on this edge to select the entire ge loop and mark Sam right click and mark Sam. We can add seam here. S here or maybe here right here and one here as well. Tic mark m. So we add this sam here to open it, and this set as well. Now, let's hit A to select everything. And here in this window, I will hit you and you again, are rap to a rabbit. So I think we got some problem. Let's hit and you again to rab it and then we're going to we cut the wrapping result. I rap this right here in the three DV ward. Okay, now we cut the results and here we have the options, we have ankle based. Inside the angle base, I guess some weird result right here in this area. Let's try to use the conformal because this area is the care that I have here and the care that you didn't be like this. So I think there's a problem. Let's try to use conformal, and now conformal gives me better results. This is why we need to speak from angle base to confirm all sometime. I will manipulate the marking, just need a small distance here. Now we got this piece rapped and ready. Now tab out. I think we have a problem with phase orientation. Yeah, that's right. Tap it A and then it and to recalculate the normal and that's it. All right. After that, let's sublet this Window 22 and let's go to the header editor to create our header. We have a material for this. You can delete if you like and start free, just ing new. Let's go to the folder. Let's bring the wood texture. This is the folder. We have this wood number two, click hold and drag it and boot right here and connect the color with the base color, let's go to the material review because I just need to see the result. Now I have something right here. Let's go back to the L et's go back to the UV editor here and tap the edit mood. Now I can see my result, and I need to see the MP as well of the wood. Go to this right here and circ for the wood wood number two, and there we go, now, we have the wood. That's cool. Now we have all the pieces inside the wood texture and this is the result I got. But I think there's a problem. The wood texture seems a bit zoomed. The texture is very big to the object. I need to make some scaling to achieve a balance here. I will tub and go here, and I will select everything and scale the UV. I need to scale the UV to make the image small to the UV and make the UV V. In this case, as you see here inside three D viboard, I making the texture small and small by scaling the UV itself. But if I make the UV very small, you see here on this side, the titure become very zoomed in and pixelated or at least scale this like that, and now the result looks nice and acceptable. Even if you scale the UV and make it bigger than the borders, I can catch a wood material because this image of the wood is duplicated and filled the whole area. But we don't see all the images. We just see one. Keep in your mind that the image is duplicated a the area here. If I go to this panel right here, you see this very small or that I have here. If I open it, I just need to hit and to open this. You just need to go to the view and here we have this option. It is called repeated image. If I activate it, I can see the other images or the repeated images. But we don't need to work like this. I need to turn this off and that's it. All right now I can tap out and everything looks nice. But if you if you want to make sure, is this texture strat, or is there any deformation in the results of the UV. In this case, I can use another texture if I typed the eight mode and here I can go to the image and tweak the source from single image to the generated. I can see that I have now squares if these sequares are perfect, that's mean that UV here is correct and there's no problem. But for example, if I have something like this, I have something like this, The square here is not perfect, need to be straight a little bit to to be correct. That's mean we need to rectify the U V. For example, maybe we need to grab the vertige and take those back until we make the square correct and go something like this. Or you can hit A and re rab it again. Or maybe you can find a problem like this. Let's see where the problem right here. Because we move these vertices, diagonally to this diaction, we got a weird result happening here in the UV. Keep in mind that U V should be correct to get correct tick scaring here inside the three D view board. I will hit control Z to undo this result. If you want to go back to the image, just go to the single image and go to the folder here, go to the folder and just open it. This one right here. I will end this video, and I will see you next. 103. 104 Unwrapping section Learn how to use cube projection 5: Hi, everyone, and welcome back. You remember when I modeled this disc, I need now to rob it and add the material on it, a wood material. Let's see how we can achieve this. Let's start with the first piece, this one right here. I will hide this one temporarily and let's work with this. First thing we need to do, we need to swak this from mage editor to UV editor, and we don't need this mag. I will delete this image, and then we're going now it's blank and ready to go. Let's stop the mood and let's see how can we achieve this. All right. You can rub it in different ways, and it is easy, and something complicated. Let's start adding sm here. Let's go to the g mode and let's pick some edges to give them am. For example, I can grab this age and this one and this one and add sm right here, go to the U V and maxim. So I just cut it this area. This one, as well, I can add s here in the same scenario here. Grab those and add the seam, go to V and Mark seam. Right now when I rab this, this one will be opened, and this one will open like this as well. It will be like this. Is the idea. What else we need to do here? Let's supply this edge and maybe those here as well. Maybe this grab those here as well, and these edges here and those here, grab them and right click Mark sm. And we have the side. Let's supply this alone. Mark sim, maybe we can equal these edges right here, and on the other side, the same thing. Mark sim. All right. For this side, maybe we can add the seam here. Let's see how can we do this. All right. Now let's see what's going happen if I rub this results. I will hit a to select everything and here on this side, I will hit you and you again to rub it, and I will sweak the method from angle to conformal. Now we got the result of rubbing. All right now, the rubbing is done. But I just need to make sure that is this result correct. I need to examine it by adding the checker tick here above it just to make sure that everything is correct. To do this, I will go here and hit Nu to create a new MEC here, and here we have the dimension. I'm not going to do anything here. I'm going to hit, and now we have blank C right here. Open this panel and and the E section and the source, S Site is to generate it. And use U V grate or you can use color grid. Let's stick with UV grit and now we have this UV grit. We can call this to UV just to recognize it themage. There we go. Now we have this checker, but we don't see the squares in a three D viewboard. Let's go to the material view, and yet we didn't see anything to appear this checker material or texture on the disc. We need to create a new material to the disc. So I will tap out and go to the material section. And here we have a material. If you didn't have any material, just deleted and create a new one. And here inside the base color, we just need to add a texture here. So what I will do is, I will open this menu and I will add Image Tice. Because I need to add an image, you can do this by adding Tikcur right here and pick the U V that we just created. If that difficult for you, that's okay. You can sub this Window to two and dwak this to Hader Editor, and you You should not have an image right here. All what you need to do is, you need to add shift A to add and go to texture and add mage texture here and s for the U V and Blag it. Now, The texture that I see right here is here as well. Now I can see is there any distortion? Is there any problem? So tap the edit mode now, and I will hit in to close this panel. And I just need to make the square more small. I will make the UV very big. I notice right here in this area. I have some distortion. You notice that the square here is not correct. So this is UV distortion here as well. We have some problem here and here. So we need to fix this area. For this side, everything is perfect and nice. But on this side, we have some distortion. The squares goes diagonally and we don't need that. In this case, let's go back to solid, and let's add some seams here to fix this issue right here. Let's add one A here, one cut here and one cut here as well, and let's see what's going to happen. Right click mark seam. Maybe you can sublet this if we want, I think that will work mark Sam. For this area, the same scenario here let'sb those, and you can mark them as. This one bic and right click marked as Sam. Now hit a select everything and here hit you and you again to rub it and keep it conformal. Let's make the UV big because I need the square to be small to recognize the Hues, and let's go to material review. Let's check the area this again. Now it's okay, it's rutable. We don't have any distortion. Now this square tells me that the UV is correct and ready to receive any tickeur you can add, maybe wood or iron or anything you need to add here. That's good news. What I will do is now I will bring the folder or open the folder of the textures. This is the folder, and we have an image right here, seamless wood, and I will put it here, and I will plug the color to the base color. I will ignore this. Plug this with this one and this one will be deselected. Now notice that the wood applied perfectly and we got very nice result here. That is very nice. If you want to make or manipulate the texture simple, you can tap and manipulate the U V, if you want to make it small or big, that's something manageable. You can edit it. L et's grab this one and let's see how can we rub it is the same scenario of the cube. You just need to tap to edit mood and grab the side that you want to cut maybe those here and maybe those here as well. Grab them and radically mark sm, it A, select them all and here hit A and U U to rub them, and they will be rubbed. You can give them the same material of the wood. So select this, go to the material, open this arrow and choose the second material of the wood, and that's it. Now the wood applied correctly and nicely. This is how to rub something simple like this, there's another method of robbing if you like to learn them. For example, we learned how to use the Sam idea. There's another way to rob this quickly if you like. What I will do now, I will go to the to the object data properties, and I will open the UV map and delete the UV that we just created. Select this and delete the UV. As you see now, we don't have any UV. This image, I will delete. I don't need it from the UV editor. I will tap to the edit mode and I will try click and clear all the seam. These seams that we just created, I will clear them all, and now we don't have any seam. I need to rub this quickly, something simple like this. Here we have multiple options. We will learn the important choice that we have here. One of the most important choices is Q projection. Q projection is one of the rubbing method. This method will create a big cube surrounding our design, like what I'm doing right now. But you don't see this cube, and we will take a shot from all the side from the front and back and top and bottom and all the direction. We will take shots for the object, and we will get a result right here in the UV editor. Let's give that try. I will go here to UV and I will hit Q projection, and there we go. It's raped quickly. But we got one problem here. The UVs are overlapping each other. You can supplt them if you like, or you can leave them like this. If you just need to add a wood image. For example, if I bring the wood here, and if you leave this result like this, there's no problem. It's not Abig can leave it like this. But if you want to supplt them, you can go to the islands and select each island and key manually and move them like this. Until you sublit all the faces away like what I'm doing. But there's another way if you like. I will hit contro sic time to cancel all what I did. You can grab them all like this, and you can go to U V and you can hit Pak island. If you hit this platon This option will rearrange the islands and put them in nice places inside the U V square. I just hit this and there we go. Now they are supltd. Here we have the margin, if you want to make our put a distance between them. And there we're going we have this result. Using Q projection. It's a nice method and I use this a lot. If I want to make quick rubbing. By using this method, you don't need to add a seam. I will give you a very fast result. But it's not clean result, fast, but not clean. Because if you use the seam system, you know where to put it and, your result will be correct and nice. But Q projection as you see, gives you too much islands here. This is the idea. Y, it is very nice and that's it for this video and see you next. 104. 105 Unwrapping section How to fix the scale of the UV 6: Hi, everyone, and welcome back. Let's see how can we rub this table? Let's split this window to two, and it's already two window we have here. The editor, I need to get from image editor to UV editor, and we have the same image still exist right here. We just need to hit this x to delete this image. All right. Now we have this plank and ready. Let's select this fast piece, and let's go to the object data b. We have the UV. Yeah, we have a UV, but we didn't erupt it. So we don't need this UV. I will hit minus to delete it, and let's start fresh. Tell to the edit mode, and let's see how can we errupt this? First, Maybe we can make this a little bit small and give room to this area. Let's activate screen cast. I just forget to activate it. Let's add one here and make the size small. Where the size mouse size, something like this. All right. Let's go to the edge and let's start maybe with the outer edges. We can pick the outer edges, and maybe we can add the same or maybe we can add the same here, start here. Adding seam right here, but we will have some overlapping. So I prefer to grab the entire a loop and right click and mark seam to add seam here. And on the other side as well, I'll click here and right click Mark Sam. Turn now, we have a seam here and sam here. And maybe we can add seam right here to help this to be opened like this. All right. So I will add a seam right here in this area, right click and Mark S. We have this inner area, I will crop this entire edge loop, or maybe It select this with this one and this one as well. And the same scenario here. We can erupt those and mark those as a seam in those here as well. These edges. And those here. Mark seam. That's cool. This piece in the middle will be very long if you want to leave it like this or maybe if you like you can add another seam right here to make it small or to divide it too. For me, I will leave it like this, and let's see the result. Hit a select everything and just hit and again, and again to rub it and now we have the result rub and ready. The result is angle based. I will speed this to confirm confirm all work with this object better. And now we finished this. The last thing that we need to examine or test After the raving, the only thing that we want to make sure of is the result correct? Is there any distortion, and we need to examine that. To do this, I will hit U to create a new image. I need to create a cker texture here, so let's hit this in U. Let's call this U V, and I just again to hit We can change this to upcorate, by the way, to create this image directly, and now we have it. After that, we need to apply this image on this table. So let's tab out and with this one selected, I will go to the material, and I maybe I can delete already exist material or I can leave it. I just need to go to the base color here and hit this button and add image teture. And open this arrow and search for the UV that we just created right here. So choose this and there we go. After that, go to the material review, and now we can see the checker right here on the table. All right, the checker now, it's very big. I can't recognize if there are any problem. In this case, I can tap and grab the whole UV and make it pick. If you make this pick, you will make the checker small. And now I need to follow and see, do we have any distort specul in this area? We just have an overlap because we added the same right here, and that's not a huge problem. We can accept it. But everything else looks nice and beautiful. The result is very nice. I can accept this rubbing result. There is no problem here. All right. All the squares are okay and good. After that, let's go to the solid mode, and maybe now we can start with these pieces. Let's grab this one. I like to isolate it, and let's tap with the mode. Let's see what we can do here. We have a result of the rubbing, but this one is not correct. So now I just need to re this. I'll click to grab this side of edges and maybe those here and this one as well. All right. Let's see what's the best way? The best way is maybe to add the seam right here, right click Mark seam. And yeah, maybe we can add the seam here as well. And select those here and add the seam here to open it. On the other side as well, we can add the seam here. That's cool now. We can rub it, hit A select everything and here, hit and again to rub it, and now we got a result. We need to apply the same material of the checker on this piece as well. Let's go to the material review here and We just need to its to go back, grab this piece. The material that we just added to this piece, I will give it a name to recognize it. So just hit db right here and call it U V t UV material. You can call it anything you like. Now let's grab this N piece that we just rab. Let's go to the R here, and let's add the UV material. It's the only one. And then we're going to have nice result here. All right, that's cool. This piece as well. It's easy to rub. It's like you just pick some edges and open it. I'd seem to open it like this and maybe this one and this one as well. Mark Sm hit A and here hit U and U again. And now it's rubbed as you see here. We just need to give it a, open this and give it a material, and it's okay now. Cool. All right. What else do we need to do here? Let's grab one of these legs, for example, this one, let's tap it more, let's see how can we rub it? Let's grab this, maybe these edges, and maybe those here as well. All right. Let's start with let's grab those here and this one as well. Let's go to solid just to see the edges that I picked right a click Mark seam, and we can add the seam maybe here. And yeah, here, we can add the seam maybe here as well to open this. Right. Now let's see what's going to happen if I rub this. It A and here hit U and U again. This is the result of the rubbing. Let's rub this again because I just need to see this menu. As confirmable. Now let's see the checker, how it will be on it. Just open this arrow and add it, go to the material. Let's check if there are any distortion. Let's looks okay and Yeah, it's okay. Maybe we just have a little bit of the stork in here in this area. I just note that I have a tilt here, and a tilt like this is not a big issue, you can ignore it. For any reason, if you want to get more a better result, you can grab this one, this a, for example, and sult it alone, if you like, right click Mark Sam and ara this again. Everything in here, it and again. And now we just fix it. If you worry about this too much, it's easy to fix. Splate it. All right. That's cool. Now we rob this piece, this and the lake, one of the lakes. Here we have a new problem here. We need to discuss and we need to find a solution to it. The sequi this piece are very small. That's mean the U V is very big to the image. This piece will take a big resolution from the image because it is very big according to the image. But this piece, it is very small according to the image. And if I add a wood, that this area will be a bit zoomed in and this piece as well in this one, we noted that we have a variation in the size. We need to make them one size. We need to unite them. To do that, It's very easy to achieve. But before this, I just need to make a quick example to understand what I mean when I say the square here is big and here is small. What I will do is now, I will create a new material here. For example, I will pick new object like this one, and I will create a new material to it. I will call this Wo just to recognize it. I will add ticure, and now we have M ture, let's open this let's Let's add the new image. You can open, not new it open just to browse the folder, and let's bring maybe this image right here, and now we have it. All right now, I will add the same image to the all pieces, this one, and this and this. Grab them like that and go to the material and use wood material. H. O by one, grab this and give it the same wood material and this one and this piece as well. Now let's see what the difference here. I think the example here is not quite obvious. In this case, I can choose another image. Let's go back to the wood material again and let's open the folder and let's pick this age, maybe this one will be better. Yeah. No that not the difference here. The wood on this piece, it's normal, but here you noted that it's a bit pixelated. It's like you making Zoom inside the image. That's because the UV is a very small according to the image. Here as well, you note that at this distance, the wood is very nice, but here, the wood is very big. In general, we have a variation here and that's why we need to unite the U V and make them one size. All right. To do that, let's go back to the checker texture. What I will do is I will bring change this back to the cer, and I will select all the wood and hold heft and grab this one, make it the last, and hit control to open the link menu and quiz link material. To give all of these pieces the same material of this one. Just make it the active. I can repeat that just to make it easy. I will select this piece, this one, this one, and this one as and The one with the material that you want, make it the last selected object, you have to grab this and then had control to open the link menu and link material. Now they got the same material. We didn't rub this, as you see, we have a distortion and the result is not correct. I'm not going to worry about this. How can we make all of these one size? You can now grab all of these pieces and tap to the edit mode, and you can see them all in one U V. After that, you can hit right the click, and you can go to the UV and average the scale. Average the scale will manipulate the scale and make a balance between object. It will chan the scale of the object, give them the right size average island scale. I will hit this option, and as you see now, All of these pieces now getting the same information of the checker texture. We still have some overlapping. As you see, we have too much overlapping. After you fix the scale, you need to go back to the UV and hit Pak island to redistribute these pieces and give them a nice look, and now there we go. It is very nice. Now the UV is laid out correctly, we can make some margin here and that's cool. Now, we can Go back to the wood material. So let's start out now, the UV is okay, but by the way, it is very small to the image and I know that. I will fix it. Let's select any piece. For example, this one, and give it the wood. Now we have the wood. Now select all the pieces. These three hoi make this one the last with the wood, control L link material. Now the result is one size, but we still have some problem, we need to change the scale of the UV. Tab, it a select all the UV and now scale them, make the UV big according to the image. You may say where is the image. It's very easy. I'm just going to use this r and use the wood. This is the image. Scale this scale scallet, and make the image small according to the UV, and here, the result will be better. Scale the UV and make it. And now we fix it. This lesson is very important. You need to fix the scale of the U V. We need to bake them at a small margin between each island, and now as you see, the result is very clean and nice and, that's it. So I will see you in the next video. 105. 106 Unwrapping section How to copy the UV 7: Hi, everyone, and welcome back here. Let's see how can we rub this table. We have We have something cylindrical here and the legs as well, and we have a tower here. Let's see how can we rub this correctly. Let's sweak this to UV editor because we need to work in this editor. Okay and close this M. Delete. We don't need it. And Now, let's start with maybe this piece, and let's see do we have any modifier, we don't have any modifier here. Let's see how can we rapt this? I think we have a UV, but this UV is not correct because stop the it mood and hit A as you see here, the V I think it's not correct. If you want to make sure that the result that we have here is correct or not, that's something easy. We will We will add mic ties here here. So I go to it and call this CUV U V image, and let's sw this two U V grate and hit, and now we have a U V gate. H Z and go to material review and let's sub this window to two like this and seek this to head or editor. Or if you don't like this, you can leave it close, and you can go here. Make sure to slate the object that you want and hit to add new material and go to the base color, hit this pattern and add mage tie. And search for UV image and add it here. All right. Now, I can see that this area, the squares here are nice and even, but the site is not correct at all, and we need to fix it. That's means the UV is not correct and we need to rectify it. Okay. Let's stop with the edit mode. Let's start adding new seams. If you want to delete the result that we have here, if you want to delete it. It's easy. Just go here and delete the UV and that's it. Can start fresh. Now let's stop and let's go to the edges and pick, maybe I can pick this egg right here and sub this side from the side. I'll click to select the entire egg loop and then right click and Mark Sam. School. That's it actually. That's all what you want to do. After that, hit A, select everything and here, hit you and again, or here, if we didn't have any VM up here. In this view, hit twice to open the ravenu and to choose the fairest option to rub it. And now I can see that I have nice raving school. So I finished this piece, and now let's go to the next one. Let's start with this. Let's stop to the edit mode and we can see that we have a result of I hit A, can see something, but we don't need this. We need to erupt again. But before we do that, let's give it a material. Select this leg and let's go to the material. Let's add we didn't give it a name accurately. What I will do now, I will select this and we have the material 001, I just need to recognize it. I will call it don't know maybe the UV t for material, to recognize it, and now let's go to to this leg. Open this w and there we go, now we have it. Right now, I can see that I have the squares here a bit trach to this direction. And we have, very big strake right here. That's mean the UV is not correct and we need to fix this. Let's like to isolate what I have here and let's tap it to see from where we can start first. Let's sub this face, select it and heroic click s mark Sm to add the them here. Let's pick one of these phases. I click to grab the entire phase to y here. And this circle as well. We don't need it. I mean, I need to supplt it, select it and radical mark. Now let's see what's going to happen. Hit A, select everything and hit here U and U again. If you hit in this window, and if you have the menu appeared, that's mean, you have a UV map, But if you delete the UV map, and if you hit U here, you will not see anything because the UV map is not exist. In this case, if you delete the UV map, you need to rub it here in this menu. So just keep that in your mind. But if you have the UV map exist, you can arb it here if you hit the U Paton and here as well if you hit the U Paton. I'm going to rob this here, u and u again. Now I got something here. The result is done and errupt these are the circles that we just separated. The rab is done, but I can see that I have the result is not like what I need. I need to fix it. I don't like the squares goes like that. There's a problem here. In this case, I think I can cut this area as well and add the same here, and now I can re the leg hit A and here hit and u again. I think I just fix it. I don't know. I think there's a problem with the scale as well, I will re rub this. All right. A. It's A here to select everything and here it you and you again to rub it. It's, but we still have some problem. If you rub something like this and You still have the result stretch. You need to try to apply the scale. Maybe that's because of the scale. So I'm going to control A and apply it. Let's see if that works or not. Tap it A and hit and again. Let's see what's going to happen. Hart we didn't see any result. All right, let's go to this menu here, and let's sad this from angle to conformal. Let's see maybe that can help us. It does. I think now we got a result here. Let's hit S to make this big. I just need to see the checker small. All right. Now the result is okay. That's mean you need to keep in your mind when you are up anything. If you didn't see correct results, you need to squeak the method from angle to conformal and kick and make a comparison between the two method. All right. Now we're done here. Let's to exit of the local mode and let's grab this ring here and it's like to isolate it and let's tab to the edit mode. We didn't convert this to mesh, so I'm going to convert it, right click and convert to mesh, and now we can rob it tab and I will hit Alt to get this entire lobe from inside and hit right click Mark them, and just pick one of these edges and right click mark sm and then hit A and here hit u to rob it, and now we have a result. L et's rera this again, just to bring this menu back. Right now we did it, but let's see the checker texture on it. I'm going to tap and go to the material section and add the same material, the UV material. Let's tap to the edit mode again. I will scale the UV, just need to make the checker small, just need to see what I do we have any problem? Yeah, we have some variation. The squares here are not even, and there's some problem. Here. For example, the squares goes small and they become big here at this area. All right. That's mean the UV is not correct and that's it. Let's try to fix it. Hit A, select everything and notice that the UV is not goes like that. It goes to the middle. C. Let's see how can we fix this. I will hit rub again, and again, and I will sweat this to angle base. Now as you see, in this example, angle based works, goods in some cases, you need to swa this to conformal. So keep that in your mind when you rub here inside the blender. Now the result is okay, and let's scale this scale this even more, and now the squares are even nice. Let's stop out, it's like to excite, yeah, that's it. That's very nice. In the school. There's an I trick. Let's see if this trick can work here or not. We can transform the information of the UV from one piece to another piece. You don't need to rub this again. You can copy this piece and put it right here, but there's a way to transform the information of the UV. Let's see if that work or not. I will select this and hold heft and select this one as well and make this one the active one. Hit control to open the link menu and Let's see. Here we have objects, COBI multi fier, CVV map, transfer MV map from active to selected objects. And tells you that needs matching geometry. Let's do this. Now, let's select this and let's tap to the edit mode. It's A, and that works. We just transformed the UV from this piece to this piece. Now I will give this a material and let's see what's going to happen. Select it, go to this arrow, Q the UV material, and there we go. Select this leg and let's go to the material, give it the UV material. Now, as you see, the UV is not correct, and I'm going to COBE the U from here or from this one to this one. But we need to make sure that they are the same. Just keep that in your mind. Late this one, I'd have to grab this one and make sure that this one could be the active one has brighter highlight. Control L, open the link menu, and use CV UV map. As you see, boom finish. This is how to co a UV map, and how to speak the UV from angle to conformal in some cases, for example, the tower that we have here. Before I end this video, I just need to do one more thing here. I need to make the car tie have the same size for all of these pieces. I'm going to grab them, everything like this and tab to go to the edit mode, it a select all the pieces, so we can see them right here. And then go to U V and go to Abc, the scale, and there we go. Now they have the same scale. And yeah, that's it. I guess it A everything. At least do that again. Let's see what's going to happen. That's cool. That's it. If you want to pike everything inside the UV square, you can just hit pak and that's it. They will be picked here. Let's stop out, y, that's it. That's we'll do it for this video and see you next. 106. 107 Unwrapping section How to unwrap a house part 8: Hi, everyone, and welcome back. The house that I created in this course, I need to rub it, and let's see together, how can we achieve this? Okay. Let's start rubbing this house, and the fir thing we need to do we need to change this from mage editor to UV or and delete the mage we don't need it. Let's create a new mage, and let's call it UV Checker Image. All right. And generate type from black to uvgrad because we need the uvgrad and hit okay, and now we have a vgrade. And let's pick any piece of this house. For example, this one and go to the material and let's create a new material for this to up the checker on it. Hit U, and now we have a new material, you can call it UV UV material, and base color just hit this button here to add mage tire because we need to add this image inside the tire here. We will go to this R and go to UV and Bic and they're going to have the UV image uplied on the material. I can go now to material reviewer. If you don't like, you can also open this menu and squeak the color from material to tick sure if you like to do this. Now I can see the C tiktoe on my object. Now as you see, the UV is not correct, straight and here we can't see any UV. That's mean we need to re array it again. Together, let's see how can we achieve this and let's start with this one, it's like to isolate this piece alone and let's top to it mode. We have some phases we don't need. For example, this phase right here. We don't need this because it's hidden. So it X F and deleted, and the phase that we have here as well, F and deleted. We don't need those. After that, Let's start adding seams here and let's see how can we open it. I don't know, maybe I can add one seam, just one seam. Let's see what's going to happen if I rub this piece like that. I'll click to grab this entire age globe and then hit right click and mark Sam and hit a select everything and here hits you and you again to rub it, and now we got a result. As you see now, we have something. If you don't need the checker, ticket chart to be here, you can delete it easily from here, and it will still exist on a three D viewboard because it's a material. Now we got this result, but we have some problem. I will re arb this again u and u again, and I need to open this menu to switch the method from angle to confirm. Now it's confirm. Fermal works fine, but we still note that we have some distortion if you notice here, and here as well. If you add a break texture, you will see that the breaks line go diagonally down like this and that's mean the U is not correct. I need to fix this. In this case, what I will do, I will hit all to grab this entire a loop and I will add a seam right here as well. Sorry, Mark. Let's hit a, let's go here and let's activate sync, because I don't need to select everything here. So now I add the seam here. It A and here hit you and again, let's see what's going to happen. Right now we got better result, but still we need to edit it. You can pick edges here as well and mark them as SIM. For example, these edges, I need to mark them as Sam. You have two options, either you pick the sam from here or here. That's work as well. Grab those right click and go to U V s and mark Sam. And now A and U and U again. Let's do that again. I think we got some problems. All right, to go to the UV and Mark Sam at A, and now and you again and there we go. That's cool. We got some weird pinching here in this area. This one. Let's take the method from conformal to angle. We didn't achieve any good results. Let's go to the um right here and let's see why that's and what else we can do here to this correctly. The problem is with this piece right here. Let's see why that's happening. All right. In this case to make this result patter, I need to open these faces on the side and on this side as well. That will help the algorithm to work correctly. I will add seams here on the corners, mark Sam and Sams here as well. Now I should have a correct results, it A and here it u and u again. Yeah, there we go, because we add the seams here, now we fix the issue. Angle based now is working and conformal as well, is working correctly without any problem because it's easy to ara this. We can say that we finished this piece. If you don't like this result to leave those open, you can do something else. For example, les hit A and rad click and clear Sam, I will delete all the seams that I added, and I can do something else. I can grub this entire a loop and mark them as Sam and those here as well. Mark Sam and this one mark Sam and this one as well. Mark Sam and this A maxim. Now you can now hit a to everything and here hit and again to Arab it. Now this is another result. I don't know, but I prefer this result. I think it's better to separate it like this. Now this rapt and ready slide to excite and let's pick another piece. Let's start with a roof. But before we rut this, we need to give the same material, slate it. Go to the material sec in here, open this arrow and add the UV material. Now we have the UV material. We can see that the UV is not correct. Okay, let's tap to the edit mode or let's to isolate it and tap the edit mode and let's see what we can do. Do we have any modifier area? We have the solidify. We don't need it. Control I en apply. And now let's tap again. All right. Now, let's see from where we can add the seams. Let's pick this edge and this one and this one as well, maybe. Or maybe I can big this, this e here, and this one, and those here as well to add the seam. Click mark seam. Let's open it from here. Let's add ages or seams here. Sorry. I just need to open this one and this one as well. Mark it as seam. Now hit A and here hit and again to rub it. Let's kick the result. The result now is nice and beautiful. I can accept it. I will hit tab to excite and deselect this. You can hit A to decel anything. Let's pick another piece. Maybe we can start with this. Let's give this a material. Select it and go to the material sec and the UV material on it. Now I can see that I have a UV, but we have a strake here and here as well. But the squares here is epistrate, and does mean the UV, we need to fix it. Before I hit slack, I need to go to the modifier and I just need to see what I have here. We have a solidify, we don't need to have a ruber here and hit control, a grab this hit slack to isolate it and now let's rub this. Tap to the edit mode and pick some edges. You can hit control lt and pick one of these edges to grab the entire loop. But this one in the middle, we don't need to pick it, so I will grab it and control x to dissolve it because I don't need it. Again, t, click here to grab all of these edges and then right click Mark S. Now let's grab those here as well. Like this. Actually, you don't need to select all of them. You can cancel one of them. Artes cancel this one because I need this piece to be one piece, not two pieces. I will hit right click and mark Sam, it A, select everything, and then here in this window hit you and you again to rub it. Now it's rub and ready as you see. We finished with this one as well. It's like to excite. Tap out to crab this. Apply the solidify, apply the material, and we still have some problem. Tap it, to grab this edge in the middle, we don't need it. Control to grab all of these edges. Mark Sam, grab these edges as well, and leave this one, Mark Sam A, select everything u and u again and it's ra and ready tab out, slash. Let's pick another piece, this, slash. We have phase here. We don't need it. I can delete it because it's not visible to the camera and this phase as well, maybe it's not visible to the camera. We have those x F and delete them. You don't get them. Now let's we rub this. Let's go to the edges and let's select this. What do we have here? Do we have vertice? We have too many vertices right here. We don't need all of these, corrupt them like this and control x to dissolve them. Make them one edge, and now let's select this entire egg lobe here, right click maxim, what else. Let's select this egg and this one, all of these and right click maxim. Those edges here as well. Mark. And this one marks him. I just need to add same here as well because I need this air to be opened. All right I I didn't add the same here, it will be closed. Yeah, that's cool. Now we can add the CM here as well, just one, I think. I don't need to add any s here. I will leave it like this. T B one piece, this one, two B one piece. Hit A and here it u and u again. Let's see what we got. We are this, but I noted that I have some problem here. I just forget to add CMR right click maxim and now A and u and u again and there we go. Now we have something here. Let's apply the material for this one. Cool cool. Everything is good. What do we have here? Let's see this? How can we rob it? Tap the edit mode and maybe we can add the seam here along this area. So we have the solidify exist. Let's apply the solidify control and tap the it mode I'll click on these edges, right click mark seam. What else here? The faces on the bag, I think they are not visible to the camera, so I will grab them like this. I'll click and x to delete them. We have two G here. We don't need them, this one and this one as well. F to and click this one, control x to dissolve them. What else? Let's try to arab this and let's see what's going to happen. Before that, I just need to give it the same material, the UP material, and we can't see anything tab at A and u and u again. This is the result that we got with the conformal, sites to ankle pace. Let's see With the difference here. Let's add the same here. Maybe we can help the olgithm to work better. Mark Sam, it A and u and u again. All right. Take this to conformal. That's not going to work because here we have a curve. It's not easy to rob, so we will leave it like this. This is the that we got. If you didn't like it to be like this, there's another way if you want to rob this. You can pick each side and separate it if you want. For example, I can grab those and Mark Sam and we don't need these seams anymore, grab them those here and clear seam, and we can add a seam here and just one seam here. Now I can rob this in a different way, hit A and hit and again and as you see now, we got another result. If you prefer this, this will work, and this method also works fine if you like to use it. All right. I will leave this like that and hit slash to excite and let's start with the window here. Do we have any thickness? Here? We have so defi alight. Go here and give it the same material, the UV selects the window and what we need here. We need to add some scenes regard this entire age loop those here as well. So right click and mark scene. And now hit A and hit you and you again to rub it, and there we go. It's nice. Let's like to excite and we finished with this one. Let's see. Now let's start with this big piece here, to isolate it, and we have this phase here and this one and this one as well. They are not visible to the camera, so we can delete them and maybe this one here. F to delete all of these. Now let's see how can we rub what we have here. Let's start with this circle, grab the circle, Mark Sim and this one as well, sorry. We can use the control method, grab this whole control grab this age, and keep doing that until you reach the first point Mark sim and one sim here as well. The same way for these windows, grab those here and mark Sim Right click, Mark sm. In this entire Aclb as well, mark, and this one, the same scenario. Mark in those here. Mark There we go. Maybe we can add the same here or there's no need to add the same here? Maybe we can add seams here and along the door as well. Along this window, Mark Sam and cant roll out. I just need to select the entire ring here, right leg Mark Sam, and there we go. What else do we need to do here? I think that's it. It's A and, and again and it's rub. But we have a warning here, if you noted that we got some problem with the scale. I will do that again, and again, and now we have the same warning. It tells you that the scale is not correct, and you noted that we have some problem with the ruving here. The circle is not perfect here and here as well. All right. Before I I just need to make sure, do we have any problem here because I think we have some connection here. Yeah, that's right. We have some edges here. We didn't pick them. So grab this, Marx. Yeah, it's connected right here. That's cool. Before you rub this tab out and hit control A and A scale, and now tab hit A and hit and again to rub it. Now it's rubbed and for. Now we can give it the same CR material, and now it's perfect and nice. Now I can hit and pick another piece and maybe we can start to see Okay. All right, I think that's it for this video because I think it's become very long. So I will end it, and I will see you in the next video. 107. 108 Unwrapping section How to unwrap a house part 9: Hi, on, and welcome back. Let's continue robbing the house. And let's start with this small piece, Isolated and taped to the edit mode, and I can give it material, the UV material first. And let's go to the edges and let's pick some edges. Maybe this and this one right here. Mark Sim and what else this edge as well. Maybe I can rub it and this one and mark Sim hit A, and here hit you and you again. All right. We need to add one more seam here, maybe this and that one because the result is not correct, as you see here. The check our material is distorted. So hit right click and mark Sam for those A, to select everything in here in this window, and again, and there we go out it's Okay. Tap out it slash to excite. This piece, the same CV, this one similar to this one. So I will transform the information of the U V from this to this right to grab this first and hold shift and select this one. I mean, make this one the active one and then control L and C UV map, and now we transform the UV from here to here. Now, let's check this, grab this alone and give it the same UV material. And there we go. It's Freddy. Let's go to the window here. It's lash to isolate it. If we have these three windows, I can add seams and I'll rub them one by one, but that will take too much time. Now, let's try to use another method. A quicker method. First, I will give it a UV material and It's not correct. As you see, we have some problem. The UV is not applied correctly. And I think yeah we have a solidify here. Yeah, we need to apply, apply the solidf first. Tape the edit mode and hit a select all the faces, go to UV and use a cube projection to out the C quickly, and there we go. We just rut quickly. And with all of the selected, just go to UV and us bake to bake all the island individually inside the square. And now we got something here. It's a mess, I know, but it's rut. A right. Let's tap out and hit slash to excite, and let's pick these pieces. Isolate them. It's very easy to stop hit A and here hit, and again, and s it. They robbed. Give them the same material and done. Hit slash to excite. And what else do we need to do here? Maybe this window here or these pieces. Grab this with this tub hit A so everything use Q proj. It A and go to UV and bake, gave them the same material, and this one as well, give you the same material and there we go. But we have some variation here. I think our tub again hit A and I go to the U V and average island scale here. Yeah, that's it. You can bake them if you like. That's cool. This circle right here or this window hit A and here hit and again to rub it. A rights. We have a warning here. A field. Let's see why that's seven, hit you again. All right. It tells you that you need to add seams here because we have a thickness. I guess forget that. I thought it's a plane, so I need to add a seam. And it is a good thing to make a mistake here. If you want to add something and it's closed and there's no seam, you will see a warning like this right here. This morning tells you that you need to add at least one seam to see a result. I will do that. I will grab this entire lobe and I will right click Mark Sam, and now I have a Sam, hit A, select everything and here it and again, and now we have something, but we have another problem right here. We have a scale is correct, and the result is not perfect circle. Tap out control, I apply the scale tab and hit A and here hit and again, and there we go. Now's finished. Or at least it slit to grab this circle here and grab it and tap the edit mode. We don't need these faces, so I will let Alt click to grab these faces, F to delete them. Let's see what else we can do here. Maybe we can grab this. Let's try to rab it like this. Hit select everything and here hit and again. Let's give it a KR material to see the results. And, I can accept this result. It's okay. We have a small story in here, but that's not a big issue. We can add a material and that will be disappeared. Don't forget this circle or this, this circle is almost hidden and it's far away from the camera will be grab this and give the same material, and that's cool. All the doors, grab those stores here. Let's see we have a modifier. We don't have. Let's give it car material. The U V is, very bad. No, how can we rap this? I will tap to the edit mode and let pick some edges here. L pick those edges that we have here, all of them, right click mark Sam and those here as well. Mark them as a sam and right click mark Sam. Let's add the same here as well on this side and grab the entire edge loops that we have here, right click, Mark Sam. By the way, if you want to add this option for the quick axis, you can hit right click and you can add it. But I did that. Let's add a new but one, for example, add clear, right click, add to quick for right. Now if I hit the Q, I can reach it. Mark and clear. All right. You hit Q, you will open the quick ri menu, and inside the Quick for menu, can add anything you like. So I have Q project, I have Mark SM, I have clear Sam. And if you add anything else, you can go to U V again. And for example, if you maybe need to add RA, you just need to hit right click and add to Quick FR. Now if you hit Q, you will have the RP here as well. So this is the very nice way to reach the option quickly. So for me, I will hit Q and add Mark them and the same scene right here, let's see grab these edges as well here and mark m as well. On seam here, sorry one seam here, and here as well to open this circle and mark sam and there we go. Now, let's add seams here as well. We need to open it like cube, so I will add seams at the corners and here as well, maybe the same scenario for this door and here mark sam for all of these, and what else? Let's sec up these edges. You can leave one side if you prefer and mark sm, the same scenario right here writes Mark sm. All right. That's cool. Now hit A and here hit u and u again, and now we rub the door perfectly, and the result is very nice. Tab out, and there we go. Let's to excite and with grab the windows here and we have a solidify control and apply tab and go to the edges, grab this side shift. Click and pick that edge as well. Mark sm, hit A here, hit u and u again and there we go. Let's rut. Give them the Kecker material. Let's go here and add UV material. And there we go. What about this piece here. I think we can the same informing that we did here. Select this grab this one and can roll and C UV map. Now set this one alone and give it the UV map, and there we go. We finish here. What about these pieces? I can rub just one of them, grab this, for example, and tap with the edit mode and add some edges, some sms here, here and here as well. Add sm and select this face. And this one and mark m, and now we can rub it, hit A and here hit u and u again and it's rubbed and ready. Tap out and hit slash to exit and let's give this the same UV material and it's done. Let's apply the material here as well, and let's see what's going to happen. We got some problems. So we need to cob the same information of the UV from this to all of these pieces. Let's do that. All right. Grab this and select them one by one like that. And this one as well. And hold to grab this one as well. I control and co Cb material. Now as you see the material cob from this to this butts, the other. India. That we have it here, and we have it for all of these pieces. All right. So now we grab all of these pieces one by one. Hold have to grab one of these. These pieces with the material, it control, and now I need to copy the material for this booms finished. Let's select this piece. Let's to isolate this, tap the edit mode, and let's rub this quickly. What I will do is I will go to the UV and use Q projection and go to UV and bake and that's it. Now it's ready. All right. A Some pieces, we don't need to give them we don't need to spend too much for them because we have we can rub them quickly by using Q projection. Let's select those three tab at A, select them all like this and use Q projection and go to the UV and just bake them. Bake island, and there we go. Tab out and add now the UV material for those as well, grab them, hold to grab this, control link material, and there we go. What else we need to do here? Let's grab this big piece here and s like to isolate it. Let's see what's visible and what not visible to the camera. We can delete three phases here. Tap it mode, we can delete this side. And this one as well. We don't need it at x F to delete them. Now we need to rub this. So let's go to grab this. We don't need it, control x, add the sam here. All right to grab these edges like this and mark Sam maybe we can add the sm here as well, mark Sm in one sm here or maybe here mark Smets sup those as well. Select this as well and maxim, and those at the corner, the same scenario. Marx, the same thing for the side, Crabs, Maxim, and here as well. Marx, there we go. The door. All right. Let's use the control method. Maxim, let's start here. Maxim. Marx here, and what else? The add seam here. All right. What else do we have a window right here? All right. Mark seem hit A, and now here hit and again and rabbit. But I saw that I have a problem with the scale, the warning here. Tab out control, I apply the scale, tab again, hit A and here hit and again. Still we got some problem and I don't know why we have something weird here happening. Let's see why that's who? By the rooming is not correct. I will sweep this to conformal, with conformal, we fix it? We can rotate the UV if you like, and put it or if you want to bake it if you like. But when you bake it, it will be rotated again. Here we have option if you want to cancel the rotation that happen when you bake it. Now we got something here. Tab out and add the material and there we go, it's finished. What else? Maybe let's start with this piece. Le how can we arru something like this? Okay. Do we have anything here in the modifier? We don't have anything. All right. Let see how can we arra this? Top the edit mode and we can add the seam here and add a seam here as well to suppla this pipe. And we can add a sam here. From this side. All right. And what else we can maybe add a sem here, maybe and suplay this and sim here, I think. Yeah, we just added one here. All right. Tab it A and here it and again. In this scenario may be angle base work better. Let's see what's going to happen. Let's add the checker material to see because we can understand the result when we add this material. A very nice and beautiful. I like it. Very cool. It's like to excite. This sphere, we can add maybe one seam here in a rabbit and hit and again. Now we have two pieces. Let's add the U V material, and it's okay. It's acceptable. We have some variation here. If you know the squares here are big as compared to the squares at the edges, yeah, that's normal because it's not easy to add up something like this. If you want to help the software to work butter you can add seams like that. Maybe one here or maybe we can add another same goes here if you like, and let's see what's going to happen. Now the result is better but we got two maxims. We have a seam here, and Sam here as well. The idea is you need to add a few seams and a key better result. Adding two maxims that will give you a bad result when you go to the tick scoring and adding the material. I will accept this result like this and I will like to excite. Now let's see which piece that we need to. Maybe this one. I need to pick the difficult one, for example, this one, tap the mode and maybe I can add one sam here along this and maybe we can pick another seam from the side. And it's A sit everything and here, and you again in the Rbit. Add the checker material. Yeah, that's okay. That's nice. It is acceptable. We know we have some distortion here. We have a variation in the size, but that's okay. Maybe this one. We can robs tab, and maybe we can add the seam, see where right here, maybe. I don't know, maybe one here, can add the seam here and were one here as well. One seem here to open all of that. A in here and again to Arabs. Add the checker material, and, it's acceptable and okay. All right, all the other pieces are easy to rub and maybe we can rub this one. It's easy as well. Maybe we can add the same here and here and one here and rub the rest. After that just hit and again here, and it's let's add the checker and there we go. Right now we rob the important parts. If you like to if you like to make all of these pieces at one size, you can't pick this one. For example, this roof, the checker material here, it's a bit small as compared to this one, so we need to make them have one size. Select the pieces that you like to select, for example, those here. I just need to to isolate them alone. Top to the edit mode for all of these pieces, hit A inside the UV and go to UV and hit average island scale to rescale them again and give them one size and bake them if you like. Again. Now we made them have one size, except this one right here. Let's see why that doesn't work for this We got some problem here, and let's do that again, it A, select everything in your average and scale. All right, if that doesn't work, we can hit control A and upply the scale for all of these pieces, and tap again and three be the same thing. Bake average scale, it's worked. Sometimes when you have a problem like this, and you notice that one object doesn't scale in the correct way to receive the same size of the checker material, you need to grab everything and cont and apply the scale and again, use average island scale. Now I will pick them all and there we go. Now, the result is correct. So yeah, that's it for this video. We learned how to rub this simple object and keep practicing and try try by your own to rub this house, all of it, all of the pieces because rubbing need practice and too much practice to understand it and make it easier. So that's it for this video and see you next. 108. 109 Unwrapping section another UV unwrapping ways 10: Hi, on, and we'll come back here. Here in the U V menu. We have some option and I just need to talk about them, not all of them. I mean, just the important one. For example, I will select this and add HD to Tech Kobe, and let's top to mode because I just need to see the UV menu here. As you see here, we have the Arab smart UV and light follow active equat. Some option here, I think they are useful, and we need to see how can we use them. For example, I have the first one. During the Rb, the Smart UV projection. It's another algorithm to R R object like Q projection. If you select your object, and as you see now, I select all the faces, and I will hit Smart UV projection, I will see a menu right here with angle limit and island margin and a weight and some option here. We use the Smart UV to R rub object according to the angle between two faces. For example, here, I have 70, the number here is 70. If I hit, I will rub this piece according to the number that I added here. But before we rap anything, I just need to explain what's going to happen. At least draw a face here. Now, I have this face and this one as well. Between these two phases, I have this angle, it's 90 degree. If I use smart UV project with 70 degree, that's means any number above the 70 will be separated. If I use this number here, the algorithm of smart UV will add a seam here in this area because the number is because the angle is bigger than 70, and any angle underneath the 70 than 70, it will be saved, that means no seam will be added there. Let's take for example. I will hit A and clear the seam that I have here. Now we don't have any sa. And maybe I can delete the UV. I don't need any UV here. Okay. Now, what I will do is, I will go to UV and use Smart project and let's see what's going to happen. We have a 70. As we say, any number underneath the 70, any angle, less than 70, will be safe, any angle bigger than 70, that will be targeted. I guess I'm going to hit and there we go. Now we got a result here. Sorry. Now we got a result here as you see. Let's select the UV, and I just I need to see the the seams that I got from this Smart UV projection. I will go to UV and hit seam from island to bring back the seam. As you see here, we have For example, the angle between this face and this phase is nine degree. So it is bigger than 70. Because of that, we got an e here, the same scenario between this phase and this face, we have a nine degree here, and because of that, we got an e here. Between this phase, for example, and this one, we have a zero angle here, and because of that, we didn't see any here because the number is less than 70. If we let's try to do something else. What I will do now, I will go to vertices and I will grab those and take those maybe right here, for example, I just need to make the angle here, less than 70 to kick if that will affect the angle here or not. Now we have this angle, less than 70. Let's see what's going to happen. All right. I will hit a s to select everything and I will clear all the same clear seam, and now we don't have any seam. At the same time, I will delete the UV that I just made, and now we don't have any UV. Tap it the edit mode, select all the phases and go to UV and hit smart UV protection with the same number here, and it. Now I got a result. What I will do now, I will grab all the island and bring the seams back. All right now, I can see another result. We don't have any more seam here because the angle between this face and this face become less than 70 become safe, and we still can see that we have a seams here between this face and this face because the angle is 90 degree. Right. But here, for example, for this age right here, the angle is less than 70, the area here becomes safe. What I mean is the Smart UV projection is the bend on the angle. If you manipulate this slider here, you will see different results. All right, Which better, the Smart UV or the be projection? For me, I think the be projection is easier and better than this one. I don't like to use this one, and I never find myself using this option too much, but I use the Q projection because it is very fast, and it always give you fast results. If you select anything and go to U V to cube, can rub it quickly without any problem. And yeah, that's it for the smart UV projection. Here, we have the light map. This option will separate all the faces and put it inside this square of the UV square. For example, if I select this and go to Light map, and I will leave everything as is and it. As you see now, all the faces are separated and late here inside the V square. Here we have follow active quad. I will talk about this later. We have a Q projecting. We take example about it. Cylinder projecting, sphere projecting. I'm not going to talk about them this one and this one because they are not so quite useful as compare with the C method and Q and Smart UV projection. Here we have project from view. This is very easy one here. For example, if I look at this object from this angle, and if I go to U V and hit project from view, it will rub it according to the view. As you see now. We got all result, but we can see that we have straight here on the edge. Let's delete this piece, and I think I can take another example. Let's put this right here and tap the mode, delete all the seam. Now let's rob this according to the view projection. Maybe I need to rub it from this angle, just go to UV and hit project from view and there we go. Now I got a result here, and as you see now, the project done from the same angle that I am on. But if you go to the side, you can see that we have straight here. Notice here that when I rub this, the position of the UV, it's in the middle similar to the result that I have here. For example, if I put this here nearby this A here, and let's hit a select everything and let's go to the U V and hit project from view. You can see that now the result goes to the edge because my object here close to the edge of this three D viewboard. If I put this out just a little bit right here and repeat the projection, you can see it goes out the same thing similar to the same result that I have here. But here we have another option, if you can use project from view, but bounds. If you use this, let's use this. If you use this option, it will frame it and put it inside the square, even if you king the position of this one. If you leave it, for example, right here at this corner, the same scenery it will keep it here. But it will rob it according to the view angle. 109. 110 Unwrapping section Follow active quads 11: Hi, everyone, and welcome back. Let's learn how to use Follow active quod. If I taped to the edit mode and go to the UV, I have this option right here, it's called follow active Qard. Let's see how can we use it. I will sublet this window to two, and let's read this to UV editor. All right. I need to rub the circle and I need to add image texture. I have an image with the text. I will show it to you. This is the image. I need to rub the circle and add this image to the circle. But I will have a problem if I do this. If I rub this, for example, I will hit you and you again to rub it, I will get this result, a circle. I need to open the circle, and I need to be like this, something linear to add the text inside it, because I need the text to go like this around a circle. If I leave it like this, the text will go like this, and you can see the text here maybe and here as well, and that's not going to work. That's not what I need. So let's see how can we do this? Let's try to add one same, for example, right here, right click Mark same, let's rub this. It a selt everything and hit you and you again. Nothing happened because it is a circle, and even if you add the same here, you will have the same results. How can I open it? And how can I make it something similar to a line? This way, I will use follow activity quad. If I use this option, I will got something linear, but I need to pick one phase here and edit it and align it. When it becomes perfect like a sequare, for example, after that, I will use follow active equid, and all of these phases will follow it and they will be like this. After that, I can add the text here, and I will get correct result. Let's see how can we do that? The first thing, let's go to the face and let's pick one of these faces. For example, this one, as you see now, I can see this face because it's the only selected face. After that, I will rub this face alone, hit you and you again, and there we go. Now it's ru. L et's grab these two vertices and hit right click and let's hit auto align to align like this and this one as well, right click auto align. Let's take this as a little bit. I need to make it square. Now I got this face. I will hit to move it and I will leave it right here. Now I will hit A and there we go. Now I have this phase right here. Crab alone, it's put it right here. Maybe we can scale it. Now I have this face alone. Now I need all these phases follow this face and be like it. This phase is this one right here, and it is the active one because the color is different as you see here, it is the active one. If you want to make it active, yes, hold if and left it click and lift again to make it active. Make sure to make it active, that is very important and make sure to adjust the line here. And align them by using auto align. After that, go to U V and hits follow active quad. If you do this, all of these phases will follow this one, and they will be like it. Go to U V and follow active quad and hits, and they're going to as you see, all of these phase now following this. After that, you can rotate it to ut control and hit key, it key and move this here. And let's kale and make it small. Now I can add the image and let's see what's going to happen. Tap out and let's add the new material to this and in the base color, I will add mage ticket score to bring the image and add right here, go to Open and Let's add this here, and now we got it. Speak this to two texture because I just need to see the A here. Now, I can see something. Tap to the edit mode. I have the mag right here and I have the UV exist. I need to scale this and make it a bit thicker or like that, and it and let's move this as a little bit down and scale this, make it small and align it with the image, it and scale it even more, and move this a little bit. And then we're going to see what's happened here. Now, as you see, I got something here. All right. This is how to use follow active quad. What's happened if you made a mistake, for example? If I got one vertex or two verts goes like that, for example, I will make the same scenario, follow activiqud, and let's see what's going to happen. I will go to U V and follow active quad with this mistake. Qua haben, because we put these vertices a bits up, we got diagonal results, for example, if we made a deformation, for example, like this, let's see what's going to happen. I got a problem like this. So keep in your mind to make the active quad perfect and aligned. Because if you don't, you will got a result a wrong result like this as you see right now. But if we fix this, let's grab this, for example, right here, let's grab those, its auto align. Let's leave this alone, or to align, that's not going to work. Let's align this to the y and align those to the x and align those to the s to the y. Now hit A and V and follow active quad and the gon outs become good. That it's for follow active quad and see next. D. 110. 111 Unwrapping section Hwo to use pin 12: Hi, everyone. Welcome back. Let's learn in this video how to pain the UVs. I have the monkey hit right here. Let's tap to the mode. I have the UV here exist. I can select some vertices and I can hit B for pin to bend the vertices, I will turn off syn, and I will hit select the whole UV, so I can see it right here. And as I said, I can grab a group of vertices to bend them. For example, I can hit out click to grab this UVs here, O ift, and the grab those as well, and I will hit P for pin to pin these vertices. Now, if I make rubbing, The R O will target all the vertices and it will respect these vertices, the position of these bend vertices, and they will not be moved. I will hit A and hit and you again to RO Now we rub this, but as you see, the bend vertices still at the same position, and the arabic done in this way. But there's a problem because we didn't add the same here, or what I can do is I can bring the seam from the island that I have here. So let's go to the U V and just use this option here, Sam from island, and they're going we have the same. Now I will hit you and you again to rub. And as you see, I made the rob and the bin vertices still at the same position without moving. I can for example, grab this Vs UVs and those as well and hit P for pin to pin them, and those as well here, and, for example, and hit P for pin to pin them. And if I rub this, as you see, it will be at the same position. Not just that, I can make some deformation. For example, these pin vertices, I can grab them, and the scale is just a little bit like this. Now if I rub this, let's grab this island and let's hit and again to rub it. As you see here, the rubbing is done according to the scale that I made here. Let's grub these vertices as well or UVs and the scale those as well like this, and don't forget this UVs still bend. So I will grab the same lend again, and I will hit rub rub it, and again, and it's rubbed and respect the vertices that I just scaled. L et's e, for example, those UVs here, and maybe I can scale them to the Y. I need to align them zero enter and make them like this, and I will hit p for pin and pin all these vertices, and now let's make the rab and let's see what's going to happen. Let's activate this option to select the island and hit and again. As you see now, pin the rab done, but t respect these pin UVs or vertices. Okay. Now let's learn how to pin. How to delete these pens. It's very easy. We just need to select the Ben two s like this, and you need to hit Alt P two nPen. I'll click on this A glop Alt P and NP and the same scenar here Alt to nPen, all of these. And that's as well, the same thing. If you want to select the pin vertices or UVs, you need to hit Haft B to select just the pin UVs. For example, you don't need manually to select them like this to unbend them. You can hit HftB to select just the pin UVs and after that hit B to unbend them. We can use the pin in another situation with the live robbing. And this video, I just needed to explain what is the pin and how can we use it and how the arabic algorithm respected when you been some vertices. And the next video, we will learn how to use the pin with the live rab. So that's we'll do it for this video and C next. 111. 112 Unwrapping section Hwo to use pin 13: Hi, everyone, and welcome back. In this video, we need to explain the live rapping. I have the s cube right here and if I tap it mode, I can see the UV that I have right here. What I will do is I will delete the UV, and I will add rub it again. We learned that we need to add seams. For example, we can add Sam Z here. So mark Sam not Mark, and we need to add Sam here as well, and maybe here, the same thing. After that, I can hit A and then hit and again to rob this to get this result. So the idea is adding Sam and then Rb. But there is an option here, it's called live roving. If I use it, I can Whatever thing I do right here, I can see it in real time right here as well. Whatever sam I add here, I will see the result immediately right here in this area. As I say, is called live rubbing. Let's see how it works. If you go to the U V menu, you will not find it right here, but you need to go to the option and act the live rubbing here. Let's activate it. But before that, I will the seams just select everything radically clear Sam and hit you and you again. Or maybe we can delete the UV. Let's rap this and let's see what's going to happen. Tells you that you need to add Sam, but I will delete the UV. Let's rab this like that. As you see, nothing happen. You just see the cube here because you don't have a seam. Now let's activate the live arabic, and let's see what can happen if I add Sam. I will activate the s because I need to see the result. I will grab this g and this one, let's start one by one. Let's grab this and I will hit right click and mark S K was happen here. Immediately, we got a result. L et's add another seam here, Mark Sam. Now we have 12 aces opened. We can't understand what's going on here because the whole cube is closed. We need to add more seam. Let's add one here as well. Now I can see that I have this phase already. Let's add seam here and one here as well. Rick mark Sam. Now I can see something that this phase is opened as well. All right one here and one here as well. Tick mark Sam, and now it's completed. Let's use another example here, Let's delete this cube, an. Maybe we can add UV sphere here. Let's top the edit mode and maybe we can grab. This edge. Let's see the live aramic is still active. Let's grab this edge here and it's sorry. Rick maxim. Immediately, you can see that I got the result. You don't need to rub it. Let's add sm, for example here. Maxim. It's opened and maybe one here, right Click maxim, It's opened as well. I think now the idea become clear, whatever king you make, you will see it immediately on the side. This live rubbing. It's very nice and beautiful option. You can activate it and use it and I like it. But here on this side, we have another live rubbing. We have one here as well. But what's the difference between the live rubbing here and this one right here. The live rubbing here on this side, the band on the binds. Debate on the bins that we talked about in the previous lecture. But this one right here is not depend on the bins. It just give you the result right here when you make any king in the three D view board. All right let's see what we can do. Let's delete this. Let's add a circle, A and let's add a circle. I will tap you in mode and select all the edges it e to extrude this inside, it is after that. Now we got this. I just forget to activate a screen cask I just need to make them all small and slide it here. All right. All right now if I hit A and I will hit you and again to and I got the result here. The arrabing is done. Let's turn off the live arraying here. All right. I need to add I need to delete, for example, this phase, see Q one. Maybe this one right here. Let's this one and hit X x F to delete it, and now we delete this. What I need to do is, I need to b this circle like this and make it like this. How can we do that with live rubbing. What I will do is, first thing, I will add a pin here, grab those here and hit P to bend them, and grab those here as well and hit P to bind them. Now there are pinned here, these vertices. After that, I need to go to the UV menu and activate live rubbing, and now it's activated. I will grab these pinned vertices or UVs, and I will hit to move, and I will move those right here and rotate them as well. As you see now, the whole UV follow what I'm doing here. And Let's decrub those as well. Now the rubbing is happen real time. Let's move those here and rotate those as well, like this, and grab those and move them guess a little bit. Maybe we need to rotate those here as well. Something like this. It can move it. I just need to make those close, sorry, I need to align them first, and then move them like that. Now as you see, I made this right, the only thing that you need to do now is just grab these vertices and it is to the y zero enter to make the line straight. But if you want to achieve that, you just need to turn off live raving. But the idea is done. I made a king and with the help of the live raving. But if I turn the live raving off, the C is going to happen. Now, if I grab the bend vertices and hit, as you see, just these vertices will move. I can't see real time arriving. This is the idea. Let's de the circular, let's add a monkey head hit he A add monkey head here. Let's top the edit mood, and now we got the UV ready here. I will grab, for example, let's see what we can do. Let's grab this the I. Those vertices of the i and, I will hit p to bend them and I will activate live robbing, and now it's done. Now, if I grab this if I hit to move it, S, we need to bring back the island, the Sam Sam from island, now I'm ready. Now, if I grab these bend vertices or V and move them. Now the robic happen in real time and I can see the result immediately. If I don't, if I turn this off, I need to hit G to move it right here and then select it, Sorry. Turn off sync. I need to select it like this and then hit you and again to see the result. That's the difference. So now, instead of that, I can activate live rubbing and move them, and as you see now rub working in the real time without needing to this again and again. All right, then, so that's we'll do for this video, and I will see you in the next one. 112. 113 Unwrapping section Straighten and Align 14: Hi, everyone, and welcome back. And this video, we need to learn how to wild UVs or vertices inside the UV map here. And we need also to learn how to use strt and to align the UVs and make them one linear line. Let's see how can we keep that? I have this plane, the tab it mode, and I will hit A to rabbit and here I will hit U and U again. And now I got this result. I will, for example, let's select this phase alone and I will acro here, moves a little bit. I will select the whole phase again. I just need to make this close, just a little bit like this. Now I need to merge these vertices and those as well. To do this, I can grab the vertice that I need and then tritically, can just hit merge at center at courser by distance, we have here multiple choices. If I hit at center, these two vertices will merge in the middle of the distance between them. If you want to use at courser, you need to bring the three D courser, for example here. Sorry two de courser, hold if and troll and align this two de courser right here. But make sure to activate the vertex and bring this sorry. I just kill the position the T courser and I put it right here, so I will grab these two UVs and het and mec at Cursor. Now, this vertex med from here to meet this one here to be merged. And you can use merge by distance. Ose it and we will have a threshold manipulate it. If the threshold was small, you will not see any change, but you need to make it a bit big because here we have an invisible circle. When you cring this up, the circle will be big and big and whatever vertices within this ran it will be emerged. This is how to mirage how to marriage inside the U V. I can grab four, for example, and I can hit stick to stick them if you like to this or we can grab those as well. Stick, stick working as well to marriage the vertices. The shortcuts for the marriage and stick is right here. Mg you need to hit M to open this menu of the marriage and stick, you need to hit V to stick what you want to stick. Now let's see how can we use the straten. Let's select these vertices, and I just need to rotate them. I need to move and make them diagonal like this. So I think I can use here if I go to the transform and use here and let's move this just a little bit like this. After that, I will make some change, for example. Let's make some variation here. Let's move this here and maybe this one here a bit. All right now, What we can do is, select all these vertices. And I will right click and straight. Strtin will make the line straight, even if the line is diagonal, I will give you straight line. As you see now, I got correct results. But watch what's happened here. We got some tilting here. This vertices should be right here. But now it's moved to be here, and now the edge is no strike anymore, this edge right here. Now become like this. Y, that's happened if you use this open straighten. But if you use straight to the x, for example, it will give you the correct result and respect this g right here. It will keep it straight. I'm going to hit control z to cancel this and I will hit raictight to the x. Now I got perfect results, and these vertices are aligned with this g. This is how to straighten, the same scenario straight in to the y. But align x and align y, these options, they not give you the same result of stratin. The stratin is working with the diagonal line and with the non diagonal lines. But these options just align the vertices or the U V to the x to the Y. For example, with the selected, I will try to click and align to the x, and as you see now, they become perfect in the center and align to the x axis. So yeah, this is how to use the stri and the auto and align xn N Y. Yeah, that's it. So I will end this video and see you in the next one. 113. 114 Unwrapping section Display stretch 15: Hi, R. Welcome back. In this video, I need to talk about display stretch and how can we benefit from it? We have these faces, this plan, and we already erupted, just hit and again, and it will be rab. The result the arabic result is 100% clean and perfect because what we have here is something easy to rab, and it's not difficult just piece of plan. But if we have a complicated object like organic object, the arabic will be different. We will note that we have some strike in the UV. Let's go to header and let's move the header gas a little bit by pressing the middle mouse button, the wheel. Let's go to this arrow and let's activate display strike. And by activating this option, I can see the stretch. Everything now is blue that's been the UV 100% clean. But if I grab this vertex, for example, and I just need to make some distortion. I will hit and move this when you move this vertex. Now I got an angle right here. And this angle does not exist here, because, as you see, this face is nine degree, there's no angle here. Because of that, I noted that the color change, and this change in the color tells me that there is a distortion, and the UV is not clear. So I need to put this vertex a bit right here to make the result better. So I will do that. I will key and move this up until I make it blue, and now the UV is clean. Even if I move these vertices like this, I can see that I made an angle here to this face and to this face, and I noticed that the color king, but I didn't see any king here for these faces because these faces, they don't have any king in the vertex angle. We don't have any angle here. In this case, I can switch from angle to area. We have two options here. When I activate area, now I can specify the distortion when I change the area as well, even if there are no angle changing. All right. So now if I grab those and move them, this area now become not similar to what I have here because of that, I can see the chinge in the color, and the angle that happened here, king the area as well, and that caused some chinging in the color. And now I will understand that I have some strike here. All right, so this is easy. This is simple UV and we can manage it. But for complex shapes, for example, I will add a monkey head here and let's stop it mood. As you see, the color is not 100% blue because we have stretch everywhere for the ears, and for the mouth, as you see now, it's become red, the color become red aspen. We have too distortion here in this area. I can minimize that stretch. I can make this stretch a bitless. And here we have multiple tools. For example, I can grab these vertices or let's see this let's grab these vertice, and let's scale them. By scaling these vertices, just a little bit, I can make the effect a bitless. But if you take it down, mixed small, it become too. That's means the result is not correct. So let's scale those, just a little bit like this, and L et's scrap the whole vertice that I have here to minimize the stretch. Here we have an option call minimize stretch. We can use it to get better result. And now, as you see, I just minimize it just a little bit. You can use the wheel mouse. You can rotate it to decide what is the best result for you. All right then, so this is all about display stretch, and that's it for this video, and see you next. 114. 115 Unwrapping section Pinch Relax grap 16: Hi, Ron, welcome back. And this video, I need to talk about the UV map tool bar. If I go here and if I t, I can see that I have a tool bar right here. And here we have three option, we have grub and relax and bing. And these option maybe they came handy in some circumstances. So we just need to learn how to use them. We most of the time we use these tools here when we activate the display stretch, because we use them just to minimize the stretch. So let's go to this to endless activates. Let's see how can we use those. We have the grub grub. When you activate it, you will see that you have a prish right here. If you hit F, you can maximize the brush, and you can hit F again and move them off to the left to the right to make the prsh small. And if you hit if F, you can manipulate the strength of the brush. And if you hit, you can open this tool bar or this menu, and here inside the tool, we can see the price setting. We can manipulate the radius here and the strength here as well. All right, Let's turn those off for now temporarily and let's close this panel. Grub help you to grab the vertices and move them and that depends on the strength. If I have to make the strength power, I can see that I can move the vertex in a strong way. Can use this to minimize the strike, for example. Now, if I move this triangle down, I cannot that the strike become very big, but if I make this small, now it's become solid blue, that's means the strike now becomes the same scener right here. We can use this to achieve something like that. Let's move this just a little bit. Now it's become blue, now it's become okay. This is how to use this crop. You can is similar to the smash tool inside Photoshop. I can roll a couple of time to do all of that. Here we have the relax. This help me to relax the angle between these UVs to get better results. As you see now, the yellow and the green that means we have too stretch here and the result of that, the ticket sure that we will apply on the monkey head will not be correct. So maybe I can use this tool to minimize stretch. And as you see now, I can see that I have some result here. But you need to be careful. Here, we have the pin. If you use it, you will pinch or push all the vertices in the center. This is the usage of the pinch. And if I hit in, I can open this menu here. We have this ocean look boundary. That's mean if you use the pin, for example, nearby the boundary, you can't affect the boundary. Even if you activate this relax or the grab, you cannot affect the boundary. We have the sculpt all island. If you leave this off, when you sculpt here and go up here, you can't affect the next island. But if you activate the sculpt and move your mouse, for example, if I use the relex or the pinch, now I can affect this island. But if I go up, I can effect this one as well normally. So to achieve this, you need to activate scalp along sculpt all islands. Yeah, that's it for this tool, this how to use them. That's it for this video and see you next. 115. 116 Unwrapping section Exporting UVs part 17: Hi again, and welcome back. In this video, we need to learn how to explore the UV out of the blender. We have the monkey head here. If I tap the mode, I can see that I have the UV. Let's go to the layout here. Let's turn off this blade strike. We don't need it for now. I need to explore this UV out from the blender to photoshop to bind on them, and we will import them back to upline them on the Suzanne head or the monkey head. First, I will add subdivision surface to make the result a bit smooth. After that, I will hit control A to ally the result and I will tab, and I will note that the U V now become even more smooth because I add a subdivision surface here. Here we have the eyes, and here we have the ears. Let's activate the sync. Here we have the ears. This area is in the middle here, right here. And see this circle wears it if I go to the edge. I know that the circle is right here, so we need to focus and this circle if we want to add I here. That's cool. Now let's explore those out of the blender. Let's go to U V and export UV layouts. After that, save it. I will save it right here in the project folder here, and I will leave it like Suzanne PNG. Here we have some option. If you want to save it as B&G, and here we have another option you can use for me, I will leave it as B&G. Here we have the size. Maybe I can't king this 22000. I just to king the one to two to make the tick curbic. The opacity, I will leave it 25. That's it, I just going to export your Vout. And now the UV is exported. Now you can go to the photo shop and import the UV and do what you want to do and paint for above it. I just I made a mistake here when I exported the UV. You need to select the whole UV and export it because if you don't, you will not see any UV in the ma when you made when you export it. So I will select all the UV and I will do that again and export it, and I will put it in the practice folder. And can I go this Susan number two, and I will let export and leave everything as is, and I will export like this. After exporting the image, you should find it like this. Something similar to this result. I take the image inside photocop and I just made some tweaking here, and added some color, and I got this results. Let's see what's going to happen if I take this back to blender and apply it on the ss and head. Now we are inside blender, and I will subli this to two and spread this to Hader editor, it and to close the spanel, create a new material to this head, selected and create a new material, and hit Haft A, and let's add an image titure here. Here we have an image titure, and block the color to the color and s for the image, it open and add the image. Let's call Suzanne head texture. This one right here. After that, I will try to like to head this as smooth. After that, just head Z and go to material review to see what can having. There we go. Now we have Suzanne Head texture and Freddie. If let's go to the edit mode to see what we have here and let's add let's search for the image to see it. This is what I did. Let's maximize this. Here we have the yes. I just added ys here, and I add the skin texture in some red color in some places, and I add this result right here. Es. That's why we need to create or rub our object and correct the U V, so we can manipulate it like what we want, or we can send it to another painting software to paint and it to get a result like this. That's we'll do it for this video CO next. 116. 117 Unwrapping section Use UV to model a building part 18: Hi, everyone, and welcome back. This video, we need to learn how to use UV map with the modeling. You can model with the help of the UV, and let's see how can we do this. Let's go to the folder of the images. Here we have an Image for a door and two images for building. We need to use those images, but we need to create a plane and add these images above the plane. So let's go here and let's delete this cube. I will have to end, and I will add the plane and this to the X R X 90 degree. And Let's create a material to this. Let's bled this 22 window here and streak this two header editor, it and to close this panel and create a new material. Let's go to the folder again. Let's use this image first. Let's put this right here and block the color with the color. Let's go to the viewboar heading and stat this from material to texture to see the texture and there were going to have the texture applied and ready. A Right now I can tap to the edit mode. Here, we have the UV, and we have the image applied perfectly on the UV because the images square. I will maximize this window, and I will hit control r to add an here. Let's add some edges here, and for example, one right here, control r to add here as well, and one here and one here. Control and add one here and one here as well. There we go. Let's add edge in this area, something like this. For the windows as well, I think we need to add edge there. Let's hit control R to add a couple of edges here. Maybe you can add three control r and add three here as well, and the same thing here. Now let's grab the vertices, those vertices, grab them all like this, it key twice, and let's take those up. Make sure to hit gee because if you hit G just one time and move this distort the UV. Use the slide method, ket twice and take those up. Now let's select the middle vertices, keep wise and take those up as well, and there we go. That's cool. All right. Now what we can do is we can grab these faces and extrude them. You can extrude those. E and take those forward just a little bit, and that's it. That's great. Let's add the edges here for the window. I think we need to, I just can add one here in the middle. And I need to align this edge because as you see, we have a wave there we have a waviness here, and we don't need that. So if I hit S to the z and zero enter to align it, I will distort the UV or the image, and I don't need that. So to align this without affecting the UV, I will hit git wise to slide and then S zero enter to avoid that problem. And git wise again, and slide this up. I will got that problem again, but there's no problem because I can fix it. So g tie to slide, S z zero enter, and there we go. Gwe to move this just a little bit right here, and there we go. Right. Let's see what else we can do. Let's add another A here control r to support this, control r again and at one here. And one here, this area, control R and at one here as well. And now let's add a here on the side and on this side, the same scene area here. Something like this. I can't throw out on that one here. Now we see like these faces. The same thing here. And here as well, but we need to add another, but let's extrude those hairs. And extrude those foward just a little bit, and we're going we have something here. 18 right here as well, you can add tab one here, and let's make this s right. G, and we can these phases here. And put those forward just a little bit like this. There we go. A right now, we may something beautiful here. We can create a full City just by using images and it will be 100% realistic from far distance. But I noted that we have some citrac here happened when I extrude these phases. I need to find a way to fix those. Let's do that together. I will minimize this and let's start it a mo and let's select these phases that we don't like those here, for example. Let's see where are they here. Now I got this face. I will select this face alone and hit you and you again to our rab it alone, and I will scale it just a little bit, make it small. You can put this face on any side you like. Kick what I have here. I have this prick area. I can put this on the prick area, and now I can avoid the citric just by moving this phase or put it in another place. Let's do that again. I have this side as well, the same scenario. Grab these phases here. We have this phase selected, it you and you again to rub this alone, kill just a little bit and leave it in this area, and this phase will receive the information of tickets here from this area, and that's what we want to kill this stretch. Let's do that again for multiple sides, scrub those, and cru those here. Cru those here as well, and those here, and those here. Those here as well. With these faces selected, I will hit you and you again, and we have them all. I just can slide them here for now and scale them maybe just a little bit like this. Let's use the island select select them one by one, and put those here all of them. Hit and move, put this above it. By doing that, I can fix this. Let's see where is this let's put this here. And keep moving these islands in this place to receive the brake texture, and we can kill the strike by this way. Right now if I tap out, I can see that I have a break here and the result is very nice and beautiful. If I grab this and we can edit this farther by grabbing these edges from the back and extrude those back, can create a building here. If I take a cob above this, and we try here, for example, can take another b. As you see now, we got something here. We can take another Kobe and create something like that. If I add a street here and some lighting from the sun, you will get something beautiful. But we need to add another image for another building so we can make this make sense and more realistic. I have another image. L et's hit 50 a to add and let's add another plane here, hit to move it and let's move this right here, r x 90 degree to rotate this to the x axis. Let's create another material for this, and let's bring the folder back. We have this image as well, I will grab it with right here. Let's suplick this with this to see the result and there we're going we have something here. Let's maximize this. First, let's delete this one and let's add another image here. Table is moot. I can see that I have the UV completed because the image squared and the UV squared, it's applied perfectly. Now I can add some edges here and divide this let's add here, cant r, and add one here as well. Let's add one here. Or something like that. Control r and let's add a here. The side one here as well. And one here, maybe. And something like this. Maybe a here for the side. Maybe here as well. I don't know. I maybe here. I just add the edges in the necessary places so we can extrude them. Maybe one here for this place and maybe one here as well. A first let's start with let's put these vertices a little bit, at wise and take this right here and this one as well. And the same scenario here. Keisel these vertices a little bit. H right now let's go to face to extrude these phases. Select those and those as well here. Extrude those out, just a little bit, not too much. Now we have some extrusion. Let's take the windows and, and take those back like this. These pieces I just need to add another edge so I can extrude them. All right. Let's grab these faces here, and this one as well. You got the idea and I can extrude those forward just a little bit like this. That's great. All right. What else do we need to do here? Or maybe we can select these phases as well and extrude them just a little bit. Let's take these edges and take those back. And maybe we can trough or these faces here, something like this. And now we got something here. All right. Let's tb these edges from the bag and hit E tot those and then we're going now we have something here. We can put this building with this one and we can hit K d to the z and take a COB above it, and two add another one. Let's take a CV D. C, let's put this right here. And there were going now we have something beautiful here. By the way, don't forget to move this site, for example, you can dig this face if you don't like it, because we have strike here, as I explained, and you can go to the U V, select this face alone and hear it and you again and scale it. S k scale this and hit key and let's move it and put right here. All right. Align these edges of the prick, take the island a little bit up or down, and align them and there we go. Now we have something here. Even if you have some problem here, you can grab the vertices and control them. So you can start from this point and this here, take this down to get correct results. And watch me this error right here when I move these vertices, what's going to happen? Something like this. Perfect. You need to do this for all of these pieces. For example, we have a bit of a bit of the color of the window here, and we don't need that, so we can avoid that by grab the face here and hit you and two rob it and select it, and we just need to rotate it ninth degree like this. And scale it just a little bit, hit key and move this. Align with the window and take these vertices up. Something like this, hit key and move it a little bit. And now we just fix it. The same scenario for this phase if you like, you just need to select it and we have it right here. I just can move this just a little bit like this and I will fix the problem. There we go. We fix it. This is something beautiful and nice. I have another for a door. This is the door mic, and I will leave this on you. Follow the same technique that IGS did for the building, add some IGs in the necessary places to extrude those frame to create this door. That's it for this video, this one of the portant example to how to use U V and it's important. As you in the next video. 117. 118 Material section intro: Hi, everyone, and welcome back. This is a new section, and this sec, we will learn how to create the material. It is very important after you complete your modeling, you need to come to the next stages how to add the material and how to make what you create realistic when you add a source of light. We will focus on that and we will learn how to create the material almost for all the object that we create in the modeling section. We have this car. I created this car and I made a full course. You can find it on Udemy in my profile. As you see, I completed the modeling, and now everything is cool and nice and ready. But as you see, I just have one color for all the pieces of this car. And I need to create a red color for the body, and I need to create a material, rubber material for the tire, rome material for the bumper or the grill. I need to add the BMW logo right here, and I have a lot of stuff. I need to create them. So if we create this and apply it on the umetry, we will get something beautiful and realistic. I already done that in the course, and I want to show you the final result. I will zy to go to the render A render. As you see now, kick the material, kick the details. Without the material, I can't achieve all of that. Let's zoom in just a little bit to see the carping material. You can see this flex. All of these details, I can create them by connecting the node that comes with blender to create something nice like this. Kick the crew material. We can create a crew material and we can control the reflection and all of this stuff, kick the front lie the headlight and check the rubber material. Kick the reflection of this material is different as compared with the body bind. Kick the bumpnes that we have here, the text. All of that, we can control it inside the shader editor or the material system inside the blender. We need to learn to a all of that. We can add a titure, for example. Here we have on the ground, we add the titure to simulate this imperfection, and we added a tiiture, and we controlled the color to achieve a nice reflection like this. It's look like a bit width. Let's go for the bag to see what we have here. So without material system, we can't create all of that, and we can't make our object ready and realistic. So in this second, we'll learn how to create the materials, and let's get started. 118. 119 Material section Learn how to add material and change HDRI light environment: Hi, everyone, and welcome back. You remember when I created this small table in the modeling section, I just added a bevel modifier above it just to vl the corners, and I just need to add a material above it to learn how to use the material inside blender. I need this example just to show you how to create the material and how to use the image texture to achieve something here. But it's not necessary to start right now. Now we say we need to learn how to ad the material first and how to prepare the interface to work with the material. The first thing that I need to start with is you need to sublet the window to two window to start with that. This is the first option. Put the mouse right here in the corner and click and drug to create two window. And you need to switch this one to Hader editor because here in this editor, we can manage the material and adjust it. After that here, we have this panel, you can put your mouse right here on this edge and click and drug to the right to close it or you can hit in to close it like this. And now you can add a material here, but you need to select an object, and then you can hit to add a material, or you can go to this second right here is called material properties, and then you can hit to create a material. Here we have the materials lot. You can add multiple materials here one above one for just one object if you like. If you don't like to supple view like this, you can close it, and you can suplit the view like that if you like. And you can leave the upper part for the scene and here you can set the editor to the shader editor, and here you can work with the material if you like. Choose whatever situation suitable to you and then start with that. I will close this You can go to here we have the layout. We have the header, the series. This one heading, can switk to the heading. And if you switch to the heading, here we have a prepared interface for the heading. Here we have the Hader editor, here we have the editor type, the mage editor, you can add your images here, the mag any image you select, you can find it right here to see it. Here we have the file to browse your images, to quickly add them here. And here we have the environment. It's called DRI image, and we will learn what is HDRI image and how to use it in the future. You can change the environment lighting by by changing the HDRI image. If you go to the r right here, you can notice that we have a background. Here, and the lighting comes from the background that we have. It is HDRI image. We can change this TR image, and according to that change, the lighting will be changed as well. Let's go to this right here and let's hit left to click on this image right here. You will note that I have multiple choices. All of these TRI images comes default with blender. I can pick whatever DRI image that I like. For example, let's switch the HTI to the to the studio light, we have this image. As you see now, the lighting now is changed according to the Hector image. Let's pick another one, for example. Let's grab this and notice that we have another lighting. You can rotate the environment if you like. Let's go back to the default one, this one. You can rotate it. Can you use this slider here, can hit left to click and drag to the left and the right to rotate it. When we orbit around the object, you will note that the environment follow the object. You can stop that by hitting this option. Turn this off. Now you can rotate the object without rotating the environment. So this is the environment and this is how to king the environment from this list right here. This is how to switch to the heading layout, if you like to work with the handing layout. It is very fast, you can switch to the heading layout and you can work from there. But to be honest with you, if I talk about myself, I didn't use the layout at all, and I don't like to use them. What I like to do is, I like to go to the first out here and sublets my window to two and sway this to Hader editor and work here. And for any reason if I want to go to the heading, I can go to this option activating viewboard heading or I can Z and go to the material review here to see what I need to do, and now I have the oral eye lighting here as well. If you want to see the background, the environment, the HDRI image, you can simply go to this arrow and go to the world, opacity and cring this up to see the environment, or you can make it invisible like this. If you make this zero, you will receive the lighting from the environment, but not the environment itself. You have this option, and you can kill the bluer if you like, if you want to see the, the image itself, or you can blur this out. For me, I like to work like this. If I want to sweak to the material preview, you just need to e z and go down and that's it, you can pick this option here. Let's go back to the solid. So now we learned how to sub the window to two and how to jump to the Hader editor. Let's hit and to close this panel. Here we have the new button. If you hit in new, you can create a new material to the selected object because this object is selected. If I hit, the material, will be applied on this object alone. And here we have this. If you have multiple materials here, you can pick whatever material and add to the umetry. For example, if I have a metal material chrome, and if I have a wood material, I can open this arrow and add them and choose the metal material for the stable or choose the wood material for the stable. But I need to create materials first to see them here. The material slot that we have here, it is the same scenario, similar to this one here. We have it here and we have it here as well. All right now I can create material. As I said, you can use this option to hit, or you can go to the material properties and hit NU from here to create a new material. Let's hit. When we hit this button, we got this material. Let's move the header. Click the middle mouse button, the wheel, and move the header just a little bit here. You can see when I hit a new, I got this principled Bs DF. No, this one connected to the material output here. This one comes difficult when you hit a new. And here we have the name of the material. You can king the name here, you can just hit one click, and the text will be highlighted and king the name for whatever name you like, for example, I will call this text and hit enter and that. We have a new name here, and we note that the name is King here as well. So this is the material. The table, now we have one material here for the table, as you see, and the slots in the material slots, we just have the taste material, this one applied on the table. We can add multiple materials to the table. For example, let's go to the paste color here and just want to make quick change to red. You just need to make some variation between the materials that I will add here. Let's go to this plus, and now, I just added a new material. The materials don't exist yet, but I just added another slot to the material. This one is called slot one, and this one is called slot two. Let's add inside the slot two, a new material. You can hit this in or this one. Let's hit this one. As you see now, we have Another new material to the slot two. These two materials for apply on one object. But now if we z to go to the material review, I will note that this material is the active material. Let's go to this one and let's manipulate the colors change this to rate. As you see nothing happen here. But let's select it and let's go to this arrow and push this up. We did that. As you see now, this material have no effect on the umetre. Unless we apply it or assign it. Because of that, we need to assign this material on this object as well. Now, if we want to assign this material on this object or on small part or some parts of this table. We need to go to the edit mode, jump to the edit mode and select some faces. For example, I will grab the pass that I have here, all of them, to apply the material on them on just these faces, and maybe those here as well. Let's do the same thing here. And now we have the rod material selected. And because we switched to the edit mode, now I have the assigned button here. Let's set assign, and now as you see, I just assign the material, the rod one on this part, the selected faces. Even if you add this down does not to effect anything. The order of these materials, it's not a matter. I will tap out and now I have two materials applied on one object. If you want to delete the wrote material, the effect of the right material. Is simply, you just need to select the object and tap the tmute and hit A, select all the faces here and go to the test material and hit assign to assign it on all the umary. Maybe you will say, I need the effect of the write material on this umar. It's very easy. Select tap the moot it A, select all the face and hit assign to assign the one. And there we go. If you want to delete the right, just select it and hit this minus to delete it. But it will still here inside the memor of the blender, you will you will find it right here. The material that we deleted here from the slot, it is just deleted from here, but it's still inside the blender. For any reason, if you like to delete the material itself, you can go to the blender file. And go to the material scion, and here we have all the materials. You can itrat and delete the material from the project itself. Now we deleted the tests. If I go to the arrow, I will not find just these two material. The test is gone. Let's talk about this era just a little bit. Here we have the review. If you open the review, you can see the preview of the material. This review, you can change it to another to any have that you like. If you want to change it to plane, you can swak it to plane to cube to whatever option of these, you can do that to see the material. For example, if you have a cloth fabric, you need to swa this to this option just to see how the material will be applied on the fabric. You have the ability to maximize this to make it big if you like. If this small, you can make it big. You can extend this just a little bit if you like, like this, let's spring back this tool bar. You can make it big like this. You can do this. Now it's become big. Let's make this small let's take this up. You can hover over here and hit control space to make the whole window big and you can sweep this down, take this down to see to see your material, and whatever king you make on the material, you will not the change right here. This is just a preview. For me to be honest, I'm not using this too, I'm not using this. I always keep it on the sphere. And here we have the material node. You can turn off the node or turn it on. And here we have all of this information that we have here exist here as well, and you can manipulate the number to king the effect of the material. We will talk about of these options here. Here we have viewboard display. If you go to the solid, for example, you can turn of the use node, turn off the material. Instead of that, you can use the viewboard display. For example, I will change this to to blue. Now the material in the viewboard is blue, but in the render is not to blue. It's red. If I go to the material review or if I go to the render, to be ra because the base color is rat. I will activate the use node, and as you see now it's become rat. Let's go to the material review. It is right. This obje right here of the viewboard display is just help you to organize your scene to give some object specific material to differentiate them from the other object. If you activate the use node, this option will be canceled. But if you turn this off, this option will be active and it will be considered as a color of the opt even in the render. Also, that's it for this video and see you in the next video. 119. 120 Material section Node Wrangler: Hi, everyone, and welcome back. In this video, we need to focus on one of the most important addons that comes with blender. Let's call node angular. Let's see how can we activate it. Let's go to the edit and then let's go to the preferences. We have this meno. Let's go to the don sec and we need to use the search bar just type W R, and it's right here, Nodangular, just activated. And then let's go to this icon and save preferences. And let's exit. Now, we just activated the node rengular, and we need to use this node a lot here when we work with the Hader editor. Let's see what we have here. We have two nodes. This one is call node, and this one is call node, and each node have its name, is written right here. This one is call principle, BSDF, and this one material output. The material output is the final destination. When you create your material and when your material become complex, you need to add too many nodes here, and all of these nodes and right here. So this node is applied on the object that you select. For example, if I select this one, the node for this object is this one right here, and we have output node for this one as well. This one is a final destination. As you see, it has just input and doesn't have an output. For example, the principle PSDF, have one output and too many input here. You can connect another node here or images, and here in this principled BSDF, This node will give you the final result through this node, and you need to connect to the output to see the result here on Damage. We have a lot of nodes here. If you go to the ad, here we have the circ you can search quickly for any node you like. Here we have categories. We have the inputs, and we have a lot of nodes here for the inputs, we have the iv. We go to the ad, we have a lot of things light path and As you see some of these nodes, they doesn't have an input gas output. For example, this light path doesn't have an input gas output, just give you output, and the bible has an input and output. Let's go to the add. We have an output, the material output, this right here. We have two of output by the way. We have the output for the object, dm that we have here. We have an output for the environment, and we will talk about that later. If you speak from object to environment, you will see that I have an output for the environment for the background. This one is called world output. Let's go back to the object. Let's go to the ad. If I want to add, here we have the shader second. We have a lot of choices here, the texture, the color, the vector and converter, secret group and layout. At let's see why we need to activate node rengular. If I have principle SDF, for example, if I need to add an image ture, I need to go to the ad and then s for tickete or I need to go to the texture and add mage teture from here, here we have the MI tiesture. And I need, for example, to add a mapping, so I can go to the ad or I can hit Haft A to open the ad menu and C for mapping AP, this one right here. Now I have the mapping. For example, if I want to add the coordinate texture coordinate, let's go to the ad menu hit Hft A and go to SR and just type core tet coordinate this one. As you see, when I needed to go to the ad menu a couple of times just to create those image and mapping and texture coordinate. But if you activate nodriangular, you can hit control T on the principal PSDF, and this shortcut could create this node for you quickly. I just going to give you example. Now I have the principal PSDF selected. I will hit control T, and as you see, the nodrangular created the three nodes immediately and connects them as well. This one of this is why we need to activate node triangular, and there's a lot of shortcut comes with node angular. We will talk about most of them. If you have the emt cure, for example, if you delete the mapping and texture coordinate, and you have the emetic, you can control t and node reangular, will not repeat the mic. Again, can add the texture coordinate and the mapping. And if you delete this one and if you hit control T, let's select this mapping and hit control T, it will create just the texture coordinate. I think you got the idea, if you didn't have all of these node, and if you select the principled and control t, created the three nodes for you automatically. Let's go to another example. Let's delete those first. By the way, if you want to delete those, you just need to left to click and track to create the selection like this, select them and just delete from the key and they will be deleted. One of the important shortcut that comes with node angular. If you add any node, and we just need to see the effect of the node at calf before we connect it anywhere. For example, I will hit Hft A to open the adminu, and I will go to the texture, and I will add, for example, Varano texture here. If I want to see the effect of the Veroni, I need to connect the color to the base color, so I can see it right here. But I can't see it because I deactivated the use node. You can activate it from here to see the effect of the principled, or you can activate from here as well. Use node. Now, I just activated the used node. Now I can see the effect, but I got the effect after I made the connection. There is a very nice way if you want to do this. I will delete that connection. You can hold control and then right click and cut it by the knife to cut it. What if I need to see the effect without making any connection? I just need to see it quickly. You can hit control shift, and left click. Now I can see the effect immediately, when you do that, when you hit control it lift click, node angular will create an emission node, and it will connect directly to the surface, so you can see the effect here in the three D viewboard. If you hit control hifts on the same node again, node rengular will the connection from the distance to color to the position. If you want to swap between them and see the effect for EC output here. If you want to connect this pa, you can hit control shift, sorry, you can hit control shift, and left to click on this to connect it. You noticed by accident when I moved the principal PSDF. You noted that when I moved it, I got a connection. Let's do that again. I will control shift on this one. When you move the node, and when the node ho or over on any connection line. It will be connected For example, if I add this one right here, we got a connection from the variant to the base color and to the viewer. But this connection is not correct because here we have a red line that tells you that this connection is not correct and that's not going to work. I will control you to cancel that connection. All right. If you want to squeak a node to another node, for example, here, we have the Varon texture, and I need to change it to another node. You can go to the ad and go to the texture and you can add, for example, any node here, for example, the heck and connect it again. Like the spark. But there's another way fast, you can change the Voronoi texture to another node. Just select the Varoni texture, for example, this node, and then it shift to open the squeak menu. From this menu can go to another node and sweak it to kicker. If I click this option, the Voronoi texture will squeak to kicker. This is a very quick way if for want to squeak the node and king them. All right least connect the principal BSDF again to the material output. I will control shift. Left to click and there we go. Connect. If you want to connect any node to another one, for example, if I want to connect the color to the base color, I just need to hover over here and hit left click and take this line to this dot right here. Now we've got a connection between these and you can see the effect. I can connect this to the next one to this one and this one as well, and I can connect them to all of these nodes right here. If you want to cut the connection, you can hover over and hit left to click and move it away and it will be deleted like this, or you can cut it. You can cut, you can hold control and right click and move the knife to the lines that you want to cut them like this. This one as well. And I terminated the connection here. There's another way of connection is called Lazy connect. If if you press and hold out, you can hit right click, hold the right click and move the most from this note to this note. If you do that, you will get a quick connection. For example, I just connected the color to the base color. I can do that again to make another connection. But as you see, this depends on the colors, when I made the first connection that connect the yellow dot to the yellow dot, and when I made the second one, connect this one. If I do that again like this, the connection will be from the color to the emission. But what if I need to make a connection from the color to the surface directly without by using the lazy connects? Let's cut all of this connection. I will hit and hold control with right click and cut all of these. You can hit shifts and then lt and right click If you do that, you will have this menu, and in inside this menu here, we have the color in the pactor, for this node right here, let's do that again. So I need to connect the color. To the base color to the subsurface to to whatever dots we have here. For example, I will connect the color to the base color, and there we have a connection. Let's do it again. I will hold Shifts t and hold right click from this node to this node, and I will connect this time the factor. It means this factor to whatever node we have here. Let's do that again. Shifts t, right click from this to this, and I will connect the factor to the sub surface. Now we got a connection between those. This is another way if you want to connect. If you don't like that, you can grab this dot to this dot and this do to this dot directly, and I think that's faster. Or at least cut those, hold control, right click and move the knife like this to cut them. If you have at un used node, for example, all of these nodes, they didn't have any connection with the principle and the output, so we don't need them because they are not affecting anything, and we need to delete them. You can hit Alt X to do this. And if you do that, you will have this small menu tells you delete unused node. Just hit lift to click on it, and they will be deleted. Let's connect one of these and let's see what's going to happen. Connect this one to this one, and let's do that again. At x delete, and all of the unused node deleted, except this one. Let's cut the connection. I lit this one. I will hit control again to bring back the other note. When your scene become too complicated, and when your material become complicated, you need to organize the nodes. We have a frame here. We can add multiple nodes inside the frame and give that frame a specific name just to recognize them. If you want to do this, just select the node that you want. For example, I want to grab those, and I will control to put them inside the frame. Now we have this frame and inside this frame, we have this node. When you move one node, the frame will be extended automatically and it will become big. When you grow up another node and put it inside the group, the frame will contain its and now when you move the frame, all of these will move with the frame. You can give this frame a name if you like, select the frame and hit F two and add whatever name, you like. And then we're going to be change the name for the frame. If you want to take one of these nodes out of the frame, you can hit old P to take this out. Let's do that again. Grab this one old P. If you want to delete the frame itself, just select it and hit delete and it will be deleted. If you want to organize the nodes, if you want to align them, for example, duplicate this one. I guess can hit Hf d to duplicate this one here and Hft r to repeat that duplication again and again. If we have nodes like this, for example, you can grab them like this and hit shift end equal mark to align them like this. And this kind of alignment is depend on how they laid out here inside the shader editor. For example, if these nodes, aligned like this, and you want to align them again, you can ground them like this and its shifts and equal sign to align them to this direction. When you activate the node regular, you have the ability to use a shortcut to mix between the nodes. For example, let's duplicate this one, the principle, let's add another one right here. This one is from the header s, the principle BS dF, grab this one from the texture section. Let's crab this. I will cut the conning here, and let's scrub this one. Let's hit he d to duplicate this one here. And another one here below it. I need to make a connection between those. If you want to do this manually, you need to go to the add and you need to go to the header, and for example, add header and put the small right here and connect this to this, and after that, bring the small right here and connect to this. As you see it's time consuming, need a lot of time to achieve this. But there's a faster way. Let's cut the connection here, and let's delete this one, and let's connect this back to the surface. Can hit control, shift, and right click from this node to this node, and node wangular, will create a connection and will add the mix header or add header here. By the way, we have the mix shader right here, we have the mix, this ad and this one is the mix header. When you do that, nodringle will add the mix header between the, the node that comes from the dor s. But if we have Nodes comes from, for example, the texture. We have another kind of mix is called mix RGB. Work with these kind of nodes. I will control it right click from this one to this one, and Node triangle created this node and connect them for me. This is fast way if you want to make a connection between the nodes. Let's delete and used node A X and delete them. Let's delete this principle of PSDF. I will grab this one and delete it. Let's delete this one. I need to delete this node right here, and I need to keep the connection between this dot and this one as well. If you grab this had delete, you will lose the connection, and you need to reconnect it again. There's a fast way if you want to do this. I would control z just to bring back this node. You can grab the node and you can con x to delete the node and keep the connection. Let's move this one right here. By the way, L et's add some nodes here. I just need to talk about something. An node. I just going to add, for example, which one? The tie. When you hit G, you can move and the r for rotated working here as well and scale. If you want to scale the nodes and make them close to each other by using the scale as going to work as well. The transform tool is working here as well. I'm not going to make this video along. There's a lot of shortcut here, but I just need to talk about the most used shortcut. Throughout the course, maybe we can add a new shortcut to learn more and more and that's going to make the process a bit faster when you work inside the head rotor. So I will end this video and see you next. 120. 121 Material section principled BSDF: Hi, everyone, and welcome back. In this video, I need to focus on principle BSDF. It's one of the important nodes, and you can say it's all in one material because here we have a lot of option inside one node. This material is accurate, physically accurate when you want to create a realistic material, but you need to know how to manipulate these sliders so you can get a correct result. Here on this side, I have this shadow bale, and I will put this shader bowl with a project folder, so you can use it and I created this shader ball, so I can see the results of the material. Whatever thing I do here, I can see it right here on this shado bool. Let's start with the base color. First, let's z, and let's go to the material review, so I can see the material the result here. The base color, if you want to change the color of the object, you need to go to the base color and can get whatever color that you like. Here we have slider. If you like to work with these numbers, you can add the numbers here to work with, or you can use this color wheel to change the color to whatever color that you like. Here we have the RGB. If you want to add values here in the R and G. B, the red and green and blue. You can do that. Here you can make the result bright or dark. For example, if you make it blue, this light bright blue, and this dark blue. Let's take this back to the center. Changing the color that's done from this area, and you can add mage titure right here. For example, let's go to the folder of the texture and let's add any image here, so I can see the result. This is the texture folder. I will grab any texture of these textures and add it right here. I will click and drag this one and with it here and let's plug the color with the base color. And immediately, I can see that I have a wood texture right here, the wood texture that I bug here. So you have two options, either you can an texture here a M texture and use it to your object or you can manipulate the color right here. If you like to connect any node from the node list, but not all the node, just specific nodes to the best color, you can do that. For example, you can add go to the color section and you can RGB, lets is it. We have RGB color here. He for RGB. Yeah. You can plug an RGB color here to this base color and king the color to whatever color that you like. And you may ask why I need to do this while I have a color here comes with the principle. You can use this for multiple principle BSDF, if you like to duplicate this one, for example, can duplicate this one here. And you want to give both of them a specific color controlled by this node. You can do this. This is the idea of using this node. Let's this one. Control x and this one control x as well. All right. I need to talk about the metal and non metal materials. Let's start with non mootal. If you want to create non metal material like plastic, like marble, etc, you need to know which slider here we need to manipulate and which is not. If you want to work with non mootal, the metallic slider you should keep it as he to simulate non metal material. For example, if I want to create plastic material, I need to keep the metallic for one. Because if I cr this option 21, I can switch the material from being plastic to being a metal material. Let's say that. This slider right here, the metallic, control that thing. So creating non metal material, you need to keep this azure, creating metal material, book this 21. Here we have the specular slider. This slider give you a layer of reflection above your material. If you cring this back to zero, you can see nothing here just that the fee color here. Let's ing this to something maybe or let's see, which color I can pick. Yeah, let's tweak this sate. Here we have just the diffuse scar end. I don't have any layer of reflection above it. And this is not correct. And this is not real. There's no material act like this without any layer of reflection above it. So you need to keep the speaker most of the time or always 2.5 at 1.5 right here. Let's take the fence back to 0.5 as well. All right. Keep in your mind to leave this specular amount 2.5 because this number 0.5 is we can say it is suitable for most of the material. They added this lider here to mimic the frenal effect. Fernl effect is something important and it exists in real life. I guess can give you a quick example to understand what's frenal mean. Let's assume that we have a water or let's say that someone is tug in front of the river here, right. So someone stood right here, and here we have water. If he threw a rock to this direction, the rock will go directly inside underneath the water inside the river. But if he threw the rock like this parallel to the water surface like this, the rock will hit the surface and it will come back The rays acting in the same scenario, when the rays hit the surface, at this angle from top to bottom like this, the rays will go directly to the surface and underneath it. But if the ras comes parallel to the surface, the rays will come back to the to the viewer I. So at extreme angle like this, for example, if we have a sphere If you look at the sphere, you can see that we have some reflection around the edge of the sphere because this angle is so far to your eye. So because of that, you can see some reflection, but here in the middle. You can see the reflection, but you can see the color of the sphere itself. For example, let's add here sphere, add the up sphere. This is very big hit and scale, scaled, even more just a little bit, radically smooth, and let's give it a material, whatever color. Let's take the roughness back to zero. Or at notes right here, I can see the color of the material self in the center, but for the rims, I can't see the color of the material, but I can see the reflection of the environment. This is the franal effect. For extreme angle like this, we can't see the color of the object. But for angle like this one in front of us, we can see the color. The same scenario, as I say, for the water pool, if you stand here, If you look underneath your leg, you can see what's underneath the water. But if you look far away at this angle, you can see what's going on inside the water, but you can see you can see just the reflection of the environment, I mean, sky or trees, et cetera. So the specular slider right here is to simulate the franl effect for the object. But this slider right here is not working for glass material or water, the liquids, because we have another IO R for them, and we will talk about the slater. Keep this ladder at 0.5 is something okay in working for most of the material. I will delete this sphere. Let's go back to the same material. Here we have the specular tint. If you push this forward, let's take the roughness back to zero. If I push this forward, you will make the reflection rate because we have the base color rate. So pushing the specular tints affect the color of the reflection and make it similar to the base color that we have here. We have red, so the reflection will be red. The roughness right here is something very important, and this help us to make the material looks rough or smooth to see the reflection. You can see the reflection right now, the trees that we have here because the roughness is zero. That means the surface is polished and very, very smooth. But if you put this forward just a little bit, now the reflection become become blured out, or let's say, the surface become rough, and you can't see harp reflection anymore because of the slider. And what's going on behind the scene, let's draw a line right here. Let's assume that this is the material. And here we have rays hit the material. We learned that if the material or the surface of the material is smooth like this one, the rays will jump back at the same angle, and because of that, we can see harp reflection, a a camera right here. But if we manipulate the roughness and push this forward, the surface will be like this. I will be rough right now, the is hit the surface will go in different direction This another ray hit this area. Now this ray jumped here and jumped here, and some of them goes here at this direction. Because of that, because of that, the material become rough, and we can't see any harbor flection anymore. And this is microscopic effect. You can see it with your naked eye. So this is controlled by the slider. You can bush it forward to one or you can boh it to the zero to make the object, the reflection of the object more rough or more smooth. And we will learn how to use this later. Here we have an atropic effect This option works with a priced metal. Pro metal, I mean, the material or the metal that have secrit at one direction. Let's open some images to see where we can find the stropic effect. Here we have some images. For the tropic effects. As you see here, we have radial sycrogs. Because of that, that because of the sycrog that we have here, the reflection goes like a line like this as you see here. Goes from center out. You can see this for the hair as well. We can see that we have anestropic effects for the hair the reflection goes like this like a line. The same scenario for the CD, Here, we have a dial scris because of that, we can see that we have anastropic effects the reflexion goes from center out. And here as well, the same scenario. We have a crush on this pm, and that's affect the reflection as well and make it looks like this. For this one as well, the same scenario here, and this one. And for this example, the same thing. Okay, let's see how can we use the stropic effect here, the C Z and go to the render. All right now you can see that the reflection the reflection that I have here and how it looks. I will push the astropic effect to one, and let's see what's going to happen. As you see nothing happen because we don't have a roughness, and that makes sense because the astropic effects happen because the surface is prior to one drogan. So it is rough. So we need to push the roughness 2.5, for example, so we can see the effect. Now we can see that we have anastropic effect here in this area. And here as well. You can see and here. If I take this back to zero, you can see the difference here. Check this before and after. Check the reflection now. The anastropic rotation is control the rotation of the reflection. If you push this, we will have another effects. It will turn the strophic effects and rotate it. As you see now, I can see that I have another kind of reflection goes here. Here we have the ability to rotate your strophic effect to suit your sin. I will take this back to here. And let's take back the stropic effect to zero as well. Here we have the in effect. This slider right here give you another layer of reflection above your object, but this option right here, most of the time we use it for the fabric. Let's put this forward to see What will happen? As you see now at the extreme angle like this one and this angle here and here. Maybe here as well, you can see the difference. Let's take this to one and kick before and after. The shin tent right here will make the reflection color similar to to the base color of the principle here. Here we have clear coat. This option give you a smooth reflection or a smooth layer of reflection above your object. If I want to, for example, take the metallic to one, and let's take the roughness to one as well. As you see now, I can see that I have rough metal. If we want to add another smooth layer of reflection above the objects, We can now manipulate the clear coat to achieve this, even if the roughness too high. Let's spoke the clear coat to one. And as you see now, I can see that I have a smooth layer of reflection above my object, and this effect is very beautiful if you want to create a carbon material. It's very nice as you see now. I have roughness, the material is very rough, but I have a layer of a smooth reflection above it. As I said, you can use this effect to create a car paint material. Here we have the clear coat roughness. If you manipulate this one and push it forward, you will make the clear coat layer rough or nootroph. This slider can control that. Now, here we have the transmission. The transmission change the change the nature of the material and make it looks like glass. If you want to create a glass material, you need to push this one forward to achieve that. Let's take the metallic to zero and the roughness to 0.5. Let's take this 20 as well. And clear coat, let's take this back to zero. So let's and go to the render. Let's see what we have here. When I pushed the transmission to one, you can see that I have now a glass material. Let's take this color and let's make it twice. So let's take this one. All right. All right now, I have a glass material. This slider right here can your material and make it glass. Here we have transmission roughness, this slider here can make your material rough or no rough. Let's go back to material review just to explain something here. Here we have this glass material, and this is the medium. When rays hit the surface, the rays will not be reflected. The rays will be refracted and goes underneath the glass medium like this, and they will penetrate it and go out. All right. When you manipulate the roughness here, you will change the nature of the material itself from the inside, but not from the outside. Recently, we talked about the roughness here and we say if you manipulate this one, the surface will be rough like this. And that's true. But here, if you manipulate the transmission roughness, that will not affect the surface, but it will affect the medium here. The medium will become rough. Because of that, you can't see through the glass material if you manipulate the transmission roughness here. Let's take this forward and let's see what's going. As you see now. I still can see some reflection because the surface of the material is still smooth, but I can't see through it because the medium from inside become very rough. Let's take this 21 and see what we have here. All right. The roughness right here still work for the glass material because some of the ray that hit the surface, we say that these rays will go inside and penetrate the glass material. But few of these rays will jump back to the viewer eye. As you see here, I can see that I have some reflection because these rays jumped back to my camera. We still can use the roughness here to affect the surface of the glass. If I push this forward, you can see that I affected the surface as well here. I think you got the idea now, Let's take back this to one. Let's take the transmission back. Let's change the or to something great, maybe. Let's talk about the subsurface scattering. Let's draw something right here to understand what is subsurface scattering. Some of the material like wax like human skin, when raise hit the of material. Or surface. Some of these rays will jump back to the eye viewer, and most of these rays or let's say some of these rays will go deep inside, and they will go in different direction. After that, these rays will go out again to the viewer eye. But they will go out and take the information from deep area underneath the surface. For example, this ray will go and travel down like this and after that, we go out again. When this go out again, we'll take the color of the material from inside, not from outside from the surface. This is called subsurface cuttering, and we can see this, I guess going to show you some example to understand that more. Here we have some example for subsurface scattering. Here we have a hand and we have a light behind these fingers. You can see that the light travels through the finger, and we can see that we have a red color right here because these rays come from inside the finger itself. Because we can see that we have some radish effect that the color of the blood. All right let's go to this example. Let's see it. You can see that we have some here at this area and this area as well. You can see that the light goes deep underneath the skin and come back to the viewer. Now you have the ability to see underneath the skin this brighter area and the brighter area right here that we have in here. The same skin here. You can see underneath the candle self here in this area. And here at the edges, the same scenario. For this image as well, and for the ears. You know that this area becomes some transparent because the rays go inside it. I can see through the skin. The same thing for the leaves. This subsurface scattering, and this is the effect that I will get if I manipulate the subsurface scattering. Let's go back to the blender and less and go to the render and let's put the subsurface cattering to one and let's see what's going to have. As I say, now I can see I can see underneath the material. For example, this air right here, you can see some color comes from inside and here as well. You can see that I have some red color here because the base color is. Let's change this to something blue to see the, the difference. Now, I can note that I have bluish tint here in this area. Here we have the subsurface color. It is very important to make this color similar to this one or very close to it. Let's put this to blue as well. That's very cool. Let's make it a bit bluish. I just made a quick under to my scene to see the final effect of the subsurface scattering king that I made here. This is the result that I cut. It's a very nice, beautiful result. Check how the light interact with the material. And how can I see the medium of the medium of the material itself from the inside, because here we have some rays traveled from the inside to the camera. Because of that, I can see some some color here. And for example, here, as well, I can see the blue color that I added here for the subsurface or for the base material, can see the effect here. And because of I manipulated the color here for the subsurface scattering that affect the whole material and make it a bit a bit blue. Here we have some tint of blue here. This is the subsurface scattering. It's very important material, or let's say it's very important effect. If you want to create a marble, if you want to create plastic material, if you want to create a rubber material or even skin material, you need to manipulate this slider to get correct effect. In one of these, let's put this a little bit right here. And here we have another option here for the red and blue and green colors. Here we have some numbers here. As you see here, that the red value here is one. That's means this color will travel deep inside the material and bounce back to the camera. And because of that, we can see that the effect is reddish here and here as we a betray, we have a tinder prad. That's because this color is one and at the priority. You king the value, if you make the blue one, one, if you king this one to one and book this 2.1, these colors will be k, and the tints will be blue. The color will be the subsurface color will be blue according to this change. So keep in your two manipulate this. Let's try to sic ites from here and let's say z and go to the render. Let's change this one to white for now, and this one, let's take this back here. I will make this red the base color, and let's make this a bit reddish. Like this, and I will render the image, and I will come back to see the result. All right, the render is finished. Ha this material. This is very nice and beautiful result that we got here. I try to simulate the wax material. See this area that I have some right effect here comes from this area, and that's because of the base color that we added here. The color that we k here for the base color. And the same time the subsurface radius. The red el here is one. Because of that, we see red effect here in this area. In this area as well, the same scenario here. And because of the subsurface color here, we to something close to the wax color that's affected the overall look of the material. All right, so this is how to create subsurface scattering material. Let's read this two slot three, and let's exact from here. Let's take this back to zero and the sting this to it. Like this. All right, let's jump to the emission. This effect right here. If you manipulate it, you can make the object emit light. For example, let's add plane here and make it very small, and let's move it right here. Close to the ground. Let's rot it just a little bit. Let's give it a material and let's manipulate the emission. Let's change the color to something great, for example, or blue. Right. Let's and go to the render. By the way, I'm rendering with cycle here. Now I can manipulate the emission strength, let's change this to maybe ten. Now I can see that this object now become emit light, and I can see the effect right here, the blue light. If you change this to, for example, you will have a red effect here. All right now, if we manipulate the base color, the base color right here is going affect the emission color that we have here. This one override this one here. If we king this to something green, for example. As you see, the effect is not strong and the king this bag to white is not so quite effect. If you take the strength even more, for example, 20, that will reduce the effect of the base color. That's not going to almost anything. This one, the color that we have here is override this one here. This slide right here or the emission that we have here in the principal nodes will make objects emit light. Okay, let's delete this one. Let's go to the meal review. Let's go to the camera. We have the Alpha right here. This option will make the object visible or invisible. I will make transparent. Let's go to the render and let's see how this will work. Let's take this back to zero. As you see, now, I can't see anything. Now the objects become invisible. And now I can see what's going on what's behind the object, I mean, the ground here. So this Alpha, as I say, will make object invisible or visible. You can use a channel here or image to to get some effect. For example, let's go to the folder of the images, and let's see grab, for example, this mic right here, let's open it and let's see it before we use it. This mic right here, I will use it. So I'll drag it in right here. This image is black and white image. I will put the color inside the Alpha here. As you see now, the black area now become invisible and the white area now become visible. Because we have a red color here, I can see now the pattern in the red color. If I king this to something blue, I can see something blue, and I can manipulate the roughness here and can make it rough and all of the slider are visible to here with the Alpha. This is how to use the Alpha here. Let's delete this one, Let's take this back to one. This is the principle PSDF and the nodule, and we will take too many examples to understand this node more and more, and we will try to create a nice looking material to learn together, how can we achieve that? That's we'll look for this video and C 121. 122 Material section adding image texture to the Roughness slot: Hi, everyone, and welcome back. In this video, we need to learn how to use mage texture to create a material here. Image texture, I mean, adding images here and block it with the principal BSD F to create a material. For example, let's open this folder, Let's start with the pasar. Inset the pescar, I have two options. Either I manipulate the color right here and pick whatever color that I want, or I can add an image right here. For example, I can add a wood mag here. Just I going to drag this one and put it right here and automatically lender will create this node for me. And all what I want to do, just block this color to the base color. After that, I can see the result right here. Now I'm using the image texture to create my wood material as you see right here. For all of these sliders, I can block images to create different effects. For example, the roughness, if I take the roughness down, you can see that roughness, this slider affect the whole material. But I can make some area rough and some area don't. But with this lider, I can't do this unless I add metics here to control the roughness. Or at least take example, I will hide the header ball temporarily and I will add a plane here. L it is to scale it just a little bit, and I just need to move it, and I will rotate it just a little bit. Like this. Right now, I will create a new material for this plane and let's go to the image texture. Here we have this image right here. It's from white to black. We have a gray area. We will use this image and black it inside the roughness. I just want to see what will happen if I add black and what will happen to the roughness when I add white color, and the same thing for the gray. Let's take this image and let's put it right here. Now I will block the color to the roughness right here. The most important thing that I need to do, I need to squeak the RGB to non color because we don't have any color when we add this image. This is very important thing to know. Inside the roughness, you don't need to use an RGB. You just need to use black and white image. The color space, you need to king to non color. I just need to see the color on the plane here. L et's block it to the base color temporally. Now I can see the image right here. Here we have the white circle, and here we have the black rectangles or squares or at least block this, I will hold control and radically to cut this conoce right here. I will hit z to go to the render to see what will happen here. Now what I did is, I just controlled the roughness by this image. I will take this down just a little bit. I will make the color bit gray. Maybe I need to rotate this just a little bit towards us. I just rotated the plane just a little bit to the source of light. After that, I will take the base color down and I just need to make it dark, something like this will work, and I finished, I just need to render I will render it and I will come back. Now, the render is finished, and I got this result. I will bring the image back. This one, let's open it. Let's put this side by side with this one. Let's hide this. Now let's see what we got here. We blocked this image and the roughness slot, and I got this result. Now let's learn something new here. The white color Will make the material more rough if you plug it to the roughness slot. Here we have a gray color. This is the result I got from the gray. It is a little bit rough. For black area, I can see that the result here is smooth and I can see some reflection. For this gray, the background, kick the result of this color right here behind these shapes. Can see that some reflection does not sharp like what I have here, but I can see some reflection. All right. The idea of this image, I just need to show you what will happen if you add a black and white image to the roughness slot. Okay. What will happen if I used one of these texture, I will show you, for example, this one. I have black area, gray area, and white area. Let's block this to the material, and let's see what will happen. I will excite from the render, and I will hide this plane and hide it in the render as well because I don't want to see it in the render, and let's go to the header ball, let's activate it. All right. Let's pick this and I will cut the connection of the wood control and right click to cut it like this. I will bring this material right here, and I will pluck this to the roughness. As I said, it's black and white image, I need to king this to non color, and I will render this and I will come back. Before I render this result, I just forget to tweak something here. For example, the basic, I just need to take this down and make it dark so I can see the effect better. Almost that's it, I can render this. Let's easy and go to the render. Let's see what will happen. Or that's cool, I will render it and I will come back. Now, the render is done, and this is the result that I got. The result is very beautiful. This technique, adding a tete image block to the runes, for example, will give the material realism, or let's say it will make it more realistic. It is a very important technique to use mage tie to control the values that we have here. As you see here, we have harp reflection in some area, and we have rough area as well. So this harp reflection that we have here, we can see it because inside the image, this area is black, and this area is gray or let's say white. Because of that, we can see the variation. On the header ball. I'm making how the crazy stuff you can create just by plagging image texture inside the principal PSDF. In the next videos, we will take too many examples to understand this, and we will create nice material. So that's it for this video, and I will see you in the next one. 122. 123 Material section normal map and bamp map: Hi, everyone. Welcome back. In this video, I need to talk about the bump map and the normal map. If you want to add height to your texture, you need to use normal map or bump. Let's go to the texture folder. I added this image with the texture, let's see, what we have here. We have white circle and black circle here. Let's block this to the bump and let's see what we will have. I have the same plane here. I will go to the material review so I can see what I have. I have nothing here. Just base color, list, make this a bit dark, something like this. And let's bring the image from the folder. And let's put this right here. All right. It's a very important thing to speak the color space to non color because we don't have a color right here. You need to use the color RGB color when you work with the base material, for example. In this case, you need to speak this two color. To RKB. I mean, as R KB, this one right here. Okay. Now what I need to do is, I need to block the color to the normal to see the effect on my plane. But I can't do that directly from this node to this node because that's not going to work. I need another node between these two nodes. Let's go to the ad menu and let's go to the Vector. Here we have bump node here. Let's use this node. I will grab it and it right here. After that, let's make this bit pi. What I need to do is, I need to block the color to the height because I need height and I will block the normal with the normal. Let's see what will happen here. Now, I can see that I have a result here. As I said, in the image, I have white circle and black circle. When you puck an image like this with black and white color, the the white color will push We create an illusion to the surface. So this is the surface. So as you see now, the white circles bushed toward the surface to this direction, and the black circles goes inside. It's very difficult a bit difficult to till that because it's not so quite visible. Let's go to the to the viewboard shading, les activate the scene light that we have here in the scene. So we can see some reflection here. For the strength here, I will push this to maybe three. I just need to make the effects strong. Right now, I can see I have some reflection here. The reflection that we have here on the y circle tells us that this circle pushed up towards the face and the refle down here in the dark circle tells us that the circles pushed inside. I want to say is if you add a black and white image inside the normal circuit with the bump node here. The white color will will push the material or the titure up and the black will take it down. This is the idea. So if you want to create a titure, for example, wood or whatever texture, and if you want to create a height illusion, you can use the bump. Let's go back to the same folder and let's see grab one of these images. I will grab this one wood fine. It's a gloss image, but I will use it to the normal here circuit. Let's see what I will got here. I will block this to the height and let's see what we will got. Now I can see that I have heights and formation for the wood. But it's very strong. I will take this back 2.5 to make the effect a bit less. Now I can create good material, especially if I add the base color as well with it, let's take this one. This will make let's take it and blog it to the base color right here. Now, the ticker is more believable because we have some height. But the height the strength a bit high, I will take this 2.1 maybe. That's makes sense. This is why we need to work with the bomb We need to simulate that height to make the final result of the texture or the material more realistic. We can work with the bomb and we can work with normal as well. Normal is similar to the bomb, and we can block a normal map to the normal socket right here, and I will show you how can we achieve this. Let's go back to the same folder. We have this image right here, it's called normal. Wood fine normal. I will open it. This is the normal map. This is how it looks. I will bring this image and plug it to the normal socket. I will grab those. I will cut the cone, control, right click, s, control right click and cut it. Let's put this right here. To block the normal map to the normal socket right here. It is wrong to block it like this. Let's not get work. We need to go back to the ad and go to the vector and use normal map. Let's add the normal map right here. I will block the color with the color here and block the normal with the normal, and the CO two will get here. Right now, I can see that I have height information here as well. From this slider, I can control the strength as well. But it's very important to squeak the color to nine color. Even if you see color here when you open the image, it's not black and white. I can see a color here, but even this color exists, it's wrong to leave it as RGB. Let's delete this one. Let's cut the conne in here, and let's sweak the color to RGB and let's see what will happen. This is the result. This result is not correct. But this one is correct. Keep in your mind to speak the color space to an an color when you work with the normal. If you go to the Internet and type normal map texture, you will find a lot of images here and Google. You can download whatever mag that you like and use it to see how the normal is work. Let's see roll down and let's see. We have a lot of images here we can use and the normal to understand the normal more and more. This is a nice normal map for iron plate. You can download it and use it. And here we have very nice patterns. So if you download any image from here and use it, you need to king the color space from S RGB to non color, that's very important. All right. Let's go back. In the end, what I want to say is the most important sockets that make the material realistic is the base color and the roughness and the normal. If you want to create realistic material with some imperfection, it's very important to add height information to your material to make it looks fine. The other sockets that we have here, they are important as well, but we will focus most of the time on the base color and the normal and the roughness. So that will do it for this video, and I will see you in the next one. 123. 124 Material section create your first wood mt with HDRI lighting: Hi, everyone, and welcome back. Now we have some information about the material, how to create the material, how to add an image teture, how to work with the roughness with the normal map. We have all the knowledge to create something. I went back to the first table. We created together. Let's see how can we texture the table. Okay, We have sharp edges here. I will make this smooth by adding Bible modifier. I need to work with the modifier and rab this again in front of you so we can remember what we learned in the previous videos. So let's select this one. I just going to ticket for this. Let's go to the modifier here and let's add above modifier. The amount here is very big. 0.1 meter. I will reduce this number 20.02 maybe or 0.01. And I will add two segment here and activate the harder normal. Make here to keep auto smooth activate here, and then we're going to have I have a nice smooth result here. I can co the same effect to these 22 tables as well. Rob them hold here this one as the last one. Hit control and link the same modifier or let's say CBI modifiers. Now they have the same effect. All right. After that, I will hit control A and apply vital geometry to me. I mean, I need to apply the modifiers that I add here. Let's start with this one. Hit control A and apply this. All right, I will hit slash to isolate this to work with this one alone. And maybe I can push this the mouse this one. I just need to push it right here. I think that's better. All right. Now let's see how can we rob it? Let's go to the UV editor here and stab the edit mode to add some SIMs here to rob this one. So I will add SM here and maybe SM here as well. And S here in this area. The same scenario here as well, let's add the same here. We learned that we need to rub the object before we add an Emic ti sure to them. We need to prepare them to receive that tie and pick this one, right click, mark S and there we go now, they turn to right color. Cool, let's kick this area as well, or that's cool. Now I will hit A to select to select all the faces, and here I will hit you and you again to rob it. Now we got a result. Let's see the angle, the method of the rob. I will sweep this to conformal. I think that spatter, and now I can see something. All right now, the bic is done. Now I can add I can add texture image, plug it to my material. Let's go to the Hader editor here. Let's work with the material hit and to get rid of the panel here. And Let's go to the folder of the texture and let's bring any texture that we have here, for example, you have some texture, maybe this one or this one. Let's use this one. I will grab this one, wo table, the diffuse and I will put right here. Keep the color space S R GV and plug the color to the base color here. And I will Z and go to material review so I can see the result. All right. Awesome. Very nice result. We got here. All right. We are not finish it. We need to use the roughness, use the normal to make our material perfect. But even if we did that, we need to see the material in the render and I can't see that right now because I don't have any lighting. All right. Now let's add a light and let's add plane underneath the table. So I will hit it A and add plane and scale just a little bit. And I will give it a material. I will manipulate the bascar. I just need to make this plane a bit dark like this. Let's add light. If you want to pick a light, we will talk about a light in future videos. But it's very easy to pick a light and work with the light starting from now. It's not something complicated. So I will pick one of this light. I will work with the area. Alight gives me nice and smooth lighting. I just hit key to move it right here and I will hit r to point the light towards the table like this. And maybe I can pick another angle like grabbing the light here and rotate just a little bit towards the table. All right. Something like this will work for now. Let's go to the render setting end. Let's read this to cycle. I need to work with the cycle. Yeah, there we go for now. What I will do now, I will z to go to the render. Let's see what will happen with the light. Z and go to the render. All right. Now I can see something, but it's not so quite visible, so I will increase the strength of the light, select the light, and go to the light second here. Here we have the power of the light. I will put this to 70. That's not enough. I will change this to 151. Now I can see something here. That's cool, but that's not quite enough. In this case, we will use another lighting. I will use H D RI image. All right. Let's see how can we use a Hydro image. In the Hader editor, we have the object mode and we have the world mode. Inter now, we just worked with the object mode. If I go to the world mode, I can see that I have an output for the world mode, and here background node blogged to the surface. What I will do is, I will grab a H image and block it to the world. So I can king the lighting and make the image emit light to our scene. The lighting will be according to the ma that I will add here. TRI is let's mean high dynamic ring image. Let's see how can we find it and how can we use it? First, let's go to Google. Here we have pan do. Here we have the DRI and texture and model. You can download and use all of these. I mean, DRI and texture and model. You can use them for free if you like. Right now, I need t in so I will hit pros DRI. Let's see what we have here. Now I can see a bunch of HDR images. And here we have the category if you want to download outdoor IDRs, sky, indoor, studio. There's a lot of option right here. We can open and see what's in there. For me, I don't know which one to pick, but I think this one recently added before a week. I like it actually. I like the lighting from here behind the curtain. I think it's nice to use. So I will download it and see how How can we use it? Here we have an option if you want to download 2k4k. I think I will start with four K and keep it ex R and download button here, and it will be downloaded automatically to your computer. When the downloading is finished, and I will be pack. All right now the download is done. Let's go to the texture folder. Now we have the TR mag right here. Now I can click and drag and put it right here inside the inside the header editor. All right. If you block this to the color, that's not going to work and that's not correct. You need to go to the node to the ad and go to the texture and choose environment texture like this. After that, you need to open the ma and go to the titure folder. And open the EX R. In this case, you did the right thing. Now, all what I need to do is plug the color of the new C to the background color. Now I can see that I have lighting comes from the environment. Even if you turn off the light here, let's tweak this to zero or you can hide it from here. I can see that I have nice lighting comes from the environment from the TR. So I can work with this one. For any reason, if you like to hide the background image and keep the lighting, you have the ability to keep this, and I will show you how can we do this? I will delete this note. I don't need it anymore. I will keep this one. I will duplicate the background. I shifts the duplicate it and. I will put it below it. I will mix this node with this node with the mix node here. I will hit control shift and right click from this node right click and drag to this node. Node tangular, automatically will add a mix shader here to mix between those. All right. After that, I need another node, help me to hide the texture and keep the light. In this case, I will use the path just tie path here in the search field. Here we have the light path. I will use the camera ray in the black to the factor. Now I just hide the image and keep the light. You can make the background darker if you like by manipulating the other color. For me, this result is very nice and work. All right. Now let's go back to the object mode and now let's see what we can do here. Now I can see something. We got the texture applied on the table correctly and nicely. Now we need to work with the table a little bit and make it more realistic. Let's go back to the texture folder and let's go back to the wood table 001. Now I will use the roughness map and let's see what will happen. Grab this boots right here. It's very important, don't forget that to speak the color space to non color because we don't have any color here. Block the color to the roughness, let's zoom in just a little bit and let's see what we will get here. As you see, we can see some roughness here. If I grab the node and hit M to muted, we can tell the difference. Now, the reflection is continuous, as you see here in this area. If I hit M to unmuted, can see there's a difference here. After that, we need to give the result a bit of height by using the normal socket here. Let's go back to the same folder. Here we have the normal map gravity and puts right here. We can't plug the color to the normal directly. That's not going to work. We can't work with this node like this. With the color space S RGB. We need to swing this to non color. Right now, let it sift A to C. Let's go to the vector here and let's add normal map, or you can go to the circ field here and hits normal, and you will find normal and normal map. Let's pick normal map, and let's put it right here. Ploug the normal to the normal here, Ploug the color to the color here. Let's see before and after. I see what's going to happen if I increase strength up. All right. That's cool. I can see that I have some height here. Ten is not correct, too much high. Let's reduce the number 21 or even less than one. Let's see what's going to happen. L et's add one for now. I think one or number below number one is okay, something work here. Okay. Now I finish my material. I have roughness, I have base cutter, I have normal. I can add extra layer above my material of e like I can add a scratch on the surface. I can add more imperfection on the surface as well. I will accept this result, and maybe I can take the number of this one down 0.7, for example. I think that will work. O that's cool. After that, I just need to add a camera, and we will talk about the camera in the camera section. But for novel C, we create quickly, A two, open the ad menu. Let's add a camera right here. The camera now and the position of the three D coosor. What I will do is I will hit and move it right here, and rotate to the z axis R z rotated toward the table. And if I want to see from the i of the camera, I need to hit zero from the numbad to do this. I just need to king the dimension. I will go to this section right here, output properties, and I will manipulate these numbers here. I will reduce this down. Let's see how much I need to reduce maybe 1,000 I need the M to be rectangle like this and let's hit g and take this up just a little bit. Something like this. We can pick a nice angle for the camera. Maybe from the top view. Let's tweak this to three d view ward. Let's see zero here on this side so we can see the result of the camera and from this area, I can control it and put it in any place that I want. Let's start with taking the camera down the Z, and let's take this right here, for example, and rotate it a little bit. Something like this. Maybe I can take this back. And rotate this to the z. I'm rotating the camera and change it in this area, but my eye on this area to see the result. All right. Let's change the Let's make the three D coors as a ivot, and I will hit the Z to rotate the camera along the three D coors. Something like this, maybe. This school. Now I can make render here quick render to see the final result. And by the way, I can activate the light side by side with the TRI image if I want extra lighting, I have this option, I can keep it on or off. For me, I will keep it on, and I will go to render and hit render image, or you can hit F 12 to achieve this. When the render is finished, I will be back. The render now is done, but the image is a bit small and we can see that we have some noise here in the ground or here in this here. So if I want to fix this, I can increase the number of the resolution, and I need to go to the render setting here and the render passes here. I can add 400 for now. For the mage size, I can put this to one and and and 500. Let's add 150, zero, and here as well. You can make it square, but I think let's see, it's become almost square. But, that will work for me. I don't know. I feel that I need to take the camera a bit up just a little bit and rotate down from this angle. But not according to the three D coorsor. We this two median points, and rotate a little bit. Something like this, maybe. Let's go back to three D coorsor. Maybe I can hit r to the z and rotate it from this side, so I can see the three pieces as well here. Or something like this. You can unhide the other pieces. L et's go to review. Let's see what are they? All right, now let's see how the render will look. I just need to hide these pieces. I don't know. I don't remember that I deleted them and they came back as something I got here. So I will hide them here in the viewpard and in the render as well. So I turned off this camera icon to hide them in the render. All right now, let's make another render with a new adjasm that that we made here. I will activate adaptive sampling and the de noising as well to get some de noise to get rid of this noise when the render is finished. All right now, let's All right. Now let's go to the render and hit render Image, and I will be back when the render is finished. All right, now the render is finished, and we got this result. This is very nice. We can make some tweaking like make the texture a bit smaller. Scale the texture or I can scale the U V and make the texture a bit smaller. Maybe the heights, the normal mab a bit strong. We can reduce it. To get better results. But I like this. After that, you can take this to Photo Cob or what whatever image editing software to edit the colors and get better results. Or we can do that inside blender. But for now, we learned how to create a material, how to use roughness slot, base color, normal, to get something beautiful like this. So I will end this video and see you in the next one. 124. 125 Material section How to create a wood material to the table model: Hi, Ryan, welcome back. Let's see how can we create a material to this disk. All right. Let's change this to shader editor. By the way, you need to sublet the window. I think you know how to do this. And by the way, I just forget to turn off the blender kit. Maybe I can turn this off from here. We don't need it. All right. Hit and to get rid of this panel. I don't need it for now. Let's grab this piece first. We need to add wood texture. All right. Let's see how can we achieve this? Let's open the folder of the titure. Here we have new texture for this tutorial. I will grab this one, would find M and one, diffuse. Let's put this right here and let's plug this to the base color. Let's and go to material review, so we can see what's haven. All right. I can see that this material is applied for three pieces or mishes. So what I need to do, I need to apply this material just for this piece first. So I will hit this number right here. Tells you that this material applied on three pieces, so I will hit left to click on it to make it apply just for one piece. All right. For this one, we have the same material applied on this as well, so I will delete it. And I will give it a new material. So let's call this white wood, and let's call this wood. That's it. All right. Let's grab this one. Let's give it a new material. We can call it maybe ground. And Let's the color and make something dark like this. Maybe I can take the roughness down just a little bit, make the surface a bit reflective. Let's recrab this one and let's go back to the same folder to bring the roughness, and let's put the roughness right here. Block the roughness to the roughness, and don't forget to speak the color space to none. That's very important. That's cool. Let's bring the normal as well. And let's lock it right here. Sweep the color space to non, don't forget that and let's hit if A to here for normal. Here we have the normal map. Let's add right here, block the normal to the normal here. Corrupt those two. I just need to move them just a little bit, connect the color to the color, and there we go. Now we have the pace color, roughness and normal. All right. Now we need to correct the U V after that. Let's switch to UV editor temporally. Delete this EC, we don't need it for now. Let's tap with the mode, it eight selects all the phases. Let's go to the UV here, and let's use cube projcen for fast proj. There were going now we have some there. Let's grab all the pieces here. Let's go to the UV and let's hit pak lan to separate the pieces. Now we have all the pieces. Let's have a look here, let's see what we got so far. A. Everything is nice, but the UV is a bit small. We need to We need to correct this by scaling the UV itself according to the image. Let's set up again and it A, select all these pieces, and it S to scale those until you correct it until you will be satisfied with the result. For me, I think this result is nice and acceptable and I will accept it. That's very cool. Let's go to this one and create a new material for this. Let's go back to the header here. We created the material wood material. What I will do is I will bring the same images that I added here. This one, it to the base color, and the roughness as well. Swak to none. It's swaked automatically, it right here, and the normal. You can copy the normal from this material, if you like, for example, I can grab those, and it control C and go back to this piece, and it control V two bast it here. Or connect the normal to the normal, and there we go. All right, now we have the same material. We need to change this one to white material. Before we do that, I will correct the UV first, and I will work with the material. Let's go to the UV editor for now. Hit AC let all the faces, go to UV and Q projection for fast, rubbing, and there we go. Maybe we can scale the a little bit. And this result is very nice, I think. I will accept it. All right, that's it. Now let's go back to the header editor here. Let's change this material to something white. What I will do is I will add a mix mix RGB, so I will go to the sir and circ for mix. And here we have this node right here. I will black it right here. Now I'm mixing the wood material the color one with the color two. The color two would be white, so I will push this just a little bit right here. Here we have the factor to control it. If I put the factor forward like this, I will give priority to color two. If I take this pack, I will give priority to color one. This is the idea, you can do this. You can push it just a little bit. Now, you have the wood texture, but it's white. You can if you want to, you can ignore this one. I will hit control x to delete this node. You can let's search for the color, u and stration. Let's block the ra right here. I will take the stration back to zero to delete the color and make it black and white. After that, you can block mix RGB two mix between two color. All right. This result is nice. I can add mix RGB. This one right here and the color section, mix QB and let's puck this right here, and let's manipulate the factory gas a little bit. All right. So now we have white material, white wood material, and we have this nice wood material as well. After we've done all of that, let's see now, how can we add a layer of reflection above our material? Let's start with this material, the wood material. All right. We added fs right here. And we got this result. It is too much rough right now, I need to manipulate the that we added here, manipulate the cooler. We can add a color romp to control the coll or to edit the cell. And we can use a curve in this case, if you like. Let's start with the curve. I will hit H A and go to the s here and just type curve. RGB hit enter and plug it right here. All right. I will hit control shift left to click on this mage to see the result of the roughness. And maybe I can isolate it to work with this one alone. If you hit control shift t and left to click on this node, node triangular will create a quick preview so you can see this node alone. All right, so now we have the RGB curve black to this rough image, and now we can manipulate the color here. All right. Here we have the RGB curve. On this side, we have the dark the black color on this side, we have the white color. If we take the black towards the the white color or white area, we will make this even brighter. And vice versa, if we take this down, we will make the image darker. And if we do that, we will the roughness here will be changed according to the king that we made right here. So whatever king you make here will affect the image and it will affect the roughness as well. Let's do that. First, if we want to see the effect here, we need to hit control. Left click on this note so we can see the effect. Or at least take this dot, and let's take this up. Now, it's become a prior as you see. Let's take this back. You can manipulate this if you like. All right now if we make this priter, it will be more rough. But if we make it a bit darker, it will be a bit glossy. Let's see that and the principal BSD, I will hit control, Left to click on this, and I will take this down to the dark area. As you see here, we can see some reflection happen here. Let's take this even more down. Let's take it back to zero. Now I can see that I have sharp reflexion. We don't need to do this. We just need to take this almost right here, something like this will work. All right. Alright, this is nice. We can see that we have some reflection here. Licit control ifts on this node. I just need to see damage. We still have dark spots and white spot here. If we want to make the dark area a bit brighter, we need to take this spot up to push the dark area towards the bright or towards the white color here. So let's take this dot up just a little bit. As you see, when you take this up, you can see that I have some effect here. The dark area now become brighter. Let's do that again. Now let's go to the principal who control have left leg to see the reflection now. That's cool. We have some reflexion here. That's very nice. The same thing for the normal. I think the strength is a bit high, so I will take the strength back to 0.1 to make the surface smooth. And that's. All right now, let's add an ATI image and let's see how it looks in the render. I just need to set up the light. Let's go to the object and steak this to the world. Here we have the output, the background. We just need to add a shift A and let's add from the texture, let's add environment texture here. Let's hit open. Let's add the TR mage that we have here, this one. Block the color to the color here. And let's go to render set up, and let's leave it to EV. I just need to see the result in the eV render. Able Z to go to the render. Let's see what will happen. All right. So now we are rendering with EV. Oh, it's nice. Let's see what will happen if we speed this two cycle. That's cool. Very nice. All right. Now, let's Hz and let's go to the solid for now temporary. Let's duplicated background, and let's use mixed shader to hide the environment background. Grab this noted CFD to duplicate it. Hit control Sift right click and drag from this to this to create mix Shader. Now hit Haft A and go to Search and search for light path, type path. There we go. We have it here. Plack the camera to the factor. Now he ZN go to render. All right now, we just have the lighting of the ATR I image. That's what we want. Let's like to excite. We can rotate the environment like you can rotate it. Select this node, the environment texture, and it control T. Node rngular will create the mapping and the texture coordinate. You need to activate node angular, is very important. Not angular, you can find it in the preferences. Type under the Adon section, just type angular W R. You'll find it if you just activate it. All Right now, when we add the mapping and texture coordinate, we can now rotate the environment by manipulating the z axis here. If you do that, we can rotate the environment and experience different lighting. I think we can take the string down just a little bit. The lighting here. Let's add 0.7 here. I think that's better. All right. So now we got something here. Let's go to this, To this part, let's go to object, and maybe we need to manipulate the roughness of this piece as well. In this case, we will grab this curve, I control C and select this piece and it control V right here. Just move it and it will plug automatically to get the roughness. Let's take the same information of the strength point 0.1. Let's go here and let's add 0.1. O that's cool. All what we need now is to make quick render to see the results. I will hit heft to add a camera here. Hit Ht A to open the ad menu to add a camera. We have the camera, hit key and move the camera, for example, right here. And rotated to the z z. H zero to C through the camera. Swag this window to three D viewboard, so we can control the camera here better. Hit key, and let's move the as a little bit back, something like this, and rotate this to the Z as a little bit like this. Maybe I can take the camera back a little bit, and put this back, maybe right here, something like this. That's cool. Let's make a quick render to see the result. Let's go to the render setting here. Let's change the render pass here to 400 because I need the render to be clean and nice. Let's activate adaptive sampling here, and let's activate D noise to kill any noise in the final render. That's it. That's all what we need for now. Let's go to the setting here. I will keep this full AT resolution, and I will go to render. Before I render it, I Let's see what we need to do here. No, I just can hit z and go to solid for now and go to render and hit render Image. You can hit F 12 to render this. When the render is finished, I will be back. The render is done, and this is the result that we got. It is very nice. The reflection that we have here is okay and nice. We can make the reflection arb if we want. We have the ability. We have some reflection right here, that's very cool, and here some reflection. All right, that's very cool. Okay, so this is how to create wood material, this how to manipulate roughness to get harp reflection or to make the surface more rough. And this is how to change a color of an image to something else like what we have done here when we change the color of the wood, te to something white, like what you see here by using the N saturation. Y, that's it for this video and see on the next one. 125. 126 Material section how to create a metal material for the table: Hi, everyone, and welcome back here. Okay. Now, is the time to create some metal material as we have here. You remember this three D model that we made in the modeling section of this course. We have this area. We have metal material here we need to create, and we have wood material, and you learned how to create wood material. We take the example how to create a wood material. But we need to repeat that more and more so we can understand and become easier to to create a wood material. So let's say, we need to recap that. So I will create the wood material and the metal that we have here. Let's see how can we achieve that. All right. I will swap this window to Hader editor. Don't forget to sublet the window to two. Let's go here and swit this two Hader editor, or you can sublet this if you like. Let's sublet it from here. Let's work with the material by using this window. Let's make this smaller, so we can see the M here. I will hit in to hide this panel right here. As cool. The first thing that I will do, I will grab everything and apply all the modifier if I have any modifier right here. So I will control A to open the apply menu and hit Vcal geometry to mesh and there we go now, I will select the wood and de select these parts and hit control just to make them one piece. That will make the working easier. And I note that I got some problem with the heading. I think the normal flip. Let's check that. Let's go to phase orientation. No, the normal is okay. Maybe we got a problem with the scale. I will grab everything and it control A and apply the scale first, it seems like we got some problem with the scale. Do we have any, We have We have a bible here, that's right. Let's add the weight normal again to fix the heading. All right. And let's do that again. Let's see what will happen. All right now it's okay. Now it's working. Cool. So let's select this, and I will hit up to go to the edit mode and hit a to select all the umetry. And what I need to do here, I need to I rub this. So let's go to the UV editor here and just hit eight, select everything right here and just rub it. So let's go to the UV and hit be projein to get a fast rubbing. And now we have everything rubbed with the b proj. But these pieces overriding each other. I will use ba. You can ignore this if you like. You have the ability to use it or ignore it. Now, we've done here, that's cool. Let's go back to Image editor, and let's open the image. There we go. All right. We have the material already exists. I think the same material applied to these two parts. What I will do is I will hit this button right here. This icon. This icon tells you that this material is applied on six gum trees. So if I hit this, I will make it unique to this piece because this one is selected. Let's make this epi thick. All right. Oh, my God, that's too much. Let's take this bit just a little bit right here. That's cool. With this piece selected, I will hit this button right here to make the material unique to this piece. Now we got material 001. I can call it metal. MT for material, and I will apply the same material from this to this. All right. So select this one as a fair sel hold if to grab this to make this one the active and it control to open the link menu and link use link material. If you do this, you will transform the material from this piece to this piece, right? And you have another option if you like, we can grab this and go to this arrow and s the material and add it. For this one, The first material for the wood, I will call it, it's applied on four humery. I don't know where are these four humery. But anyway, I will call it wood and t for wood material. All right at least start from there. Let's start with the wood material here. Okay Let's go to the texture folder first let's use this wood material here. I will grab this n wood right here, the diffuse and the normal, and let's add the roughness as well here. And let's move those just a little bit right here. Let's plug the the base color, let's plug the roughness to the roughness here, and let sites to n color. As we learned, here, let's add sift A and les for normal map. Yeah. Let's add this right here. Sorry. Normal map and with this right here, block the normal with the normal, ploug the color to the color here and there we go sweet the RGB to none. Great. So our material now is almost ready, but we just need to do a small thing here. The color of the wood that we picked is not similar to the wood color that we have right here. So we need to king or many believe the color just a little bit. L et's see how can we achieve that? First, we need to add an environment in the background so we can see some lighting. Let's go to the world here and shift A and search for image texture. So not image texture, Shift A environment go to SR environment texture, and blog it to the color here. Let's go to bin and let's add the environment that we want, this one, for example. Now we can see we have some lighting here if I go to the render. Now the rendering is work with the EV, and we didn't manipulate the scale of the wood, by the way, we can do that as something easy to manipulate. Yeah, I will manipulate the UV just a little bit to fix. This riots of because it's the scale of the a bit big, so I will hit tab and hit A and go to UV here. A select all the pieces and just make the UV big according to the image in the viewboard, it will be smaller as you noticed here. Now, I got something here. I think it's still big. Don't you agree with me? Let's make this more big. This result is nice, I think. We can pick the image here in the UV. We will get the same result. All right. U Let's see now what we can do. Now, we have the lighting of the environment, the HDR image. I will leave it like this. Let's go back to the object mode here, and let's see how can we k the color? First thing we can do is we can add u and saturation. Let's go to add and go to color saturation. Let's block this right here to manipulate the saturation. Maybe I can take the saturation just a little bit back. Yeah. That's cool. Fair thing that we can do here. We can use mix GB to mix between two nodes. Let's add the color first. Let's add where is it? Let's see here for RGB, color, the first option, and let's apply this to this with mix. I will control shift right click and drag from this to this to add a mix node here. This node right now is mixing between this node and this one as well. The final result, I can see it right here. Here we have the factor, the factor controls which one will have the priority here. The first thing that we need to do here is to pick a color, so I will control shift on this one, so I can see the color alone. I will give it a bit brown color. Something like this. I don't know. The idea is I need to be a color small to the color that I have here in this area. This one looks okay and work. I don't know. Let's make this a bit darker and let's see the mix what the mix does for us. Now we can see that a little bit close to the result. Here we have some filter by the way. If you want to see them, you can Sweat between different filter here to see different results. Let's kick the dark. If you didn't like it, you can multiply the color with the saturation to see the result. As you see now, we have different results as compared with the mix option that we have here. You can multiply it, you can choose color burn. Let's see, this is not the result that we like. But I mean you have multiple choices here. You can't be whatever filter. Each filter, as I said, will give you a different result. Let's see the overlay here, we have the soft light. These filters, you can find them in the photoshop as well if you are photoshop user. Let's use multiply et's multiply this with this. Now we got something almost close. Let's hit M for the RGB to mute it to cancel it temporarily to see the difference. Is the difference. Now we realize that we have effect a color tint comes from the KB node here. Here you have the ability to give the priority either to color one or C two. If you put the factor towards one, you will make the effect more stronger. That's mean you will give the priority to C two, if you put this forward. If you take it backwards, you will give priority to this node or let's say to color one node. So here we have a nice way to manipulate that. I will use 0.6 maybe. That's cool. Now let's go back to the same material. As you notice, I just use the quickie review with the control shift left click. I will hit control left click on the principal note, so I can plug it to the output. Now this is my output. If I satisfy with the reflection, I will leave it like this because the result here is not reflective. It is rough wood, so maybe I can leave it like this. All right. For any reason, if you want to have dark spot like what we have here, you can mix another material. Sorry, you can mix another image with this result to got this dark spot or you can try. You can add a curve here. So I will shift and go to search and hit curve to get RCB curve hit enter, and let's put this right here. I have the ability to manipulate the color and make it darker or brighter by make a change for this curve that I have here. If I hit left to click on the curve and drag this down, for example, automatically, I will add a point and I can control this point. If I take this down here, can make this more darker. I have more control right now. I can add two if I can add some variation here. Can take this down and this up to make it contrast to get contrast result, like what you see here. And if I want to delete this dot, I can go to this x and delete it. So let's see what we can do here. All right. So by manipulating this curve, the effect the node will affect the whole collar here, and we can't achieve these dark spots by using this one alone. Maybe I can add another texture from this folder to achieve something like this. Here we have these dirt images. You can use them to achieve that or you have this wood. You can use, for example, this this image right here because I have some dark spot here. Maybe this image can work. I don't know, but I can give that try. I will grab this with this right here, and it just mix automatically, I will put this right here for now. I will move those a little bit here, so I can have some room here and put this one here in this area. All right, let's see what we can do now. I will mix this new image to the multiply result that we have here. So it control shift and right click from this to this to add a mixed R KB again here. And now we add the mixed R K. Now we are mixing between two images. Let's mute this image and let's see what will happen this before. And this after, sorry Now I can see the effect and I can see some variation here. Now I will take this node, and I will put it right here to control this image. Now I can make this darker or brighter. I have the ability to control that. Now we have the mixing between these two results between the multiplier result and this image. This filter right here or this node. I want to use to make to make this image darker or brighter. I will add control it. Left click tube review this one alone to see what will happen. Let's add two dots here to control that. Let's take this down and this up. Now as you see now, sorry, I added another one accidentally, I will delete it. See now, I made this more dark and I got these dark spots here. Let's see what will happen here in the mix if I activate it. We don't see that much effect. I can push this like or use another filter here, for example, multiply can multiply those together. Let's see what will happen. Something like this. If that doesn't work for me, I can mati these spots right here. Let's take this, for example back. L et's change the multiply to mix. Right now we can see that we have some dark spot, but we can manipulate the cur further to get better results. This is something nice. I can accept it. That's what I want. This node, I don't need it I control to deleted, and I will go back to the principled material to click to click to a puck the material to the output. This is the effect before and after I will mute this to see the result. We can see that we have some change. Now let's go back to the metal material. Let's grab this one, for example. This is the material that we added. The fair thing that we can see here, the metal is dark, so we need to take this down to something dark. This is the fair thing, the basic. After that, it's metal, so we need to manipulate the metallic. I will put this to one because it's a metal. And that's it. We just create a metal material. Now we have the ability to control the roughness, this rough metal, I need to increase the roughness. As U can see, we have a little bit of reflection, but it's not sharp, it's rough reflection. This number 0.4 or 0.5 is working in this case. If you pick a nice angle to demonstrate that I take this back to zero, it will be like a mirror. As you go forward, it will become rough. 0.3 0.4 will work in this case scenario. And that's what I will do. I will add the plane here underneath all what I have done here and let's give this plane material something dark color. Like this, and maybe take the off just a little bit down. What else that I need to do here. Let's go to the world here, and I will duplicate the background, Sift D to duplicate it and control Hft right click and drug from this to this to create a mix hader between those, and I will control the factor with the light path. Let's search for light path and add it right here. Plug the camera right to the factor, so we can hide the environment and leave the lighting. Right now, it's the time to add a camera. We have the three D coursor in the middle, it Hit A, and let's go to the camera and let's add a camera. All right. Now we have the camera. I will hit G to move the camera, just a little bit right here. And we have another way to control the camera, and I think this way is the easiest way. You can hit Tilda in the keyboard underneath the k button. If you do this, you can control the camera, but you need to active the camera furs, I mean, you need to zero to look at the scene from the eye of the camera, so I will zero from the lamba and I will hit Telda. Now if I move the mouse to the left or to the right or up down, I can move the frame of the camera. Now I have the ability to press W A S D, like I'm playing a game. If I hit S, I will go back. W to go forward, has to go backward, left and right, A and D. If I want to go down, can hit Q, go up, can hit E to go up. I think I just forget to activate the screen cast, Let's activate from here. Let's add one here. Let's move this maybe right here and right. Let's go to the camber again and hit the tail the key to cancel the camera. Now I can I can position my camera better in this way. If you rotate the wheel of the mouse forward, you will make the movement faster, like, for example, I will rotate the wheel forward. As you see now, I can go faster. If I take this pack, I will slow down the movement, as you see. Now I will rotate it become fast. I rotate this pack becomes slower. So you have this control. So let's position the camera right here, for example, something nice. And let's tweak the render to cycle because cycle is better than E V. It's more accurate and don't forget to take too much time to render. So let's go to cycle. And what else we need to do here? Let's increase the number of the render to 400. If you take this number up, the render will be better. And that will affect the time. The time the render will take too much time to finish. Here, adaptive sembling, activate adaptive sembling, and the Denise activate it to the any noise happen to the image. After you combate all of that, we can hit F 12 to render. I will render it and I will come back when the render is finished. The render is done, and this is the result that we got. It's very nice. Blender done all the calculation by the scene to give us this result and it's very nice and beautiful. This is how to create a wood and metal material. I will end this video and you next. 126. 127 Material section How to create a glass material to the table: Hi again and welcome back. We have this table here. We need to create the glass material to it. This model, we did it in the tutorial number 20 in the modeling section. Let's see how can we create the glass in the wood material here? I just added I image in the environment. Now it's ready, if I want to render, let's go back to object. The lighting now is ready. I'm not going to repeat that because I did that in the previous videos. I will, tweak the render to cycle, I need to work with the cycle, and let's leave everything as is right now until we complete the material. Now, let's see how can we create the wood material will be symbol. I will repeat the same CNR that we did in the previous videos. So we have a material already applied here, and I think it's applied for one piece and the other's right because we don't have any number right here. Let's go to the ticket folder and let's grab whatever Wood. Maybe this one, I can use it again. I'm not going to block the normal and the roughness. I will leave leave symbol. And I will pick the glass and hit a new material, or you can hit the new from here, the same scenario. Let's make this bit pick. How can I create a glass material? All right. If I want to create a glass material, if I have a surface or some object, if the light hit that surface, if it was a glass, the rays will buzz through and go through the other side. But in the medium, we will have some fraction here. Happens according to the nature of the medium. This is controlled by the R, the index of refraction sorry. This slot right here, the slider. If we need to create a glass, we need to push the transmission to one to make the surface glass or the object a glass to give the light the ability to pass through this object. L et's take this one let's book this slider to one, and the IO R is 1.4, and this number is suitable for glass. If we book this to one, we will give the light the ability to go through the glass directly without any bending in the medium of the glass itself. We book the transmission to one. I will z to go to render to see what I got here. The first thing that we got, it's a blur the glass because we have the roughness high and we learned that roughness affect the surface of the object. I will take this to zero. And now I can see that I have some lighting here. And now the light is reflect the environment. And now I can see that I have a glass material, and the surface now reflecting the environment, the house and the room environment that we added. So creating glass materials, something very simple is just you need to book the transmission to one and put the correct IOR. For more information about IOR, we can use this website. I guess going to show you. This website is called pixel p.com. In this website, we can find a lot of materials in each material, we have the IOR that's suitable to it. Like we have here milk, this is the IOR that works with milk, and this on, here we have the IOR that works with on. But the number that we have here for the solid material like iron, gold, wood. This number, we can't use them inside blinder. I mean, inside the IOR slot. That corresponding that transmission. Let's go back to blender just to demonstrate something there. Here in the material, we have the IOR. This one is just for the glass when you put the transmission to one, you can use this and other the suitable IOR for your object. But here we have the spicular. The spicule is IOR as well, but for object like metal, wood like gold We can't use the number that we find in the pixel and bully and put it here inside the spicular, because that's not going to work because you need to king this number to a number less than one to create accurate material. The spicular works 0-1. The number 0-1 is physical correct results. But adding number beyond one, that will give you incorrect results and incorrect material. So if you want to get almost correct results with specular, you can leave it at 0.5. This number is worked for almost all the kind of material. So just keep in your mind the IO R that you will find in the pixel and bully you can't use them directly here in the specular. But for liquid, you can use them. You can add beyond one, 1.5, 1.6, and there's some material need these kind of numbers. Let's go back to the website. Here if we sc for glass, we will find that the glass is category here, and the IOR number here is 1.5 for the glass. If I add control F two open the sk field here, le type water. Let's see the water. Here we have the water is 1.325 IOR for the water. So guess it control F and tie whatever material that you like to see for, and you will find it. Now let's go to glass and let's take that number as 1.5. Hit control C to COVID and let's go back to Blender, and I will put this number right here, Ct V 1.5. This is the correct IOR for the glass. We don't need to make this material complicated. I can add the scrot above it or whatever thing that I need. Also I can manipulate the color to give it different color. For example, if I king this to red, I will have red glass, or if I take this to blue, I will have blue glass, and take this I can make dark glass if I like. I have this ability. But if I make this dark, I will lose the transparency of the glass. I will take this up and make it try to have some transparency here. After that, I will go to solid and add the camera, hit H A and add a camera here. Now we have the camera. Take this out. I will o from the umber to look to the from the eye of the camera. I will hit Tilda key to control the camera better. I just can rotate the wheel just a little bit so I can make the movement faster. Let's make quick render to the table. Let's see what we will go. If I take a hot from this angle, the glass object will be more reflective. It will reflect the environment because I'm looking at this piece from an extreme angle. All right. Let's go to the render setup here. As you see, I'm repeating all the sitting in front of you again and again just to help you to remember what I'm doing. So if I want to get better render results and clean, I need to put this number forward. You can add 500. If you have good computer, you can add 1,000. For me, I'm going to add 400 to get fast render, and I will activate the adaptive sampling because I need the sampling to be adaptive to the scene. The the area that need sm adaptive sampling will, We'll take that amount of sampling and the air that need more sampling, to take what's need of sampling. I will activate adaptive. For the de noising, I will activate the Denise from here and keep this option in L. After that, I just need to hit F 12 because I have the lighting ready from the ATR I mage. I will hit F 12 and render this image and I will be back. Now the render is done, and this is the result we got. This is very nice and look how easy is that to create a glass material. It was not complicated. We just chink the transmission to one and just we added the stable IO R with white color and that's it. It's very easy to create a glass material. This is it for this video and see you in the next one. 127. 128 Material section create a white plastic material for the stool: Hi, everyone, and welcome back. This Tutorial 21 in the modeling scon when we created this sit. Let's see how can we create the material? We have the image of this stool. See where is it. Yeah, this one right here. We have three legs made of wood, and we have this circle right here. It's made of metal chrome material, we need to add here and we have plastic. Let's see how can we achieve that. I already added the environment, so the lighting now is ready, and I added a camera. All what we need now is to create the materials. Let's go to the Hader editor first, and let's pick this first lick and add a new material to it. I will go to the texture folder to grab the wood material. This is the texture folder. I'm not going to create complex material. I'm just going to grab the wood and put it right here. I will use the diffuse alone. Let's plug this with this and and go to material review to see the result. All right. I don't need the lines of the wood texture to go like this. I need to rotate the UV. I will grab the three legs and I will go to UV editor. Here we have the result. I will rotate this, but I need to open the image of the wood right here. It r to rotate the U V, ninth degree like this hold control to snap the rotation. Hit key, and let's move this right here. It's a bits big, I think, or nice. I think this looks nice. Very cool. All right. Now I need to apply the same material on the other lex. I will grab this one and this one and make this one the active one or the last selection, and it control and hit link material. Now the three of them have the same material. Grab one of these and let's go to the header editor here. I just need to take the roughness down just a little bit like this and the adds it. That's cool. By the way, you can use the same image if you want to use the roughnes teach you the strick. You can hit H D, or you can leave it like this. Can take the same B, don't need to duplicate it. So I just going to add a stration from the color section here and plug the color to the color here. Now, I have this result. I will take the stration down to zero and block the color to the roughness like this. Now I have roughness from this MT alone by taking the colors down. All you can hit KD to take a Cobi and block this to this and turn the collar space or sweak it to a non color. All right. This is the result that I got, but it will be too much rough because it's too much white. In this case, I can use curve in this scenario. I will shift A and go to search because it's fast type CU, you will find R KB curve, pluck this right here, and manipulate this to get to make it a bit darker because if you make this darker, you will get a reflection. Let's kill the white spot that we have here. I will take this dot and take this down. Because this is the white area and this is the black area of the image. If you take the white down, that means anything white here, you will get to black by taking this down. Let's take this down just a little bit. That's cool. Now we have a gray result and we will go nice roughness here. Now let's block this to the roughness and control heft left to click on this principle node to activate. That's cool. Now we have something here. After that, let's see how can we create the chrom material. I will grab this. We don't have any material to it. This slot, as you see, we don't have anything here. Let's hit to create a new material here. Before we create the row material, I just noticed something weird here with the boot. Accidentally when when we changed the color space to an clar, this one k automatically, and I don't know why. So I will swat this back to a RGB color. And yeah, now it makes sense. Let you go back to this ring and we have the material. We added the material here. We can call it crew material. If we want to create a crew material, we need to keep the base color white, and we need to push the metallic to one. And if we need to make this have sharp reflection, I need to take the roughness back to zero for example. But for me, I just going to use a small value here, for example, 0.7 0.07. And yeah, this for chrome, you don't need to do anything else unless you need to add some umpness or some scratch. You can do this. But for me, I'm going to make it leave it simple like this. Now let's go to the plastic material. I will grab this heat and I will hit U to add a new material, and I will call this plastic material. All right. It's white in the image. So I will create white plastic. I don't need to manipulate the metallic because if I do that, I will king this to the metal material. The roughness, I will take the roughness b gas a little bit and add some surface scattering because plastic have some surface cattering. This is a plastic surface. When the rays hit the plastic surface, some of these rays go inside, but not so much deep just underneath the surface and take some samples from inside and goes out I mean, the rays. You eye will see some subsurface scattering the plastic. If you search in the Internet, if you tie plastic material, you will not that effect. So it's not correct to create a plastic material without adding any subsurface scattering. Unless the surface of the plastic, for example, painted with another kind of paint that prevent the light to go inside. But for me, I just can add very little subsurface cattering to make this bit realistic. Maybe we can add 0.2 something very little or less, that will work, and that's it. All right. All right, that's cool. For the surface radius here, we have the rate the green and the blue here. If you leave the rate value one, and the greens and the blue list in the green. What happen is When the rays hit the surface and go inside a little bit. The rays that goes out will take a red tint or some reddish color from inside because of the number here was one. In this case, if we need to make them equal, I need to add for example, one for all of these sliders or 0.10 0.2 to make them even. I will speak in this one, the blue and the green 21 as well to make the value even here. But this just for the white subsurface scattering, you don't need any color from inside. The subsurface color here, maybe we can make this a bit darker. Even the scar, a little bit, not too much. In the end of the render, we will got a white material. Now we are ready to make the render, let's do that and let's see what we will get. Now we are in the material preview. I will hit zero to come to the camera, and I will hit render. I already done the setting here, activated the adaptive sampling and activated the D noise to kill any noise after the rendering, and the rendering engine cycle. Y, that's it. I just can to hit F 12 or go to render and hit render image, and that's it. When the render is finished, I will be back. Okay, the render is done. It's a very cool result we got here. Very nice. It is very easy to create a chrome material in plastic. It's not something complicated. And yeah, this is it. I see you in the next video. 128. 129 Material section How to create plastic material and how to use shadow catcher to blender the gro: Hi, everyone, and welcome back. Now let's see how can we create materials to this house? It will be very simple and I'm not going to create complex material, so it will be easier and forward. Before we start here, you remember when we created bul in for some places, for example, the windows, if I unhide all of these cutters, you can see them right here. It's very important to hide all of these in the door. Don't forget to do this. Because if you don't when you render this house, you will see an object in the front of each window here. So hide this and render. It's very important. Let's open the collection. Let's see, did we have any object here, for example, the door here, we create a cylinder and we edit it so we can add a hole here for the door. I need to hide this in the viewboard and in the render as. Let's see Is there anything else? I think that's it. All right. Now let's start creating the material for this house. I will sublit this window to two. And I will go to material editor or Hader editor. Let's pick whatever piece that we like to start with, for example, the roof. I will start with this one. Let's create a material for this. Fair thing, it's plastic material, we need to create a plastic material for all the house. Let's see how can we achieve this. Let's open the color bicker and choose a color, similar to the color that we have here. Something like this maybe. You can use this hydroper to pick the color. Open the color and use the i druber from here and the equta a color that you like from here. Let's see, maybe I can this value from here. And now we got the color. All right. Let's go to material preview to see the result. All right, cool. It's very close. I need to apply the same material for the necessary object. Let's grab this and grab this and hold he and make this one the last selection and the active one. I control and open the link menu and choose link material to link all the material to this piece. All right. So we got this here. After that, maybe we need to manipulate that mistake this down 2.4, make it a bit reflective, not too much. For the subsurface caattering, I will change this 2.3. To make some subsurface here. And for the radius here, I don't need to be the highest value here. I will switch all of these to one to make them even. If you have any problem with the subsurface scattering, of that to mac, you can decrease the number here. You can take this down. Maybe 0.2 will work. I don't know. Let's see that. So that cool, this nice start. Now let start with the walls. Let's start with the big one here. Let's add the material for this, but I prefer to co the same material that we add to the roof and manipulate it or change it. Select the wall, and then hold heft and grab the roof here, and control and link the material. Now grab the wall. Here we have the same material applied on four object. I will hit this icon to to make it single user. I mean, I will make this material unique to the wall. Hit this one and change this to wall empty for wall material. After that change the color, open the color picker and use the roper and pick the color, and let's pick this value. That's very nice. After that, let's apply the same material to this one as well. Let's go to the arrow here and ese the wall material. Let's give this a name. Let's call this roof. What else? All right. We have this small part here. Let's give them the same roof material. Let's select them like this. This one as well here. Hold he to grab the roof, control L and link material. And that's cool. That's great. Let's see what else we can do here. All right. All right. Now let's go to create the tree here. Grab this, hold to grab the roof and link the material, and I will select this and hit this number to make this material unique, and I will change this to green tree. I need just to change the color, I will use the rubber to pick a color here, and I will pick this. For this one, the same scenario, we can do. Let's grabs hold the grabs, control a link the same material. Grab this one, make it unique, and let's call it, t. Let's change the color to use the rubber and pick the color that you like. That's cool. Maybe I can manipulate this even more just a little bit. Something like this. That's cool. I don't know. I feel that I need to change the environment to another one. I think this one is the best. But let's try the other choices. Yeah, I will stay on this one. Now let's see what else we can do. Let's create maybe the mirrors. Let's start with this one. Let's add a new material, and let's make this, something like this and take the roughness down because I don't need this to be rough. Not too much, 0.05, I think that will work. I I don't like it, I can swa it to zero. Give it a little bit of subsurface cuttering to point maybe 0.1, not too much. But I think that will affect the result, so I will keep it zero. That's better. Yeah, I will leave it like this. Now I need to pick all of the windows. Let's start with this and this one here, and we have a window right here. What else? Let's go to solid. I think that's better to see the object. Grab this, to grab this, those here, and this one right here and make this one the last one, and it control L and link the material. Select this material, and let's call this win empty. Let's go to material review and there we go that cool. A what else we need to do here. Let's give this lamb the same light that we gave it to the tree, grab this, hold hept this, control L, link material, and there we go. Let's give this p the same color that the same material that we add to the roof or to the wall, hold hept this. Control L link the same material. Let's like this one alone. Let's make a single or unique material. Let's give it another name. Let's call it white t. Let's change the color to white. Dark, make it a bit dark, not too much. Let's apply the same material to all of these pieces. Grab, this and the frame, and the door here. Let's go to solid, grab this, and this piece as well. What else? Those here maybe as well, the same thing. The frame that we have here, those here and the frame that we have here as well. This frame here, the wood blank All right. Des like this. And what else the door we have here? Sorry. And this and those here and this piece as well. That's all what we need, this one as well. And select this one as a last one because we gave it the white plastic material, and then hit control L to link all of the sink all of these object materials to this one right here. Control L and Link material. Now if I go to material review, all of these now have the same material. As you see now it is applied on nine object. Wall here, let's give it the same material that we add to the wall. A, control L link material. The mini here I don't know, t's give it the same white material. Let's make it unique and take the color down, make it dar, something like this. What else? These pieces? Let's give them a green color. Hold have to crop this, control L link material. The piece as well, let's give them the same min color that we add here, hold he to crop this, control L link material. All right, so that's cool. Now we just need to render the scene and see what we got. I think we didn't give the same material. No, we did. We gave it. All right. Now let's add the camera, and let's add ADR image to render the scene and let's see what we will got. I will had shift A to add and let's add a camera here. The camera is underneath the house. I will teach you very nice trick here. For example, you like to look at the house from this angle. Right. But by using the camera. If you want to do this, you need to grab the camera, hit key, and move it, and put it right here and rotate it and centrate a lot of the stuff. But there's very nice trick. What I will do is I will look at the scene from this angle, and I will bring the caera at this position, and I will Use a shortcut from the keyboard, and it will be set automatically for us. You can hit control ts and zero. If you do that, the camera will take the position that you like. After that, I will hit the tilda key underneath the escape button, and I will hit as to go back just a little bit to cover the house. I just need to grab an angle similar to the angle that we have here in the image. Something like this will work. It looks nice. Or maybe I can go just a little bit like this. All right. That's very nice. Cool. Now let's use an RC and I think I or I need to go to the HDRI Haven or Poly Haven to download a new T MI to use it to the scene. Let's go to the website. All right now I'm in the Phan in the HDRI sec and I have all of these images. Let's try to pick nice mage. And I think I will pick an outdoor image. That's will be better, so let's go to the outdoor. All right, here we have all of the images. Let's see which one. We can pick. I just need to pick an image with a soft shadow. This image is nice, but let's try to pick another one. I think this one will work. Let's try to see this. Let's pick another one. A, which one we need to pick, maybe this. All right, I will use this image and let's see what we will gout. Okay, choose the resolution. For me, I will keep a two k to download it faster, and guess a download button, and it will be downloaded automatically to your computer. Now let's add the environment. Let's go to the Hader editor and seek the mood to the world, and let's open the textural folder. Let's pick the new M that we added here, this one. Click and drag and let's put this right here. But you can't plug this to the color you need to see this to environment image. So I will let ft S to squeak the node, go to the texture and Qs environment texture and plug this to the color. And now if I go to the material review, I can see something, I think. Sorry, to the render. Yeah. Now we have something here, as cool. But the head not smooth as I wanted. I have another material here. Let's go to pen, and let's add this one. Let's see what we will have. We have this one you can use. I think This one is better. I can control it by the way, can control the contrast. For example, I will shift A and go to the color. Can use RGB curve and block the curve here and manipulate it, make it dark, make the whole environment dark or bright feel like, and that will affect the lighting, by the way. So let's make some manipulation here. Let's see what we will got if we do that. Something like this, that I just made the environment a bit contrast. This is all what I done here. If you want to take the strength up, you can k this number to bigger number. For example, 1.3 maybe see what we will go. This nice lighting. Cool. Now I need to hide the environment as we learned. I what you need to do, grab the background, hit Shift D, take a Cobi. Grab this with this control shift right click and trike from this to this to add a mix shader here. After that, shift a to search and search for path to add light path, enter and plug the camera ray to the factor, or if you want to get a fast connection, just hold out and hold right click and drag from this to this to connect this one to this one. In this kind of connection, is called as connect. You need to activate the node regular to achieve this in the in the add s in the preferences. We done here. It's very nice. After that, I need to get a white background like what we see here in the mag, I will go to the color and king this to something white. And now we have a white color here in the background, as you see. C cool. After that, we still have the plane here. Let's go back to the object mode. We didn't give the plane any color, and I don't want to give it any color because I will hide it. I mean, I will leave the plane in the same place, but I will hide it in the render. I mean, the plane will still catching the shadow or anything else, but it will not be visible. It will be blended with the background of the environment. In this case, you need to active sue the render to cycle, and then select the plane, very important to select it, and then go to the object properties and here, open the visibility here. We have two sections, we have ray visibility, and we have this section. Activate the mask shadow culture. If you do this, you will hide the blame. I mean, if I go back to the world and if I take this call to something dark, The plane will be disappeared. Now it's blended with the environment. As you see, whatever color to add to the environment, the plane will be blended with it. Before this option, before I activate this option, plan, it's still white, but if I activate it, it will be blended with the background. After that, deactivate the diffuse and turn them off like this and it. Now let's take this to something white. Yeah, that's cool. Now, I think we can make a render. Let's do this. Did we forget anything? I don't know. I feel that we need a bit of lighting. Maybe I can king this to two, I don't know, see what will happen. I think that's better. All right. Cool. I will accept this result, maybe I just need to manipulate the color of the roof just ale bit because we add the subsurface cattering, but we didn't ching the subsurface color as well to the same color. I will hit left to click and drag from this to this to give it the same color. The same scener for all of these pieces, click and drag and put the color in the subsurface cattering, for the tree as well, and for this one as well. Is there anything else for the mini maybe? Now we got correct result now. All what we need now is to make final render, and let's see what we will got there. I will hit z and go to solid that's it, and I will hit F 12 to render or I can go to edit. S render and hit render image. If you want to stop the render for any reason, you can hit scape to stop the render. Render mage. W render is finished, I will be back. So I just forget to do something here. I forget to increase the sampling here. I will put this to 400 and activate the adaptive sampling and activate the D noise to kill any noise to give us smooth, nice render. Yeah, that's it. Now the render is done, and the result is amazing. Watch the walls and the roof. It's give you the feeling of the plastic and we cut this result with the help of subsurface scattering. It is very important to use this slider to achieve this of feeling. Especially if you want to create plastic material, it is very important. We got very nice results here and we fin the render. It's very nice. We just need to take to photoshop or we can edit the color here inside the blender, but I don't need to jump into the stake right now. We can do that later. Yeah, the render is finished, and it's very cool. I will end this video and see you in the next one. 129. 130 Material section How to create white ceramic and dark cacao material: Hi, everyone, and welcome back. Le how can we creates a material to this scene. We have the the mug here, the small mug, we have C here and some stuff. Let's he can we achieve this. First, I think I can apply the subdivision surface. Do I need it? I will apply it control A and apply it just hover over here and hit control A. And I will tap to jump to the mode end. I will select some faces here. Let's go to three and actually let's grab this vertex here in the middle and hit control plus to grow the selection, and then go to face to steak to the face. After that, hit control plus couple time to grow the selection. Until you reach some points, for example, right here, and then hit Shift D to take a CB from these faces and right click to leave them in the same place, and then P S to separate them. Because I need this one alone. I will hit slide to isolate it. Tap to the edit mode, go to the edges, O click on this edge and then hit F to add a cup here. After that, I can hit control B just to add a small amount of beveling here, very, very subtle, something like this will work. All right. Now let's grab this phase and it I to inst and inset this chest a little bit like this, and then hit aft couple time, something like this or even more, that's nice. Now what I can do is, let's make some wavy shape here. Like what I have here. Let's go to the proportional editing and let's use it, and Let's activate random, see what we will go here when we activate this. Hit to the Z and rotate the wheel to make the circle a bit smaller and take this. If random works for you, you can use it, but for me, it's not so quite perfect to leave it like this. Let's step out and see it in the heading. It's not so quite beautiful, so I'm going to control Z. Let's try to use another curve here. Let's see which one we can use. If that doesn't work for you, es you can create this manually by grabbing some fases, for example, can we grab this up. But let's turn out proportional editing. Let's take this up just a little bit. Need to make some waving here. Something like this, we got. That's nice. That will work. That's all I need. All right. Now we can say that we finish the coquid. This hit slash to excite and cool. That's cool. Let's see how can we create this small c we have here on the edge. All right. Let's put the three d coosor right here, and I will add the plane. It's very big, I will scale it and make it very small like this. By the way, the cup is too big, by the way. Just need to remind you. But don't worry. We don't need to care about this. I have this plane. I need to I need to extrude this plane and extrude it and push the vertices very close to the surface of the mug itself. All right. In this wave, I tap to the edit mode and go to vertices. It is difficult to me to extrude them and push them nearby the surface of the mug because sometimes they will go and I need to rotate my view more than one time just to make sure that the vertices close to the surface. In this case we can use the snap here and activate this facena. And we can now we can move the vertices and snap it to the surface. For example, I will grab this one a ad key and hold control. When I do this, as you see, the vertex will snap on the surface and it will not go away. And this way, I can create this piece very fast because I will snap my vertices on the surface without needing to come between or need to rotate my view from too many angles, just to add this vertex in the right position. Let's see grab this vertex and hit key to move it and I will hold cant to snab it right here, and this one as well hit key, and I will snap it right here, grab those as well hit E and hold cant to snub it here. Or maybe key and snab it right here, something like this. L et's leave it here for now. Hit again to extrude it. All can't troll and snap this here, and there we go. Because it is low bally, the phase goes underneath the surface, and that's not a big Q. I will face it later, grab those it and snub them to the surface as well. And let's grab those here. It's E to snap those here, and E again to snap those here as well. All right. Let's see what we got here, E again to snap those here. That's cool control to add an g in the middle. You can go to the wire frame or you can go to the tray moot and e grab these vertices, it key to move them, it snap to snap it here, and this one as well, snap it on the surface. This vertex here in the middle, this one, hit key and snap it here. Keep doing that until this area. We have this vertex, it key and snap it here. A that's cool. After that, what I can do is can take down just a little bit key, and I can snap it right here as cool. So let's add a solidify to give this thickness, and let's bump this up just a little bit, something like this. Very cool. Nice. I will apply the solidify, I don't need it anymore, and I will subdivision surface above this result to got this cool. It's not so quite perfect because we need to add it even more. And what else we need to do here. Before we apply the subdivision surface, I just going to add a curve here or just to support the edges at this area. I just going to show you why I need to do this. Here we have the edge of the cup and here we have the aco right here. Without adding this edge, I will get this result. But if I add this edge, I will I will push these vertices down close to the edge of the cacao, and that's more believable as compared to this result. This is not correct, but this one is correct. So because of that, I need to add a support here on the side. All right. Please go out. After that, I can grab this edge and he kit twice and push this to the center to make it to make a curve here and this one as well. Something like this. Almost Let's take this back just a little bit not too much. I think we push these faces out too much. In this case, I will grab these faces. Let's grab these faces, all of them, and I will push those faces down. How to do this? I will hit old S to book these faces towards their normal down like this. All right. Let's stop out and let's see what we've got so far. It's very nice. But we didn't finish here. We need to edit that farther. By using the some brushes and the scalp mode. First is h right click and head smooth, and after that, I will jump from this mode to the scalp mode. I'm not going to make it complicated. Just can I use one of these brachs, and that's all. Let's see which one, I will use the grabs fi. If you want to make this pick, just hit F and move the most to the left or to the right. That's it. Try to manipulate this a little bit until you get a nice result. And by the way, as you see, Without a applying the subdivision surface. I am editing the low poly version of this piece. In this case, if you want to get better result, you can apply the subdivision surface, and then you will have more geometry to work with. Let's go back to or let's stay in this mood. I will go here to a subdivian surface and it can troll to apply and there we go. All right now, I have mocumetry to work with. Let's ph some faces here and here. We put this out too much. Let's take this big just a little bit. O or less cool. From here, I will make the pch bigger hit F and put the most to the right and take this down. Something like this. No or less make sense. I will leave it like this. That's for me. If you want to inflate, you can use blop this one of these put that give this volume, if you like to do this, can do this. But it will ruin the shape. Be careful when you use this. I think I can use f instead of this one. I've gone to it controls a couple of times to bring this back and use the inf see what I will go here. A Infla works better. That's very nice. Cool. All right. That's it for the scalp. Let's go back to object mode here. Yeah, we're done with this. We have some drops here and here. Let's see how can we create them. I will hit shift and rat to bring the dicsor right here and shift A to ad and add cube, make it very small, something like this, and it key to the take this to the z and quo like this. Let's again, H key to then take this down to the ground like this. You can now Tap to the d moot, or control A apply the scale first, tap to the D moot control r to add a here and one A here, and think that's it. Now let's add subvecan surface to this. This increases to two. After that, I just need to book the sit down to the ground top, control r add an a right here, something like this. Let's go to the top at number seven end. Grab these vertices and the extra moot end scale them just a little bit to make this round, the same scenario here as to the y. To go a like this. That's cool. To put up all of these vertices a and take those down if you like, and S to book those to the center. Now we got something nice here. HF to duplicate it, temple right here and scale it. It and cancel the Z axis hit heft z to cancel it to move it on the x and y. Because we scaled this, we got some height here, so I'm going to sorry, I'm guess going to hit to the z and take this down to the ground. All right. I'm going to click it smooth and maybe I can scale this gas ale bit and s. Let's go to the top of you and let's rotate the gas ale bit like this and push it something like this. Radically a smooth. A, that's work. This small as a little bit, scale to make it pick and go to front, for example, or to the right. Let's take this gas a little bit up. A, that's cool. Now let's create the material. Let's see how can we do this? I will read this to Hit editor and hit to get rid of this panel. Let's start with the Cub. I will hit to to create a new material right here. So now we got a new principle material. How can I create this material? It will be very simple. The fair thing is reflective if I go to the image. We have some reflection here, R reflection, so we don't have much roughness here. Let's go back to the header editor here and let's take the roughness back to zero to make it reflective like what I see. You can bump this just a little bit 2.02, maybe. 0.03. You can do that, okay. And we have some subsurface scattering here because this is like a ceramic, and the ceramic and the ceramic, we have some very, very little subsurface scattering, but it's not too much. So we can add subsurface scattering right here, but keep in to make the amount very, very low like 0.0 0.05, I think that's okay. And let's manipulate these number and make them number one because I don't need to see any variation in the color, hit number one and hit enter. So now the red and blue and the green, they have the same value here. This cool for this material. This one will work. Let's apply the same material to this. Grab this hot he have to grab this one, control and link material. That's very cool. Let's go to the liquid and let's create a new material to it. The base color could be a bit dark brown. Let's this Vw to two, and let's go to the image, and we can use the color picker to pick that color. So L et's use eye dropper and let's pick the dark area. This area is dark or something like this. C. We don't have any roughness here. Make it make the reflecting harp. Or actually we just have little bits, maybe 0.04, something like this, not too much. We have subsurface scattering actually. I will put this to one, and we need to king the subsurface scattering. I will grab this color. I mean, we need to king the color of the subsurface. I'll grab this one and put it right here, cool. For the radius, I will leave this because I need the red value to be higher to get some red color from the inside. And I will apply the same result to this globs glob and this hold he the globs, control, link material. This one, I can give it a crew material. I new pch the metallic one roughness, make it a rough a little bit. That's it. Maybe I can make the color a bit dark, not too much. That's it for this piece. All right. Okay, now we can make the render. All what we need now is to set up the HDRI and we can make that render. I will do all of that and I will come back. I created the node and now the environment is ready, but we need to change the color of the background. As you see in the image, we have a green, sorry blue color here. I'm going to pick this color. In the background. Let's go to the render and sweet this to cycle render, and let's activate the adaptive sampling and the Denise and the render. Let's put it this to 400 for now. Let's easy to go to render and let's see what we've got here. All right, this is the result that we got. I didn't like it so much. I mean the background, the color. I will manipulate the S value here, the saturation just a little bit. To make the background a bit sat rated. But I think that's too much. Let's take this down just a little bit. All right, I think that's cool. All right. What else do we need to do here? Maybe we can take the strength of the environment a little bit back to 0.8 maybe. That's cool. You can rotate the environment by the way if you like. But this result is nice, I think. All right now, I can add a camera. Let's go to solid moot, hit 50 a to add and let's add a camera here. This is the camera. We have it right here. Let's try to pick nice angle and the viewpoard like this, for example, and hit control Alt A to position a camera to your review, control t zero. Control A zero. And hit the Tilda key underneath the escape. But one end try to move this pas a little bit like this. To put the scene inside the frame. Now if I go to render, everything looks cool, but the ground that we have here, we need to blend it with the background. Make sure that you activated the cycle in here for the render, and after that, go to the object properties here and go to the visibility and activate do cate and turn of the die and the glossy to prevent the plane to affect the glass from, I mean, affecting the glass. I mean, leaving some color on coming from the background or some reflection. So just turn those off here. And make sure you can't see the mask here unless you are in the cycle engine here. Hit A two D the background. A, so this is the result that we got. I will hit the Tilda key again, and I will push the camera a bit and position the camera better, something like this, maybe. Okay, that's cool. Maybe I can go a bit higher. Something like this. Okay, now I can render the scene, and let's see what will happen after the render is done. So I will hit F 12, or I can go to render and hit render image, and the image will be rendered. Okay, we done with the render. This is a very beautiful result. We got here. The chocolate or the aca liquid we have here, and this piece, it's like a snake coming out. Anyway, that's nice. So, this is the end of this video, and I will see you in the next one. 130. 131 Material section create a material to the Sony device part 1: Hi, everyone, and welcome back. Let's see how can we create a material to the son device. We still have this image and all of the reference insides. We have this image. It is big and we have some details here. This image can help us to understand the material better. I can see that I have some pumpnes here and some reflection. I think this is an aluminum or let's say painted aluminum. It is metal not plastic. Le can you create something close to the res I have here. The first thing that we need to do is supply this view to two like this and let's read this two heater editor. Let's close this panel. Let's take this piece first. Before I adding any material, I can see that I have some problem with the heading here. Let's go to the modifier and let's see what we have the bible. I'm going to add weight normal here above this to fix the heading. This is before and after. All right. After that, I will grab this and apply Val geometry to me. I need to apply these modifiers here. Control I and apply vihual geometry to me and there we go. Keep in your mind that this sun device is too much big. If I add cube here, kick the cube. How much the cube is big if I hit n, it's about two meter and all dimension. This sony is too much big. Here we have two options, either you scale it and give it the correx side, is about ten centimeter in height, or you can leave it like this and create your material. For me, I can leave it as is and I will create my material. Fore I add any meter, I just need to fix what I need to fix here. For example, I think I got some difference here in this pattern as compared to this one or as compared to this one as well. I just need to make some manipulation here. I will go to the front and tap the edit mood. I will grab the site in the x ray mood, and I'm going to hit S to scale this just a little bit and take those down like this in now a school. Here in this area, we don't have a plastic here. I will select this one and tap the it mode. If I tap, I will lose the details because we have too much modifier here volume modifier. In this case, I have the ability to apply this f one. Let's apply this, control I apply vital human semic there we're going to I apply everything. Now I can tap to the Eth mode and can select this phase here, I click. I just need to take a CB d, leave the cop in the same as right click and then Ps to separated. After you do that, c new Cp here, and let's add solidify modifier. I just need to give it a thickness and let's take the thickness inside like this. And hit control A to the solidify, and there we go. Now I will tap the mode and go to phases, I'll click here. I need to move these pass a little bit like this, I will grab this a here and v control B. I'll val two, like this. And the grab this these edges with those edges and hit control B again to pivle those as well. Let's add the three here, something like this. It's like to isolate this one, and those here, we can euvl them as well. Now let's excite, we finish with this one. All right, cool. Now let's start with the material. I grab this first and let's add a new material. Let's call this plu empty, just to recognize it because here we have a blue cooler. Empty for material, Hz and go to the material of review and I will like to isolate this piece alone. I think the environment light is too strong. I will go to the setting here and take the strength yes a little bit down, not too much. Let's go. First let's pick the next color or the correct color. I will use the roper to pick a color. Maybe I can pick a color from this image, something like this. This result is close. It is a metal, so I need to pot the metallic one, and a bit rough. So maybe 0.4 will work for me. I will leave it to 0.4 for now. I have some bump ins here. I I I go close to this one, I can see that I have some height information here. Let's see how can we simulate this. Let's make this image small here and maximize a little bit the shader editor here. I will hit shift A two search and I'm going to use noise node here. Hit search and search for noise NOI. Here we have the noise texture hit enter. Let's put this right here. I will hit control shift on this node to see what I have. This is the result. Let's take the scale up. I'm going to add 60. As you see, this is the result that we got here from the noise. Here we have the details. We need to add details and here we have the distortion. This is the result when you put the distortion. Cool. We apply the material, but we got some problem here. The texture here is sequed in this area here. But on this face is working correctly. To fix this, I need to add texture coordinate to apply the material in a different way on the object. Grab this control t, Notriangular will create this mapping node and texture coordinate. Texture coordinate now, blocked to generates, and this is the result of the generate. I will block the object to the to the vector, and now I fixed this problem. Object will work fine in this scenario. Texture coordinates, this node can help me to apply the texture that I'm using. I mean the noise texture, will help me to apply it correctly on the object in different ways. Here we have multiple choices. For this scenario, object is working, so I will keep it on object. Here we have the scale. Now the scale is too much. I will add, for example, 500 and make it very, very small and tiny. Lesom in and zoom in here as well, and let's see Did we got a small noise as we have here? All right. I think it's a bit big, so I'm going to add 1,000 and now it's become very subtle and very small. I mean cool. That's very cool. Now I need to block this to the normal and I need a middle node here between those. In this case, you go to Ck and LC for bump it enter, and let's put this right here. Because I have black and white color here, I need to use the bump node to see some height information. If you have a normal map texture, you don't need to use bump, you just need to use the normal map and plug it. But for this case, I need to use bump. I will plug the normal to the normal and the factor to the height here, and I will hit control it on the principled node to activate it. There we go I have some height. Or some bumpiness, but that's too strong. In this case, I will take the strength to 0.1 0.1, I think, 0.1 is okay. Or maybe 0.03 or something subtle. Yeah, this result is. That's cool. That's nice. He's like to excite. Yeah, there we go. Let's apply the same to the other part. N image. Let's grab this and this piece here and this one as we Grab all of these and hold to grab this door as the last one, and then control to open the link menu and link the material. Cool. That's very nice. Now I will select this one and hit shifts and select this. I just need to cope the same material here or you can grab it and go to the material and use the blue material. I just apply this to this one. But I need to do here, I need to make some manipulation here. Fair thing, notice here that we have the blue material is applied on seven object. I will select this piece and hit this pattern right here to make a single user. Here we have the new material. I will change the name to maybe white a T. Let's change the color. I'm going to use the er to pick a color or something like this. Let's make it prier, just a little bit. Yeah, now we're goting something here. Let's try to kick this taken according to another here or that cool. L et's rotate the environment. That's nice. You can try different environments here if you like. Seems like that this one is the best one. That's cool. Let's apply the same material to this piece as well. Grab this and let's add the white material and there we go. We have this piece inside the same. Now let's see how can we create the buttons material? Let's start with this one, selected and hit new. Let's try to find nice image showing us how the material looks like here. Maybe this one. It is reflective just a little bit. Let's push the metallic to one. Let's take the roughness, something like this, maybe. I think this is nice. I think these patterns are not 100% metal. I think they are plastic but painted with reflective paint here, and they looks like a metal. I will take this by a bit. I will use the metallic option here just to give it a bit of metalnes. The result looks nice for now. Let's apply the same material for all of these pieces. Grab those here. And this one as the last one, control L and link them material. There we go. All right here. Let's go here and let's add the new material to this piece, and let's make it metallic and take the reference down just a little bit, make it a bit reflective. Let's make the color a bit dark, something like this. Maybe we can give it a bit tint of something orange here. That's nice. Let's grab this fine, let's create a plastic. Let's take this almost right here. I need to be dark and let's give this a bit of subsurface scattering gets very little amount. 0.01, for example, what else, let's take the roughness down. 2.2. That will be okay for this. For these pieces right here, let's see what we have, the inner area is a metal create of metal. Let's grab this and let's hit new material, and let's push the metalnes to one and take this 2.1, maybe 0.1. Let's give it a bit of yellow. Let's make it a bit yellow. Let's cool. Grab this one, we grab this, control L and link the same material. For this piece, as well, let's create a new material here, and Let's change this to something green. Dark maybe. Let's take the darkness just a little like this, and that's it. Stick this one, hold he the clo this, control and link the material. For the button here, I will create a new material for this and pick the correct color from here, use the eye drop and pick the color. Or something like this. For this piece, I will manipulate the subsurface to 0.1, and I will cove the cor from here to here. Left click and drag, take the color and put it right here. For the nes, maybe I can take that s 2.2 because I need a bit reflective, there we go. It is very nice now. For this piece, I need to create a plastic material for it. Let's new. You noted that I didn't add any name for the materials because there's no need to add a name for each material. You can pick them from here. Let's grab this and let's pick the color that we have here. Or something close, I think. Let's try to kick another image. I think this one is working. I will pick this color from here. That's cool. That's very nice. All right. Let's give this subsurface scattering, 2.1 and co the same color from here to here. And take the roughness down just out of it 2.25. That's cool. Here we have these screws. Let's try to create a material for them. So All right. Let's create a material for the screws here, glob this one, its new, and let's make this dark as we see here in the image. Let's take this a bit. Let's give it a bit tint of yellow color here. Or org here just a little bit. And push the metales to one and take the dares to 0.45. Need to give it a bit of reflection. Crab this, hold shifts, c this one as well, and sel this one as a last one. Control L and link the material. All right. The button that we have right here, I will give you the same material that I added here. Select this, and then let's go here, hold here to crop this, and then hit control and handling the material. And now we give it the same material. You can call it by the way, black plastic. If you like. That's cool. That's very nice. We have these texts. Let's give them a material. I can see that I have some reflection right here. I think they are created from aluminum. Let's select this text first and let's go to a new to create a new material. Let's push the metals to one. What else take the roughness down just a little bit, not too much. Let's go. All right. Let's apply the same material to this piece and this piece as well. Corrupt this, Al there crops and this, and then control L and link material. Maybe I can take the metales back as b 2.7, maybe. I think that will work as well. The glass cover that we have here, we need to give it a material. But before that, I just need to tack it. Do I have any thickness? Yeah, I have a thickness. Let's sit in new to create a new material and let's go to tra and let's put this to one to make it retractive, and let's take the roughness back to zero. And I will keep the IO R 1.4 and the s. Let's it to hide it to see the piece underneath it. Let's try to kick another image let's see what we've got here. All right. Let's select these two pieces. Let's give them the black plastic. Hold have to grab this, control L and link material. This piece as well, hold have to grab this, control L and link material. Those here as well, grab them, hold have to grab, for example, control L and link material. After that hits. Sorry, Alt H to bring this piece, and we almost finished here. All right. The final thing that we need to do here, we need to kick all the material in the render. If we need to tweak anything we can tweak after we render this, and after we add HD age as well. So I will end this video and see you in the next one. 131. 132 Material section create a material to the Sony device part 2: Hi, everyone, and welcome back. We can render this the device right now. All the materials now, we can say it's finished, and we can add lighting at HDRI environment, and we can render it. But I need to take this a little bit farther. I need to adjust the material even more. I will show it. I mean. Let's pick this piece, for example, to open the blue material that we added here. Okay, let's start with the roughness here. We didn't add anything here, any kel in the roughness. We just used the value of the roughness. The result that we get from that is a constant roughness. I need to edit this further. Let's go to the noise tempesture that we use. If I hit control hits, left to click on this one. I will see the black and white collar here of the noise that's being translated to height here by using this pump. I need to use the same information here, this color, and I need to block them in the roughness, and let's see what will happen. Let's block the principle to BSDF control heift and Lift click. I think I just forget to activate the screen cast. Let's activate here. Let's bring. Let's bring this here. All right. Let's apply the factor to the roughness here and let's see what we will go. Now we're getting interesting results. We made a variation in the reference, we didn't made it constant. If I hide or if I cut the connection in this wire, I can hold, right click and drag, not to cut, but to mute the connection. This is before, and this is after kick the difference here. Adding the noise texture result here, black and the ness, that will give you interest result. I can take this further if I want. All right. Let's go to the texture folder, let's take one of these images. I just update the add some stuff here. For example, let's use this image right here. I will drag it and put it right here. That's cool. I will hit left click on this to see the result, how will be applied on the surface. We blocked it and this is the result. The tissure is bit pi. We need to scale it down. The tisure right here on this beam is very small and duplicated here. We need to fix that. All right, so cool for now, what I will do now, I will grab this node and I will hit control T. Nodeular, will create tiisur coordinate in the mapping. So blogging this to U V, okay is something working, as I can see. The result is nice, but I need to manipulate the scale here. Okay, I will I have two option here. Either I hit left to click and drag down to activate all of these axis, or I can add a value right here to control the three axis here. So I will hit shift A to search, and I will search for value. Hit Enter. This node is very simple. It's just going to give you a number here. Block this to this, for example, whatever number you will add here, it will affect the three axis here. So increase this just a little bit. I need to replicate the image. All right now, I getting something nice here. But here in this area, we have very small UV. I will fix this alone. Let's grab it and it like to isolate it. Let's open the UV editor here maybe. D this. We don't need it for now. Hit home from the keyboard to bring the grid here, and let's see, do we have any modifier? Yeah, we have the ible, so I will hit control, to apply the ibl here. Now let's tap to the edit mode and let's pick Let's pick this edge. The hidden edge, let's go to two Alt click. Let's see how can we rob it what's the best way? A Let's go to slid first. I'll click on this face. Or we can do something else. Let's go to face moot hit number three from the keyboard. Let's select this face and this face. I to grab this. Cool. Let's go here as we grab this and this and hit control plus to grow the sion until you reek here, and the same time for the site here. We need to do the same scenario for all of these pieces and rub them. M All right. Let's start again. Let's select this face. This one, the same here, this and this. That's cool. This one as well. This just big face here we have and this face as well. And this one here. And this and this one. And the same thing for the site. Grab this and this one here. This one here. C. We have two faces here. Let's grab them. All right, cool. Let's make sure that we select all the faces. By the way, I just forget to do something. I don't know I can't use wireframe and select these faces. I just made it complicated for myself. All right. Let's grub them like this. I don't know why I forget this. All right. That's faster. After that, let's go let's go here, sorry, to control Z. Let's go here to select and select loop and use boundary to select all just the edges here. After that, just hit right click and mark them as s now grab these edges on the side one by one. And this one as well and this one, right click Mark sm and that's it, it you and here, it A and S it eight, select everything and here, select the U V again and hit you and again to our rabbit, and there we go. Let's the method to confirm and now we're cutting something, but we have a weird result here. I don't know. Did we forget something here? Let's activate the sink and let's see where are these where are these vertices here? So let's scrap those and let's go here. Inside as well. We need to rub them. Or you can delete these faces from inside if you like. I think we can do this. At least pick the ages from inside as well. Do we have an? Here, we don't have here. We don't have here and what about this, we don't have here. We just have one here. Rob this, click Mark sm and now we can rub it again, hit A and u and u again to rob it and pass it. It's a bit annoying I know, but we done here. All right its life to excite and tab out and let's go to the material review so we can see what we have done here. Now, let's tab again and select the faces, and I just need to scale them down just a little bit. Something glad this will work. Cool. Now we have something here. Let's see how can we use this texture. Let's minimize this. Give it a bit from here. Now, let's block the principled BSDF, control it left click. Right. Let's block this to the roughness here. Let's see what you will have here. Okay, now, we have some result. We have a dirt here, variation in the roughness. But it's not quite perfect. We need to edit that a bit. We can make a mix between the noise and this image, but we will do that later. For now, let's learn how to control this result and how to make it perfect. First, I will add from the color section, I will add curve here, I'll gB curve. This node will help me to control the black and white color here inside the for this age or for this node. This is the white area, and this is the black area. I will take the white towards the black like this and take the black towards the white to give it a bit of roughness. Now we got a constant effect here. We can edit this further. Let's take this back to whites a little bit. We need to tweak this even more. I will take the black value to white by manipulating this point to make it a little bit rough. All right, something like this, nice. Maybe I can take this down just a little bit. All right. Now we've got in something very nice. We have some variation in the roughness, and that can give you a feeling of I want to say that will make the device a bit realistic and used, or let's say it's old, especially if you add a fingerprint. Let's go back to the texture folder and List grab a fingerprint. We have this new image that I add here, fingerprint. I will grab it and use it or open it first, let's see it. As you can see, We have some prints here. If we use this image, we can give a feeling that this device is not new. It's used, and we have fingerprints on it. Let's try to simulate that effect. Let's see how can we this. I will close this right now and I will it left click and drag it and drop it right here. Let's put this one above the dirt image, and let's plug the factor to the factor here and plug the color or first this hit control shift on this image and let's see the scale because maybe we need to manipulate the scale. It looks fine and reasonable. That's cool. I will use it. It left click on this node and plug it here and control on the principle, and let's see the result. Cool. Now we can see that we have finger prints here. Let's hit left control left click on the RGB node, just to see the result. Okay, cool. Now, I can notice the color here is too bright, and that will make the surface more rough. That's mean I need to control it. I can now we take these dots down this one and this one. Grab this, hold the grabs to select them both, and you can take both of them down. Let's start with this one. Let's activate this. Let's take this one down as well. So now it's become a bit darker. Let's control hit on the principle, and now we can see some reflection here. That's cool. That's very nice. The effect is subtle, and now it's working. After that, I need to mix between the result that I got here and with the noise that I added to the bump because the noise temperature here can give me nice result as well if I plug this to the roughness, as you see here. But I need the both of them. All right to achieve this, I will use mix RGB. So I will control, right click and rug to cut the couch here, and then hit control shifts. Right click and drag from this note to this note. If you do that, you will create a mixed node between them. Now we have a mixed node created between this and this. Let's open it. Okay. After that, sorry, I just need to block this to the height here and block this result to the roughness. That's what I want here. L et's see what we will get here. All right now we have something interesting here. We have the fingerprints, and we have the mix, the noise texture as well. The effect of fingerprints is a bit subtle here. We barely can see it. We can adjust that by manipulating these two slider. Let's take this a j a bit to control it. And now we can see something here. Maybe we can take this down just a bit, not too much. All right. Now, the result is very nice and realistic. If you want to control the effect even more, you can add another node here. You can use a curve node here in this area to control everything, and I will show you. The result that I'm getting right now is okay and cool, but if you want to control that further, the circular curve, CU R and plug it here. T's see what we can do with this curve. All what you need to do is just at one point here in the middle and take it down just a little bit or take it up. So in this way, you can control the final result. All right. This result is nice. Very cool. Okay. It looks nice. All right, so I will end this video. And this is how to make your material epit realistic by adding some variation here and here. You can use the roughness and you can use the normal here to something realistic as I did here. Okay, so that'll do it for this video and see you in the next one. 132. 133 Material section create a material to the Sony device part 3 Copy: Hi, everyone, and welcome back. We didn't finish yet. We have a lot of work to do. All right. First thing that I need to mention here, because we added some imperfection on the surface, that's means you need to create materials like this for all of the pieces of the device. Because it's not make sense to create a dirty surface, and you will leave another one clean. For example, we may discover a bit dirty. We have some variation roughness and fingerprints, but the glass is very clean. Thates not make sense. So we need to add that effect for all the device. Okay, let's start with this one. We create the material to it. What I will do now, I will grab this this material, the blue one, and I will co what I did here. Let's co all of these, it control C, and let's hit this one. And I will control right here and there we go. Now we have all the notes. Now let's connect this to the roughness SRD. All right. One more thing here, let's select those and put them yes a little bit right here, and block this to the ill two. And let's wait for the result. Let's see what we will get here or at cool. Now we got the same result here. I will isolate this alone. I just need to kick the U V. It's a bit seque on the side towards this direction. Okay. So I need to fix it. A to achieve that. It's very easy. What I will do is I will use the quick method to rob this very quickly, tap to the edit mode and make sure that you apply all the modifiers here. Hit a select everything and go to V and I'm going to use Q project. This is very fast, and that's it. It's done. All right. Now let's see what we can do. Maybe we can scale it just a b. I just need to see the effect. Or maybe I can hit control shifts. Left click on this note just to see it alone. All right. I think we need to make it a little bit big. I mean, scaling the U V. I think now it makes sense. By the way, I have this node right here. I don't need it, or you can leave it like this and connect it if you don't like the result that we have from this node. So I can ignore it or I can delete. For me, I will leave it right here and let's activate the principle, control heft left to click on this. Now we got something here. Let's compare the two material, he control heft on this. I just need to see the size. All right. This one as well. Is close. That's cool. Let's activate this one as well. All right. Let's see what else we can do here. Let's start with these pieces. We create a very simple material to them. Let's see how can we take this material further and make it more interesting. Let's go to the texture folder here and let's see what we can pick from here. We have this ss. We can use them. We have this image as well. I can use these images in the normal. I will grab this and both right here. Let's add heft A and let's add a bump and pug this to the normal. That's cool. Hit control heft on this, I just need to see the material. We can't see anything. Maybe because it's not ra, so I will go to solid for now temporarily to rab it very quickly, tap mood. We have a solid fine, we have a bible, so I will apply all of this. All right. We lost something here. It control z couple of time because I need to apply the solidify first, and then the bevel. Cool. All right now, I will grab these edges and one here, and this one as well. And rol and mark SM. It A and U and again to rub them. We got some problem because we didn't pick any edge from inside, right click mark Sam A and and again to rub it. There we go. Let's finish. Tub out. It's to excite. What I will do now, I will bring the three decosor right here, hit Heft S and Corso to selected, and I will delete this. I will take hope from this one, H D, and leave it in the same place and then hit Heft S and selection to Corso. That's faster, then I rub this again. Let's grab this and let's go to material review. Now I can see the scri here. That's very cool. Now let's supply this to the height and the C two will go from there. Head control have to on the principle to see the effect. Now we have something. But that's not what we need. We need to reduce the effect. I will sw this to klar. Or that's cool. Let's take the strength down. That's cool. After that, maybe I can let's add rump ge type rum in the cer field to find the color rump, and let's add it right here. This node will help me to push the black side and make it more black and the vice versa for the white. Increase the black level and increase the ale bit. If you do that, you will make the effect ale bit subtle here as you can see here. Let's see this in the real life. Looks what happened when I take this pack. I will book this case a little bit. Let's take this back to zero. I can manipulate the white value. Something like this is nice and okay for me. For any reason, if you want to make some variation here, and the roughness, you can use the same image here and black it to the roughness to get something here. Let's try this CO two will go. I will add this in roughness. Now it's become too rough. In this case, I can to the node here, and I can use it again. What we need to do now is to push the black just a little bit. But that's not going to give you a nice effect. In this case, I will swa this to the RGB curve shift S to switch and go to color and chose RGB curve to swag this to RGB curve, and now I can take the white value down to make it more reflective and take this up just a little bit. Let's take this up jt of bit. Or maybe take them down this one and this one as well. We can see that we have some variation. I control shift to see the result. All right. I can make it sorry. I just forget to but the factor to one. Yeah. Now, I think to work. Yeah, cool. Now we can see that we have some variation here. If you want to increase the effect, you can book this just ale bit up. Okay, this is something nice, I think. Let's go here. Let's manipulate this strings a little bit. Not too much. If this doesn't work for you, this mag, you can replace it with another image. From here, we can pick whatever one that works for us. I don't know, maybe Let's try to use this. Let's see what we will get from it. Plug this to the factor here. Let's see what will happen. Let's read this to none. Strain the as a little bit. A that too much. All right, so this image is not fine. I will reconnect this and I will use this. I think this one is better. A something like this. It will be nice. I will delete this one, control X to delete it. Now we have the same effect on the side. For the plastic, let's grab it, and let's use the same normal that we create here, grab those, it control C, grab this one, control to past it and plug the normal to the normal to get the same effect. But we will not get the same effect because it's, so I will hit tap it mod, A, select everything and I will rub this quickly by using Q projection. All right, now I can see that we have some variation here. Let's go to this one and see, this, this top, hit a select, everything, go to the U V and hit Q projection, and the other a sets, something like this. You can scale the U V for the piece, for example, I can scale this, scaled according to the image and make the scrake bigger. You have this option if you want to do it. Let's grab this, SN scaled. Make it small. If you make the V small, that's mean the will be pig. A does it for the piece here. Now let's see what else we can do here. Let's pick this piece of plastic and let's see how can we add some effect here. Maybe I can co be the same effect that I created to the Paton as well. Grab those hit control C and grab the Paton hit control V. And plug this to the roughness. Can I see some variation maybe? Yeah, we have it here. That's cool. That's what I want. All right. Now let's see what else we can do here. Let's cope with the same node. I think they are selected, so I just need to hit control C to copy them. Let's go to this button and hit control V to paste all of these and plug this to the roughness. Maybe I can book the metals to one. I think that will be better. Yeah, that's very nice. If you want to add imperfection to the normal, we can go back to this folder to an image. See which one we can, maybe the scratches, something like this. See what we have here. Let's try to use this one, Let's see what we will go. I will put this mic right here and treat this two none. It can have to see the results. We have something here. The U V is not perfect, but I think it will work. This piece need to be adjusted. We have some editing in the UV. Let's grab this and let's hit control and apply visual uma retime. Let's go to slid. Control I apply visual uma toms. After that, let's go to the tab and isolate everything. Let's like to isolate. I just need to see what I have here. It's not something difficult to rub. Maybe I can add an e here, cut in here as well. On the other side, the same scenario can add here and one here and right click mark. And hit A and rub it you and you again to rab it. All right. Let's use angle base. Let's see what we got here in the preview. All right, cool. Let's and let's take the other pieces. Maybe I can rob this one as well. Let's add here and one here as well. What else? Maybe, we need to cut this corner and this corner here. By the way, when we jumped to the edit mode, I lost the details here. The same scenario, I need to apply all of this. I will control A and apply visual human am before I rave it. Now I can work better. Let's select those again. And the cycle of those as well those here. Marxim, it A and here hit and u again to rob it. Let's choose conformal. Let's see what we will cut here. We didn't get any result because we forget to delete this phase. I think I can delete it. Why would I need to keep it? Its x F to delete and now t A and and again to rob. Maybe we forget to add the seam. I think. We didn't delete these phase that we have here. Very tiny phases. Trop plus to grow selection, hit xF to delete them all, hit A and here and again to arab now. Let's check angle base. All right. All right, this will work for me. For these pieces, I will leave them like this. Okay, now let's see how can we use a normal at t and go to pump at the pump here and plug the principle, plug this to the normal. Let's see what we will have here. All right. Sorry, we block this to the normal, not to the height. Oh my god, that's too much. Now we can manipulate the strength. Let's take this down just a little bit. Maybe we can add a color ramp, search for rum. Let's put it just a little bit. Or something like this. Alright, see what else we can do here. All right. We can manipulate this one, the black side. Alright, so we getting something interesting here. That's cool. We can use another catam if you like. Grab this hit heat and put another one right here. And reset this. And you can control this result. Let's take this here and this one here. A because I need to make the f settle. This result is interesting if we flip this. If we flip the Something like this, I think it will be okay. But in the same time, I think that's too much. We need to reduce it or make the effects very subtle. I think we need to reduce just a bit, reduce the effect. We can use the strength here to make this very subtle. Something like this. I think it is better. We have some variation here. That's cool. I will accept this result. It is nice. Now let's go to this piece of plastic. Let's see what we can do for it. You can copy the same material that we added here to this plastic plastic piece that we have here, and we can change the color if you like. You can do this or you can these notes from the green one and paste it right here. That will work as well. Control V two base them and link the normal. Let's see what we will get here. We goting something nice here. I can accept this result without any editing. All right after that, we have this piece as well. Let's give them the same normal that be COVID from this. Grab these notes and hit control C, and here, select this to go to the material of this piece and hit control V two based all this information and link the normal to the normal, and let's see what we will go here. We got. We have some variation now in this plastic piece. Very cool. The same scenario, we need to cov the roughness. I will cov all of these nodes. Hit control C and c this hit control V to CVD and the color to the roughness. All right. We have some roughness here, but I think we lost the closeness. We don't have reflection. Let's cut the con, let's see what we have before and after. Maybe I can take this down just a little bit. That will be enough. For this piece, maybe I can take the same. Yeah, we have the same material that we added here. I will keep it like this. Like I just need to see what we have here. We got some problem with the material. I will hit control and apply vehicle um to apply it and tab A and go and just Q projection. Something like this, make it small. Now we have something interesting here. That's cool What else we can do here? The name of Sony, I will give you the same material that we add here, so grabs hold he grabs, control L, and link the material. Okay, that's very cool. The same thing for this piece, grab this, hold here to grab this piece, control L, to link the material. I just copy the material from here to here and to the son as well. This one as well, need the same the same material, selected, hold he to grab this, Control L. Link the material. There we go. Very cool. What about the piece of the glass that we have here? We need to give it a roughness. Let's go back to the folder. Let's grab one of these scroch. Ad this here, and let's apply this to the roughness directly. That's cool. We need to rub this first, tab it A, select everything, go to U VQ projection to rub it, and there we go. We just arab this. But that's not going to work because we need to manipulate the roughness. By the way, I think we can use this image to the normal and use the fingerprint to the roughness. I just made a mistake. So I will grab this here and take this down. Cut the connection, control, right click and drag. Link this one to the roughness. Seed this to n color. All right. I will hit controls because I think all of the material now is switched to color, and now we're getting a different result. I will hit this pattern right here to make this single and unique for this, for this glass piece. I will speak this one to clar and all of the materials, all of the MC that I used for for other parts will stay as a. More, that's cool. Now I need to control the black and white value in this image. I will use the curve Hit A two search and go to search and type curve and the black this one here. That's cool. Let's Multiplate the le bit. Let's take the white value down to make it reflective. All right. That's very cool. We can see that we have very, very subtle effect here. All right, so I think we didn't finish here in the glass. We need to render it in the cycle, so we can see the material itself because adding the roughness like this will block the ability of the glass to be transmitted for the light. So later, we will fix this if we have any problem with it. And I will end this video and see you in the next one. 133. 134 Material section create a material to the Sony device part 4 Copy: Hi, everyone. Welcome back. Let's create a scratch for the glass that we have here. We added the sc image right here, but we didn't use it, so let's use it right now. Select the piece of glass, and let's hit heift A to Sirk to add the bump. Plug the normal to the normal here to get some heights and let's plug the color to the height. Let's wait just a bit. There we go. Now we have something. Let's take the strength down just a little bit, and we need to adjust this by using rump. Let's hit shift A and go to search and let's type color ramp and plug this right here. I just forget to activate the screens. Let's put this here in the middle. Right cool. Now let's push the white value towards the black, something like this. Now it's become we have some scrag but it is a bit deep, so I will mini strength. We'll take this packs a little bit. Something like this will work. Now it makes sense we have some scratch here on the surface. Cool, we finish with that. Now is a time to add decals. We have here some decals. If I open the image. Let's open the image. Let's maximize the view. We have some decals right here. Stop eject. Here we have mice, here we have some stuff. Volume, DC N three sony. So stuff, here we need to simulate. Let's start with the stop eject. L how can we keep something like this? Well, we need to work on this piece. He's like to isolate it. We have the v here, the modifier. We don't need any modifier. I will apply this control A and apply it. Have it over the modifier, and control A to app. All right, we need to add it right here in this area. We need to add the text. Let's hit up to edit mood. I just I need to see what we have. Okay. That's cool. If I need to add the text right here in this area, maybe I can make a cut here in this place and another cut right here and take this face and adro it alone and add the text right here. And instead of grabbing the whole face, that would be easier. To achieve that, I will go to the right view, and I will use the knife to hit K to activate the knife and I will make a cut here. Just hit left to click on this side here in the space nearby the place that you want to cut it and hit C to make the cuts right, and then hit Z to cut through and then left to click here and then enter to confirm the cut. So now we made a cut here. That's very cool and clean. I will grab this bivalent control. P a little bit, not too much. Let's go back to I'll click to select the entire a loop and it wise. Don't hit alone. If you do that, you will affect the UV. But if you slide it, you will get a better result. But actually, we didn't have any UV. Do we have any UV? Let's do this. The U V is already wind. There's no difference if you want to drag it or you want to slide it. For me, I will slide it down, key twice and take this down. Almost right here. Let's go back to the same image. I just need to I need to kick the text where is it exactly? No this one. Where is the mic? All right. Let's go to Image Editor and open the g from here. Where is it? This one right here. Okay. It is close to this edge. All right. Let's go. Well, that means we can take this one, get wise and slide this up or let's hit key and book this up here. I will leave this in the same place. We have Nitro here. After that, I need to add the decals. If I go to the textural folder, I add some images here, and here we have the estop eject image. If I open it, we just have black and white image. How can I add this text here in this place? Well, I this case, I can use the principle BSDF. I can duplicate this one and add one here and one here and mix them. And use and use the image in the factor to achieve this. But I will gut problem. If I do that, the tikure that I will add will affect the UV or will affect my results. It will blend with what I have here. In this case, I need another UV, another layer, or let's say another UV, to play without affecting the already UV that I have here. Let's tab out and let's go to the object data properties, and let's open the UV map section. I have one UV map here in this area. I can add multiple UV map. In this way, I can achieve what I wanted to do. If I add another UV map, now I have the UV map, zero, 01. It is the selected one. Let's delete this and let's tab to the edit mode. I I am in the UV map 001, I will hit A and hit home from the keyboard to bring the grid. Let's go back to UV editor. I will scale this and make it pick. So the UV map 001 now become pick, I will tap out, and I will select this one, and I will tab in a. I will take this one and I will make it small a little bit. So Ka this, I will switch from this to this. That's means that whatever change that you will make here, you will not affect this This one and this one, they are not connected. In this way I can adjust and create another UV and use it. Let's see together, how can we achieve this? All what I want from this UV, I will take this out out of the grid. We don't need anything here. I just need this phase alone. I will select this phase and come here. We have this face right here. This is very, very tiny and small. All right. I will hit you and you again to rub it, so it's rubbed and ready. Gast this face alone. Now we have the face, and here we have the whole U V if I select. That's cool. All right. Now what I need to do is, I duplicate the principal PSDF to another copy here, and I will go to ticket share folder and I will grab the stop eject drag and drop it right here. And let's put this here for now. I will use I will mix between these two header. I will control shift right click and drag from this to this to create mix header between those two. After that, I will apply the color to the factor. That's cool. Now we're cutting something here. I will control shift on this just to see this alone in and the material review. As you see, we have the image now everything become black because the image is black and white image. Now what I need to do is, I need to till this node that you should work just with this UV map. I need to teach it or til it or the idea is, I need to make this node working with this UV map. In this case, we have a nice node here UV UV map. This is the UV map. I will block the UV to the factor here, and here we have now two choices, the UV map, this one, and we have the second one. I will choose the second one to till this node that you should work with this. In this case, in this case, the image will be appeared just in this phase because we rapt it. All right now let's tab to the edit mode. Let's select this UV, hit a select everything here. Grab this alone, and let's open the E that we added this one. We need to rotate the UV, so it r and hot control to snap it, it and take this up a little bit like this. If you want to scale, scale it down and make the text pick. Something like this, Ke and Z, and take this down. Here we have something very important. We done here, but we can see that we have the text here as well. If I activate the mix, control helit. Let's see what we've got here. We can't see anything. Now I can see something here if I rotate the view. Because we forget to take the metales back to zero. Let's take this back to zero. We don't need any metalis. Let's give this a bit of time. Now I can see that I have the text here. Maybe I can make this a bit wr. A bit. Cool, now we have the stop eject. Very cool. But we getting one problem here. The image is duplicated and we can see some artifacts here coming from this picture, this image. In this way, we have an op here right here. We can open this list. We have repeat end clip. I will choose a clip clip. I mean, this image will be clipped and not duplicated. Let's see if we have any Maybe y, we have this option the age will be repeated like this. But if you activate this option, it will be clipped, something similar to the option that I have here. Let's activate clip to clip it and there we go. Now it disappeared. Now we can see this image just in this area because we clipped it. Now is cool. For any reason, if you want to give this height information, you can grab this and hit HTD to take a COV here and use bump node, HD, COVID this here as well, and you can plug the normal to this normal and the color to the height. Plug this to the height. After that, we may need to push the strength as a little bit as cool. Now we have some height information, but we need to invert the resultless height invert to invert it. Now it is inverted, it's very cool. Now we have some depth here, if you notice. If that tot, you can take this bad gas a bit, make it very subtle. Depth we have here. This how to add decals. Now, let's add another text right here. We have a Sonny. I think we should add it right here. Let's open this image, and let's see what we have here. Yeah, we have Sony logo, we should add it right here. By the way, the color is black, not not white. In this case, we need to that. Let's see how can we achieve this? We can go to the material and make it dark. Et's me a little bit. That's cool. That's we work. Now let's see how can we add the Sony. Let's see how can we do that? Let's grab this one, and As I said, now we have the UV map 001 for this text. I will create another UV map for this text. I will select this and add another here. I can cut this place or I can duplicate this maybe or maybe add a new one. Yeah, I will add a new one. Yes hit K and left to click and C to make this cut straight and hit z to cut through and left to click to confirm that end or. Now we have a cut. After that, I will delete this ma. We don't need it and let's go to the UV editor. Let's go here. The face is right here. I will hit you and you again to our rub it. There we go. We have it here. Maybe we need to rotate just a little bit like this. That's cool. Now the UV is ready. I just edited the UV map 002, No this one, and not this one. Cool. After that, we need to bring the image. Let's go to the folder and let's bring the sony. As you see here, this image is not similar to the other images that decals because this one is a flip that text in the black and the background in white. I will grab this but right here. Let's put this right here temporarily, let's put just a little bit here. Now what we need to do is I can duplicate this principled BS dF, but I can use another smaller node. Hit Hit A and lets here for Diffuse SDF. In the diffuse node, we just have the color and roughness and normal. That's all what we need. We don't need any thing else. Let's bring this here. I will pluck this, mix them. We have the mixer and we have the diffuse. I will mix the diffuse with the control shift right click drag to create another mix here. Let's bring this image. Let's put this up here, here, in this place, and Now what we need to do is, I need to swing this from repeat to clip. I need to clip it and block this to the factor. Now let's see what we've got so far. After that, I need to duplicate this node F d to duplicate, and let's put this right here. Plug this to the fact the vector. This week, the UV 001 2002, because we need to work with the 002. That's cool. All right. After that, let's see what else we can do here. All right. Now we can see that we have the Sony. That's very cool. But we got some problem. As I said, the image is flipped, the color, we need to invert it, so we have a nice node here, we can use this call invert, so I will hit heft and search for invert, it enter and block this right here to flip the image. Let's give this just a bit of time to see the result right here. All right now, we have the result now it's done, but we got another problem that we have some white color covering the whole object. Let's stop to the edit mode, let's see where is the problem exactly. I select everything. I will grab the rest of the UV of this one and I will scale it, make it small. I guess we can put this right here. This one, this pace, I will move ites a little bit here because I don't need to be here in the middle. We still have some problem with this. We clipped it. See where's the problem? We still getting any results from this image. In this case, even with the invert, I didn't get any result. In this case, I will take the image to the photoshop and I will invert it there, and I will reuse it. Let's go to the photoshop. Here we are inside Photoshop. Let's select this layer or this image and let's shift I to control I to invert the colors. Now, the image is ready. I just need to save it and reuse it. I just drag and drop the new age here. For the invert, I don't need it anymore. I will hit control X to delete it because I fixed the image, and now I can see that I have a correct result. Now we just need to king the color to block to get a result like this or if you don't like to do this, you can use the same material that we used here. You can block this note to this one here. We can use this material for both of the text. L et's give this just a bit of time and let's see the result. So now we have the same color, but we have a difference here in the bubnes. This is the problem that I will got. I added a height information to this text, and what I added here is not going to work for the sony text. Because of that, it's wrong to use the same material. Unless you cut the connection here, unless you deleted the bump or the normal. So what I will do is I will reap here this here, and I will coy the same color that I added here to this one. Just it left to click and drag and drop that's it. If you want to add height information here, you can do that. I will select the bump node at HTD to put this right here, and I willlog this to the normal. I will select this image and CB it or you can just connect the wires. I will maximize this so I can see better. I will connect this to the height. For some weird reason, I lost the work blender Christ, and I recreated all of that. The last thing that we done, we just connected the height information. This image to the height of the bomb, to see some height here. I got this result is very much dark. I can control the color here, but keep in your mind something. The diffused BSDF will not give you a reflection. I think here in this area, we can see that we have some reflection coming from the material itself. We can have some reflection here, especially if we manipulate the roughness and take the roughness down, we can create some reflection. But let's go here and let's use the same angle. Let's manipulate the roughness that we have here. I can't get any reflection. In this case, the diffuse PS dF. You can use it if you don't have any reflection her text. But for me, I need to add a little bit of reflection here. In this case, I will squeak the diffuse to another node. I will hit Hit S to switch and go to header. I can use, for example, the gloss to work in this case. Now I got this results. This is nice. Now I can control the roughness that comes with the glossy to get some reflection. That's cool. Let's tumble around and let see what we got. Now we need to cope with the same color from this left to click any drug to adrow it right here, and that's it. Now we have the same value. Maybe we can manipulate the string ale bit. Something like this maybe. And what else Let's invert the result. Let's see what we will have here. Okay, we didn't got any difference here. Let's convert the two results. Here, by the way, we have some problem because we didn't clip this image. So let's tweak that a bit to clip to get rid of this text that we have there. Now the result is nice. I don't know. I feel that I need to tweak something. Now we have some nice reflck in here in the text. All right, I will accept this result as nice for me. Okay. Let's hit this slide to exit. Okay, so I will end this video, and I will compile it in the other videos. See you next. 134. 135 Material section create a material to the Sony device part 5 Copy: Hi again. Welcome back. Let's complete what we left in the previous video. We add the Sony, we add the eject. I note something weird here for the Sony. It's a bit sitted to the top. If I compare it to this one, I need to edit this. I don't know. It feels a strat tow up like this. It's very easy to fix. I just need to go to the edit mode and grab the U V and hit S to the z. I mean to the y. A little bit? Something like this will work. Now the results better. We have some decals here we need to add here, we have DC and three vault let's go here, and let's see where is it. I would be here. Yeah, we have it right here. That's cool. Let's put those here. Let's grab those as well. Grab all of the key and move them just a little bit here. Where the screen cast? A. Let's go. All right. Let's see grab this object. By the way, you can make this material unique if you like. I mean, what you did here, we got very very big tree here we have. But if you like to start again over, you can apply the material or make it unique for this piece. This one. And starting start free. So, let's do that. I will hit this icon right here to make a single user and let's select this. And let's delete some notes that we added here. We just need to use one. Whatever node that you will delete from here, I mean, the new texture that we will add it. They will not affect this piece right here because this one has new material. Let's grab those and I need to delete those here, he control x to delete them, and maybe I can delete. I will leave this grab those and delete. And let's delete this one as well. Control x and delete it. So now we got this with these two node. Okay. We don't need this image with the pump because we added those for the eject. I will delete those and leave this UV node here because I need to use it. Let's put this right here. That's cool. Now, let's bring the add texture for the v here. Let's go to the texture folder here, and grab this image, and let's put this right here. Let's pick the repeat to clip. And let's to isolate this one alone. We have one UV map. I will add another UV map here. I will delete this from the UV grid. Let's hit home to bring the UV grid here. I need to add this right here, the details, so I will tap the EMO to see what we got here. Maybe I can make a quick cut here for this phase alone to add my texture. Let's go to the right and let's use the nf tool, it K, let's make a cut starting from this edge and ending here. Hit C to make the cut strike, something like this. Hit enter to confirm it. That's cool. Let's go to solid, think that would be faster. Yeah. Now we got the phase that we want to work with. Let's grab those here and here hit A, select the phase itself, hit and again to rub it and there we go. We have it. Let's rotate is just a bit like this because the angle, we have a curve here, the same thing we need the curve to be here as well to got the same direction. Now let speak this to UV map 001 and block this to the vector here. Let's use this in the factor of the mix and now z and go to material review, and let's see what we've got here. Where is the mg? I can see the here, there's some kind of problem. Let's see why that's seven. I will tap to edit mode again. I will control I to invert the selection and I will s the whole U V and take it out from this. I will go to this to open the new that I added this one. Let's select this face again, and I just need to move this up the UV, so we can see it here, and maybe we can scale this down just a little bit, and let's go to the right. Hit key and let's move this just a little bit like this. Maybe we can slide it, right here, maybe. That's cool. Now we may add The normal. Let's take those gas a little bit right here and hit H A and let's t for normal bump. I mean, it H D, let's duplicate this. I think that will be better and plug the color to the height here. And plug the normal to the normal. After that, let's excite from here and let's see the results. I think I can king the strength to 0.3 maybe to give this a bit of height. Right now, we have some height information here. That's cool. Maybe I need to invert this to push it inside. Yeah, now it's better. That's very cool. Let's go back to the same image and let's see. What else we can add. Let's go back here. We have this information here, left, right volume. Let's see how can we add these details here. Okay Let's maximize this and let's put those just a little bit right here. Maybe I need to take another cope from this node here, what else for now thats. Now let's bring the image from the texture folder. Where is it? This one right here? Grab it and let's put this right here. Let's maximize the view. I will s. I need to create another UV ma first to this object. We added this one, we need to create another one. Now we have it. We could find it right here when we open the list and the other is right, let's the UV, sick this to clip. We need to clip it and after that, we need to create another mix at KD to take a COB from this mix. Let's mix this one with this one. We need to Yeah. Let's put this right here and let's supply this color to the factor and this head up to this header, and let's supply this here. Let's take the same color from this node to this. But don't forget we will got a problem with the pump. In this case, I will duplicate those HD to take a Copy Let's supply this to this. All right now let's excite, and the material now is ready. We just need to edit the UV, so let's go to solid first and grab this top to the edit mood. Hit home to bring the grid. Now we have the great it A select everything. Let's move those just a little bit out. I'm working with 002, 001. We need this area, so we can make a cut here by using the nf tool, let's go to the right view, hit K to activate the n tool, and let's make a cut goes from here to here hit C to to make it strike. M a cut here enter confirm it ando cuts K from here maybe Hit C to here, enter to confirm it. Now we just need this phase, set this phase alone, and go here hit A to grab it and then hit you and you again to put it right here. Let's write here this But we don't know if this flipped or not. We will discover that later. Let's add the image that we added, this one volume. Let's manipulate the U V, I will hit and book this here. Now, I can see it if I go to the material review, let's go there and lets 02 will go. Yeah, that's right. We go. Maybe now we can scale the VS tha to make the text bit pick. All right. That's cool. As we cool. Now we got. Let's go back to the same image. Let's see what details that we have here to add. We have these numbers. See how we create them. I will go to slid Let's see how we create that. First bring this mag right here, grab it and let's put this right here. What else Let's give it a specific principle, BSDF. D, take a copy for it. Grab the UV map, H D taco coop and plug this here. But we need another UV map. In this case, I will hit plus to create another UV map, and let's delete the mic for now, hits home to bring the grid, tap the mode and now we need to select this pace. Let's make another cut. How can we achieve this? I think there are something different here. I don't know. We, I think the side is similar to the side, the width. But here we got some variation. In this case, maybe we can do something. We can go to ices and grab these. And maybe those here as well and go to the right and book those as a little bit, like that and give give the side the same width that we have here. Maybe we can book those as a little bit even more like this. But if you do that, you will affect the patterns. Let's see how can we go around this. By the way, the area here is white. I will controls to cancel what I did here. Maybe I can put those so Yeah, maybe I can book those. Let's try to do this. Let's see what's the outcome. All right to grab those and grab those here as well. I think we got everything. Let's go to the right and hit and move those a little bit. Yeah, it's working in nice. But let's hit to fix the width of these platoons. Let's go to the right it three, and maybe we can scale those just a little bit. But let's apply them with the fire that we have here. First, let's grab them, hit control, I apply vehicle ometer to, and that's it. Let's go to the right and hit and Maybe I can put a b right here and scale it to the y axis, I think. Yeah. Something like this. This one as well, I will hit and move it. That cool. Let's go to the right again. Maybe I can grab this side and the x ray and push it ale bit. All right. That's will work. Cool. I fixed the problem. Now, let's go back to the UV and let's make a cut here because I just need this phase and I need this phase. To achieve this, I will hit K to activate the knife tool and I will make maybe a cut goes from here to this point and then hit enter, confirm it, and the same scenario for the side K cut from this point to this point, hit enter. For this area as well, I can hit K to activate the n tool. Or maybe I can use the whole phase. We don't need to cut it. But maybe we can cut this site. Hit K and make a cut from here goes here and then hit enter. That's it. Cool. Now let's select this face. And this phase, let's go to the U V. Delete this, hit home, it A, select everything as cool, it and again to apt them, and they're going now we cut them. Is going to hit key to move he gas a little bit. All right. Now let's see what else we can do here. Cool. Now, let's prepare the material. Let's go to the material here. We cove the principle here, and we just need to hit heft to the mix to take another CV and let's put this right here. Grab those and put those just a little bit. Let's add the V three here. Connect this to the factor. Connect this to the header, and the that's it. Let's go back here. Now let's bring The new mg is called 100. This one right here. We got it. For this side, what I will do is, I will move this on the texts and scale it just a little bit and make it cover what I have here. But let's see. I think I need to rotate this because the tilted area is up and down. I need to rotate this R hot control and rotate like this. Let's. H go to material review so I can see the result. It's like to isolate it. All right. All right now, I can see something, but it's not quite perfect. We need to edit it. Something like this. All right. Let's go. Let's go to the side. Hit key to move the a little bit right here. G and lets center. Let's go to the right. Maybe I need to take the P do a little bit to bok the text up. I need to align them. Let's top out and let's see what we got. The result is so quite clean and perfect. I think we need to swing this to clip. Yeah, that's cool. Okay. All. Let's start to the Edmu let's see. I think we need to move the UV for I mean for the UV Mu three because it's right here at the center because of that, we getting some text from here. So this and the UV three away here. Let's go back to this site. Let's see how can we fix this Okay Let's grab these two vertices, and let's hit g to the Z. Let's take this up to book the zero down, but it will be seque and I don't need that. By the way, we have these two vertices will affect my result. In this case, maybe we need to edit the matri itself just a little bit. I will go to sold and go to the vertices and fix my problem here. We have this dot right here. See how can we delete it. Do we want those? Let's try to delete these edges. See where they will go. Control. Let's delete those better. The same scenario here. Delete those. We didn't getting any problem. Now let's go to the vertices in the X ray and let's grab this side and this side as well, go to the right, it and moo just a bit. We just need to have some thickness here in this area. I know that will affect the pattern, but we will fix that. Now, let's go back to this phase and hit a selected, hit and u again to rub it, it key to move it, and let's center it. S and scale those two y to the x. Now let's go to material review. Maybe we need to take this up or scale this. All right. Something like this will work. All right, I will keep this results. Let's go back to the same image because I need to check it again. Yeah. They shouldn't reach to the end. I just forget that. I have the ability to scale them up. Go back to the, this one, hit home tab to the it. Let's scale this. Something like this. Maybe a hit key and take this down and take the numbers up like this. Almost right here. We can go to the right view. Let's scale this even more to the y axis. It and take those up almost right here. We finished with the side, let's go to the side. It has to scale those after that it to the y to scale those to the y. G and take the UV down to put the text up. Scale this to the y again, a little bit. It key to the y and put this down. Hold have to make the movement slow. Now we got close results and nice. I can accept this. Let's go to solid, its like to excite. Now we need just to bok these patterns. Hit key and poky a little bit. Like that. Yeah. That's cool. Let's go to material review. Let's go back to the same let's see what else we can add there on this side alone. We just have mice. We need to add mic text here on this piece. Yeah, let's see how can we do that? Let's go to slid for now. Grab this piece, it's like to isolate it. Let's maximize this. Let's see what we need to do here. The first thing, we need the mice text here, let's go here and let's grab it. Rob it here. Swing this to clip first. Grab the UV node and block the UV with the UV. By the way, we don't have just two UVs, we need to add a new one here. After that, what we need to do is hit D to take another mix and plug this to the surface. Plug this to this header, and take the same principle. I guess COV the normal in case that I need to use it. L et's block this here and this one would be the factor. After that, we need to add another UV map and work with this new UV. Let's top, and let's see the area right here. Maybe we can add a cut here hit K, go to vertices, add a cut here it enter to confirm it. Another cut here and display K. It enter to confirm it and maybe we can add a cut and goes from here and here, hit enter. Yeah. That's it. Let's sera this face. Let's delete this image from here and hit home to bring the grid, hit A to select this face. We got it right here, it and two Aru it. Rotate this. Keep in your mic to rotate the same way that we have here. That's cool. Now let's bring the mic. Where's the mic. We have it here. Hit to center it with the UV, it is to scale it down to make the text pick, something like this. All right now, let's z and go to material review to see the results. All right. I didn't see anything here, maybe because we didn't speak the UV map to three, and yet that's right. Yeah. Now we have it. That's very cool. That's cool. It's like to excite. We have the mic here on the Sony and the UV M three. I will clean that. I guess can grab this area and and move the UV map. Just a little bit away from the text. I mean in the UV M three. It's a little bit tricky for the first time, but you will used to it. Cb this one. Yeah, we did for this. We just booked it. That's cool. That's very cool. For this area right here in the middle inside, if you want to add dark color, you can go to the material here and add another material inside. For example, I will add another slot and tinue to create a new material. These two materials, this one, and this one, The two of them applied on this object alone. I will he how can you use that? I will like to isolate this piece alone, and let's work with this material. I will go here and hit home to bring the material itself. I will take this to dark color, something like this. I will take the dares down just a little bit. Something like this will work. I will t the mode. I will select these faces here. And this one as well. I will go to this material here and hit assign to assign the new material on these selected faces. After that, just stub out, and now they become dark. You don't need to add a text or me here. All right, so that's it and see you in the next video. 135. 136 Material section create a material to the Sony device part 6: Hi again, and welcome back. We have some details here on the top area of the device. Let's check this image. We have a text here it's called hotline, headphones operation, A and B. I create all of these text now they are ready. So let's see how can we add them? First? This material is applied on this piece and all of these blue parts. I think I will make this single user. All right. I think that will be better. I will hit this number right here to make it a single user. Let's change the name to something different. Maybe we can call it blue material top. Sorry. For the top area I mean. Now let's start creating or adding the vehicles. Let's go to the folder first. Let's start with the hotline. Let's t grab this and let's put this right here. Okay, let's maxim this. Let's add this right here temporarily. We need to use UV map. For UV. And block this to this. We didn't add any other UVM for now. What else do we need to do here? Maybe I need to duplicate the principle and connect at the mix header to mix header to a mix between those two. And what else I need to hang the color to something blue. Sorry, not blue. I need to take this to white. Yeah, because the text is white, as I think or remember, right now, let's black the color to the factor here. And now we just need to let's change this quickly to clip. Now we need to go to the UV and fix the UV. He's like to isolate this piece alone, and let's see what modifier we have here. We have all of these modifiers. Let's go to solid. Let's apply these modifiers, control I apply al matter tom. And let's make a quick king right here. First, I will tap to the edit mode and go to phase. I just need to book these phases down just a little bit. Segal selection, rinks. I need to take these phases down because they are very close to the edge. I need to make those deep. You can go to the front or whatever view you like and book those inside. All right. This is something nice. Just this small tweaking. Now we need to add the text here in this area. Let's open the image. It's close to the sides of the button, itself, I think, a little bit big. Let's grab this and let's grab this face alone. Okay. Maybe, just this one. And let's go to the UV. Let's delete this image. I need the grid hit home to bring the grid. We have the face right here. It. Sorry. Before you R rabbit, I need to add another UV, just forget that. Let's go to the objector properties and add another UV. Now we can work with this in UV. Tab and grab this face, and here hits U and U again to rabbit, and there we go, we got it. Let's rotate this hit R, O control to snubs. Hit and let's move this right here for now. Cool. Now, we need to bring the text hotline. It scale this a little bit. Make it big. Hit key and move this right here. Hit and scale it even more. Because it should be a above the Paton. Yeah, this nice. I guess scale, I guess a little bit. Scale it even more. Let's put this maybe right here. Tap out and now let's go to material review. We guess forget to pick the v. All right, let's wait. Very cool. We have the hotline in place, and that's what we want, but we got another problem for the rest of the UV. I will tap to go to the edit mode and I will control I to invert the selection to grab the other UV and select the rest of the UV hit key and move them away from the text. That's it and tab out. Cool. Now we got something here. For this for this principle note, I think I need to take the metas back to zero. And let's see what we will got. Maybe I can take the ran a little bit down to make this text epit catching epit of election. Al that cool, now let's create another vehicle here. First, let's add another UV map. So let's top to the mode and let's grab this phase and this phase this time, grab those here and hit and you again to rub them for this UV map, and it r to rotate rotate one and 80 degree like this. Let's move those timber right here. Now let's delete this Q, don't need it. Let's go to the texture folder, and let's bring the Q one. Not operation. We need headphone. Cb, let's put this right here. Et's go to solid for now. Let's maximize this. All right. I maybe I can duplicate this or I can use it without any duplication. So I will hit HD for the x, and I will add one here. Let's pluck the surface to the surface and the shader to the shader here. And plug this one to this node because I will use the same text coolor. After that, let's UV HDD, te COV, and weak this two UV M two. And plug this to the vector. And this new mic that we added, let's change this to clip, plug the color to the factor. And now we are finished here. Let's go to the three D view board and let's Hz and go to material review to see the results. I can open the mic right here. Let's see where is it, things call operation. It phone this one had phone. All right, cool. Now, let's add it in the correct place. I will hit S to make it pick and hit key and put it above these two circles. Let's go to the top of you to align this better. Hit key, and move those almost right here. At least take this down just a little bit. I will hit you and you again to rabbit, and I will confirm. Think we got some problem here, rotate nine degree, 180 degree, and hit S Q k. Let's put this right here. I think I need to rotate a bit. Something like this. That's cool. All right, now the result is better. We've finished with this. Let's stab out and let's see the result. Cool. We need to add another are called operation as I think. Sees. This one right here. I will drag the mag and bot right here because we need to We need to copy the mix. Let's put this right here. Hft D, tegab, let's plug this here. Grab the image, connect the factor, and what else grab this, Hift, D, tegab, plug this, and let's use the same. The same principle node here as well. We just need to create another UV map here. Let's go out and let's go to slid. Let's leave this and let's add another UV map to add another text. Tab to the Ed mood, I will use the phase here. I will leave it right here, but I will add the male's call operation, S is it. This one here. Maybe I just need to move this right here and rotate it just a little bit because that's what I need to do. I need to put the text next by the circle. I mean the circle that I have here. The circle is right here here in the three D V board. All right. We created the U V three, let's pick it from here, V three, and now let's Z and go to material review to see the result here. Cool, we have the operation, but it's repeated, I will hit clip, and that's cool. It is very big. I will scale the UV and pick and hit key and move it just a little bit. Maybe I can scale it even more. Let's step out and see now this makes sense. Let's read dou and nice. Let's go to the top. Let's see the alignment. I think we got some problem with the alignment. For example, the text that we have here. Let's create box select. Let's use the selection to create a box, select like this, and let's see the alignment of the text. Yeah, we got some tilting here. We need to take this down just a little bit from the side. Let's go to the UM two and tab. K hits r to rotate. By the way, I will use the two de coorsor. What I will do is I will put the two D coorsor, for example, right here, and I will rotate according to the two de coorsor. The two de coorsor now become the ivot point for me. I will hit r to rotate. Let's take this time atle bit. Let's make box select. Maybe we need to rotate back atle bit it and Now let's make box select. Yeah, now it is perfect. For the operation, very cool, perfect. Cool. So yeah, we done with this. I'm not going to add the A and B. I will leave it like this, and let's go to the solid. It's like to excite. We just need to make some small tweaking here. I'll grab those here. Maybe just going to make them a bit taller. H to the Z, out of it like this. That's it, it's like to excite. There we go. Now we have some depth. Now let's go to the same image. See where is it? The pi image. Let's see what details we can add here. The size is. Yeah, that's cool as we work. We have a text here in the bag. We have just the height information here, stereo. Let's see how can we achieve something like this here. A right here, we are in the bag. The first thing that we need to do is to add another UV map here. So it's plus to create a UV map, so we have the number four here. And after that, let's bring the text, the stereo. We have two version here, we have the stereo, and we have stereo bled. I just in the photoshop, I just plod the edges just a little bit. It's very important to get rid of the harsh line. So I will use this version. I will grab it right here. And let's copy the UV map, HD and take CV here, 3d24 and plock the UV with the vector here. After that, I need to add another new node here and this time. Call this please. Plug that displacement and plug this to the displacement here and grab those a little bit here and connect this to the height, let's tap the edit mode. Let's grab this face here, and delete this image, it home from the keyboard, with this face elect right here, it you and again to a rub and rotate this. All right. Now, let's bring the stereo image. Where is it? Where is it? Where is it? This one right here. Scale this just a little bit and align it. This face right here that I have is right here, this one. This is in the UV and this is in the three DV board just to recognize it. Now I will tab out Z and go to material re view to see my result. All right. Cool. I have the effect here, but upside down. I will edit this tab and rotate this 180 degree. Let's turn off three D courser. Let's go to bounding box, it R, and hold control to snap it, and there we go. Let's cool. Let's kill the gtle bits down, make it small. We need to control the effect here, the strength by using the skill. All right. In this case, I think black and white doesn't work. I need to flip the color here. I need the background to be white and the text to be black, the background white, and the text black. Let's grab those down just ale bit. It it a two ad, and I will add invert. Let's invert the information here. Let's see what we have here so far. All right, cool. Now we got very nice effect, but we need to edit this further by taking the scale down a little bit ho to give it very small increments. 0.02, maybe. Something like this, I think is working. Let's rotate the environment. Yeah, that's very cool. C. This how to add the stereo. Maybe we need to book this just a little bit. Cut the face to the y. Take this down to book the text up. Something like that. Let's go to the bag, control one. Yeah, it's in the middle. That's cool. Very cool. I think we can fix these issues right here by changing the repeat to clip. So let's do that, and let's see. Yeah, there we go. Now the result is very clean. Cool. Now we can see that we finished with this piece. And what else we have to do here. All right. Now I can add the lighting, the environment, and render this divisor. So I will end the video here and see you in the next one. 136. 137 Material section create a material to the Sony device part 7 Copy: Hi again, and welcome back. Now is the time to render the scene. Okay. First thing, we need to add the lighting, so I will use the ATI image because it's the best and simplest method to add the lighting and give you a very realistic natural light. Let's go to the world here and let's go to the texture folder. I added a new QDR I here is called studio. Let's try this. Let's put this right here and let's to swing this to the to environment here. There we go. Now I will plug this to the color and let's go to the render. I will render with the cycle, speak the render engine to cycle, and let's activate the adaptive sampling, and let's open the denoising section and active denoise in the final render in the render, not in the viewbard. You can open it in the viewboard. But because I'm recording, I don't need to put too much load on the computer. I will push this number 2400, as we always did, and what else? Now I can and go to render, cool. This is the lighting that I will get from this HDR image. If you don't like it for any reason, you can delete it and add another image. If you like. Here we have a table in the middle, maybe a table or ground, and we have a source of light. A. Let's go to solid, Z and good solid. I will add a camera. Let's choose a camera. Pick whatever review you like, for example, if you like this view, guess it control and zero to bring the camera to this position like this. Maybe I need to manipulate the dimension here. Let's go to the output properties, and let's manipulate those. Manual like this until you find the that you like. For example, maybe I can add one tho here. All right. Hit the Tilda key underneath the escape button and use the W ASD to move the camera like you are playing a game. Use the Q to go down and the E to go up. The wheel of your mouse to make the movement slow or fast. For me, let's pick an angle like this, and let's zoom in a little bit, not too much. And I will hide the environment and add a plane underneath device. First, let's bring the three D corso in the middle. Heft S corso to the center, Heft A, let's add plane S k a little bit, make it pick like this, and let's go to the object properties. But before you go to the object, make sure that you are in the cycle because some option here, they will be hidden. L et's go to this and open the visibility, activate head of catcher, and turn off diffuse anclos. There we go. Now let's duplicate the background and control right click a drug from this to this to create a mix header. Let's apply this to this one. And let's add the light path, just type path. Let's make lazy connect, just hit old and radically drag from this to this, and there we go. All right. From this color here, I can control the background, the environment color. Now to go to the camera and his to go to the render, and we are rendering with the cycle. Cool. We can che the color as I say to maybe something white, like or dark For any reason, if you didn't like the lighting, you can grab the node and had control T to create the mapping at the coordinate, and here you can control the z rotation. Let's add 45. Here you can try different lighting, if you like. Let's add nine. All right. Now I can render this result if I like. I can render it and decide in the final render, can decide what I need. Maybe I need to change the direction, maybe I need to change the image itself, et. I will go to solid and go to render and to render this image. After that, I will be back. Thunder is done, and this is the result that we got. It is nice, but it's not like what I want. It's not like what's in my mind. In this case, I can reduce the strength of the environment lighting. Maybe that can give us different result or maybe I can rotate it, or I can king it. Let's from here. Let's go to the website. Right now we are inside the website. Texture pan.com. Let's try to pick texture. Maybe this one. I will hit control left click to open it in new tab. This one. Let's check another image. Maybe I can try this. I will open the new Tab. Let's try to find another dark O, maybe this mag right here, can use it. This one, I think will be nice, try it control and left click to open the new tab. Let's go to this ma and download it. I will download this with two K, just download and it will be downloaded automatically to your computer. Right now we have it. Let's open the texture folder. Let's call it a studious small four. Let's grab it and let's put this right here. Let's change the node to environment texture heft S and texture environment texture. Let's block this to the color, and don't block those here because we didn't want to rotate it. I will z and go to render to see the lighting here. This lighting is nice actually. It's very nice to have lighting on one side. It's a bit dramatic. Maybe I can rotate this just a little bit. Let's see what I will go. Let's plug this to the vector here. I think the lighting is too powerful. I will take this 2.7, maybe. I can rotate this even more. L et's read this even more. The similar. Let's see what we got here. L et's go back to the camera, Let's wrote this even more. I'm not so quite happy with this image. Maybe I can change it with another one. This angle, I think it's a bit interesting. Maybe we can push the e a little bit more. That's too. Let's take this. Maybe I can render this and let's see what we will go. Let's go to the front. First, let's go to solid. I just need to kick. Yeah, I have a gap here. Maybe I can take the ground, the plan and book this up just a bit. E the Z and a bit right here. What else do we need to do here? Do we have anything else? Maybe I can increase the resolution here by manipulating the percentage that we have here. Let's add 130/40. Let's go to camera, zero from the nm bat to look at the scene from the eye of the camera, and I will render the scene again, open the render menu and hit render em to render it. When the render is finished, I will be back. We done with the render. This is the that we got, but I didn't like the lighting so much. I got weird lighting here because the lighting comes in this direction like this, and we have this ado as a proof. So it's nice, but it's quite perfect. Maybe we need to rotate the environments auto bit. Let's s to slow two. I need to save this image. I will go to slow two. If I make another render, the new render will save it here in this slot. Let's hit excite from here. I will here and go to material review here, and let's open this here, and I will use the scene world. I mean the environment that we used here. Let's see what else we can do here. Now if I rotate the environment here, I can see the lighting better, but I can see the head. I can see where the light in the real time. If I don't like if I don't like the lighting, I can change it, and I just downloaded a new image. Let's see where it is called fireplace four k. All of these images you will find them here inside the texture folder. Let's se grab this one and let's. I need to t and t again. I just need to t that this process of adding lighting is something need time to try. Let's plug this new environment. Hit S to squeeg the note first to environment here. That's very important and bug the color to the color here. Let's see what we will got It is so yellowish color that we have here. Let's see and go to render. Seeder cycle we've got. Oh, my God, that's too much. At least try to rotate the environments. Let's swee this to 90. Let's put this to I don't know, maybe 150. Let's try different angles. Or let's rotate this manually. We can go to material review and rotate this to see the king. I think this lighting is interesting a little bit, es and go to render. All right, we can try this. I can render it, and let's see what will happen then. Let's go to slid. I will go to render and hit render Image when the render is finished. I will be back. I made the render and I stopped it for a reason. When I added a yellow light coming from the environment from the DRI, I got a problem with the color of the divider self. Now it's become green because the light is not white. Keep in your mind to pick the correct DRI. Adding this DRI to illuminate the scene, is not working for me for this example. In this way, I will cancel this and try another or age. I have one actor here, as call industrial. So let's use this. I will drag it and im right here. Let's circle this and let's put this right here. Hf S and sweep the texture to environment texture. Now let's supply this to the color here. I can book those up right here and take this here. And and go to material review. I just need to see the lighting. It looks nice. I'm not going to the lighting or maybe try. I just need to try. Let's see what we will go. Let's sweet this to zero first. Let's start from there. All right. All right, something like this, maybe. Looks okay. I just need to see some lighting here on this area, some reflection. Okay, something like this. And I will increase the strength to one. Let's try this angle, 207 angle degree. Now let's go to render and hit surrender. When the render is I will be back. The render is done, and this is our result. It's a bit flat. We don't have contrast, but we can manage this by using for post pros. All right. But in general, it's very nice. Especially this dark area, and when you go up, it become bright the top of the device. And these details we zoom and we got nice reflection here on the edges, and here as in this area, it's very cool and here, especially here. That's nice. All right, cool. So this is how to get better lighting by kaning the ary image and rotate it along the Z axis. I will end this video and see you in the next one. 137. 138 Material seciton How to create a car paint mt for Carl Jurisch's 1957 Motopl Copy: Hi, everyone, and welcome back here. Before I start here, I just need to mention something. I just switch to Blender 3.01. The COP is just released on the website blender.org, and there are some changes here we need to make in the preferences. I first let's go to the Where should we go? Let's go to the key map here. We have this option is called Pi menu on it rich. That's mean when you hit, for example, if you hit the Tilda key, you will not see anything unless you move the most to see the Pi menu. If I turn this off, I will turn this off temporarily. Let's excite. When I hit the tilda pattern, I will gut this menu. But if I activate this option right here, When I hit the Paton, I will not get the pao, but I will get this free I don't know what it's called a free movement, maybe. This go with a view. I think it's right here. We is where is it? Navigation fly navigation. But if you hit the tilda key and hold it and move the mouse, you will activate the pie menu. So the Pi will work on the drug when you drag your mouse. It's very important to activate this because if you do that, you will got one more option. So Activ this, and then let's go to do we go? We do we go? To the system here and increase the do step to 50 and don't take this too much because that will that memory if you increase this number. Just keep that in your mind. 50 is something nice. All right. Let's go to the navigation as well section and activate orbit around selection. When you orbit, you will orbit around selection and zoom to mouse position. When you and zoom out, you will zoom to the mouse position. That's very important. That's it for now, don't forget to activate the nodngular. To get started. After the safe preferences, and let's excite from here. Here we have our car that we created. We need to create a material to this. We still in the material section. Let's see, how can we do this? First, let's prepare the scene. I will sub this view to two view, and I will go to the Hyder. Let's go to the Hyder or first, and let's speak to the world. L et's close this panel here. Right now, let's add the HDRI image. I will shift A to add and let's go to the Texture, let's add environment Texture, and then I will open and search for the image. And the texture folder here, we have the old industrial hull. I will open it and choose the AXR image here and open it. Plug this to the background here. Now when we hit z to go to render, we will see that we have a background. Let's check that. Now we have something. This is the environment. I didn't sack the render to cycle, we still in the eV. Let's go back to solid mood. This is for the environment. After that, let's start with the material. When I will reach to the render, I will add some plane underneath it to to make the final render. First, let's tweak the mood to the object mood and let's start this body and create a car paint material. I will hit to o to add to add principled PSDF material with material output. Let's see how can we start creating the material. This is the reference image. We can see that we have a sharp reflection here. And here in this area, we have some reflection coming from the environment and here, some reflection. And the area that have some highlights, we can see that we have some transmission from the y a bright to black red, for example, from this area to this area right here. And we have some dark area, and some reflection here far away from the At the far angle, for example here. But in front of us, we can see the red light here, for example, in this area. But for area like this and for this, We can see the red as compared to this place. We need to use frail effect to achieve something like this. Beside the color and the reflection, we can see that we have some flex effect here, and the flex effect become bright close to the bright or reflection area. For example, we have here a reflection area. I can see that the flex here is a bit as compared to this area, for example. So let's see how can we simulate something close to what we have here. Let's go to blender, and let's start from here. Okay. First thing, let's make this a bit big and let's activate screen cast key. All that's cool. First thing that I will add here, I will add a layer weight. Let's search for the layer weight and the input section. We have the layer weight. I will add this right here, and I will go to material review. I just need to see the effect. I will control click on the material to understand what we have here. I need to use the facing not the fn effect and the layer weight. The idea of layer weight this node will give me the transmission from black to white to control the color, for example, or control the roughness, and we will see how can we do this. But firstly, see how this work. At area, for example, this area, it's in front of me. It's in front of the camera. I can see the black color, but for area like this, it's far from the camera, and here we have an angle. And the angle area, we will see the white this node right here will give me that effect. I will draw a pole here and I here, for example, just to understand. Okay. This node will make the era in front of us a plaque and error like this because we have an angle here. Now we have here an angle. This error will become white. We need this effect to make the variation and simulate the plaque and red area in the carp. Let's add the node and let's add another node here. I will add a chlorom from the converter here. Let's apply the facing to the factor. Let's hit control if on the Kel rum to see the effect. With this node, the kill romp, I can make the e stronger. If I take the plaque, for example, forward and the white here, I can see that I have strong effect here. This is why I added the klar ramp here. Let's take those back for now. A leas take those nodes just a little bit right here and let's add another node. I will add a Mx RGB. Let's go to the color and let's add a mix RGB. Let's add this right here and let's block the color to the factor. Now we have the mix RGB. I will choose the red color. For the first color for the color one, let's make this a pit right. Let's add another red color, but I will make this dark. Now we have the two color, the red and the dark one. Now we should see some variation here. Now if I manipulate this, let's manipulate it just a little bit. Now, I can see that the faces that in front of the camera, they will be bright and the faces far away from the camera will be dark according to the colors that we added here. I will king the The interpolation to another choice. Here we have multiple choices. I will use the Pp line because the effect is we have more transmission here from black to white. So let's take this just a little bit like this and this one may be just a little bit here. I will keep it like this for now, but maybe later I can it according to the result that I will go. Now we got those here. After that, block this to the base color, and let's sul the principal STF. Cool. Now we have something here. That's very cool. After that, we need some roughness. I will cove those or I will leave them right here. But what I need to do is, I need to add another mix her here. Let's hit FD and let's go to color, and let's add mix R here. Let's suppli roughness. I need to control the roughness with the help of the weight layer that we added here. What I need to do is, I need two kind of roughness. The area that in front of me, I need the roughness to be high in the far away areas, I need the roughness there to be subtle, not so quite powerful. In this case, we add the to that right here. Okay. Let's block the color to the factor here and let's activate this mix header. A right now it's activated. Let's manipulate these colors. Now we have the ability to give some area a white color and another area black. I mean, the same ser that we have here. Let's grab this and let's change the color one to something bright. Something like this maybe. And the color to, I will make it a bit darker. This is the transition that we got, something like this. After that block this to the roughness and let's see the results and the principal note. Now as you see for areas like this, for example, you can see that we have high roughness, but area like this, the roughness now become less. Why that's happened because of the layer weight and the color ram that we added here, we got this result. All right now, let's render to cycle. Let's start from cycle here. Let's see what we can do here. All at least easy and got to render to see the results with the ATI that we added. All right, that's cool. If you like, we can activate the D noise for the viewboard, if you like, if you open this series it. Here we have the D noise. For the viewboard, it would be right here. Activate this option right here. Now we can work with the D noise. Now we got in something, but we didn't finish there. We need to add another layer above what we got here. We need to add a reflection layer. Above the result that we got. Let's see how can we achieve this? Let's go to add. First as go to solid. Let's go to add and search for headers. Here, we have a glossy SDF. This node will add a reflection layer above what we have here. To achieve this, I will mix this node with this node with the mix shader. I will ad control shifts right click and drag from this to this to achieve this. Now we got the mix header here. Okay. Here we have the factor to mix between those. I will use Franl node to mix between these two headers. Let's hit heft A to Cc and let's c for Franl and let's add this right here and let's apply this to the mix header. By the way, if you like, you can use the layer weight as well here as a factory if you like. After that, in the glossy ATF, we have high roughness. I need to take this roughness to zero. If I go to to and, I will activate this node so we could understand what is this control gift, as you see here. It is just a metal. I will take this 20. Now we have a chrome effect. But if we mix this node with the right here, we will get something interesting here. At the far angle, the surface will be reflected, but at angle in front of us, for example, this error right here, and this one. This error will be red, we will see the color. This can we keep this? We already blocked everything. I will hit control if on the mix to see the result. There we go. As you see here, we have very high reflection here that comes from this node. If I mute this hit M from the keyboard to mute it, you can see the difference. S Kick that flexing, for example, right here, we will lose it. And now it's back. It is very important node to add here. This layer is very important to achieve nice car paint. But we didn't finish there. We need to add the flex and let's see what is the easiest way to achieve that. I will go to S and Sk for Verona here. This one right here. You can find it under the texture, here we have Veroni texture. I will block this to see the effect, control heft, left click. This is the effect that the Veroni texture will give me. But I don't need to use the distance. I need to use the color, control heift on the color. Control heift again to see the color here. Now this is the result that I got from the Voronoi texture. I will control T to add the texture coordinate in the mapping. You need to activate the no rengular to achieve this. I don't need to use the generated slot here. I need to use the object in instate to get correct result from the vernid because at the generated, the teture is a bit stretched. Let's see this to object like this. And after that, we don't need to use these colors. We don't need any colors, so I need to kill these colors. I will search for u and saturation. H H in the color section add u and cater. Let's put this right here. Take the saturation 1-0 to squeak the color to black and white. That's cool. After that, we have a very strong variation here from black to white. Some areas we will find that we will have very strong color, for example, a right here, drawing this one here. In the white as well. We have two w. We can control those in the color rump. Let's add the color ramp hit heft A, and let's go to the converter and let's add the color ramp here to control that. Now we have the black area and the white area. If I go to black area, I can k the black area to something white. I note here, anything dark here will transform to white. Let's do that and there we go. Now we change everything to white, but we don't need that effect. I'm here just to teach you what's will happen. I don't need quite black color, I need to make it darker gray. For the white and to take the white a little bit down, not too much. Now we need to block this to the roughness. If we do this, we will got a variation in the roughness. Let's activate the principal. As you see now, we can see that we have some variation here in the roughness. But that's not going to work. We need to increase the scale of the Varonid. Let's change the scale to maybe 500. Let's zoom and a little bit. I will turn of the Denis. I will control be to target small area render. Now we can see that we have some roughness here. That's cool. Maybe I can go to the world here and increase the strength to 1.3 maybe just a bit to make the light a bit strong. Let's go back here to object. Now we have some variation here in the roughness as you see. That's very cool. All right. Now let's see how can we control that even more? Now what I need to do is I need to mix between the result that we got here and the mix header that we used in the roughness. You remember, I will control to get rid of this rectangle. You remember when we added this, we made a variation in the roughness. The white area become rough, the dark area become less rough, we still need this effect. But for this flex that we added, everything is they have the same color for the close area in the fire area. We don't need this effect. The effect right now is consistent, but we don't need that. We need to make some variation. We need to mix between those. Let's say control shift from this to this, control shifts, right intric from this to this to create a mix. Here we have now we have the mix header. That's very cool. After that, we need to change the filter from mix to overlay. Now we got the result that we need. We got the variation in the color. We have the white area. They will be the rough area, this area right here, and the dark area will be less rough, but we added the flex above them. The flex take the same transmission. The flex right here become more bright and the flex far away become. This is what we need to achieve here. After that, let's activate the principle here, and now we're cutting something interesting. Let's go to the mixed header and activated control shift left to click. And let's make a quick render to see the final result. Let's go to sold first. I will go to the world and let's duplicate the background because I just need the lighting ift D. Let's take a clip right here, control ifts, right click from this to this to create a mix. In the factor, let's add a light path. L et's use the fairest option here. Camera, we just need to hide the environment. Hit a two add and lets add plane, scalt, make Tabet pi like this. Let's go to the object data properties. Make sure that you are in the cycle render to see some option here. Let's go to the visibility here and let's activate doctur, turn off di glossy because we don't need any information comes from comes from the restate, where is the tool. Comes from the ground to affect our car. Okay. Now let's add the camera, it and let's go to camera. A camera. Let's hit key to move the camera right here or leave it in any place that you like. Let's take an nice position. For example, we can make calendar from this angle. I will control alt and zero to bring the camera to this position like this. Then hit the Tilda key to control the camera. But keep in your mind that you need to go to preferences, and here underneath the key map, you need to activate the Pi menu because if you don't do this, when you hit the Tilda, you will open the menu. You need to do this. All right, so now we can make a render. Just we need to check the dimension. I will leave it at 19201080. And I need to add the material to the fenders. Let's give the material name, let's go back to object, and to material. Let's call it car paint t for material, let's grab this, and let's give it the same material car paint. Let's select those. Let's go to material review, so we can recognize them, grab this, and what else we need to add here this piece as well. Hold to grab this, and then control L and link material. All right. And maybe this this shape here and this one as well. Hold H to grab this, Control L, link the material. That's very cool. All right. Let's hit zero to look at the scene from the eye of the camera. It A to D select anything and then go to render and hit render render this audio you can hit F two if you like. When the render is, I will be back. Before the render, I just forget to change some setting here. We have some difference here. This is the sample. I will change this to 400, here we have the D noise, we will activate the D noise to got D noise to kill any noise in the render when the render is finished. I will leave everything as is and I will hit render to render the damage. Let's see what we will get. The render is done, and this is the result. It is very nice. I like it. It's very cool. Let's excite from the render view, and let's go back to the material. By the way, if you want to change the color to any color that you like, you can king these colors as well. If you want to make this, for example, black, you can king those color. I will do that. Let's see something like this. Let's go to saturation. Let's take the saturation to zero, and let's make this dark, something like this. Not too much. This one I will make it darker. I will take it right away to the black area, and I will make another render to see the result. Something else I need to mention here. I activated the denoise for the viewboard. I need to activate for the render, forget that. This is the viewboard section and this is the render section. Let's make another render and let's see what we will go. This is the result. How can we change the color to make it black? Let's excite. Ul two. Let's cove it this. Left to click and track to this, and let's make this dark. Or something like this. If you don't like the rest of the frenel that we have here, you can block you can block the layerway that we created. I can take the color and block the color to the factor right here. Maybe you like this effect more as compared with the Fren. This is something optional. You can use this or you can use the way that we created. For me, I like to use the Fren If I want to make the color more dark, I can manipulate this. Color, I can make this dark red to keep something similar if I like. For for the flex, I will make this to make the flex a bit brighter. You can control the flex if you like. If you don't like the size, we can increase the scale to make the flex smaller. I will end this video, this how to create a car or paint material. The result that we got is very nice and beautiful. After that, we will create other materials to finish this car. That we'll do it for this video and next. 138. 139 Material seciton How to create a chrome mt for Carl Jurisch's 1957 Motoplan Copy: Hi, everyone. Let's create a chrome material. I think I need to open the reference images for this car to see where should we add the chrome material. Let's go to this folder. We have the images, we add right here. Let's open, for example, Loch. Let's open this image right here. All right. We need to add the chrome material for the frame here, for the mirrors, side mirrors, the rim for the the headlights and where could we add here as well, change the color to something else. All right, which one? Here as well. And, I think that's all. For the bag, we need to add the chrome material for this piece as well for these lines and the other it. Let's hide this image and let's go here. Let's start with this piece first. Let's grab it and let's create a material for this. I will hit to create a new material. I will appraise the middle mouse, the wheel and move just to move the header. I will call it Chrome for material. Acids. It is very easy. You just put the metales up to one and many be the roughness and acids. If you want to make this e bit complicated, I will go to render to see what I will have here. I will take the roughness to 0.1 because I need to add another layer above this, O or less add A here, I have two options. What's in my mind? I need to make this epitrap, for example 0.4, and I need to add another layer, gloss. I need to kick the result if I didn't like it, I will delete it. I will go to the header section and I will add los B SDF. Let's link between those. Control Htlick and drag from this to this to add mix header between them. I will control the mixed header by using Fran and use Fn. A pug the frenel factor to the factor and take the roughness of the glossy back to zero. I would like to repeat that concept every time just to make this phenomenon easier for you. So if you stood right here, in this area, you can see the rocks here underneath your leg. But if you look at this angle, for example, to the far area, you can't see anything underneath the water. Now the reflection is covers everything. The same scenario we doing here, let's go back to the plander. I added the frenel right here because I need the far area to be reflected and this area in front of you to be not reflected. But at the end of the day, I got a result I don't like. In this case, I will keep what I did here, but I will take the roughness here down. To maybe 0.05, something like this. The result is nice. Now, I can take the same material and add it for the necessary object. Let's go to solid or maybe we can go to bri Vw, let's see which one we need to pick. We need to pick this, and these two pieces as well. Maybe those here. This one, This here as well in the room of the head light. Go all of these pieces and hold to make this one the last s elec and the active one. It control and link the material. The same thing here, this piece. Let's give it the room material. This piece as well. This line and the line that we have here as well, have to grab this. Let's add the crew material, and what else? Those here as well, this one and this one. I just forget to add the material to this one as well. Grab this and add the crew material at cool. Grab those two here. Hold shifts and grab this to take the material from this to those here. I control L link that material and there we go. Is that it? Let's go back to the car image to see what else we need to do here. This is the image, and I think that's it. I just noticed something here. I think the reflection that we have on the rims of the headlight and for the mirrors is not similar to the reflection that we have here for this piece and for these lines. I think there's a variation. I note that I have some roughness here. So try to that. Let's try to manipulate the material to get something like this. In this case, I need to create two material. Let's go to blender. For example, start with this. Pick this, and let's go to the material. I will make this single user. I will chang the name to chrome material or yeah, I will leave the chrome and I will chrome rough. Maybe we can call it. Chrome roughness or rough. Anyway, so now we have this the rough material. We need now to just make some tweaking here. The only thing that I will do here, I will push this roughness 2.4. And let's see what we got here. Right now it's become rough, and we have a layer of reflection above it comes from the glossy. Maybe I need to this 2.3. I think that's better. I will apply this material to those pieces here, starting with this one, and let's grab this, hold the glob. Let grub this. Let's select this as well. Hold shift and make this one the last selection. It control L and link the material, and now they got the same material. Okay, those is here as well, grab this, hold have to grab this. Let's select this one. The rough one, hold you have to grab this one, control, link the material. Did we forget anything? All right. All right. Everything looks nice. Okay, so this is how to create the row material. It's very easy to create acid. I will end this video and see you in the next one. 139. 140 Material seciton create a head light material for Carl Jurisch's 1957 Motop Copy: Hi, everyone, and welcome back. Let's create a material for the headlight. Let's select them first and let's isolate them alone. I just need to kick the umetry, what we have done here. Do we have any modifier? We have the mirror and we have the subdivision surface. I think let's turn of the mirror. I just need to see y, I just mirror this one on that side. I will work with one and when I finish, I will mirror it on that side. Let's turn of mirror for now, we don't need it. For the subdivision, let's see the wireframe. I will go to this object properties to activate the wire frame here in the visibility. Viewport display sory, activate the wireframe. Let's go to the modifiers here. Here we have optimal display, I will turn this off. I just need to see the umetry itself. This is the result. I will apply the subdivision surface, Control A and apply it. I don't need it anymore. Let's work with this one. Let's see how can we start? I need to create a material. Let's call this head light. All right. We need transmission. We need to put this to one. Let's take that roughness back to zero. We don't need to add any transmission roughness. If you craning this to one, this light we will make the material like glass, the light will go through and we can see what's underneath it. But we need to add some normal map here behind the light on this side. We have two sides, we have the side, and we have the side as well. Let's go to the texture folder because I just need to demonstrate something here. We have this normal image I add it here. We need to use this texture to create this effect. Let's go to the image of the car first. If you zoom in here, you will see that we have some lines here on the head light. Let's try to pick another image. Which one? I think this one is cool. Yeah, this one is cool. Do you see these lines here? This effect, we need to create? Okay, cool. Now we've got this material. I will turn off the wireframe. I don't need it anymore. Let's go to cute properties and under the viewer display, turn off the wireframe. Easy and go to render. Let's see the result. That is very easy. We just have transmission and that's it. Let's go to the material section here. Now we have the headlight material. I will add another slot here, and inside this slot, I will add another material. I will use the same the headlight, so let's go to this arrow and let's add the headlight. Now we have two materials applied on this object. Let's call this one normal just to recognize it. That's it. I just need to make the single user. Let's go back here dli and delete the normal from this because this one is no similar to this one, and delete this number. We don't need it anymore. O get that call. The glass the normal. Let's bring the image from the texture. Let's go to material. Let's bring the normal mag that we add here. Let's bring the color to nine color. And let's add the normal map, circ circular normal. Here we have the normal map. Block the normal to the normal and block the color to the color here. That's cool. Now we got something here, but we need to We need to tell blender where it could add this material. We need to add this material on specific phases, so I will tap with the edit mode for this geometry. Let's start with this vertex, go to the vertex mode hit number one from the keyboard. Crab this vertex and then hit control plus to grow the selection, and grow the selection cou time until you reach this area maybe. I think that's okay. Or maybe we can grow the selecting just a little bit more. Something like this to that's cool. Let's go to this material and hit assign. I will assign the head light normal material to this area. Let's go to slid to understand what I mean. Let's hit a sign, and now we just assign this material, the normal class materials to the site. That's it. I will hit up to go out. All right now, I just need to see the material where is it. I will hit control shifts here, and I just going to hit Z to go to material review. All right. I can't see anything. Maybe I need to rub this area, so I will go here and tap to the edit mode. Sad this to Had it s to UV editor here, and with these phases selected, grab them here and the UV, hit U and U again, and now we got UV. Now, I just need to rotate the material because the text should not be here, could be right here in this area. So let's hit r to rotate our UV. Almost right here. You can go to front area. Hit number one or to the back just to align this to the view to get better results when we rotate it. Hold shift while you're rotating, just to make the rotation slower. Something like this is very cool. Yeah, that's it. I will hit to go out and I will activate the material itself, control shift, left to click on it, and that's it. So now we got this from the back. I will I do. Let's go to the nd. And go to render. Let's see what we've got so far. Cool. We go something interesting here. Very nice. Let's go to solid it's like to excite, and let's go to the car and Z and go to render. Let's check the result. Very cool. We have something here. I will hit slide to sorry. I will hit H to hide this piece, and Let's grab this piece underneath it. I need to give it a chron material. Select it, hold H to grab the mirror, for example, control to transform the material to the headlight and hits link material, and that's cool. Now we have a ro material here in this area, and that's what we want. Hit l to bring the headlight. Now I think we just need to activate the mirror. We need to make sure that we have the same material on the side as well as an Go Torndo, and there we go. Everything is cool. What else do we need to do here? If I go to the image. Here we have the lights, the covers of the light. They have the same material of the body, so I will transform the material to them. What we need to do here, and go to material review. Select these pieces, for example, this and shift, grab this here, and those here as well. This one, this one, that is here. Okay, what else maybe this piece as well? Hold to grab this, control, link the material to give them the same material. Let's go to this site, grab this. This one, hold have to grab the body, control L, and link the material. That's cool. Is there anything else we need to add here? I don't know, maybe these pieces, we can give them the same material, this one. This one here as well. Hold have to grab this, control, link the same material. Amazing. That is very cool. And I will go to the camera zero, and let's make a book render, but I will zoom just a little bit to the light because I need to focus on the light. By the way, there are something nice here you can use. If I hit and sorry to open this panel. Let's go to view. Here we have an option here is called look the camera to view. Let's give this just a bit of room. If you orbit if you orbit around the car, this is the camera. If you here to look from the eye of the camera and orbit, you will release the camera. But if you activate the camera to view, now if you orbit, you will orbit through the camera. Now if I hit to ie this panel, I can position my camera, whatever place I like. And when I orbit around the umetry, I will orbit with a camera. So this is something optional if you would like to use. If you don't like to use this, you can turn this off normally, and frame frame your view in any place that you like, for example, from here, and hit Control zero control zero to frame your camera, and that's it. You can hit the Tilda key and use your mouse to position the camera. There's more than one option. I will render the scene to see what I will got here, and I will be back. Just go to render and hit render mage. How do you can hit F 12? The under is finished, and I got very beautiful result here. I like it so much. Very nice. Lets excite from the under view. If you want to control it and make the effect less, you can go to the headlight normal material here and you can decrease the strength number to make the effect less. This is something optional if you want to do this. I will end this video and see you in the next one. 140. 141 Material seciton create a rubber material for Carl Jurisch's 1957 Motoplan Copy: Hi, Akin and welcome back. In this video create upper material. I need to add it to this to this frame. L et's select it and let's set new to create a new material, and we need to take the color down to make it dark, something like this, and drope looks nice. But we need to give this some subsurface cattering here because therop just have a little bit of subsurface cattering. I'm just going to add 0.1. I think it will be okay. I will keep it for at one and the color, I will make this dark for the subsurface color. It's very important. Not all way to zero, just make it a little bit brighter. You can add maybe 0.00, one, maybe. Let's try this. Something like this. I need to add the rubber for this frame and before we do anything, let's change the name to the rubber. Let's type rubber. And hit enter. We need to add to this ring here, and this one as well, hold heft and grubs I think we don't need to add any rubber here. After that, hold this one, make it active one, and hit control L and link material. That's very cool. Let's give the rubber material a bit of pumpness. I will use the normal socket here, let's add anise texture its NOI to add noise texture. Control shift click to see the result. We can't see anything. We need to add titure coordinate. I will use the node angular shortcut control t to add mapping tikture coordinate. To see something here, I will use the object to apply the titure coordinate on the surface through the object method. Now we can see something, I think. Maybe I need to make the scale it pick. Let's add maybe 100 it enter. Now we can see something here. After that, I will add a normal here. Pump and plug the pump to the normal. Let's make the scale even smaller. I will add, for example, 500 it enter or maybe 800, something like this, and I will the color to the height. Let's see what we will got after that. Now we see something here. Now we have some pumpes here happen. But the effect is too much strong. What I will do is I will take the strength to 0.02 and make it very subtle. But not that maybe I can the two to three or four. Something like this, I think will work. Yeah, that is very. After that, let's create some plotins here in the es slot. Let's hit and let's go to the texture. Se let's add which one? Let's add M grave texture. I just can hit control Ht on this node just to see what I will go. Let's change the scale to maybe. Now we got this. I will add some details here. I will put the details just a bit forward or maybe pard. Maybe 4.6 or five, and the diminision as well, I just can take this back to get something like this. A ero 0.7 will work. Now we have this results. We go. After that, I will duplicate the noise at HTD and let's take a copy right here. Let's see what we got here, the scale. The scale is too big for the protons. I will change this two maybe 50. Now I got this. I will mix between those two con right click from this to this. Now we got the mix head control Hit click to see the result. I will s between those, so I will put this down. Let's take this up. Something like this, and I will mix between them by using the multiply, let's check the multiply. Right now, I got this result. That's very cool. Now I will take those a little bit back, and I will block them to the roughness, socket here. Let's see what we got so far. Cool. Now we have some variation. Let's dit this farther. What I will do is I will go to the color and add RGB curve, and let's put this right here. We have a black area and white area if I activate the multiply, for example. You can see that I have very dark areas like here and here as well. Let's try to cue them by pushing these vertex up towards the white area. We learned that here, we have the black side, and this one is the white side. If you push this door towards the white that mean anything black in the image or The black that we have here, it will be transformed to white. The vice versa if we take this down, we will make everything white too dark. Let's activate the first. Let's put this just a little bit right here. Now we didn't have any black area. Maybe this is just a little bit, we don't need to be so que rough Let's hit control shift on the prints will be SDF to see the difference. Now we can see we have some blocs. Maybe we can take this just a little bit up, or maybe down. Let's kick this air right here and let's see what we can do here. Okay Let's decrease the roughs just a little bit. I will take this do down. Let's take this one as well down. Maybe even more. That's cool, we still have some variation if we look at the extreme angle here. That the effect nows become very subtle and that's what we want actually. We don't need the effect to be strong. Now we have a nice feeling of rubber material. I like it, and I will accept this result. This is how to create a rubber material. That's it for this video, C. 141. 142 Material seciton create a Windshield material for Carl Jurisch's 1957 Motop Copy: Hi again. This video, I need to create a material to the windshield, select it and hue to create a new material, hit home to bring the material and the frame it. What we need to do here? Let's take the roughness to zero. We don't need any rough. Let's take that transmission to one and IO R, I will change this I can leave it 1.45, and you can add 1.5 for the windshield. Okay, that's it. Let's this one. Hold here the cobs control and link the same material. And let's z and go to under. Let's see what we got so far. All right now we got nice wind healed material. That's cool. I just forget to make in something here. I just copy the rubber material to this piece right here. I add the same material to this piece here, and that's it. Yeah, that's is how to create a glass. If you want to take this farther, you can add some plotin and darkness and make the effect versat. Maybe maybe I will do that later, not now. But this is the easiest way to create a glass material to the winhiel. This is it for this video, Sx. 142. 143 Material seciton create a BackLight materials for Carl Jurisch's 1957 Motop Copy: Hi again and we'll come back. Let's create a material to the reflectors. Let's start with this one. Just select it and hit slash from the number to isolated. Let's go to the material preview and I will add a new material right here. It could be transparent, so I will push the transmission to one, and we don't need any roughness. We need to add the red killer here. Let's pick a red killer, something like this. Let's go to the M. Let's see, is that correct or not? I think it's orange, you know, we need to king this. For the bag light, I think it is. Let's write dark red. Let's go back to Blender. Let's king the c to something orange. For example, right here, you can co this number if you like. A cool. This is the first material. Let's call this material. Sorry. Let's do this er score one, and it enter. Let's go to the socket. Let's go to the material section here and the socket this. Let's add another socket here to add another material inside. I will copy the same material. Just hit lift click on the socket and for the material one and add it. Let's make this unique, hit this button right here, and change the material to two or normal to recognize. All right. Now we need to work with the material two. The normal is done and finish. We just need to work with two. Here we need to add some effect here. I will go to let's see where we go to texture maybe y, we need to add the wave texture. I will ad control shift on this just to see the effect of the wave. I can't see anything. I can't see anything because this material is not assigned to this object. In this case, what I will do, I will replug this and delete the wave texture and let's work with this one first. Let's go here and let's add the wave texture. Right here, I will have to see the result. Now I got this. Let's make some king here. I will speak the x to the y to get these vertical lines, what else we need to do here? Maybe we can manipulate the liders. Let's control t to add the mab and texture coordinate. I need this teture to apply on the umetry th the object socket. Now we've got something different here. L maybe this a bit bigger. Maybe Yeah, may kill a little bit to get this. Cool. Now we got this result. After that, I will grab all of these nodes, H control, control C to cope them, go to this material, head control V, and now we cut those. For this material, I don't need those. I will apply the material and leave them right here, or you can delete them. Let's go back here. I need to block those in the normal. I need this material to on the inner side. I will tap to the edit mode. Let's go to the subdivision surface. Maybe I need to apply tap out control, I apply tab, and again, and let's pick these inner faces. The easiest way is to grab, for example, this face, hold control gift, and the grab this one to select all of these faces underneath inside this area. Now let's go to the material, where is the material. Go to material normal and hit assign to assign this material on these selected fases. It assign. There we go. That's it, tab out, now we have it. Heft A to add, let's search for pump. Plug the normal to the normal socket, plug the color to the height. Now we could see something here. That's cool. Now we got something. Now z to go to render. Now we have something nice here. Very. Okay now it. Let's co it the same piece for the other side. I will delete this. I don't need it. I'll delete. Sel this one. Let's bring the three d coorsor to the center heft and courser to the center, and it Ht d to take a B from this piece. Speak the transform vivid 0.23 d coorsor, because we need to work three d coorsor. Hit control to open the mirror and just give it x axis, and then hit to apply. Now we have it right here. Now, if I go to render, I see the same result. Just a little bit right here. Le I can isolate it, now we got something here. Very cool. We can say that we finished with this one. Let's grub this and let's start with this one as well. Let's like to isolate it. Let's see what we got. Cool. I will add the new material. Let's call this back light, empty for material. Let's add dark red. Let's take that transmission to to one. It's like to isolate it. Has and go to render to see what we got so far. We got roughness. We don't need any roughness. That is too dark. I will take this up a bit. Something like this. It's nice and working. What else do we need to do here? Let's go to the same socket. I will hit the plus to add another material, and I will add the black light back light. Let's change the name to score normal. I just forget to do something here. I didn't make this unique. Just hit this p right here to make this unique and change the name to score normal. And that's it. Now let's work with this. L. Let's go to sort first, and let's see do we have any Modifier. We have subdivican, I will apply. I will tap with it Mod Let's pick these faces like this. Can row plus two gross selection couple time until you reek this face right here and go to the material for this material and hit assigned to assign it. And that's it now we assigned the normal material to the site or these faces. That's cool. Let's tub out and let's go to the texture folder. Here we have this normal texture. I will use it. T. Let's open it first. This is it. I will gravity right here. I just need to see the result. Let's go to material review. I will hit control H two on this. I need to rub this area. I will open the UV editor here. Tap the mode, and with the face selected inside, I will hit a to select them here as well and hit and u again. There we go, now, we have it, that's it. We got nice result here. You can scale UVsle bit if you like. Maybe I can rotate it by rotate or you can lift like this. This will work as well. Tub out and s. Let's H A. Let's take this down. Heft to for bump and block the normal to the normal and block the color to the height, activate the principle control heft flick. Let's see what we got. Very cool. Has and go to render to C. If you want to make the effect subtle, if you want to see through, you can go to the first material and manipulate it just ale bit. You can make this a bit brighter, something like this. Even more if you like. Right now, I can see underneath it. That's very cool. That's. Now let's go to solid and less excite. We need to apply the same material for this piece as well. But I will do I will CV it Grab this head delete to delete it. Select this one heft, take a CB, right to leave it in the same place, control, and then x, and then enter. Now I just mirror this on the side. What else? Let's grab this slash to isolate it. Tap the tot. We have subdivision surface, control A and the blight. Tab, grab these faces. Grow the selection couple time right here, maybe and then go to the material. Let's add let's give it the same material. And let's add another socket here. Let's add material normal. Assign this material to these selected phases, hit a sign, and that's it. Now tap out his and go to render and let's see what we got. We just need to fix the UV. Tab again, got to solid, open the UV. W this phase selected. Grab these faces, we see the. Or at least hit syn to sing the selection. Turn up the sn, a, let everything hit you and again to rob this and now we got it. Scale this just a little bit like this. Z and go to material review to see what we got. Maybe we need to rotate the material a little bit, and rotate like this that we'll work. Tap out and that's it. H Z go to render. There we go. That's it. Go to slid excite. In the same scenar we need to repeat right here. Grab this one. Let's like to isolate it. Go to modifier, apply the subdivision. Tap mode, sel some phases. Grow the selection co time, something like this. It a, select the same phase right here, it and du again to rub it, and now it's raped ready. Right now, now let's give it the same material, tub out. Add the material light. Go to the material section, add another slot here. Add the material normal, the back light normal. Apply this material to select phases, it a sign. Add the UV. Let's maximz this just a little bit. Let's go to material review. Maybe we need to rotate the a little bit. Sorry, No tr. Something like this will work. That's cool. Tab out. Any other set, let's go to render. A very cool. Let's like to excites. I will grab this and delete it. Slate this heft d to CV, right click to leave it, and the same place, control x to mirror it on the x axis and then hit enter. Any other asset. Very cool. Okay, so yeah, that's it for this video, and see you next. 143. 144 Material section create wheel material for Carl Jurisch's 1957 Motoplan part Copy: Hi again, and we'll come back. Let's create a material to the wheels. Let's bring the reference image. This is the wheel. I notice that we have some reflection right here in this area. So it's a bit reflective. Okay, let's go to blender and let's start with the wheel. It's like to isolate it. And let's add a new material, Hs and go to material review. Let's put the metalins to one and the dark is just a little bit back, something like this. Maybe we can make this a bit dark or too much. That's cool. Above this layer, I will add another layer. Let's hit fda to go to Hyder and let's add the gloss BS dF. Now let's mix this with this one. Control H tri click and trike. No triangular will create the mixed header to us. L and the input. Circ free and let's plug the prenyl in the factor. Let's go to this siglos and let's take drones back to zero, so we can see some reflection, and now we got some reflection here. Go and go tanger we got this result. Let's excite. All the school. Let's see what should be at this material. First is called this to wheel. Let's select these notes, and this one as well, hold you have to grab the wheel and hit control L to link the material. Okay, now, the material is applied on all of these selected pieces. The same thing for the side. Let's grab all of what we have here. Then let's go to the site and hit to select the wheel here, control L and link the material. The same scena right here, grab those and the wheel, and let's go here, hold here to grab any piece here, control L and link the material. Now we apply the same material to all of these pieces. Now let's see how can we add some variation in dares for the wheel? I will select just one wheel and let's go to material review. This is the review. I will add a texture mass grave. Texture, I will hit Control Shift click to see what I have here. I will hit control T to add mapping and texture coordinate to use the object. To blog it to the vector here. Now I'm applying the magic grave texture on the object through the object option here. Let's change the scale just a little bit. Something like this, maybe will work. Let's give this just a little bit of details, maybe diminision. Something like this. Or the school. Let's add color am. Hit A converter cool rum, black this here. Control Heft click on the Clam just to see the effect of the cola. Let's take the dark area, the black area. Let's make them a bit white, like this. Let's take the white area down just a little bit, to make them a bit dark. Now we've got this nice variation. Cool. If you like, you can hit Hit and COVID the mat grave and hit control H right click and drag to Adam if you'd like to mix between those, and you can king the scale just a little bit for one of them. To make some variation. Okay Let's tweak the filter from mix to overlay. Let's put the factor to one. Now we got this result. Now you can manipulate the scale if you like, if you want to make this a bit smaller. Let's go to rom. Let's see what we got so far. Let's block the vector to the vector that we have here to give the texture coordinate. Let's see what we got so far. Over the cool. Maybe we can manipulate the dark area and make them a bit white like this. Let's put those just a little bit. I just need a room here. Let's aplock the principle and let supply the color to the roughness now. Let's see what we will get here. Now, I got nice variation here. You can add a curve if you like from the color s. If you'd like to manipulate this further. This is something optional. Yeah, we got nice pluckins here. You can use the same scenario in the color as well. Let's scar all of these at TD Da CV. Or maybe I'm not going to copy them. Let's delete the new CV. But let's plug this to the past cool. This is what we got, and I will take a cove from the RGB curve it D. Let's put this one right here. Let's manipulate the colors. Let's reset the curve first. Let's take the dark area up and the white area down. Let's make the effect very subtle. Lets see before and after. Let's cut the connection here, cant roll out, right click, this before, and this after. If you want to make some variation here, you need to copy all of these nodes. Let's grab them or maybe we can copy those here. D, and let a cop right here. And Let's supply the vector to this one and this one as well. Let's supply this to the color here. Now we can make some variation here. A little bit. Let's change the keras a little bit to get dark effect here. But I think that's too much. Let's push this ale bit. Let's take this down. We don't need to make it. I don't need the variation to be so quite visible. So I'm just going to book this just a little bit up. All right. I like this effect. It's very nice I beautiful. Now, it's like to excite. And the. Okay, cool. I just hit Control B to render this area, and this is the result. This is very nice. I like it. So yeah, that's it for this video and see on the next one. 144. 145 Material section create Engine material for Carl Jurisch's 1957 Motoplan par: Hi again. In this video, I need to create a material for the gan parts. Let's start with this piece. I will copy the wheel material to this piece, so we can select it and, you can use this arrow to s for the wheel. Let's go scroll down until you find it here, let's call wheel. Now, I just apply this, and I will make this unique. Hit this iconer, and let's change the name to ng and then hit enter. What we need to do here is just to make small tweaking to the pace color. I will like to isolate this piece alone and let's go to material review. Let's take just a bit. I just need to make this a bit. That, I think. The white color, maybe I can make it a bit dark. Maybe I can change the scale. I will add a value input because I need to control the scale for both of these mas grave texture. Something like this. We can king make some hinges here. Instead of adding 0.4, maybe I can add 0.5 for this one, to make some small variation in this area. Maybe I can add another curve node to control the results of the care that I have here. So and go to color add another curve. So what I need to do is I need to manipulate the care from the center to make this dark. And now it's become dark, easy and go to render. This is that is all that we got. It's nice. Now let's excite. Let's see what else we can do here. Maybe we can recognize it. Can go to viewboard display and make this dark, just to recognize it. Now I need to add this material to all of these. Let's select this piece and this piece, you have to c, control and link them material. The bolts as we cru them one by one. Hold have to grab this one, control, link the material. What else do we have anything else here? The exhaust maybe. Sorry, we grab this, grab the cover, hold to grab this, control, and link the material here. Now they got the same material. Maybe this area, this piece as well. Maybe we can give it the same color that we added to the body. Yeah, that's right. We need to give the same color three added to the body. But for the front parts, by the way, when I go inside, I will lose the view because of this plane. What I will do is, I will go to this arrow right here and activate pack phase calling. If I do that, the back phase will be transparent. That's nice. Now I can select through it. Now let's select all of these details one by one. K, this piece as well. We got some problem here, we will fix it because we activated the pack phase calling. We have this phases flipped because of that, we can't see it, but we will fix it. Let's trap those here, and this pipe here as well. Let's give them the same material. Hold he have to grab this, control, and link material, the sol. This piece as well. Hold he have to grab this, control L, link material. Now let's fix what we have here. Tap to the emote, hit a select everything, and then hits HFT N to recalculate the normal, and then hit Tab to excite. Let's give it the material, select any cumetry with the material that you want. For example, this one, then it control L and link the same material. Let's do the same scenario here, grab the piece, and hit tab to go to the Ethmod, hit, select all the phases. Hf N to recalculate the normal, and then top out. Let's give it the same material, control L link material. What else we need to do here? That's cool. Let's this cover and maybe we can give it the same material for the body. Selected holt have to grab one of the body pieces and then control L and link the material. That's it. For this piece, I will give it the body material as well, selected hold have to gra this control L and link the material. That's it. What else do we need to do here? Now let's go to Render, and let's see what we got so far. Well easy and go to Render. All right, I think it's become too dark, so I will make this a bit bright by pushing this car just a little bit. Not too much. Maybe even more, I don't know. All right. I will control to render a small area like this. All that school. I will make a quick render to what I have here. Let's delete the rectangle that I created here for the render control Alt B, and let's go to the camera H zero. Price the Tilda key underneath the SK Paton. Let's move the camera right here. We can use the WS AD. To move the camera, Q to go down e to go up. Let's position the camera, for example, right here to make a render. I will render this, and I will be back when the render is finished. Let's go to render and hit render image. The render is is done. It is nice material. We got here. If you want to take this a bit farther, you can add a normal noise texture plug it to the bump and then to the normal for the principled PSDF to get some height or pumpness on the surface of this material. This optional, B I'm not going to take close t to this area, I'm not going to add apumpnes. But for any reason, if you care about taking close hot, you can add a pumpnes here. Let's close this render view. And that's it for this video and see you in the next one. 145. 146 Material section create Tire material for Carl Jurisch's 1957 Motoplan part: Hi again, and welcome back. Let's create material to the tires. Let's select this tire to start with it. I will slack to isolate it. All right. First thing let's check the modifier. Let's check the wire frame. Let's go to the object properties in and let's go to the viewbard display, and let's activate the wire frame. In the modifier, I just need to turn off the optimal display to see the edges of the final result of the subdivision surface, and now we have it. A, that's cool. I will apply the subdivision surface. And let's see how can we create the material for the tire. Let's turn over the wireframe first. Let's add a new material. Let's call this tire. We need to take the base color something dark like this. Let's go to material preview, and we need to give this subsurface scattering, but we need to give this a thickness first. Let's select it and let's go to the modifier. Let's add solidify here. I will activate the wireframe. I just create a shortcut for the wire frame, the Y paton. Now if I at y, I can toggle the option on and off. If you want to create a shortcut for any command you like, you just need to find it first. And then just hit right click, for example, and choose as shortcut. Just hit this option, and then add any shortcut you like. So let's see now the result that we got here. This is the thickness. I like it. I will app, go to the Saltify, hit control A and alight. I will tap to the edit mode. Let's grab these edges and let's bivle them. Control B for bile. A small amount of beveling, something like this, just three here. Let's stop out. Turn off wire frame and cool. Now let's give this subsurface scattering. I will add point maybe 0.1. Let's take this color and let's add it in the subsurface scattering as well. A that cool. Let's add some bumpiness, it heft A, and let's go to the L for texture. Noise texture. Hit control, you have to see the effect. I will hit control t to add mapping and textural coordinate and let's pl the object. Let's push the scale to maybe 200. Now we can see something and let's make this even small to 500. Maybe 600, and add a pump node, S pump plug the normal to the normal here, and color to the height. Let's see the effect here in the principal. That's too much. I will change the strength to 0.1, that's cool. Let's make the pump ins a bit smaller. The scale here, let's add 800. That's cool. Okay, now let's add the side texture on the tire. Here in the texture folder. We have this mag right here. Let's see how can we add to the tire. Let's bring the mag right here. A. And let's select the tire first. Let's top to the edit mode, and let's select some phases. Let's grab these phase here. Let's go to face mood. Grab those here, and hit control plus to grow the selection. All right. Yeah, let's start with those selected phases for now. Let's go to the UV editor and here it A to select all the phases that we have here, it u and u again to rub it, and there were going's rub and ready. That's cool. Maybe we need to scale this just a little bit to make it pick. Something like this will work. I will let control shift A on this just to see the result here. Let's stop out and let's see what we got. All right, cool. It is in the nice position. Now, what we need to do is, we need to mix between the noise and this right here. Let's like this image with this one and it control shift, right click and rack from this to this to create a mix header. Let's activate the principle. And now we have the mix. After that, let's sulock the color to the height here. Let's see what we got so far. All right, we have very subtle effect here. We have the p umpness, and we have this effect. Let's see how can we make this stronger? The first thing that I will do here, I will push the strength back to one and make it very powerful. Now we have the both effect here. Let's push the factor to one and make the effect strong for this image and s the x to a. Let's add those together. We got this result. But now I need to make the effect of the pumpnss, less. In this case, less search for math and less add the math right here. C the operation here from ad to multiply. And multiply this number to very subtle number. What I will do is I will hit control have to click on this node. Need to understand what's going to happen. If I multiply the final result of the noise to this number with big number here in the value, if I add big number, the color will be bright. If I multiply this with very low value, I will make it settle. I will give the mix node here, a subtle number comes from the noise. So Let's multiply this to 0.05, and let's see the effect here. Now I'm giving to this titure the priority. Now in the material, I will control H to click to see the result. I should see effect. Let's change the number 2.01. Et's take the number even down. Let's add 001, and now it's becomes settle, and that's what we need. Okay, that's very cool. All right. We didn't finish yet. Now we need to add another texture. Let's go to the texture folder, and here we have this tire trad. We need to use it. So let's grab it, and let's put it here. I will block this to displacement. Let's add a displace node, displacement, plug the displacement to the displacement of the output and plug the color to to the height. Let's see what we will go here. Now I can see that here we have some effect, but I need to edit this further. What I will do is Let's go to the this section to open let's call object data properties. Let's open the UV map, and let's add another UV map for this tire trade. We need to work with the UV of this new UV map that we added. Let's top to the edit mode now, and let's go to solid. Let's select these faces in the middle, and let's sero the selection, maybe those. Let's scraw the selection. Control bls. Maybe I need to pick this one as well. Now let's see grow the selection more and more. Maybe all way right here. Yeah, something like this. And let's go to select select loop and select boundary, just to grab these edges and then herlick and mark Sam to mark them as Sam. Yeah, that's cool. Now, let's add Sam and any place, for example, from here to here, Mark S. Let's render what we got here. So I grab any A here from this area, it control to grow the selection and give it a limit to the seam. And here hit a to select these faces, it U U two rab it, and now we got this U V. Swak the method to confirm. I don't know if that maybe give us better result. A that's not going to work. So I will swag this two angle. Let's maximize this, what we go so far. This is the result that we got. Liz, how can we edit this further? To edit this UV, I don't need this curve here or the cur that I have here. I just need to get correct UV. In this case, I will select one of these faces. Let's see is it. It's right here. Let's fix the vertices or the. I just need to align them and make it correct. For example, a graphic site, and let's align this to the x xs as right and those here as we align to x, and those here align them to the y. And those here as well. With this phase selected, select this one, and let's go back here. I control L to select the other phases. But this phase right here, that we just edit, ers it, right here. We will use it to use the option of follow follow active equid. This is the active equat and we just fix it. All of these polygons will follow it. All right. So here, let's go to U V and follow Active quad and then hit, and now we got some amazing results here. That's cool. Let's kill this, and I need to see the UV on the tire. Hit key and move it and let's move this right here for now. Let's add a UV map UV map. Let's sublog this to this node, and sit this two uv001. And let's go to material review. Hit control have to click on the displacement. Texture, so we can see the final result. And there we go now, we can see something here. Cool. Let's fix this. I will hit g to move it in center it and hit S to scale it just a little bit. Something like this, maybe. The edge of the selection that we have here, put it in the dark area, like what I'm doing here. Because if you if you put the edge like this, for example, when you add displacement and book these faces, you will have a cut here in this area. To avoid this, just make it a bit big right now we got this results. I will hit control I to grab the other faces, and I will scale them down and move them away from the UV. And I will swag this UV to clip. But if I do that, I will got some problem. In this case, I will scale those too much and put them in the dark area, for example, this one. I don't need the other UV to take any information from the UV. If I put this in the dark area, they will not be affected by displacement when I add that displacement. Now, let's tap out and pluck the principled. Now we have something, but we are not finished hit. Let's fix the UV map, the first UV map. I will hit tab, and I will delete this image. Let's add the tires, this one right here, side wall, tire te. Let's make some adjustment here. Maybe we need to scale the UV a little bit. Now we step out, and now it's correct, I think. Now it's better. Cool. That's very cool. This result is nice. Now let's see how can we make the displacement work. Okay, now we are in the cycle render. To make the displacement work, we need to add subdivision surface here. Here we should find an option, but I didn't see it right now. Let's go back to the render setting here and s the figure to experimental. And now maybe we can find it. Yeah. Here we have this option is called adaptive subdivision. If you activate this option right here, when we use the displacement, the modifier will subdivide the tire to help us to see some height information comes from the displacements. So I will easy to go to Render to see what we've got so far. A, I can't see anything. I don't have any height information because we need to tweak something else. I will go to solid, and let's go to the material of the tire. Here in the setting, we need to adjust something. And the surface here we have displacement. Now sick to bump only. We need to sweep this to displacement only. So that's mean the displacement that we have here, swied to bump, and now we swi it to displacement. Hz and go tinder. Let's see what we goss over. We have two my displacement happen here. What I will do is I will king the scale to 0.01. Let's go there and let's see what we got. I can't see too much details because I need to increase the subdivisan here in the lender. I will add, for example, three, guess to help me to see something here, in the viewboard. Okay, cool. Be we increase the number here, we can see now we have some displacement here. Okay. Very cool. So the amount is 0.01, I think it's working. And I think it's nice. Now, I will excite and I will make a quick hots. Let's go the camera zero and hit tilda key and let's frame the camera here. I just need to see the final result. Let's manipulate the dimension of the camera let's make this s something like this and L ale bit. Let's make a render. Let's go to render and render the image. I guess posed the render. I didn't like the result, Less exit. We got some problem with the displacement and with subsurface scattering. Here we have this option right here, mid level. K20 because this will affect the displacement is pushing the displacement in a direction. I don't need this option to affect the displacement at all, and the displacement is very subtle. I need to make the scale a bit pick so I will king this to 0.0 maybe four. Let's try that. For the subsurface cattering, let's go here, I will king this to 0.0 maybe four, make the effects settle here. Yeah, maybe I can take the darn just a little bit back. We will manipulate the roughness later, or we can work with drougness, if we like for now. Let's go to material preview. Les weight. We don't have any variation in the roughness so see what we can do. I think I can grab the blockines that we added on the engine material. I will go to slid and hit to excite. Let's go to these parts. Let's take this B maybe. Or at let's see when we need to CV. Let's cob all of these nodes of the mass grave texture, the blockines it control C, and let's go to the tire here, and it control V to pass them right here. I will use those. Let's select the tire alone and let's go to material review. Okay, I will control have to click on the curve. I just need to see the final result. Let's make this a bit darker. All right, something like this, maybe. I will apply this to the roughness slot. L et's take the white value and push it down just a little bit because I can see that here we have very white pltins and that we make it too cf. Let's take those down just a little bit. Take this down even more. Maybe we can take this up just a bit. Now let's kick the result. I will control have to click on the principle. Let's see what we've got so far. Let's put this to just a little bit up. And maybe this one just a little bit more. So that hair now become nice. As I think. Okay, now let's make another render for the tire. It's like to excite, and I will render a small area. I will hit control B cilate this area for the render, and let's go to render and render damage. I posed the render again because I noticed that displacement goes too far and penetrate the ground, and that's not what I want. And what else we have here. The tire trade is it's very squie. We need to stretch it just a little bit because does not make sense. Let's go to the material. Let's go to scale. We added 2.04, I will sweep this 2.02, the scale, and let's select the tire and let's go to the UV. But not this UV, let's go to the UV map 001 and tap and where is the tire try. Let's open it. This one right here. Let's select these phases, control. I will hit to isolate the tire, and I will activate this a control left to click. Let's go to material review. That's cool. What I will do is I will hit S to the y to scale the material towards the y axis. To sit this a little bit. Maybe something like this. T. Let's stop out and let's see what we got. Maybe this scale is working. That's cool. Now let's go back to the material, activate the principle control. Shift. Left to click on it, and let's make another render. Let's go to slid. I like to ex, Hasier to go to the camera and go to render Image. All right, I guess, post under again. The result is nice. The displacement height is okay, and beautiful, the tire trate is cool. We can see the details here. But I think the color is a bit dark and we have subsurface scattering a bit high. Let's try to fix those. Let's change this 4-2 0.02. Let's make this a bit brighter. Not to my guess a little bit. The subsurface scattering as well. Let's make this abit brighter. Maybe 0.02. Let's try this. The same thing here. 0.02, something like this. After that, I need to cope with the same material for the other tires. But I'm not going to do this. I will cope with the same tire and delete those. Let's start with this one. I will hit ft S to bring the courser to selected to bring the three D courser in the position of this tire. After that, let's delete this tire, delete. Croft this one, it HTD to take a CVA from it, and right to leave it in the same place, and then hit ft S and selected to courser. All right. We got some problem here though. Let's see how can we fix this? Maybe we can move it manually and put in the right place. I will hit key and move it. Let's go to front and or maybe here. Let's make sure to put it in the right place. I will hit key to the x, and move it a bit down. Let's check the other area here. Yeah, we need to move it even more. Hit key to the x. Let's move the s at bit right here. As. H Z and let's go to material review to see the result. I need to rotate it to the Z axis, so R z 180 degree. To avoid this problem, what I can do is, I can delete this tire, and for this tire, I can king the organ dot for it. I will r click and set organ to geometry to king the organ dot position. After that, Let's take a COB from this D and let's take a CV to the side, and let's manually put it in the right position. Let's take this just a little bit back, key to the x. Let's almost right here. Let's check the other side. Maybe we need to center it from here, key to the x. Something like this will work. Now, I will hit to go to material review. I will rotate it to the Z axis. Sway this to bounding box or median point. I will hit r to the z, and the type 180 degree hit enter. There we go. Now we got correct result here. C Okay. Let's go to this tire, grab it, right click hogan to geometry, and H S bring the three D courser right here. Delete this tire. Grab Cb from here at H D, ta Cob, right click to live in the same place, and then at Hs and selection to courser. Let's take this and the solid mood. Let's go to material review to see what we've got so far. All right, cool. All right. Lets me in here, let's see the details that we lost anything here. Cool everything looks nice. All right, let's go. All right now let's make another render and let's see what we will have here. Easier to go to the camera. And let's go to sold first. Before I make the render, I just need to increase the strength of the background. Let's change this 22. Let's make the render. Let's go to render and render Image. In the tire, I still getting some weird colors coming from the tire. And that's because of the subsurface cattering. Okay, let's excite. Let's go to the objects here. I think because of the surface radius here, we didn't king the els for the red and green and blue. Here we have the red nel is the biggest one. The rays that will come from inside, there will be red rays. Because of that, we can see some red color on the tire. I think that effect happened because of the els that we have here. I will swa those 21. And maybe I can reduce the sub surface cattering to 0.01, make it very subtle, let's make another render and let's see what we will go. All right. The Render pin, and the result is very nice. We killed the red effect that happened because of the subsurface scattering. Now it's nice. Very cool. So, this is how to create tire material. And the next video, I will focus on the displacement. We will take another example to use the displacement to understand how this work. I will end this video and see you next. 146. 147 Material section How setup PBR material and how displasment works: Hi, everyone, and welcome back in this video. In this video, I need to focus on the displacement and how can we use it inside blender. Okay. First thing, we need to use texture to see how the displacement work. I got this texture for you. I got this texture from pollyan com. You can go to this website and in the texture section, you can find too many textures. I got this from them. We have some channels, and this texture or this material is called PPR material. Stand for physically based render. That's means this material, if you set up this material correctly, you will get very correct and accurate results similar to the real world, how the material react in the real world according to the lighting. Okay, let's take these images and let's put them inside the hydro editor. Let's start with the diffuse. This is the shortcut for the diffuse, DF two k resolution. I will put this right here. No here, not in the world mood, let's rely this. I just add an environment environment, and I just forget to speak to opt mode. Let's go to opt mood and let's go to the folder again. Let's grab the diffuse, and let's put this right here. First, let's create a material to the plane that I added here. Hitting you because you can't add any ticket here, if you don't. Now, let's grab the diffuse, and let's put this here and there we go. Now we have something. Let's go to material review, and let's sup block the color to the color. I just need to see what I will go here. All right now we have some brake texture. Maybe we need to rotate this to the Yeah, I need to rotate this, I will hit r to reset the rotation and let's rotate this on the x axis, it x. Rot is just a little bit like this and there we go. Cool. This is the diffuse, is just the image of the break. And we have another channels. Here we have the normal, let's bring the normal, and let's bring, what else the roughness. And we have the displacement, and we have the bent A O for MP lusion. L et's bring this one here as well. Let's bring the displacement right here for now. Let's see how can we work with the displacement? I will cut the link here for the base. I just can block the displacement. Here in the output, we have three socket, the surface, the volume, and the displacement. The difference between the normal or the pump and the displacement, the normal just give me illusion. If I plug the normal right here in the normal sockets, re is it NOR for normal, I will plug this here, but I need to add another node, is called normal map. All right, normal map. I added normal map because I have a normal channel here. Don't forget that. Sometimes I use pump map because I have black and white image. But because I have a normal map, I need to add normal no, normal map note. Plack the normal to the normal, and squeak the color space to non color because we don't have any color here. Although we can see some blue color here, but you need to switch the color space to an color because this color is just information. Now let's plug the color to the color here, if I hit z to go to render, we can see Illusion, but it's not realistic. If I go rotate the view like this, you can't see anything that is just plain. But we have just illusion. Normal mab give me just illusion, the same scenario for the pump. But displacement is something else. I will cut the link here for the normal hold control, right click and truck to cut this link. And another node is called displacement, go to the search, a endless displacement. Enter and the displacement here and the color to the height. All right now we have the effect of the displacement. But if I rotate the view like this, the same scenario we just have plane. Why that's happened because we didn't make the right seta for the displacement to make it work. In this case, we need to learn how we can do this. If we want to see real displacements, not just illusion, we need to subdivide this plane too many times. Because of that, we need to add subdivision surface modifier above the plane to see the results. Okay. But here inside the subdivision, we have an option here. I adaptive subdivision. It's not here for now because we need to make some tweaking in the render setting. So I will sway this to symbol. And let's go to the render setting here. We have the feature set now squeak to support it. If I need to see the extra setting in the subdivision surface modifier, I need to speak the feature set to experimental. Now so we are in the experimental mode. Let's go back to the modifier. There we go. Now we have the adaptive subdivision. If I hit the adaptive subdivision, now this modifier will subdivide the plane, and it will give me the suitable subdivision to how me the details of the brake that I have here. But yet I didn't see anything. Why? Because we have some setting in the material itself, we need to tweak. Now let's go to the material. Let's go to this section of the material, and let's go to the setting of the material. O in the setting here. Here we have the displacement setting. Switched for bump only. Bump only mean this the result that you see right now. That's mean we need to sweep the displacement from bump to displacement to see the displacement. Okay, let's do that. I just tweaked the displacement, and now we can see we have some height information, as you can see. But it is not clear because we need to tweak the subdivision here. Now, we have the level one in the viewboard. We have displacement in the viewboard and in the render. So in the viewboard, I can see this result, but let's see the result in the render. All right. I will go to slid and let's add Let's add the camera. Now we have a camera. Let's see which view is nice for us. Something like this. I will snap the camera to my view, control t zero, and I will hit the Tilda key to control the camera. It is to go back. Something like this. Something like that, cool. Maybe I can manipulate the resolution or I will leave it like this. All right now, I will go to render and render the image and let's see what I will go here. All right, cool. So this is the result in the render. I can see that I have some displacement. But the displacement now it's too much strong. Kick how much the displacement push the details. It's about I don't know, maybe 1 meter, it's pushing the details out, and does not make sense. But the idea here that now we have real geometries pushing out away from the surface. Because of that, we use the displacement in the titrate. For the previous video. Okay, now let's see what else we can do here. I will hit scape to cancel Donder and lets excite. Let's select the plane here. For the middle level, this option will push the displacement. I will go to Andor and let's see Et's manipulate this option. Let's see what it will do in the real life. Kick what will happen. It's pushing the displacement to back or forward. But this is not the scale of the displacement or the strength. But most of the time I push this mid level to zero to avoid any bag displacement. I mean, I don't need to push the displacement bag words like this. I just need that displacement to come out. In some cases, maybe you need to push it back. But for me, I will leave this zero, hit zero and then enter. Let's take the scale down to 0.1 and then hit enter. All right now, I getting nice displacement in the viewboard. It's also quite nice, but let's see it in the render. Hasier to go to the camera, and let's go to render and let's render the image and let's CO two will go. All right. Very cool. Now we got correct nice displacement here, but the question is, do we need the normal map if we have the displacement? The answer is yes, we need the normal map. Displacement will push the big pieces of the brake or whatever texture you are using. But displacement will show you the details of the texture. Normal map will do that. Let's exit of the render, Heska to cancel it first, and let's exit from here. We can now plug the normal b to the principal node as well. What I will do is I will plug the normal to the normal here. And now we can see some details in the viewboard, and let's see what will happen in the render. I will hit F 12 to render this image. Cool. Now we have the displacement mixed with the normal. And this is the result. Now we can see on the brick itself, we have some details like the details that we see here here as well here. All of these small details comes from the normal not from the displacement. So this is why we need to use normal. But I will do now, if that doesn't clear for you, I will squeak the render slot 22, and I will make another render with the displacement itself just to see the difference. So let's sweak this two slot two and let's excite and let's cut the normal, and let's make another render it F 12. The render is done. This is the displacement result alone. Now, let's make some comparison between those. Let's go to Slot one. Kick the difference here. This is with the normal, and this is the displacement alone without the normal. We can see that we have a difference here. All right, so this is why we need to use normal map with the displacement map, and this is the difference between the two of them. Okay, Lease exit from here, or let's sick to slow three first and lease. Okay, let's a block the normal here, and now we finished with the normal and the displacement cool. We have some images. I will plag them as well. We have the roughness. The droughness is something very easy. We just need to sway this to angular and apply it to the droughness, and we will get correct results. So we finished with the roughness. And for the die and the emptlen, plen will give me hedo in the cavities, will make the cavities a bit darker. In this case, what I will do is like the bd clucen, and let's hear what we will go in the picolar. Not hear what we got. We got very nice cavities. Without it, kick the difference, or I will mute the con control, right click this before and this after. Let's see clear. How can we connect those? To connect those, we need to add a mix RGB between those, so I will control if drag click and drag from this note to this note, to add a mix RGB between them. And This is the Bt clan and this is the diffuse. Let's put the factor 21, and let's squeak the mix to multiply two multiply between these two number, and I will squeak the connection. I will make the fuse and the first slot and the clan and the second one, and let's plug them in the base color. Okay, so this is the result. Now, I multiply the Bt clion with the diffuse color. So this without ion. If I push the factor to zero, I'm just seeing the diffuse color. But if I push this to one, I'm multiplying the B conclusion with the diffuse. This is without and you can see that I have some shadow there and the cavities. That's because of the Bclion. You can control the strength by using this factor here. So let's take this page a little bit, not too much. And now our material now is finished. This material now is physically based material, it's accurate, and let's make quick render to it to see the final results. Let's go to sort first, and let's go to render and render the image. We done with the render and we got this result. It is very beautiful. Okay, this is how to activate that displacement, how to set up your PPR material. And yeah, this is for this video and see you in the next one. 147. 148 Material section finish the intorior for Carl Jurisch's 1957 Motoplan part: Hi, everyone, and we'll come back. We don't have so much to finish here for the exterior part. So let's finish it to come to the interior. We have to create just two materials for the mirror, and for this piece, this one inside, we need to give it some dark rough material. Let's start with the mirrors. Select the eumetry and add a new material. Just move the head just a little bit, and let's king the name to mirror. It is very simple material. You just need to put the means to one and take the tens back to zero, and that's it. Apply the same material to this side as well, grab this and let's see for a mirror. Where is it? This one right here. And that's it. We finished with the mirror. All right. For this, I will isolate this geometry to see it. All right. I need the area here, and I need it to be dark. I don't need to see anything here. So let's create a dark material. Let's call this dark just to recognize it. And I need to make the color black, something like this, and take the roughness up. So we don't have any kind of reflection. You can't see anything. It's like to excite. Now if I easy to go to render. L et's give this just a little bit of time. I got some problem with the performance of the computer because because of the displacement. I will grab the tire material and let's go to the setting here. I'm just going to squeak the displacement to bump, and when I need to render, I will sweep this back to displacement. Let's weak this and let's go to render. As you can see, now everything is black, we can't see anything underneath this area. This is what I want. Okay now let's go to slid. And let's start with the interiors. Let's see what we can do here. First, let's pick this piece. It's like to isolate it, and let's see how the materials looks on it. I will go to a material review, and let's check the results. I didn't like the result too much because the blot scale is very small. So in this case, maybe I can reduce the number of the Plotinus, and maybe I can add a value input here or maybe manipulate those. So in this case, I will reduce the number of the scale. For example, I will add five here and maybe four here. See the difference. All right. Now it looks better. And one more thing here, we need to do. Let's use the mapping. Texture. I need to apply the mag grave texture and the object through the object option here and the texture coordinate. So let's put this just a little bit right here and block those here as well to avoid any stretching in the UV. The texture, it's okay now. One more thing here, just don't forget it. We use the subsurface cattering. To this material. So don't forget to switch these colors to one. Because if you don't, you will give the red color priority to be visible in the material and we don't need that. Let's go to slid now and hit slide to excite. Let's start with the quit, gravity and just hit to create a new material to it. Let's hit slick to isolate and let's see how can we create material. Let's go to the texture folder. In the texture folder, I have this material is called MN fabric. Let's see how can we use it. Let's dry it and let's put it right here. Let's tweak the color to none, and let's add the normal map. Let's apply the normal to the normal and puck the color to the color here. All right. After that, let's see Z and go to material preview. Just need to see what I got. We got not correct result because we don't have any UV. In this case, we need to rub this. Let's see first the wire frame. I will turn off optimal just to see the final result of the subdivision. This is the wire frame. Now let's see how can we rap it. Let's open the UV editor, and let's delete this old image. Let's tap to the edit mode. Let's turn off wire frame first. Tap to the edit mode. All right. Let's add an egg here. Maybe we can add an edge right here. Right mark sm. I will rub it in the low ply and let's see the result after that. Or if you don't like that, you can tap out and apply the subdivision and rub it in the high resolution. But I just need to check what will happen if I decrease the number 21. I still got a nice resolution, so I will apply the subdivision with level one. Right now, let's tap the edit mood and let's select this edge. I'd click to select the edge loop and then right click mark Sam to add the seam right here. What else we need to do here? Maybe we can cut this area just to help the gorithm of the rubbing to work correctly. Let's add seams here. And maybe those here as well. Marx. After that it a select everything and here, it a to select the whole U V, and then hit u and u again to rab it. Yeah, now we go something. Okay, let's stub out and let's go to material review. Cool. Now we can see the material as applied. After that, I will grab this normal map titure and I will hit control. No will create the texture coordinate and the mapping. What I need to do here, I need to change the scale. So to control the scale here, I need to add a value. I can lift drag and control them all, but I prefer to add a value here. Let's go to input and les add a value. Let's block the value to scale se. L change the scale just a little bit. Maybe three. That's cool. That's very nice. After that, now we need to give this a color. Let's see how can we achieve this. I will see for layer weight. And I will hit control shift left to click to see the facing. So this layer weight will will make the faces in front of us dark and the faces that have some angle with the camera will give them the white value as you see here. So this face it's in front of us because of that it's black. But here we have some angle here. Because of that, we can see the white color. So we need to use the layer way to achieve some variation in the color. After that, I will add a mix RGB. Let's go to color and mix RGB. Let's black it right here. All right, let's take this node and let's plug it to the factor, and here is a two color. Let's go to the image, the reference image to see the cushion and the color of the cushion. This is the reference image, and this is the color of the cushion. It's green color. And if you like to change the color, that something optional, it's up to you. If you'd like to change it or leave it. Let's go back to blender. Let's try to pick something close to what we saw. All right, so the color one is connected to the black color comes from the layer weight and the white and sorry, the color two is connected to the white colors from the layer weight. Let's change this two. I just need to show you the variation. Let's make this saturated. Now let's go back to the layer weight. So this is the black area, and this is the white area. I will activate the mix. So the black area will be red and the white area will be the red. But I don't need to use the red. I need to use dark green. So let's take this back to almost maybe right here. Let's take this color 20 let's copy this one to this one. Hit left click and move it here, and let's make this a bit darker. Something like this. Maybe we can make this a bit darker, as well. Let's block those to the base color. Let's see what we got so far. We got this result. All right, I will hit shift D to take another KV, and I will take the saturation to zero for this and this. And I will pluck this two roughness to make some variation and roughnes as well. Okay. So what I need to do here, the air that facing towards us, I needed to be more rough, so it is color one. Make this white to make it more rough. The same scenery here, let's put this up to make it rough. But let's make this brier. All right. Something like this. All. Let's go to the normal and let's manip the strength. Let's change this 2.3. I don't need the effect to be so strong. And now we got something right here. I didn't like the base collar too much, so I will make this a bit darker, and this one as well. Let's make it darker. And let's control this with olor ramp. I will add heft A and go to converter, and let's add el ramp right here. Let's swag this to maybe ps to make the transmission smoother. Let's put those just a little bit and this one as well. In the extreme angle, I can see the dark sore green, and the facing that pointing to us, we can see the bright green here. L can have to click on this just to see the effect. Something like this. Co. Let's go back to principle. If you want to add some variation in the in the roughness, you can do this. Some subtle plotun, if you like to add. In this case, go to the texture folder. Let's drag and drop, this image maybe, this opennes Let's see this one. Yeah, I will use this. All right, so I will mix between the mix node and the sinew image. I will control shift right click and drag from this node to this node to add Mx. And now we have mixed between those. Without doing anything, I got nice results. I will hit Control H to click on this MICS to see the scale. If you want to king the scale, you can hit control T to add mapping and texture coordinate for this, and you can control the scale by using the value HD, take a b and block this here. Right now, we got nice scaling here. Let's go back to principle PSDF. All right, this is cool. I like the result. Let's go to Render to see the result there. Right, cool. Let's go back to material review. All right. It's a bit reflective. Let's take the reflection down. Let's hit control, left to click on the mix. I just need to see the result. Let's pick the factor to one and let's si this to add between those to add this to this. Now we got white results. That's the roughness will be strong. Let's see the principle. Yeah, that's right. Right. Let's add a curve here. Let's go to color and let's add curve QV. Let's take the white color down a little bit. We don't need it to be that strong. Something like this maybe will work. In the dark area as well as a little bit up. Now let's go to render. Let's see the result there. All I will accept this result. I like it. It's working. Let's go to solid and let it like to excite. Now let's see what else we can do here. For these handles, I note that because I activated let's see it. Because I activated the back phase calling. Now they are flipped. I need to correct the normal of the phases. I will jump to mood and then hit a select everything and then hit Hit N to recalculate the normal and then hit tab out, grab this one, tap to Emo hit a sel everything. Hit N, and that's it. Let's go to the reference image to see the details here or a Zoom and here. All right, cool. Let's go back to blender, and for the interior body, I will give it the same material that I added to the exterior body. I mean the car paint. So let's add the carbin to it, and that's it. For these handles, let's create a material to it. Tue to add new material. Let's put this just a little bit towards the yellow. It's left to isolate it, and let's go to material preview. Let's make it dark, something like this. All right We don't need that much of roughness. Let's take the roughness down just a little bit. Let's go to texture. Let's use the fingerprints and the roughness. Plug this to the roughness. That's cool. We have subtle pltine, we can see here. In this case, maybe we can fix the UV. We need to rub it so we can see the result here. All right. Let's go to UV here and let's tap it mood. Let's grab one edge. One edge, I'll click and then right click mark Sam, I A everything and here hit and again to rub it. Maybe we can open this area here. Let's grab these edges, and then right click. Let's go to U V, and let's mark them as Sam. All right. Let's go to edges. Let's open the sink and go to edges. Got up these edges, go to U V, and mark Sam. Let's see what we got. Let's see what that's not happen. Let's turn of the subdivision to see the result, now they are marked as SM after that. Hit A and here hit and again twice to our rabbit and there we go. Tab out. Now we can see the Plotinus. L et's go to the material activated. There we go. We have some variation. If you want to control it, you can add the curve from the color and take the white v a bit do. We can see some reflection here. Let's add surface scattering 0.1 maybe. And I will leave the d value one. Maybe I can co with the same color here. Right now we got something interesting. Let's go back to solid. It's like to excite, and let's call this material to handle. And then hit enter, C the same material to this one. So'sate this one and go to this arrow and for handle it enter and quiz, and there we go. For these pipes, maybe I can give them the same material that we add to the border here. Select this all tetra this and make this one the last selection, and the active one, had control L and link the material. Or you can choose the chrome roughnes that we created to it. And what else let's go back to the reference image. For the details that I have here, I will add the same carp material. Sel this, sold here to grab this, and then selve the body, control, and link the same material here. For this piece here, let's give this one rubber material, selected, and let's go this search for R U rubber and s it. For this one, I will give it chrome rub materials. Now we we gave everything material. We just need to make a render to this. In the reference image, I notice that the exhaust is not so dark. The material of the exhaust is similar to the material of the wheel. I will change the material of the exhaust and I will give you the same material that I added to the wheel. Selected, hold have to crop the wheel, H control L and link material. Now it's better. After that, if you want to recognize your materials, you can give each material a viewbard color, just to recognize it, for example, for the body, I will add a red, and for the wind heield. Let's go to material preview. Let's give something blue, just to recognize it. Chrome, I will keep it white, the rubber, I will give a dark material, something like this. For the lights, for example, let's give them something red. Yeah, something great like this. Okay. Okay, we didn't see any difference here maybe because we need to pick this slot here. Let's go back here and let's chang the viewpoard color to some grade in the analysers. The same scenery here for those, if you like. All right, cool. Now, everything is ready. Now we can make a render for the car. Let's go to the camera. First, let's pick a nice angle and the viewboard like this. I don't need all of that. This angle is cool. Maybe something like this. Let's snap the camera to my angle. Had control t zero. Let's go to the dimension here. Let's change this number two, 1920. And hit Tilda key to move the camera frame, something like this. Yeah, now we got a nice angle to make gender. I will make gender and I will see the final result. You have the ability to change the color to make it similar to the reference image if you like. For me, I will keep it right for now and let's go to render and render damage. Let's see the render setting here. Sorry, I just forget to do something. Let's go to displacement, and let's wi this two displacements, not pump only. And what else we need to do here. Let's go to the setting, and, we don't have to do. All right, I'm going to hit render, so go to mag, render and render the image. The render is finished now, and this is the final result. It's very nice and clean. I like it. Okay, so this is it and see you in the next video. 148. 149 Lighting secion part 1 quick overview about the light sources in Blender: Hi, everyone, and welcome back here. Let's start with the lighting. We finished the material section, and now we need to learn something about light and how can we use the light? You remember we have two engine here, the cycle and EV, and we have this and render engine. We're not going to use it. It will give you a result like what you see here in the three D viewpoard. So I'm not going to talk about this. All right, let's start with the cycle. Let's see how can we add a light here? If we need to add a light, you can go to ad and go to light section and add these lights, you can use whatever one. You need, and you can a shift A to access this menu and Que light. So for me, I'm going to choose the point light, and now we have a point light in the position of the three Dcursor. I'm going to key and take this light up. So this light let's go to the section here, is called point light, and this is the parameters. This first scion here will give you a quick preview about the light and the strength and the reek of the light. So you can, for example, depend on this, but not so much because the result is not always accurate here. And this is the setting of the light. Here we have the color, power, radius, and Max pounces. And here we have Casco. And here we have the multiple importance. Okay, now let's go to the render. I just made a quick scene here. Suzanne and some design here in this room. And I gave this box the real dimension of a room. And now let's see and go to render and let's see will got. I'm not going to render in big view like this. I prefer to sublet this view to two. I think that will be better, and render here. Let's hide this menu, hit N. And here I'm going to z to come to the render. All right. So now, as you can see, now I illuminated the scene with the point light. So, the color is self explanatory. You just king the color of the light, red, brain, whatever color. Let's take this back to to it. And here we have the bower. The bower, it's obvious the power of the light. This ching is to 100. Now, the light become more bright. Let's take this pack to ten. And here we have the radius. The radius will not affect the power if you increase the radius, for example, like this, that's not going to affect the power too much, but the radius will affect the sharpness of the ado. For example, I'm going to hit g to move the light, for example right here on the side, something like this close to the wall. And let's make the dios very, very small. All right, now, let's go to the ado of the Susan head, and let's see what you have. I'm going to control B to under very ge a small area like this. All right, Let's give this just a moment. Now as you see, the head become sharper. Why? Because we k the radius and make it small. But if we k the radius and make it big like this, let's check the head. As you see now, the head become smoother. You can use the radius to control the sharpness or the smoothness of the head. All right Cs head. If you turn this option off, you will lose the headle. So this option will turn on and off the headle. And here multiple importance. If you have it over here and just hold your mouch, just a little bit. You will see a note here tells you use multiple importance sampling for the light, reduce noise. So this option will help you to reduce the noise and help you to get sharp glossiness, but that will affect the render time. But leave it like this on as default. Here we have the max pounces. The number of pounces the light will have. I mean, the rays that goes out from the light when the rays hit the wall, for example, Same ray here that reach to this point will bounce again to hit any other objects. For example, we can see that we have a bits red shadow here in this area because the lights the rays when they hit this wall, they came back to hit the suzane hit. Because of that, we can see that we have some reddish shadow right here. So this is the number of pounces. How many time the rays will be bounce around the scene to illuminate it, to see some to see a bit bright shadow. Let's take this to zero, and let's see what we will have. So I'm going to take this back to zero. Now the scene become dark because we don't have much pounces. I'm going to take control Z, and now it's become brighter. Let's leave these numbers as the defaults. This is how to use point light. Now let's go to the sun light. Let's hit control Alt B to get rid of this small region. I'm going to turn of the points and the render and the viewboard, and hit Hit A and let's add a sll light here. That's cool. Now we have a slight. I just forget to delete this light. I don't need it for now. This comes default when you create a new scene. Let's focus on the site. The sun light give me parallel light like this. The light that comes from the sun is not goes exactly from this point because the sun is very, very far away from Earth. Because of that light that hit hit us like this, the rays will be parallel. So the position of the sun. That will not affect the shadow. But if you rotate the sun, that will matter. Now when I make some rotation, I can see that I have some light here hitting the room. But if I move, even if I put this inside the room, I can't see anything. So don't worry about putting the sun close by your building or your design, something okay. You don't need to push it far far away from the scene. You can put it, for example, right here, and you just need to control the rotation. So I'm going to rotate it like this and maybe rotate it with the z just a little bit like this. Right now, let's go here inside. That's cool. Now we have some slight. That's cool. I can go to the camera. I have a camera here, this is here. All right. The parameter of sun almost similar to the point light. Here we have the strength. If you put this farther, the sun light will become strong, and here we have the angle. The angle, this option will help you to smooth out the shadow. If I book this just a little bit farther like this to 12 or 13, now the shadow becomes smoother. That's mean you have the ability to control the smoothness by changing the number here in the angle. All right. The max pounces the same scenario for the point. You can leave this number as is, you don't need to king it. And here we have the same scenarios shadow and the same parameter that we found in the point light. Now let's jump to the spotlight, let's see. What is the spotlight? Let's turn of the sunlight, and let's bring the three decosor right here. Sorry, three decorsor. Let's put it right here. It heft A to add the spot light. A, spotlight, it's dark and light. Here we have a con and the light will be surrounded inside this con. And we have here some option. Color, the same scenario, Power, radius here will make the shadow sharp or smooth. And the Mx poses, I'm not going to talk about this. Let's go to beam here, Pam shape. The spot size. If you increase this number, you will make the con base, or you can take this down to make the con base smaller. All right. Here we have the plant. For example, let's make this a little bit pick. The plane will give you the ability to to control the transmission from the area, the center, the pratic area of the spotlight and as it goes away from the center. So you can control it to understand How this work. As you can see. Let's make this a bit brighter. Let's pk this, for example, to 50 or maybe let's add 100 to make it to understand that better. Let's take this back to zero. Now as you see, now the lights become sharp here. This is the end of the con and the end of the lights, and this is the center, the brights area. We don't have any transmission here. Now let's put this to one. Now we have this transmission here, as you see. This parameter right here is almost give you the same result of the radio that we have here. It is not like it, but let's say Let's hover over here and let's hit pack a space to this number to dit. By the way, if you have a over any option here in hit pack space, you will speak the number to the default. All right. That's cool. This is about the spot lights very easy. Let's turn off the spot light as well, and let's create a new one. Let's create this time the area light. The area lights will give you a light like this, and this square is controllable. If you grab the corner, you can make it pick like this, or a small. As you see here. Here we have some parameters. We have the size to control the size of the light, and let's see what we have here. And here we have the shape, if you want to king the shape of the light, to be square, to be rectangle. Now it's become rectangle, to be, for example, like a disc or ellipse, like this. This option you have here, we can use them. And here we have this nice option right here. Now, this area light, just need to demonstrate something here. The lighting now is coming like this. Now you notice here, the head here in this area means that this light, it's not attached to the roof, and we have some space. So this area of light, the beginning of the light, mean tells you that or let's say it's aligned with the level of the light, where is the light here in the Z space? If you increase the number right here of the separate. You will make this era lights dignal. If you increase this, yes, a little bit, you will make the light start from here, and all of this will be head. If you put this even more, the light will start from here until you will make the light like square like this. Let's push this back. So let's take this, the angle and check what's happened. Let's take this back to zero. Now let's become like a window or emitting some light from the sun. This is the option, you can control it if you like. If you don't like if you don't want the light to act like this, you can push just a little bit. Like this to have better results if you prefer this. Alright let's take this pack, lets hover over here, hit pack space, and there we go. Alright let's talk about this important pole that we have here. This is very nice. You can use it to control the direction of the light. So I'm going to hover over this pole, and I'm going to hit left to click and move left and right. As you see now, The light now following the mouse. Let's hit right click to leave it back to the same direction, I will you can hit shift T for shortcut if you want to control the light. That's means there's no necessary to grab it from here. Just select the light and hit shift T and move the light or the direction of the light. And there's another usage. If you hit Lift click and move the light. You can hit control to position the light in any place you like, as you see here. I am controlling the light. If I put the mouse on this wall, it will illuminate the wall from here. If I put it right here, it will illuminate the s of the ground. This is nice option, if you want to rotate the light quickly. This is the era light, and this is how we can use it. Here in the environment section we have some light for the environment. I'm going to turn off the era light here and let's go to the environment. Here we have the color, let's change the color to something white, for example. Now, we just illuminated the scene from the environment color here. Here we have the strength, you can control the strength as well. This is a nice quick way to have some lighting from the environment, if you like. You can use node here in this and the environment color. For example, if I hit left to click on this note here, I can add sky texture, this one right here, and now we have sky. Okay, here we have some nice option. And here we have some option as well. This option have some parameter as nice parameters we can use, and let's see how they work. Here we have the sun disc. If you want to see that sun disc or hide it, you can turn this on and off. But we can see the sun disc because it's very, very bright. Here we have the sun size from this parameter, we can control the sun size. The sun intensity, the strength of the light of the sun, the sun elevation. This will control the distance between the sun and the ground. And here we have the sun rotation, so let's use it because I just need to see the light of the sun. The sun is almost right here in this area. Okay, let's rotate the sun. All right. Now I can see some lighting here hitting the room or the school. And don't forget. I didn't activate the sun light. I just added sky texture. All of these parameters inside the sky texture. So you can here, I mean, you have two options. Either you use the sun light, use it from the light menu or you can use the sky texture. And as you see, it's very nice result we have here. Let's start with the sun size. The sun size will affect the shadow and it will make the power a bitless. If I take this farther just a little bit. Let's take this just a little bit like this, 230, for example. Notice here now the strength, the brightness now become less, and we got here soft shadow here in this area. So the size will affect the shadow. Let's have over here, and let's hit pack space to take this number two default. Sun intensity, if you take this down, you will make the strength less of the sun itself, not the sky because there is a difference. You have a sky and you have lighting of the sky itself, and you have the light of the sun. If I take the intensity back to zero, now we don't have any direct lighting. But we have indirect lighting coming from the sky, and this light have a little bit of blue color mixed with it, just keep this in your mind. This control the sunlight, the directional light. Let's take this fort bit 0.1, this cool. The sun elevation, this will control the angle of the sun. I mean, if I draw A line like this. Let's assume this is the ground, and here we have some building on the ground in the sun, 15 degree we have here that means the sun is here in this area. Give us lighting like this. This is the room. If I take this farther, the sun will be pushed like this. It will be here, if I take this even more it will be here, it will be here. So that's well control the angle of the sun, the elevation. Let's see what will happen. Let's take this to 50. Now the sun become a vertical on the building like this. This is the sun, and this is the building. You got the idea. Let's take this back to maybe ten. Keep in your mind, when you put this, let's take this pack, for example to 50. Now notice here the color of the sun is changed as well, and that's something real, by the way. If you add very narrow angle here, for example five, it is either sunsets or sunrise and the sunset and sunrise, the light of the sun it's ait and have some yellowish color with it. This result is realistic. Keep in mind the color of the sun. You can say it's controlled by the angle, is de band on the angle self of the sun. The sun rotation is self explanatory, the direction of the sun from where you need the sun to be. The altitude here, it's the distance or the height of the sun from the sea level. Here we have the air, the density of the air. If let's take this number for just a little bit, and let's see what we have. Now the air becomes thick, and that will affect the photons of light. Now we got very warm day looking. Now we can see the disc of the sun because the airs become too thick. If I take this back, the sun will become bright and I will lose the disc. And by the way, this option, when we started explaining the options of the sun, this one will hide the disc, if you remember. So here we have nice option of the air. Here we have dust. You can make the weather dusty, and here we have the ozone, ozone effect. Here we have very, very nice controllers here. Here we have here we have the ability to make the sky itself bright or not. This parameter here is not necessary to be linked with the sun itself. But that's makes sense. If the sky very bright, that's me the sun will be bright as well. If we take this farther, we can not that the brightness of the sun is increased with it. This one will control the brightness of the sky itself. Keep that in your mind. I always kick these two options, the breath. This is another way to visualize the sky. Here we have this poll. You can click and hold to control the lights of the sun. You can control the direction. Right now the sun comes from this dukin Here we have some option, the turbidity, that will affect the weather itself. Here we have the strength of the sky itself, if you increase it. Here we have another option, sic and Wolk, maybe. Here we have the same almost the same option. We can control the direction of the sun from where by using this pole, here we have the turbidity, that will affect the weather and make it thick. If we take this down to one now k what's happened to the weather. Increases to ten. The ground albedo, if you take this 20, for example, that's mean the color now of the ground will not affect the weather in the sky itself. Now we almost separated the color of the sky from the color of the ground by using the ground albedo. Lets take this to one. Now the color of the ground affected the weather. In general. Let's take this pack to default, have it over here hit pack space. And here we have the strength of the sky. We can make it strong. As you see now, we can say this option, the third one is the best option, and here we have more controls. We can create very nice scenes just with this sky texture and this option. So this is how to use the sky texture with the sunlight inside the environment section here. Okay that's we'll do it for this video and see you in the next one. 149. 150 Lighting secion part 2 Emission light: Hi, everyone, and welcome back. In this video, we need to talk about a new way to add light to the scene. In the environment we add the sky. Let's try to remove it, let's learn how to remove it. You just need to click on this area and hit remove or disconnect. I'm going to remove to remove the sky. And now it's become blank. Okay, I sorry, we learned how to add point sun spot area, but there's another way to use the light. It's emission light. You can change any object to light. I can ching this and make it emit light. I can I can make the Suzanne head emit light. I can create any kind of light by using the shapes or these meshes. For example, I will ching this to light. I just need to select it. And in this way, I will go to the to the material section, I will hit to create a new material. And here the principal BSDF, I will switch it to emission. All right. So I will z to go to render. And now this miss now it's emitting light. Here we have the strength. We can change the strength. And you can make anything emit light. For example, I will bring the three D cost right here, shifts, hold right click and put here shift A to add and let's add cube. I will make it very small like this. Hit key. I will give it a material and the material to emission. And now it's emitting light. I can k the strength, and there we go. Here we have the color. We can king the color as well to emit all color. So this is another way to create a light. Let's delete this. All right. Let's at the plane right here because I just need to kick the emission light if I can make the surface emit from both lights. I've got the plane here, I will give it a material and speak the principle, SDF two emission. Let's increase the strength a little bit. I will delete the material from the circle. I don't need to emit light. Let's take this clo s. Let's take the plane close to the wall. As you see here, let's go to the front, Alt to receive the rotation, and let's rotate again like this. I just need to kick this light emit light from the post side, and the other that's right. I can see that I have light emitting from the side and the side as well. Keep in your mind something that the misalight, working with the cycle engine. If I swing the render engine to EV, I will I will lose the light. It's working with the cycle. I will end this video. In the next video, I will talk about the HDRI images. See you next. 150. 151 Lighting secion part 3 HDRI High Dynamic Range Imaging: Hi, everyone, and welcome back here. Let's talk about the TRI. HDRI means high dynamic range macs. This kind of mag we use it. If we need to simulate netr light, we put it inside the environment to get a lighting from the mag itself. It is a 360 degree, so mean the image will surround the scene and emitting light from all direction. Here we have very nice website. It's called Poly Haven. You can download any HDR image for free. Here we have the category, and here we have punch of images. You can pick whatever one you like, for example, can click this, and here we have the download button to download it. Okay, let's see how can we use it inside the bland? All right here we are inside blender. If I need to use the tor Image, I need to go to the world properties and in the color, Just hit this icon and go to environment texture add environment texture here to the socket and go to open and s for the image. All right, here we are. I got BK version, and I got the EXR extension here. Okay. Let's's start with the JP. I will select it and hit open mage. Okay, now, we have ADR image in the background. I can hit C and go to render. Now I can see the lights. I have some lighting here. As you see now, now I have the ability to illuminate the object here and the three D ewboard. In the lighting that you are seeing right now, it's natural light comes from the mpg itself. For any reason, if you want to rotate the environment, you need to add inside the vector here. We need to add the mapping. Here we have the map series I thought the bomb is a mapping. Yeah. We got it right here inside the vector section. We add the mapping to control the rotation, but we got a problem with the environment itself. We need to add another node here inside the vector. We need to add that generated. So click this icon and add that generated from the texture coordinate, and there we go now we correct it. I just need to kick I in the shadow area or in the sun area. It seems like we are in the sun area, but I'm not getting shadow, like what I see here, for example, the tree. I I don't have the sharp shadow. If you're not here, in the tree, we have sharp shadow, we have strong sunlight. All right. That's because we used the JB Key. If we go back here to the folder, I have two images, JB K, and E X R. So with JB Ke, I got a lighting, but it's not accurate, it's not correct. And we should not use it as a final result because if I go to the inter setting here, let's go to the color management. Let's open it. Here we have the poter. Let's increase the exposure, and let's see what will happen. Or when we increase the expo, we got a problem with the do. The image is ruined, as you see here. Let's take this back to something dark. When we take this dark, Now we didn't got any prit area. Everything now become dark. The JB K image is not suitable to use as HDRI because it's not carrying the range of color or let's say good range of color inside or good range of information. Let's take the exposure back to the default number, have it over here and hit pack space. Let's go back to the environment here. Let's go to the folder and let's add the E XR. Image. Open it. Immediately, kick here, we got all what we need the sun light, and we got sharp shadow and everything is correct. Okay. Now let's go to the render again, let's manipulate poker. Let's take this to something dark. I still have the shadow, and I still have the sun. There are some bright areas still exist like a sun. Even if I take this very low, everything will be dark except the sun. That's means the EXR Image have more information and data inside embedded inside it. It is the most suitable extension EXR to use it inside the environment as GDR Image. Let's book this. Even if you book this farther, we still can see that we have some variation in the brightness. The sun disc still more bright as compared to the shadow area. That's mean we still have the information. Let's take this back the default, have over here. It's the back space. That's cool. Let's go back to the world here. Now we can rotate the environment. Just use the Z axis here and rotate it. We can get nice lighting from any angle you like. By the way, you notice that something different. I'm working here in this area underneath the the properties section or editor. Don't forget that you can do the same scenario here in the shader editor if you swing this to the world. We still got the same nodes, and this is the environment image, and this is the mapping node that we added and the tick share coordinate. You remember when we say it, you can use nongular to add those quickly. For example, I will grab them and hit control x to delete them. I can hit control T to add them quickly if node reangular is activated. So you can work here or work here. Okay, that's it for this video and see you in the next one. 151. 152 Lighting sectoin part 4 how to use portal light: Hi again and welcome back. And this video, I need to talk about the light portal. First, let's add the sunlight because I need just to explain something here. Hit H T A and go to the scan and let's add the sun. Here we are. We have it now, let's rotate it, like this. All right now we are inside the room, and it's closed. We just have a window or open area here. I'm going to Z to go to Render. We still have the DRI, so I'm going to delete it. Forget to delete it. All right. So now we don't have any TRI, but we have the environment exe. Just click here and hero move to remove it. And as you see now, we can see some lighting coming from the sun. Let's increase the light just a little bit to two maybe. Maybe we can rotate it just a little bit like this. All right. So now we have some sun coming from the environment. Let's add the sky light here. All right and the color. That's cool. Now we have some lighting. By the way, if you want to use this option, you can delete the light of the sun, because here we have sun already exists. Let's hide it for now. Maybe we can rotate it. Let's see if we can get some lighting here. Let's go out and let's see where the sun. Let's push the air just a little bit because I just need to make the weather thick so I can see the sun disc. The sun disk is right here. Let's rotate it. And now we see is it now a little bit more. All that's cool. Let's go to the camera zero. Now we have the sun light here. Let's take this back to the default value hover over here it back space. Cool. Now we have some sunlight coming from the environment. But the environment is not quite illuminated. I mean inside the room. We can use a light and king it to portal. In this way, this portal, how it's work, the portal will absorb the lighting from the environment and push it inside the room to illuminate the room to get better lighting. Let's add lights, it hefty angle to light and add arrow light. Let's put it in the right position. Let's go here to the front. Hit key and let's take this right here. I r and rotate like that. Maybe from the right view, I can put it in the correct position or right here. And scale let's go to the size here. Let's make it small. After that, let's go to the front, I just need to put it almost right here. Now it's emitting light. We don't need to emit light, but we need to act like a bor. Here we have this option right here, b just activate it. Now this light taking the lighting from outside and put it inside. Let's see before and after. By the way, I don't need any more so I'm going to take this 20. Let's see before and after here. This is before, now the scene become dark, and this is after and K K, we don't have any power. This is how to work, how to illuminate the scene. If you have a small window, like what I have here, you need to use a portal here to illuminate the scene. But if you scale it, for example, if you have a big window like this, The scene will be illuminated automatically without adding any portal. This work this idea of work with some small area if you want to illuminate it. Let's see before and after. Late the light, turn it off. This without the portal. The difference is not huge, or there is no difference at all. Let's activate. Okay. All right, so this is how to use the portal, how to tweak the area to portal, and this is how to work. I will end this video and see you in the next one. 152. 153 Lighting section part 5 IES Light: Hi, everyone, and welcome back to this video. In this video, I need to talk about I ES light. I IES stand for umating Engineering Society, which has defined a file format for describing the distribution of light from a light source. Let's see how that work. Fair thing we need to add a light source. Let's add a point light. Put the three d cos anywhere. I'm going to put it here on this wall. Let's work here, and I will hit Ht A to add a light and let's add a point light. I just need to take it a little bit away from the wall, something like this. Let's manipulate the radius. I don't need radius. I will make this very small. I need sharp sad. Let's take this up a little bit. Maybe right here. All right now let's hit render. Let's see what we will go. Cool, is just a point light, and this is the result of a point light. Now let's see how can we add the IEs effect. You need to go to the node here of the light and hit use node to use node inside the light. And here we have some option. The surface and color and strength. By the way, if you hit use node, if you go to the Hader editor, you will work with the light like a header. So I'm selecting the light and here we have an output for the light. Sorry, here in the object moda in the object mood. I was in the world mood. Anyway, so here we have the light, and this is the node that we add it right here. We need to add the node here inside the strength. I will hit ft A and circ for E S, texture, hit Enter and block the node here in the strength. Here we have two options, intern, internal and external. We don't have internal IS, so I will go with external and use this file browser, and let's search for a file. I have a bunch of IES files here, but I'm not going to hear them with you in the course because I think it's not allowed to me. In this case, I will tell you from where I got them. You can go to a website called IES Library. Let's go to this website. This is the website. When you go to this website, this is the link of the website, go to Pros Library. All right. Here we have all the IES lighting. If you need more, you just need to hit more and another list will open. Pick whatever light you like. For example, if you want to download this one, just hit left teli here we have download IES, download it and directly will download to your hard disk. T, let's go back to Blender. Let's pick any file of this and let's see the result. Let's start with this one. Grab it and hit except. There we go. Now we have another pattern we add to the point light. Cool. We can't control the bower, take the bow down. If there too strong. As you see now, we changed the pattern of the light by using the IES titure. We can use another IS titure. I will shift d to take a CB and let's take CV right here. Let's change the IES for this new light. Let's try to pick another one, for example, this one. Let's see what we will go. L et's put this far away here. And now we have different one here. This one is not similar to this one. I will hit head again and put one here in the middle and let's change the file to pick. Maybe this one. Let's see what we will get here. Maybe this one. I just made a quick render to the scene. You just need to see the result better. It's still noi sino, but we can see that we have some pattern here. Okay. So this is the IES. We can use this in interior designer if you are interior designer. Definitely you saw some kind of light inside inside the room, in general, something similar to what we have here. So this is how to simulate this effect. Okay, so that will do it for this video and see you in the next one. 153. 154 Lighting sectoin part 6 How to illuminate interior scene with sun light: Hi. This video, we need to learn how to illuminate an interior scene. We have this kitchen. We create this in the modeling section. Let's see how can we add lighting coming from out inside. You can add you can add the sunlight and use the environment here. Can add sky texture, to use the environment mixed with the sun, and you can use the sky texture alone because there is a sun option. We can simulate the effect of the sun without adding any sun from the light section from here, I mean. All right. So let's see how can we do this? Let's start with the environment. And the color here, I will add sky texture. Or before I add any sky, I just need to render. By the way, I'm working with cycle. I will easy to go to render, as you see, I have nothing, just a little bit of color coming from the environment from here. Let's add sky texture here. Just click this dot right here and add the sky texture. All right. There we go. Now we have sky. I need to rotate the environment because I need to see the sun disc, so let's rotate the environment until we see some lighting coming from the door. This is the sun rotation. I will keep rotating this until until I see something. At least see what we've got so far. All right. What I will do now, I will go out of the scene, and I will push the earth thick just a little bit because I just need to see the disc, the sun disc, and there we go. Now we have it. So now I can rotate it and put it in the position that I want. Let's put this a bit. Create something like this. I need the direction of the sun to come like this, and we have it. So now let's go the camera zero. Let's take this back to the default number, it back space. And there we're going now we have some lighting inside our interior scene. If you want to make this a bit bright, you can go to the render setting here and go to the color management. Open it. Here, we have the exposure, you can increase the exposure just a little bit. That's will illuminate the scene more. But make sure not to book this too far because that's will burn the final result. Or if you have very strong light, you can take this down to balance the light here. All right. So this options option you can use here. Let's go back to the light here. I will make a quick render. I just need to see the final results. So let's go to the render here and let's make some kings here. I will just activate the denoise in the render sc, and maybe I can king this to 200 sample, and I will render this, go to render render. The render is finished, and this is the result. It is very nice. But we didn't go sharp lighting from the sun. We need to achieve this. We need sharp light penetrating the glass and hit the interior scene. Let's see how can we aqui this? I will put this leave this in a slot one, and I will go to two, let's exit from this window. Let's go to the environment here, and I will remove the sky. Now we don't have any light. Let's try to use HDRI image. In the color, I will add environment texture and from the folder, let's add HTR image. I will use the bark. Don't use BG. Ue EXR. Let's pick this one. It's open image, and now we should see some lighting. All right, I need to rotate the environment. I need to see where the light come from. Where the sun, the sun is from here. We just need to rotate the environment just a little bit. Let's go to the Hyder editor, and let's take the mod two world. And here we have the image. You can hit to open the tool here and in the texture mapping, you can control the Z axis, or you can control T to add the mapping and texture coordinating and control the Z from here. All right let's do something new here. Select the image, go to the mapping texture and let's rotate. Just a little bit. Something like this. I think now the sun has become in front of the door. The one thing that I didn't like about the Dar I image is we can't control the sun. We just have the zero rotation. I can't take the sun down. Let's rotate the image and the flabt, does not make sense. So this is the limitation of the chor image. Otherwise, quor image give you very natural light. Let's go to the camera and let's see what we have there. I will increase the intensity of the sun. Let's add for example five because we need more light come go inside this room. Let's change this to ten, maybe. Let's wait for this. See what we've got here. Maybe we can add 20. Okay, now we have some lighting here, but it is not harp. I think we have some problem with the glass itself that I added here for the door. So I will grab it and go to the object here. I just pushed the transmission to one, and that seems like doesn't work. So in this case, we can do net here. You can mix principle the F header with the transparent. Okay. Before we do this, trick, let's try to swak the principle to another node. I will Tift S to open the Switch menu, and let's go to the Hydro sequin let's add the glass BS dF. Here we have it. All right. So it's still transparent, but we didn't go the harp light coming from the sun. All right. In this case, I will mix this one with another note. So let's go to the Hader section and S f transparent SDF. This one right here. Grab this right here. Hold control Hift and right click to mix between those and there we go. So now we have half glass and half transparency, and you can leave the factor in the middle. That's okay. As you see now, we have some lighting and it's very, very nice. Okay. Now we can control the environment. Let's go back to the world and hit to open the panel. Let's grab the background, sorry the image. Let's go to the Z. Maybe we need to rot it just a little bit. All something like this maybe. Right now, we've got nice lighting hitting the frigator and the sink. That's cool. I think the brightness now become too much. Let's go to the color management here and maybe we can take the exposure just a little bit down. Something like this. That will be nice. And I will make another render to see what we will go here. So let's hit F 11 to open the render view and then hit F 12 to render the MN slow two. The render is done, and we got very beautiful result here. Very nice and natural. Cool. So we had a problem with the glass and we fix it. That's mean now if you add a sky texture here, you can get sunlight here. Okay, let's do that. Just need to prove it. Let's go to slo three, and let's exact from here. Let's go to the environment. We have the ARI's delete it and delete the note, or you can king it with sky texture. That's cool. Leave it ignore the prythm and Hose choose the third one here and let's rotate the sun, need to rotate it. Something like this. That's cool. Very nice. A little bit more. I need the sun to hit the friaor, cool. The angle is 15, the sun almost close to the earth. So I think I can take this up just a little bit to maybe 30. Something like this. The strength is 20, that's too much. Let's take this one to one. Let's start with one and let's see what we will got. For the exposure from here, let's reset this, have it over here, hit back space to reset it. Let's go back to the environment. That's cool. It's a bit bright. Maybe we can take the sky brightness down just a little bit. Maybe 0.8, something like this, maybe. Let's take this even more down. At least try point for let's see what we will go. Okay, let's make quick render to this result. Let's see what we will go. I will hit F 12 to open the render window and king the slot. I already did that. After that let's hit F 12 to make the render. When the render is fink, I will be back. Here we are. The render is done. This is with the sky. The result is very nice. Okay, now let's make some comparison between those. So this result slot three with the sun with sky texture. This one with DRI. And this one with the sky, but we got some problem with the glass. All right, so we got those. DRI, sky. The Tor I looks more natural and more make sense as compared with the sky. The sky result is also nice. But if we compare it with the or I here, I think it's nicer. You can bring another image and try it maybe a bit warmer. That can give you a feeling of warm effects inside the scene. I will end this video now, and the next video will create a night scene. See you next. 154. 155 Lighting section part 6 How to illuminate interior scene with spot lights a: Hi again, and welcome back. Let's how can we create a night scene? Let's delete the sky texture first. We don't need to use it for now. Or just remove. I will use TR image. I got a new image from Poly Haven. Let's add it. Let's go here to the color in the environment section and let's add environment texture and let's open it. Okay, where is it? In the texture folder, I got this new one. This one right here. His name is loping Him, I don't know. Let's open it, and let's add it this one right here. So we got. Let's hit Z and go to render. I just need to see the results. All right, cool. Okay, Let's rotate the environment. As I said, you can grab the image and hit and go to the node here and rotate from here if you like, or you can hit control on the Mag to add mapping and tax here coordinate. Let's do this fast. Let's rotate it just a little bit. All right, I got nice lighting. Al right now, let's add some lighting insides the kitchen. F here, let's go inside. Let's bring the three D courser right here, for example. Let's add some lighting here. Maybe I can add let's see which kind of light we can add. We, we can add the point light or let's add spot lights. Let's make the size. We don't need it that. Whereas radius. Yeah. For the color, I just need to make it a bit warmer, and for the bar, I will leave it tin what. Let's see if that makes sense or not. Let's take it out from the object, so we can see some lighting. Let's make the con a bit big, something like this. Now we can see that we have some lighting. You can use this method to add light here, or you can use a point light with IES if you prefer. Let's take this aj a little bit, too much. Or maybe 101 that's too much. Let's decree this 27, maybe. That's cool. I will hit D to duplicate it, not D. Let's take a CB here, Ht r to repeat the last the last chin there we're going to have some lighting. We can now create another light here in the roof. Maybe we can era one of these with HTD. Let's add this one. By the way, there is a difference between B the object with HD or Alt D, with HDD, the new B is not connected with the old KB. For example, when I V those with D, now, whatever king I make for one, these two will follow it because I made a B with Alt D. But if you hit HTD, the two bs will be separated. This is the idea. Now we got a new light up. I will decrease the number of the power. Let's add, for example, 15, what? All right, cool. We got nice lighting. Maybe we can take this a bit up. I know, H to the z, something like this. Maybe I can. Put it here. Now let's hit all detail B. Let's add one here, maybe if ter the last chin and now we got one here as well as cool. Maybe we can erupt those three and its old D and be those on the other side here. That's cool. That's nice. Let increase the power of the ceiling lighting. Let add 20 for all of them. That's cool. If you want to make this a bit brighter, you can control the exposure if you like. Now, it's become more bright. For me, I will leave it as zero, but just keep that in your mind. Let's go back to the light. Now I will hit render and let's see what we will got. Let's go to the camera and let's open the render view, hit F 11, let's weak, this two, slot four, and after that hit F 12 to make the render. We finish the render, and this is the result. We have more lights, and we have interior lighting here. That's very cool. All right. Now let's see how can we use the sky tesure. I will switch to st five and less six it. I will delete the TRI from the environment. He remove, or you can king it with the sky texture, and now we have a lighting. Okay. For the lighting that we add let What we need to do here. Let's turn off of this lighting. I just need the sky for now. What I need to do is to make the elevation of the sun angle here. I need to take it down to maybe five. I'm not going to make it night scene, but I will make it sunset scene. Let's say that. Let's take this two maybe 21. Let's see what we've got. That's cool. Let's rotate the environment. Let's add here 100. We just need to get some lighting here. Maybe more. Yeah, we got some lighting now from the sun. At let's take the angle more down even more until we make it dark. So now become dark. We can see that we have some lighting coming from the sun. But the sun is almost disappearing at this moment. So now let's activate the lights. There we go. Let's s grab one of the ceiling light. I just need to king the color to make it more yellowish. Just a little bit. Maybe the lighting that I added here above the c, I can the power two, maybe five for the three, make them just a bit yellowish as well. I render the M. Let's see what we will got. We've done with the render. This is the result. But the light is not bright. Maybe we can increase the power just a little bit for the ceiling light. Let's see what we will get if we do this. Let's take this to seven as. Let's go to pick one of the lighting of the ceiling and let's go to the light here. We gave it 20. Let's take this two, maybe 40. Let's render the scene in the viewboard, I just need to see the difference here. Right now it's become brighter, maybe we can at 60. Cool. That's cool. I will render this and let's see what we will got. Maybe I can redue just a little bit the power of these lights. Let's add maybe three. That's nice. I will make another render and let's see what we all got. H F 12. The render is finished. Okay, now it is better. The lighting now is better as compared with the previous image. And here outside, we can see that we have some lighting goes out from inside, and that's nice. That's cool. Alright, so that's we'll do it for this video. We learned how to create how to add light and how to illuminate interior scene at night. I will end this video here and see you on the next one. 155. 156 Lighting section part 7 How to create volumatric lighting: Hi, everyone, and we'll come back here. In this video, we need to learn how to create valuometric lighting. I guess some images from splash. And here we have the effect. As you can see, we can see the rays or the sun beams as it's obvious here in the image. And here the effect is so quite clear. This phenomenon happened, I think, because there is some thickness in the air or some particle flying in the air. In the rays, in this case, hit these very tiny particles because of that, we can see the sun beams. This example here, the same scenario, we have a hole, and we have a room almost full with small particle dust, maybe. Because we have some small particle maybe dust here inside this inside this area, we can see the rays now hitting these small particles and we got this pin. Let's see how can we simulate this? Let's go to blender here. I have this small rectangle here in the room. I need to add a light here. Outside. Let's start with with the world. Let's add the volumetric effect here in the world. Okay. First, let's go to the camera, H z and z and go to the render. L et's see what we have here. Let's check the render cycle. Yeah. This is the result. I don't have any light. So fair thing, let's bring the three D cus right here to add a light. Hi go to the light and maybe we can add point light. Let's take this out maybe here, and let's go to front. Put this right here. Something like this maybe. Let's make the size small. Or the radius, Let's give this a power, maybe 200. And now I have some lighting coming from the window. But I need to see the rays. In this case, I am in the world mode here in the Hyder editor. I will hit heft A, and let's go to Hyder, and let's add a principled volume right here. Let's supply this with the volume. Immediately, we can see that we have some rays and the light become very subtle. Here we have some options. The density will control the density of the weather. If you make this number small, the lights can pass through the medium. So let's add, for example, the tri 0.2, With 0.2, I can see that I have some rays now. Now the lights can penetrate and wreak the monkey head here inside because the density now become less. And we can control the color of this volume. I can change this to make it, for example, a little bit bluish. Assuming that we are in the night and there's some lighting coming from the moon inside this room. That's very cool. This is the first way to create volumetric lighting with the environment. We have another way to create that. Let's delete the principle volume, it control x to delete it. And let's bring the three D corso in the middle. Heft and corso to the world. Heft A to add and let's add a big cube and it S to scale, make it big like this, scale it to cover the room. Everything now is covered. Let's move it just a little bit right here. L's cool. All right. Now let's go to the object here and let's add new material to this big cube, and now we have the material. We don't need the principle BS dF, so I'm going to control x to delete it. I will hit shaft A and go to the header and add principled volume here. This one right here, plug this to the volume. That's cool. Now we we made this cube as a volume. Now the volume is not filling the whole environment. The volume now is just surrounded inside this cube. For example, if I hit to move this cube, I move it right here. Now the volume will be starting at this area. From here we'll start. Keep rm to cover the whole scene. Now, this big cube blocking the view. What I will do is I will go to object properties here and go to a viewboard display and switch display as to bounce. I just need to see the edge of the cube, and we can position it better. Just move it, for example, like this. Let's increase the intensity of the light. Or before that, we need to change the intensity of the principle here 2.1 maybe. Right now we have more light. That's very cool. Let's change the color to something bluish. That's very nice. What else? Let's go to the light, and maybe we can increase the strength, the bower here. Maybe we can make it a bit bluish as well. Let's change this to maybe 600 enter, and now we have more light entering the scene. That's cool. I think I will render the scene, Let's go to the setting here and the render section here. I will turn of the nostro hed. I don't need to work with nostro heel. I will add some samples here. The more samples you add, the the final result will be. But that's That will take too much time. When you increase this, that's mean we need too much time to get clean result. For me, let's start with 300 maybe two test end. Keep the noise activated, and what else? Let's go to the image here resolution. I will accept this resolution. Maybe I need to change it just a little bit, make it a bit wider. Maybe I can move the camera itself or something like this, maybe, and I will let's go to the solid, render image. All right. We got nice render, and we can see that we have some volume marical lighting here. That's very cool. If you want to make the effect more strong, crik up the power of the light. You can manipulate the power of the light and the intensity as well to get strong effect. All right. Let's switch to Slo two, and let's see can we get the same effect with HDRI? I will grab this box and let's see where it is right here. Let's call this maybe volume cube just to recognize it. And maybe we can add it in a new collection, so I will hit and add new, and let's call this volume. All right. It's ok. And now we have this inside the volume. And what else do we need to do here? Correct this peeling. We need to add E here. And here as well. All right. That's cool. Now let's hide this in the render in the viewpoard. And I will delete this light. We don't need it. Let's go to the world and Let's add an Hitara image. Hit HTA, go to ticketed environment texture. Plug this to the background, and go to Obin and Okay, where is it here in the texture. We have this TRs open it. And lets a right here. Let's now we have a lighting, let's go to the camera, Z, to go to the render. Okay, now, we have some lighting coming from the environment. Let's try to rotate the environment just a little bit. I will select the environment texture it n, go to this panel node, open the texture mapping and rotate the Z. All right, I will go out. I just need to see where the sun from where the sun is coming. That's cool. I just need to row it just a little bit. That's nice. Let's go to the camera, and now we have some lighting. The strength is two. Let's add ten. Now we have strong lighting. Maybe we can create this maybe 220. Let's see what we will got if we do this. All right, cool. Now we have some lighting. After that, let's hit A and let's go to Texture. By the way, you can use scatter. Here we have the principle s and the header. We have volume scatter and we have principle volume, you can use the volume scatter as well to work. Let's block this two volume. Let's see what we we've got. Immediately, everything become black. Let's take this number to very tiny number. 0.1. Let's try from here. We can't see anything. Let's add 0.00 0001, and we can see anything. That's means if you block the volume scatter, in the volume in the world volume. You can't see a light because the light source of the environment is too much far away, and because of that, even if we the density and make it very small, we can't see light. Let's try the principle volume as well. Let's supply this to the volume. Let's take this down just a little bit, black this here and let's change the density to 0.00 001. Let's change this to bigger number. Let's start with 0.10 0.1. Let's work 0.001. L maybe 10 here. The same scenario happen here. The same scenario. Although we got some lighting here with very small number, Maybe that's happened because this number is it's close to zero. L at 0.5, maybe, L see what we've got. The same scenario. In this case, what we can do is we are not going to block the volumes inside the world volume. Instead of that, we will use the box method. I will grab those hit control x to delete them. Let's go to object. Let's bring our cube back, and let's give it principled volume. Now we can see the effects. Let's make this strong, zero point maybe three. See what we will get here. Now we have strong effect as you see here. That's very cool. Let's change this to something yellowish. All right now, let's render the scene quickly. I just need to see the result. I'm not going to render with this number of sampling because that's will take too much time. So let's change this to 200. And, with Denise, I will make a render. Hit F 12 to open the render review. Yeah, we are in the slow two after hit F 12. The nor is finished now, and this is the result. We got nice volumetric lighting here. We have some blow genes here in the environment because the scene is too much noisy. But the Denise engine here did very nice job to clean up the scene. All right. This is how to add volumetric lighting to your scene. This kind of volumetric working to inter and ex the same scenario. So that's we'll do it for this video and in the next one. 156. 157 Lighting section part 8 start with Eevee: Hi, everyone, and welcome back here. Let's see how the lights works with EV. In the previous videos, we will talk about cycle. Cycle is very accurate, render engine, and it's work almost similar to what we see in real life. But EV is not similar to cycle. It's a bit faster, or let's say too much faster as compared with cycle, but it's not accurate and it's not path tracing. E V it's crestized render engine. Use different technique technique or let's say tricks to speed up the render time for each frame to end up at a real time or close to real time render speed. With this kind of engine, a lot of different feature and setting comes with it. And we use these setting to tweak individual components based on the user need. Let's tweak to EV first, go to the render second here, and here we have the enganes saked from cycle to EV, and let's add some lighting. Before we add any light Z and go to render. Now I'm rendering with EV. Netting here, no environment, no lights. Let's start adding some light hit if A and go to light and let's add point. I will hit g to move the point light here, for example. As you see, I have something here. Let's increase the power and the section of the light here. I will close the preview, and let's increase the number here to 2030. As you see here, now E V emits light, and when it hits the object, the object will be bright, according to the the nearest polygon to the light source, and directly right here on the other side, give me a dark shadow. There's no bouncing as happen inside the cycle. If it works like it takes an image or hot, for example, from this from this point, according to the light position, and make everything white according to the geometry distance towards the light, and on the other side, give us the shadow. And we have a nice control to control the shadow. We can make it smooth, sharp. We can manipulate the resolution of the shadow as well. Okay Let's go to the properties of the light and see what we have here. We have the color, the same scenario with cycle. You can change the color to whatever color you need here. The power, here we have diffuse. If you decrete this bag, you will ignore any diffuse in the scene. Here we have the sul. If you take this down, you will ignore any specularity exists with material. And here we have this slider for the volume. This factor, when you take this back to zero, you will prevent the light to react to the volumes, if you take this 20. The radius, that will control the radius of the light and that will affect the harpness of the hedo. Small radius will make the hedo very harp, big one will make it smooth. Here we have the distance custom distance. If you add 1 meter, the light will ak 1 meter and stop. Turn this off if you don't need to use it. Let's go to the heado second here. We have a clip start in the bias. If I turn this off and on, I can activate or deactivate the hedo from this hack box, here we have the clip start by pushing this forward, object will lose the heado. If I take this forward, I lose the heado. I will clip it and push it away from the object, as you can see. The Pius, we can use this slider to make a contact heado. For example, Notice here this area. The heado is not reaching the base. I it goes like this, but does not happen because we got some problem with the heado. They add these parameters to fake it to fix the problems that comes with the heado. The Pius here if I pot this P. I will achieve that contact. Even in these areas in the crevices right here. I got some hedo here. Let's take this back one and let's I will cut. As you see, I lost that. Manipulting this option is good to achieve some corra. Here we have the contact head. The contact hedo is better than the bias here. It will override this option. Let's activate it. It will automatically fix this contact hedo. Let's go at extreme angle like this, and let's turn this off. Let's add plane here, for example. I just need to demonstrate something here. Let's rotate this to the x r x nine degree. Let's take this up. Let's see how could we put this, maybe right here, something like this. All right. As you see, I just put this underneath the ground and I got problem. This plane is penetrating the ground. Although I did that, I got some problem with the contact head. By activating this option, I will fix this problem. It's ha here and happen here as well. Here underneath the contact hedo we have some option. Sometimes we need to put these sliders to get better results. Sometimes when you activate the contact hedo, you will fix some problem as we noticed here. But for example, if you rotate the sins a little bit, like this. You will note that we've got some weird heading happen here in this area. So in this case, here we have some sliders, we need to tweak to avoid some kind of problems similar to what we have here. If I grab this slider now and hold and move this, maybe I can reduce it. If I take this forward, I will make the effect pick and that's not correct because headh goes from here, from this point, not from this point above. So because of that, we got the sliders. Go here and hit back space to bring this value to the original value less manipulate it until we got some correct ado. Now, we fix the problem, but we got the gap that we have here. In this case, we can manipulate the other slider, for example, the pius, we can take this pa to put the head of bag in the right position. But manipulating the pius will will make a different result here, so we need to mesure to manipulate these sliders correctly. And that's depend on your scene. I can't give you a golden numbers to add them here that will work with your scene. We need to tweak them by yourself until you find a good value works with your scene. For me, I will put this just a little bit. I will bring this back to the original, hit back space, have over here and hit back space. Is the bin on the angle. From this angle, I got no problem, but angle like this, I will got we do. This is the problem that we will get with EV when we work with eV. The bios that we have here is similar to the bios that we got here, but this one in underneath the contact ado. Sometime we got some cut do. We can fix that by using the bios. Let's see if we have any problem here to use the bias to fix it. Let's this just a little bit. You can see when I moved when I ed the number here, I got this gap that had been right here. If you got something like this, you can work with the bias and fix it. The difficult number that we have here is most of the time worked perfectly. I will take this to the original number, have it over here and hit pack space. Let's go to the thickness, and let's pick an angle like this because I just need to demonstrate something here. Let's increase the number here. As you see when I do this, let's put this to, for example, four meter. This option here is similar to the p inclusion that we have in the render setting. We will talk about this. This option will fill the crevices. An object if the object close to another object, it will fill the distance between them with hedo. Like what you see here, we have the ground and we have this pole So between the ball and the ground, when we book this, we got some ado, and that's not correct, but sometimes you need to use this in some circumstances. I will take this back to the original number. The same scenario happen to all of these lights. For the sun light is not similar to the point. We will lose some option here. For example, the distance, the distance of the hedo. The more you put this number, the light will reek the far away area. Inside the sun, we don't have this option, let's see what else we don't have here. We don't have the clip start clip in the stuff in the sun light. The spot light, we got extra option for the con and the smoothness, and we got almost the same scenario to the point, and the area as well, we got the same setting here. So we got this extra setting inside EV because we are faking the head. Hado is not always accurate. Because of that, we need to make some kings here to make the scene correct. You don't need to do all of that if you work with cycle. Cycle is path tracing, render engine. Let's work like real world. Let's give you a very accurate results and calculate everything perfectly. We got all of the cast with EV. All right, this is just a quick introduction to the light inside EV. We will dive more inside EV option and let's see. How can we use it to illuminate our scenes? That's we'll do it for this video and see next. 157. 158 Lighting section part 9 rendering Sony device with Eevee: Hi, again. We'll come back here. Okay. Now, we went back to the sonny device. Let's see how can we render it with EV? The Brevis render is done with cycle, and now we need to learn how we can do it with EV. I think we have a view here, let's closet like this. Let's read render to EV and Z and go to viewport render. And this is the result is almost similar to cycle, but not in everything, but we got very nice result with EV. Now we are rendering real time render. As you see now, I can move and orbit, and all that calculation is done quickly with EV. But keep in your mind is not accurate 100% as combare with cycle. But we don't have any header. By the way, we have some lighting here, and you see the scene is illuminated nicely. That's because we have HDRI environment. So EV support HDRI environment. Let's supply this view two here, and let's go to the Hader editor and hit in to hi this panel. Let's go to the world. Here we have the the environment that we add recently. I will delete all of this. We don't need it, control X, and, this is the environment that we added here, the TRI and now is working. You can rotate it to kick the lighting from different angles. Like what I do here, you can unhide it by deleting these nodes here to see the environment. That's that's something you can do. Let's take those pack here. Yeah, DRI is supported inside D. I think you'll notice here that we didn't have any do. We have the environment and nice lighting comes from the environment, but we didn't have any shadow. In this case, we need to use B preclusion. MB clion is a way to add shadow in the crevasses and between the objects. For example, here, we have some crevasses here and here as well inside these outs. So we need to give them a bit of shadow here to make them realistic. We can use MB de clion to fake that and achieve it. Okay. So let's see how can we do this? Let's see what will happen if we activate this? I will hit this check box to activate it, and there we go. Now it's become more beautiful. So kick this before and after. That's cool. The default setting right now working almost nice. You can open the arrow here to see some setting here. You can push the distance to make the distance big as you can see when I take this up, you noticed that we got some cyclo this. You notice that we got some hedo goes up like this. So by the distance, we can achieve this. Let's take this to the default value, just have it over here and hit back space. Let's open the screen casts. Let's put this maybe right here. Okay. We have the factor here. This oxen will help us to make the bit lion smooth. If you take this down, you will make the lion smooth, and if you take this with very low values here, you will kill the ion. You will lose it. You can use this to make it a bit smooth. For me, I will leave it at or maybe I can take this back a bit. Something like this will work. The option that we have here, trace per scion. This will make the pluion more accurate and high details, but this will affect the performance of your computer and will slow down your render. So 0.250 is nice value to work with. We have some two option right here. The pain normal d will enhance the results of the empted lion. Without it, I will lose most of the mp lucion. I still exist if I turning this off and on, I can see some emt clcion, but this one will enhance it, so keep it on. The bounce approximation. This option right here will leave the pt phases without any oklcen because right here in this air, for example, I don't need any empt lion. Keep this on to ignore the pri say the pt vertices. All right. Don't mess with these options. I'll leave them on and everything will work fine. The only two factors I'm working with just the distance and the factor here. I can use those to get nice results with emblion. We got nice results with the mclion here, but we missing the hedo. We have the ea environment set up, but we cannot see any hedo come from the aria environment. That's mean HR environments, if you use it, you can't simulate to from them. In this case, we need to use light. Let's hit heft A to add and let's add, for example, point light. Now we have point light in the position of the three D. Cs, let's take this up and keep in in mind that this device is too much bigger is about two meter within scale it. Here when you work with the at, you will add a bit big numbers here to see some results. Okay Let's increase the number two, maybe I don't know. Let's see how much we need to add here to see some hedo maybe 300. Now I can see that I have some hedo orbits. Around. I can go to the render setting here and go to the heado section, and I can make the resolution of the hedo bit pick. Now it is 512, that's very small, but if I take this to ten, 24, that I will make the resolution of ado better. Here we have this soft ado. This will make the hedo soft. Not here when eye orbiting. I can see some flickers here in the heado happening. If I turn this off, I will make the hedo sharp and steady. So you have this option right here. You can use it. For me, I will leave this on to get smooth ado. Now, almost every thing is cool, the material looks nice in the cycle and EV as well, but we got some problem here with with the glass material that we added here. We can see what underneath it. Let's maximize this gas a little bit, and let's go to object and let's see the material itself. We add principal BSTF, and we booked the transmission to one. That's means we should see something right here. Here in the material setting, let's go down to the setting of the material. Here we have some options about the about the material itself, it's called bland mood and the head of mood. Those related to the glass material when you want to work with the transmission. So I need to see through it. I need to use those. Before I manipulate anything, I will add the cube right here. Let's go to the mach. Let's add the cube. Let's scale, make it a bit small. Let's take this out just a little bit. Maybe we can ve the corners, make it smooth like this. Something like this, Let's top out radically hit smooth to make it smooth, and let's give its principal BSDF, Put that transmission to one, take the roughnes back to zero. We don't need anything. Yeah, that's it. Now, I make it transparent or the light ray should go through it, but I have nothing it just reflected. The results similar when I put the metallic to one, the same scenario. Why that's happened? In this case, we need to work with this setting. Here in the setting, we have different mode. We have bland mode, and we have ado mode, those related to transparency when we need to achieve transparency inside EV. Inside cycle, we don't need to do this. Everything will calculate correctly. But here we need to fake it. So we need to use those options that comes here with a setting of EC material. Okay. This the first option, the bland mode, it's now opaque and this is the fastest under result you can get with this option. But here we have Alpha clip. If you activate this one, Alpha clip, this Alpha relates to the Alpha that we have here. Now, if I take this down 2.5, at least take this 2.5. Let's take this even more. That's we'll e clip the Alpha. This option is like on and off option. Let's go to the texture folder. Let's bring image from there. I got this image. Let's open and let's see what we got here. We got a nice pattern. Let's use it inside the Alpha. I will grab it it right here, and I will block this black and white mic to the Alpha. Now as you see, we cut the pattern. We clipped the black area and we left it with the white. Here we have nice option if you want to turn off the back facing to get just one side. The Alpha clip is on and off option. I will cut the relating hip, control right click and cut it like this. Whereas the screen casts All right. Here we have another option. The Alpha height. The Alpha height is a nice option to achieve transparency. But keep in your mind, you need to book the Alpha back to have some transparency. If you leave this at one, nothing will happen. Sometimes you speak the option to the Alpha height and you see nothing. You think there's some problem with your setting. All you need to do is just to take this down until you be comfortable with the result. This option is slow and noisy and need more sampling to get a correct result. More sampling, I mean, you need to go to the render setting here and go up and push the render samples when you want to render. For the viewboard, you need to push those to 100, for example, to get more even cooler results when you give it a bit of time. I just gave it a bit of time and now the noise become less We need to do the same scenario here in the render, so it's no easy option. Let's go back to the material here. The Alpha is faster as compared with the Alpha blend is faster as compare with the Alpha Hye and give you clean results. That's all about transparency if you want to achieve transparency inside EV. Here we have shadow option. Here yeah we should have shadow option because everything has unique had option, lighting, and the same scenar here with transparency. I will take this down underneath the ground. I need to make some contact here. Here we have the non and opaque. We have Alpha clip and Alpha, the same scenario for the hedo. You can use those to kick the difference. The Alpha height will give you noisy headp more accurate as you compare with the Alpha clip. You can use Alpha bland or Alpha height, and you can use the same scenario Alpha clip or Alpha height. It's your choice to pick the noisy results, but more accurate or the fast For me, I can use the Alpha bland here and the Alpha shed here. That will be nice to got transparent. All right let's apply what we learned here on the glass piece that we have right here. I will delete this cube and let's go to our umetry here. And first, let's take the Alpha 2.6 maybe first. Let's go to the setting of the material. Go down here. Go to the bland, speak this to Alpha bland. I need it to be fast. And a cool, we got it. We got transparency there. We can see behind it. And for the head, I will speak this to Alpha i to got accurate hedo. It's noisy, but all right, I will accept it. I need more transparency. I will take the Alpha p until I be comfortable with the results. Take this pa until you see what you want to see, but keep the reflection. That will make it more realistic. I now is okay, maybe I can take this down even more. All right. Yeah, I can still see reflexing and I can see can see what's behind the glass, and that's what I want. All right. So almost all the material working with EV, not all of them, by the way, but most of the materials. Now we got very nice results. Now we can make a quick render with EV and see what we will get there. We got ado, we got lighting and Maybe we can king the environment to kick another lighting, if you like. But this environment is nice. I can maybe go to the environment let see the strength of the environment. We have to let this to one because it's a bit bright. All right. I will go to the camera. The camera is already set up, and we talked about the camera a lot. So you know how to use the camera. H is here to look at the scene from the eye of the camera. And in the render setting here, Here we have the samples of the render here. I don't need to you can take this up and make the render better, but 60 64 is working nice if you like. Even 2020, that will work nice. Here we have the plume effect. That will give us some glow in your scene. If you want to use it. But that need some brightness. Need some strength in the lighting to see the plume. For example, let's go to the three D viewpoard here and let's grab the light. Let's go to the setting and let's take this to 1,000. Enter. Now we got more light. Because we got more light, we got more high lighted areas like what we have here and here as well. Because now this too much illuminated, we got globe. That's nice. For the ground, I don't need the ground to be glossed like this, so I will go to header editor maybe and change the color of or at least give it a material. I just need to make it dark. Something like this maybe. Don't forget we gave the material the ground. Here, we have in the options. We have visibility. We gave it. Let's see, what's the name of the option? I don't forget it. Let's read this to cycle. Let's go to this option. We have guess. I would be right here. Yeah, it's right here, shadow catcher. Inside EV, we don't have this option. I will swing this back to EV, and let's see. Let's go back here. We don't have that shadow cat. We will use the plane. Let's give it a dark color. Let's see the render. I will go to render and render the image and let's see what we will get there. This is the render. A is very nice. Very nice lighting we got here. Some glow effect we got here from the option here, the bloom. Let's go to render view render of 12, this one. Very cool shadow we got here, nice. Here in this area, maybe we can activate the contact head. We need to catch some heado here. As you can see, we should have some heado here, but we don't. Overall, the result is very nice, but we got some little problem to see, how can we fix them? Let's go to the view board here, let's grab the light. Let's go to the setting here of the light and go to the head sec, activate contact head. I think we got something here updated. All right. I'm not going to match with the option. I will leave them as they are. And let's see what else we can do here. All right, it is very nice. Let's go to the camera, he's here, and let's make another render. Guest go to the render and it's render. Lander is done and very cool, very nice. We just need to take a photoshop to make some much weak with with the colors and some contrast adding here to go very nice results. But in general, I like a somach. This is the eV and how we can use the AV to make render. I got some problem right here in the n letter, and that's because the humery itself. We got some weird, black surface we can see comes from the n letter. That's because of the umetry itself. Let's go to solid and let's see what that's happened. Let's isolate the India. We got some problem with some vertices. I don't know some phases. Yeah, I will fix this later, but we got some robin right here. All right, so this is it for this video and see you in the next one. 158. 159 Lighting secton part 10 check Carl Jurish's 1957 Motoplan with Eevee: Hi again and welcome back here. Let's see how can we render our car that we created with EV no cycle. The last thing we done for this scene, we render it with cycle. Let's speak to EV, and now we are inside EV. I will make the the view small. That will help with the computer performance. Now I get the results. Now it's rendering with EV. We got some problem with the glass. We can see the normal map that we add the light. Let's try to fix this. See how can we do this? Let's grab the target, the lights. Let's go to the material second here. We got two material. I just need to go to the setting in this week. The blend mode. First, let's give it some Alpha here. Something 0.6, maybe and let's tweak the blend mode from opaque to Alpha high. The head, I will use the Alpha as well. Or let's use Alpha plane that will be faster. But we still see nothing because we have two material, not one. I fix this. Let's go this one as well. Let's do the same scenario. Let's ti this two Alpha planes and Alpha maybe. Now we can see the light and what's underneath the light? We can take the Alpha of this piece down just a little bit, so we can see what's behind it, and there we go. Now it's okay. The same scenario for the wind heeled. Let's see how many material we have here. Just one. That's cool. Let's read this two Alpha plant Alpha high. Let's take the Alpha down just a little bit, so we can see some transmission here. And cool. Now we can see some transmission. That's great. Yeah, we need to make it a bit transparent. The same CR for these lights. Lets quistes. Let's go to the setting here. Alpha bland, Alpha Hit, go to the second material. Qs Alpha bland Alpha ich. And now we can see something here. You can make it transparent, if you like. A little bit for both of them. Let's go to this one as well, and make it a bit transparent as well if you like. As an option. Okay. What else? The same scenario you can do for the other lights. Here, let's see what's the k, what's the difference between cycle and EV. Inside cycle, I can have a real displacement. But in eV, I don't. I just have the lluion here for the displacement. This is the difference, we can't have a displacement like what we have in cycle. But I still got a nice tight rate, is very nice and beautiful. Let's take this farther. What I will do, let's go to the rando setting and let's activate pion to add some shadow because watch this sa right here. We don't have any shadow, any dark area, the same scenario for the engine. If I go, sorry for the performance of the computer. Let's go here. The same scar, we don't have any dark shadow here. Let's activate the Bion now we got something now it's become more elastic. You can control the factor if you want to make the effect of subtle if you like. 0.7 maybe. What else we need to do? Maybe we can activate the bloom to add some glare to the highlighted areas. If you want to see the effect more, you can go to the environment and increase the strength of the light. All right. What else we can do here? Let's give the ground a material, u, and let's give it a material. Something dark like this. You can add a texture if you like for this. That's, maybe we can take that down to see some reflection. All right. Let's see what else we can do here. If we book the empty lu, if we book this farther to maybe some cob meters, we can get some shadow underneath the car but that's not correct because we gave the empty too area to be separated. It's nice actually, because it not makes sense just to have some head underneath the tire and nothing on the ground. But now is, it looks nice. Cool. If you like, you can add lights, maybe point light, let's add a point light. I take this up. Something maybe right here, and give it a strength here.'s add maybe 1,000. And less activate contact ado. Let's go to the setting here to less activate screen space reflection to see some reflection. That's very important option to activate here. Here, see what we have here. We have the head s and increase the cube size to get harp head and have more resolution. Let's move the light a bit. Maybe we can make it close to the c. Let's see what we can get with that. L et's see what will happen if we take the ban down to the default number. Let's have a over here and hit back space. We got nothing. We lose the head. Let's increase the number. Let's see what we can have with this light. Now we can see some head here. Maybe we can put the bit clicking just a little bit, but not too much. Something like this, maybe it will work. Let's go to the camera zero. Nice, very nice. We got some nice glowing happen here because of the light that we add here. I like it actually. Maybe we can move the light just a little bit, see that will affect the point of the glow. Something like this looks nice. Maybe we can go again back to the render and manipulate this setting here. Maybe we can manipulate the intensity to make this strong. Here we have the radius. We make it. If you want to plur this out, you can manipulate the radius. Here you can control the color of the glow as well. Can make it a bit yellowish, maybe. Even the light, we can make it a bit yellowish. Something like this. Now I can render this result. If you want to make the car looks more interesting. You can add a fog to the environment. Let's see how can we use the fog inside E V? Let's go to the world first and here we have the tr I in the setting. Hit shift A, and let's go to the header sec, and let's add principle volume. Let's do this. You can use other headers if you like, and let's block this with a volume. And now immediately, we can see that we have some volume. The density is too highles at 0.3 maybe. Let's see what we have. Co 0.3 maybe 0.2. And we can chang the color to something blow maybe. Yeah, that's nice, maybe that's cool. Now we got more even cooler results. We can duplicate this source of light and use it in different places to make the result more interesting. I will submit this view to two like this because I need to make this view small to reduce the calculation. Now, let's close this window. I will mark it. And what else Make this a bit pick. I will go to the three D viewpoard here. And this window, I will switch it to Hyder Editor. It's to close this. That's cool. Let's duplicate this point light. Let's add maybe one here as well. Let's see where could we put this. Maybe right here because the idea I need some lighting comes from the source hitting the surface here to got some globe effect here in this area or in this. This is what I need. Maybe I can move it in another place. Something like this? Let's see what we will go. That will work as well. Now we got some lighting here and here and there. That will help to give the car or the results more depth. Where else we can add lighting. Maybe if we duplicate this one again, with, can we put it above it? All right. Maybe right here. Let's see. Let's take this away gas a little bit. Maybe something like this. You can squeak this to spot if you like. And pointed towards the car like this. Maybe we can rotate this to the a bit like this. The and maybe increase the strength just a little bit. Right now, we got nice results. We got nice lighting. We have some depth. We have delusion, some glow we have here. We just need to render it, so let's go to render and hit render image or you can hit F 12. Let's do this. We got the render, now it's finished. It is very nice. I like it. I like the lighting and all of the stuff. We can take this to photoshop for more further tweaking if you like. I can save it, just go to image and save us and save it like BG as is written right here and give it whatever name you like. Let's recognize it. I just need to send it to photo hops. I will call it maybe send two photo to recognize it. Save PNG, you can choose whatever format you like here. We have multiple formats. PNG is nice format. It can hold Good amount of information about the color inside the Image. So I will use B&G, H Save Image As and save it. Now we're inside photoshop. Let's go to the filter and let's open camera filter, control shift A. Here we have some parameters to tweak and all of these will affect the M here. I like to work with these parameters. For example, I can make this image cool or warm fire like. I have this option here, can manipulate the exposure of my image, the contrast, maybe I can make it a bit contrast. Here we have the texture, maybe I can increase this factor. Make the results more clear, the clarity as well. It's nice. Can give me very nice contrast. The dehaze, I think it's call. It's nice option too, but it will make the result more dark. I don't want to use it right now. Here we have highlights. Let's put the highlight up to increase the highlight that we have here. Shadow, we can take the shadow down if we like to make it more dark. All right. The black, the same scenario is almost similar to the shadow. But I think that's too much. The else we have here, we have in the detail, we have the sharp, we can make the sit sharp. In the effect here, we have the venting. We can make a dark circle around the image or white. For me, I will add the dark. Let's go back just a little bit and let's see what we got. All right, very nice. We've done very nice job here. You can change the color with the color gradients. If you open this color accessory, because here we have color, we can change the color shifted. Now I have another color here, if you like, you can do this. This slide, we can affect the result as well. This one will control or affect another side of the image. Here we have a lot of parameters to work with and all of this, as I say, will affect the final result. For me, I will accept this result, now it's become very nice. Let's it to accept it. This is before and this is after. That's will do it for this video and see you in the next video. 159. 160 Quick way to use displasment inside Eevee: Hi, Ken and welcome back here. In this video, we need to learn how to add a displacement inside EV. I need to add displacement to the tire. You remember inside cycle, we add a displacement here. So let's pick the tire. And when we render that displacement, we get some nice displacement results, and everything was nice. But here inside EV, we don't have displacement, as I said in the previous video, we just have a illusion of the displacement. But we need to simulate that. The displacement here is not working like cycle, something different here. Because of that, I said in the previous video, we don't have displacement aside EV. But we can use a modifier to simulate that, and let's see how can we do this. For me, I will grab a tire and isolate to isolate this alone. Tuck from the lamb to isolate this tire alone because I need to work with this one alone. You noted that the scene is a bit heavy because we gave each tire three subdivision levels. I will delete all the levels from the other tires, just to speed up the viewboard. I will leave the subdivision surface just for this tire. Or actually, what I can do is I don't need to miss with this tire. I will hit shift D to COV. I just need to explain how that displacement work here on this tire on this COV For this one, I will delete the subdivision surface from it. And work with this one alone. I will like to isolate and still have the subdivision surface. Right now, we got the new COP and let's start working with this. We have here the subdivision modifier added on the tire and it's higher resolution, but I go to the wireframe to see the wireframe. This is the original mix. Let's go to the modifier again. Let's see the final result of the subdivian surface. Turn of this ochen to see what we have here. So this is the final result of the subdivigan surface. All right. What I will do, I just can take this down gues to two. Maybe one. I just need to make some tweaking here, and I will apply the subdivision surface. What I need to do is, I need to add extra edges here between these edges. Let's start mode and it click to grab one edge and go to the select and select loop, choose edging to select the edging and let's hit right lick and subdivide. Now I subdivided those. I can increase the number to get even poly guns here. That's cool, but now it's become very high resolution object. I will accept this for now. Let's tap out of the edit mode and let's turn of the wire frame here from the object properties and there we go. Now, what else we need to do here? We don't have any modifier now. Now I will add a new modifier display. Let's add it here. And now we have something now it's become puffy because of the strength of the displacement we have here. We have an o here here it's called texture. Let's add the new texture because we need to use the tire rate here. Hit a new. And there we go. We have texture, but we don't have anything just that texture. But when we added that texture, we got a new second here called texture properties. Let's jump there. And from the texture properties, I will add my tire trate. You can get it from your hard disk drive, or it is already exist here in the project if you search for it. It's called tire displacement. Add it and there we go now, we can see something, but it is not correct. Let's say we finished here. Let's go back to the modifier. And here we need to make some tweaking. We have the coordinate. We need to work with UV, because we rubbed the tire. Let's go to speak this from local to UV, and that's cool now we are working with UV. But W UV? We have two UVs, we added on the tire. The UV, let's go here to see it, UV map, and UV map 001. We need to work with UV map 001 for the tire rate. Let's go back to the modifier and let's pick UV map 001. And there we go. Now we add it, but we didn't see anything because of these two options, let's decrease the number to 0.01. 0.1 0.10 0.01, maybe, let's see. Yeah, this number is. That's cool. Now we cut some height here, if you noticed. I cut some height and forming coming from this displacement. That's cool. But we lost the tire sit texture. In this case, I will manipulate the mid level, so I will zero out zero enter, and now we cut the details. But it is jagged as you see a bit maximize the view here. It is jagged because it depends on the polygons of the tire. If I activate the wire frame, this is the result that we got. It pushing these polygons to gut that tire of trade. Let's turn of the wireframe. If you need more accurate result here, you need to subdivide this area, you can do this, if you like, I will go to solid mode, and I will go to the edits. For example, let's grab this row here. Go to face, I just need to teach you something here. Let's grab this row and this row, may maybe this. Make sure that we need to grab the rows in the middle. We can specify them maybe from here. I think that will be better. I can t plus a couple times to grow the selection until you reach the edge. Maybe that's correct or not, control minus to shrink and we can add two here, if t and click and there we go. After that, you can subdivide those alone. Just subdivide those. Right click and subdivide, but that will be too much. After that, you can tab out and see the resolution now is become better. If you don't like it, you want more or tab in, right click subdivide again, but that's too much. Tab out now become very obvious. We have very nice rate here. We can go to the render and let's see what we will get there. Cool. After that, does not make sense to use this. That's too much. In this case, what we can do, I will go to solid, and I will apply the displacement. All right. Thank you. I will apply it. And we got very high rise object. We need to decrease the bodicons here. If I hit if I activate the wireframe, I can see high rise too much. I have a new, modifier will help me to decrease the number of the oligons here, it's called decimate, so I will use it. Decimate will help me to decrease the number of the polygons, but at the same time will help me to maintain the details. We can control that by using the here. As you see, this is the pace, this is the number of the phase count. By taking this number back, you will reduce the effect. I will activate the wireframe just to see the result here in real time. I will add maybe 0.2. I canceled 80% of the polygons, let's see what we will got here. This, this what I got now is become low resolution and I still get the tire tr here. I will turn of the wire frame and go to the render. Very nice. I got the texture, I got the titrate, and everything looks nice. This is a very nice way to use to add a tire trate and keep it, and you can use this to cycle as well. It will work perfectly. After that, you can apply the decimate and that's it. This is how to add a displacement inside EV. That's it for this video and see you in the next one. 160. 161 Lighting section part 11 Render interior scene with Eevee: H i again, and welcome back. We need to add light to the scene, but not with cycle, we need to use EV, how can we do this? The first thing that we need to do is we need to select the, the windows that we added here, and we need to manipulate the material first. Select this piece and go to the material. We added glass Bs dF, but we have some setting for the glass. Scroll down until you k let's see where the setting here. Here we have let's like this. Let's go to the material. Let's make sure that we are in the correct place. And the viewboard display, open it and we need to manipulate the plan mode and head mode. First, let's add a sun. Let's add a sun light, hit Hit A and go to sun and add sun, and I will take the sun here. I just need to see the diro. I will point it towards the door, just a pick nice angle and hit to rotate like this. Maybe rotate like this as well because I need the lights to go like this. I need the light to illuminate the gator here and the stuff here. All right. That's cool. And let's go here and let's make the render viewboard render, Z and go to the render. And we are rendering with the cycle, Let's go to the properties of the render and let's swag this to A V. And there go now we are working with the EV, but we don't have any lighting because we have some problem with the glass. Select this and let's go back to the material. Let's change the bland mood to make this transparent. For the bland mood, I will change this to Alpha plane because this calculate fast, and for the head of mood, I will swag this to Alpha. Now, immediately, we got some lighting. I will give the transparent PSDF priority by pushing the factor towards. Let's grab this and put this forward. So we like this and now we got something.'s cool. All right. Now let's go to the sun and let's increase the power two maybe three, and the light, I will give this just I will make the color yellowish. Some like like this maybe. Maybe I can put the number to five or even more, but let's start from five and let's see what we can get. For the head, I need to activate contact do because sometime we can get some bleeding, activate this to avoid any problem. K when I activate the contact do, I will zoom here, not the error that we have here. The handle. We don't have ado. Let's activate contact ado, and let's see what we have sold. Now we got contact ado, but we still have problem because we could see some light ankles like this. But we don't have because the distance here at 20 centimeter, maybe we can take this back just a little bit. Let's add ten maybe. Ten, maybe, that's work. All right. Now, that's cool. After that, let's go to the world or you can go here to the world, if you like. And in the color, I will add sky, Tis, the sky that called Neta is not working for EV. Neta is not available in EV. Let's tweak this to Osi and Wilkie. I think they call it and activate it, and there we go. Now, we have some lighting coming from the environment. Okay. Now, After that, let's increase the strength of the environment just a little bit. King the drogin just a little bit from here. That's cool. After that, I will accept the result for now, and let's go now to the render, Let's activate lion, to get some head and the cavities as very important. Here you can increase the distance to get more hedo if you like. That looks nice. Now we got lighting here. We can control this letter and the number if we didn't like it. It's optional here. Now let's see what else we can do. Maybe we can increase the number of the sun strength. Strike ten. K ten is nice. We got strong sun. For the environment, as well, maybe we can increase it just a little bit. That's too much. I'm not going to b this too much because that's will affect the interior s as well. Now let's make a quick render. I just going to hit F 12 to see the result now in the render. Let's see what we've got so far. All right, this is the result that we got. It's nice, but we got some bleeding here in this area. If you noticed here. We got some problems here. Let's see how can we fix those? I will go here and just take the view down just a bit so I can see this area, and I can maybe go to go to the sunlight and manipulate the option that we have here and the contacto. I will puck the distance just a little bit, and we fix it, now we don't have any bleeding. You can manipulate those even the thickness to fix any bleeding. Let's go back to the camera. C now we got something here. If we need to put the contrast of the result, we can go to the undersetting here and down in the color management, we can activate the use curve, and F here, we can add two points or you can add one and take it down. If you want to make it dark, or if you want to make it a bit contrast, you can add point here and point here as well to control that and now we contrast results, as you can see, see before and after. All right. I like that. It's nice. Maybe we can make the effect of bit subtle, not too much. Sorry. So here we have a nice option we can use if you like. And for the exposure, you can use the exposure as well. But I'm not advised to use the exposure because exposure inside EV is not working similar to cycle. Pushing the exposure forward, it will wash out the image and make it make it bright without any head. So I don't like to use exposure inside EV. Maybe I can use the curve here if I want. It's nice option here to work with. So this is how to use the environments with sun light. We can use TRI image as well, if we like. Let's go to the sky and hit remove to remove this, and let's add in the color environment titure, and let's open one of these images. Let's go to titure, we have an mage here this one right here. Let's open it. And LOT we got. As you see, we illuminated the scene with I enviro environment. Let's take the strength to maybe 0.5. And now we got a different lighting. All right. We can delete the HTR I and let's delete the environment as well. I just going to use the sun. Let's take the color of the environment back to black, and I will try something new here. I will use one of the lights prop, the radiance volume. Let's see how can we use this? This option, if we use it, we can simulate the indirect lighting like cycle. So I will leave the sun light alone, and I will use the redness volume with it. Let's hit A and less ad this light prob, and now we got it. This is the have of the light prob. We need to scale this and align to the room. Let's start with the top, it and move it. Let's put this right here in the middle. We can go to the wire frame. Let's scale this until it go beyond the, the outer line, the outer line. Maybe we can scale the cas a little bit. Maybe scale this to the y as well, just ale bit. And move it and center it. A something like this will work. I need these props to fill the room like this. These small dots, the props, they will help to simulate the indirect illumination. Let's see how that work. Let's go to the front or to the right. Let's take this up, something like this. Maybe we can scale it to the Z just ale bit. A something like this. Go. I added, but I didn't get any indirect illumination. After you add this, you need to go to the under setting and scroll down until you reach the indirect lighting, open it, and here we have page in direct lighting. This option will help us to achieve what we need here. So it page and give this is a little bit of time. Now as you see, we cut some lighting here on the wall because of these props. Let's give this is a little bit of time and let's see what you will go. Now, the light of the sun hitting the ground and then hit the other object here, and now we've got nice lighting with EV. If you want to increase the light in the room, you can push the sun light even more. Let's go to the sun light. I mean the sunlight strength here. Let's add, for example, 15. Let's go to the setting again, and let's take it because we made a k here. Let's repack this. Now even we got prior results. It's very nice. Let's try to add now environment. Let's go to the environment and use the color and let's add skitture. Now we have skte sure. Let's read this to sic, and increase the strength a bit. All right now we got something nice here. Cool. After that, we can add interior light, for example, let's put the three dorsor right here. Sorry. Let's close this. Or let's work here in this view. Let's add the three D corso in the roof, and let's add, for example, a point light. Let's add this in the middle. Increase Let's tick the color to something yellowish and increase the power. Right now, we got mixed light. I mean, interior light, and exterior light. Let's make quicker der just to see the result, it F 12. If we need more light, we can increase the sun light strength. Let's go back to three D V port here and let's select the sun light, and let's change this number to 20. After that, we need to re. Hit pak again and let's see what we've got. And now we got even prier results. Keep in your mind. Here, the props that we added here, we have setting for them. You can increase the resolution of these props. You can add more here. If you add more, you should get even nicer results, but that will take a bit of time when you make the peak. And keep in your mind to keep these props, don't make these props nearby any surface, for example. Let's move it just a little bit I just need to show you something. So let's move this from here. For example, I got this dots very close to the surface of the refrigator, or maybe inside it. Don't make these dots close by any surface because that will give you dark spots on the surface, and that will affect your render. So if you want to put these dots inside any object, you put your gas a little bit away from the surface. That's something important to avoid any artifact. All right now we got very nice results. C, this from outside and this from inside. This is how to use EV to illuminate our room, and this is how to fake the indirect lighting with light props. We do it for this video and you see on the next one. 161. 162 Lighting section part 12 Hwo to use reflection plan in Eevee: Hi again, and welcome back here. In the light props, we have the reflection plan. Let's see how can we use it. This option here help us to create the reflection, if we have a reflective object. For example, if we have mirror here inside this scene, we can't make the object act like mirror unless we add this reflection plane. So this is how to fake it. Let's start creating something inside. Anything. Let's go inside here and Let's add plane here, Let's put the three D course, for example, right here, let's go to the Mechan at plane, and I will just le bit and rotate to the y y, ninth degree. He key the z and take this up. Maybe we can make it a bit tall, something like this and take this back to the x axis, put it near by the wall, something like this. Now we have it here in the render. If I give this a new material, let's take the genes back to zero and let's take the meanic to one, and now it's become reflective, but we don't see the interior scene, we just see the environment, and that's not correct. In this way to correct it, I will put the three d corsor in the position of this plane, Heft S and corsor to selected, Heft A and go to add go to the light probe and use a reflection plane, and we're going we have this one. I will take this out just a little bit and rotate this to the y r Y 90 degree n minus and then hits er. We still have nothing unless we take this and push it until it's reek the plane that we added. And now we got some lighting. If I scale this, make it small, kick this area here. We have a mirror here, mirror effect, and here we don't here as well, we don't. So let's change the size of this probe and make it similar to the size of the mirror. And there we're going now we have mirror. I will select and select the plane. Let's move them just a little bit right here. Now if I hit r and r again twice. Now as you see, I can see the interior scene. But without this, if I select the plane alone, I can't see anything. It's not reflecting the environment correctly. This is how to use the reflection plane. That's will do it for this video and see you in the next one. 162. 163 Lighting section part 13 Hwo to use reflection cubemape in Eevee: H i, and we'll come back. One of the option that we have in the light probe. We have the reflection cube map. Let's see how can we use this option? This option will help us to retrieve the reflection for the reflective object. It's a spherical effects or cubic. I will add a um right here, for example. Let's put the three d coors for example right here, and let's add from dm maybe U sphere. Let's kill dm like this, maybe. And let's activate the head smooth, right head smooth. And I will give this a new material and take the metallic to one and roughness to zero. Now it should reflect the environment, but does not have inside E V. We need to fake it. Let's add this effect. I will put a three D courser in the middle of the sphere, Heft S and courser to select it. Heft A, and let's go to the light probe and use reflection cube map. Now, we got this very big. I will scale it and make it small make it above the sphere, something like this will work. Maybe I can take this sphere at b, maybe right here. And if I need to see the effect, I need to go to the render setting and inside the indirect lighting, I will pa indirect light. And I just need to give this a little bit of time. Now the packing is done, and I got this result. Let's see what we got here. All right. We got the reflection, but we have some clipping happen here. As you see here, we have black here because this this effect that we add here is reeking some places, and after that, it will clip it. So I need to manipulate the distance of the clip. So select this alone and let's go to the setting of the object. And here we have clip start. We can take this, for example, we can make the clip start. Add 20, so I will add 20 here. I mean, the clip now will starts from here. This is the circle of the effect and the clip starting from here. Anything far away from this point, I will be own as reflex on the sphere, and anything close to the object that will be cut it. This is nice value we can add here. Selected, let's add 20 here. Clip start and now go to bake and let's take this again. Peak. A now we don't have any clipping, everything looks nice. Very cool. But we got some artifact here we got some artifacts in the wall on the side here. If you need to fix this, we can give just a little bit of thickness. Let's try this. Tap the mode and select all the phases and hit E. Give this just a little bit of thickness and let's see what we got. We still got some problem even with that. In this case, we can go to the sun. Let's see where the sun light. This is the sun, selected and go to the sun setting here. You can man the distance of the contact head. With that, you can swallow this problem. We still got some problem at the edges havens here the tool bar. This case, maybe we can manipulate the thickness of the wall. And us maybe can fix this. But this problem just happen at the edge when I look at the scene from this angle. But for example, if I rotate the view, it will disappear. So this is EV, and we got a lot of problem with EV. We need to fix them one by one. Just keep that in your mind. All right so I will end this video and see you on the next one. 163. 164 Camera section how to navegate with camera part 1: Hi, everyone, and welcome back here. In this section, we need to focus on the camera inside blender, how can we use it and what properties we have regarding the camera. First thing, we need to learn how to create a camera. It's very easy and we did that a lot, but because this section is just for the camera, let's repeat that. Let's delete those here. Two other camera is very easy ft A to open the ad menu and go to the camera and camera. Then we're going to have a camera inside this this cube. I will and take this out, and now we have a camera. The camera now is taking a drocin. If you want to reset everything, just hit r to receipt the rotation and now it's pointing down. The first thing that we need to know about the camera. Because this is the first camera that we add, it's the active camera, because now this rectangle is solid. Let's add another camera. Let's see what's the difference? I will hit 50 A to add and let's add a camera, and let's move this camera right here. Kick the difference between those two. The triangle right here is the solid triangle, and this one is Mt. That's mean this camera is the active camera. Now, if I hit zero, I will look at the scene with this camera. But this one not active. This is the first thing. We need to learn the active camera and non active camera. How can we make camera active? It's very easy. We just need to select it and hit control space, and it will be active. For example, I will select this one and hit control space, and now it's active. Now it's active. The same scenario for this one. And there is another way to activate the camera. For example, this camera right here, you can go to the outliner and open the arrow and use the camera, and you will make it active. So now you have two scenario. You can hit control control zero to make the camera active, or you can go to the outliner and open the arrow for the second camera and just choose from here and that's it. All right, that's for the active camera, and how can we make it active? The camera, we can rotate it. If you hit R you can rotate it, if you hit Q you can move it, and if you hit scale, you can scale it, but that's not going to affect the view if you for example, if I rotate this towards the cube. I will have zero because active, I will look at the scene through this camera yes zero, and now I have the camera. Now if I hit S, that's not going to affect the camera. That's not going to affect the camera at all. But S scale can flip the camera like this upside down. Let's zero to see what we got. As you see, we flip the camera. The scale we got some problem with the view. Let's try to fix it. Oh, my God. Let's go to the top and yeah, just like that, go to the top and make orbit again. It will be fixed. Or at least take this back. Let's delete those, and let's create a new camera, at H A and let's add a new camera, now it's in the middle. Take this out, can take this out. If we need to control the camera, we can point it towards the target, for example, the cube is our target. You just need to rotate like this and pick aside and rotate like that and now it's pointing toward the cube. But that is a bit annoying. There is another easier way to control the camera. Let's start with this menu right here, open it and go to the view sc. Here we have a section for the camera. Let's see where is it. This one right here. Lo camera to view. Now if I had zero to look at the scene through the eye of the camera, if I orbit a little bit, I will lose the camera. Let's do that again, H zero. Now I'm looking at the scene through the camera, but if I make any orbit, I lost it. If you activate this tog right here. Now, when you move, the camera will be sticked to the view, they will be one, stick together. Now if you pan or resoom, and do anything, all of that, you will do all of that through the, the camera will follow. If I subli this view 22, for example, let's Let's go to view and unpick this. All right. Here, I will leave it, kick the camera here in this area. Kick what will happen. And now when I orbit, as you see on this side, the camera follow my movement. And that's something nice and very easy to put your camera in any plate that you like. But for me, I'm not using this. Although it's this very easy way to control the camera, but I have another way to control the camera, and I like that. All right. Let's go to this arrow and kick this, and now the camera is free and no longer connected to the view. We have another scenario we can use. If you hit the Tilda baton underneath the escape. I will activate the walk through. Let's go first to the view section here and let's go to navigation. Down here, we got walk navigation and we have fly navigation. If you hit the tilda underneath the escape aton, you will activate the walk navigation. But that's just to change some setting inside the preferences. I will go to the edit here and go to preferences. We have a button here, we need to activate. Maybe it is here in the key map, here we have pi menu on a drag. That's mean if you want to see the Pi menu, you need to drag the mouse after you hit the paton, and I will explain what that's means. I activate this paton, you need to activate it. After that, go to this icon preferences. Let's see how can we use this. Now if I hit the pattern, Now I just activated the walk navigation. I can use this with the camera. Now I made the walk, but the camera I'm not looking at the scene through the camera, and it's still working the walk navigation. But what if I have zero to look at the scene through the camera and activate the walk navigation? Now I can control the camera and put it in the place that I want. This is another nice way to control the camera. Now if I hit the W A is D, the buttons that we all always used if we want to play a game, you can use it just to walk like this. If you hit Q, you will go down, if you hit E, you will go up, laviate up. And S will take you backward, will take you forward. A will take you to the left and D will take you to the right like this and moving the mouse at the direction of the camera now, like that. If you rotate the wheel of the mouse forward a couple of times, you will make the movement fast. If you take the wheel, if you rotate the wheel backwards, you will make the movement very, very subtle and slow like this. You have very, very nice control here you can use. But keep in your mind, you can't use the Tilda key if you're not do what I did. Preferences, key, activate Pi meno on atrich. Let's see what does mean Pima ont. If I hit the Tilda key now and move them just a little bit, I will activate the p, this. If you see a circle here and a couple of patterns around it, that's me this one. Now the pima is not going to be activated when you hit the platon. If you want to activate it, you need to hit the baton and move them out just a little bit. For any reason, if that's something confuse you, you can here to go to the camera, and if you want to activate fly walk navigation, you can go to the view and navigation and go to walk navigation, and you will get the same results. Or if you don't like to use the Tilda key, you can go again to the view and to the navigation and hit right click on view navigation, and you can add to the Quick arte. Now if I hit Q to open the quick art menu, I will get the walk navigation quickly and I will use it. Or there's another scenario. Let's go to the view navigation, walk navigation right click and assign shortcut. You can assign shortcut for that and choose whatever button you like from the keyboard. This is something nice you can do here. In the camera, you can select the camera. We have this frame, if you have a vert, it will be highlighted. If you hit, click on it, you will activate the camera and now will see here some properties. Now I selected the box and now I have the properties of the box. I will select the camera and there we're going we have the properties of the camera. You can select the frame and hit if you like. You can move. If you just have just a little bit of tilting, you can hit and move. You can hit and then z and z again to move the camera forward or backward. That's something optional. Or if you don't like that, just hit the Tilda key and hit S. S will take you forward and backwards. I think that's easier. Okay. One more thing here I need to cover, if I delete this camera, for example, let's move this cube just a little bit right here. I will add another camera, and as you see now, the camera is here. Let's assume that the camera that we added is disbard underneath the cube. Let's take this back, control, S delete this old key to bring this pack, and let's add a camera. Now we have a camera inside this cube, and I just need to put the camera exactly at this place. From this view. You should move it and align it until you got the view that you like, but there is another way fast way to pick the camera and snap it to this view. You need to control with t with zero from that and bad, and there we go. We just snapped it to the view. This is very interesting way to frame your camera quickly in any place that you like. Okay, this is how to control the camera the camera. These stuff are very important to practice with. So I will end this video and see you in the next one. 164. 165 Camera section camera optoin overview part 2: Hi, everyone, and welcome back. Let's dive in more in the camera setting. Let's add a new camera, hit HTA and add a camera, and now we have a camera. Let's pick a nice angle, maybe from here. I just need to look at the scene from this angle after that hit control, holt zero to f the camera right here. Select the frame of the camera, and let's go to the properties here, and let's see what we have. We have the first thing, the lens section, and the lens section, we have the type perspective and orthographic. What's the difference? The perspective give you a view similar to what a human I see. It will be a vanishing point like this. This is how we see the things in the world. Orthographic is something different. There is no vanishing point in this case. Every thing will be the same. The size of this cup will be the same size of that one. This is the orthographic. We use the orthographic when we need to take hots. If we have a car and we need to take front back view for the car to draw it, we need to use the orthographic type. Here we have the pooramic. We use the pooram if we need to create a GTRI image. If we need to take a shot 360 degree, we can use the ponoramic type. Inside the p inside the panoramic, we have a couple of choices here. These choices, you can see them if you switch the render to cycle. Inside EV, if you go here, you'll not see the choice poneromic. That's just exists in the cycle. Go back here to the camera section, and let's tack this two per respective. We will work with perspective. Here we have the lens units in the millimeter and here we have another option field of view, we will use millimeter because most of the camera, the real cameras work with the millimeter. The focal length, now it's in the millimeter, right here, two here. This option right here will help us to zoom and zoom out. If I put this forward, now I have a Zoom. Let's this view 22. I just need to see the camera. Let's go to the perspective and let's see what will happen to the camera when I Zoom. He what's happened. Now the camera become longer. When I take this to low value, I will g some strike. The value that's close to the human eye is 50 millimeter. This number is okay inside a narrow interior sins you can use millimeter, but that's going to stra the view just a little bit. Just keep that in your mind. Here we have the shifts to the x n to the y. If you want to shift your camera and see what's will happen. That will help you to shift the camera just a little bit if you like, if that mystery, and that's happen to the x n to the Y. The clip will clip the view. For example, I will push the start clip. I need to cancel the first cup I need to start looking at the scene from the third one and after that, now I got it If you have an archecture design, for example, and you need to take a section for that design, you can use the camera and clip and take that section if you like. This is very helpful. I will have it over here and hit a pack space to bring this pack to the original value. The end, if you want to clip the end, take this pack, You will clip it from the end, the same scene are. All right let's go to the camera, and let's open it here. We have the sensor of the camera. It's better to leave it on auto. We will work with auto sensor, and this is the size of the sensor. You can open the preset here if you want to ose any presets from this list if you like, or you can leave it like this. Here we have scroll, if you want to scroll and use whatever sensor from here or camera preset, or you can create a new preset if feel like. Here we have the save area, if we open it if we activate the save area. We have some lines These lines we use it if we have a text here, we need to add away from the frame of the camera. These lines will help us. I put it just a little bit, you can see that I can control these lines. They call save frame or save area. If you put the mouse over the value here, it is written save area for text and graphic. You can use this to save the graphic or save the text away, keep them away from the edge of the camera. Let's see what we got here. We got some extra option if you would like to use. This optional, we are rarely use this stuff. Let's turn this off. For the background image, if you want to add a background here inside the camera, let's add an image and go to open and let's open any image. Let's see which one we can use and the tie, maybe we can add the Sony, for example, and there we're going now we have a Sony connected to the frame of the camera. We have some stuff here, opcity, we can control the opacity, the depth, if you want from if you want this to be in front of the object or back, and Here we have some option for the frame method, crop fit offset. We have to the wit and to the x, and we have rotation, scale, the stuff, flip, if you want to flip, et cetera Let's delete this. Let's delete this as well and turn over the background. We have in the viewboard display some stuff here. The size of the camera, if we put this, I will have big size for the camera. Here we can activate the limit if you want to work with the depth of field. This plus right here will show you where is the depth of field, and we will take an example for the depth of field. Here we have the mist. If you activate it, you will see the start and end point for the mist. The sensor, if we go back, we can see the sensor for activator and the name of the camera will appear right here at the corner. Here we have this option, passport to. This will make the area out of the camera frame black or transparent as you see here, can make it transparent or black and you can turn this off and on if you like. Here we have nice guides. If you want to take and take care of the details, you can activate the stuff. This will help you to get better shot results because you can put the target in some correct area and that will help you to get artistic shots. These guys are very important. Here we have a bunch of them. We have the center and diagonal and ratio here. You can check them. Let's close this panel. Here we have the depth of field. This open right here is very important if we want to create a depth of field. Let's see how can we achieve this? First, I will activate the depth of field and now we have it, and here we have the distance. If I put this number, I can't see any distance. I don't know. I need to go to the render, so I will hit C and go to render. Now we are rendering the scene. All right. Let's change the distance, let's put the distance forward. I need to see the distance. If I want that, I can activate the limit. With the limit, I can specify the distance. Now, kick this plaza I have here. If I put the distance, I can see where is it. For example, I need to focus on the second here. Manipulate the distance until you reach this place after that. You can manipulate the atop to get nice depth of field. So let's add, for example, one atop. Let's see what we will got here. If we don't see any effect of the depth of field, we can take number to the minimum number. Let's take this back 2.1 C. Now we can see some depth of field. But because we have two mac distance here, we can take the camera just a little bit forward to make the depth of field better or stronger key and book the camera, just a little bit, maybe right here. I can't control the camera with the tilda key. That will be a bit better. Let's go back just a little bit. Let's put the camera Maybe right here, something like this. Now the depth of field become stronger. I will take the focus back, the distance, for example, here to the next one. Let's see what we've got so far. As you can see, now, we have some depth of field. The first object is out of focus and the other as well, except the second object is in focus. We can use another way to focus on object. For example, if I turn off the limits, I can use the object itself. If I use this i dropper and pick this object, the focus will be on this object. Let's give this a little bit of time and let's see what we will go. As you can see, we got the same scenario. Here we have some option for the plates. All of the stuff controls the result of the depth of field that we can see here. Plate, the number of the plates, we can control it from here. Let's add, for example, five, and let's see what we will got. The plate effect is happening on the edges of the o, the blurd object, here we have some notification tells you that you can use at three, we can add three here, and you can rotate these plates or these polygons that comes from the depth of field. Let's give those just a little bit of rotation. And when I do this, it's hard to see I know, but the blurred air that we got here on the edges, they are rotating like this. The stuff here. In general, if you want to get depth of field, just activate the option here. Take the f stop to something low and make some focus on any object. Let's focus on this one, and I will use another method here to make some focus. I will bring the three D cos right on this cup, hold gift and right click and move the mouse a little bit, and add an Mt. Let's add anything. Plane and scale a little bit make small. Now I will go to the camera and let's go to the depth of field, and I will delete the cup that I added and I will pick the empty. And now I'm focusing on the empty. Now you can move the empty and put it in any place you like. For example, I'm just going to teach you a method here. You can go to the snap to and use face snap, and you can leave this option as they are and move this empty and snap it anywhere. For example, I will snap it right there, hold control and snap it on the surface. Now the depth of fiel automatically will follow the empty and we'll focus on this area. This is a very fast and nice way to add fast depth of field for your object. I will to move the empty and snab it right here, for example. Now I'm focusing on this area here. Use this way very fast to get some depth of field and exactly in the place that you like. As it for the camera sec, and goodbye. 165. 166 Interior project Create the walls and the balcony: Hi again, and welcome back here. In this video, we need to create an interior scene. We learned a lot. We need to put all what we have learned in one project. So I just got this image from Pixel. Pixel is a website hearing three images and videos as well. I got this image from Pixel, and L can we create a scene like this? I will use this image as a reference and here, I have this image. You can consider it as a map just to help me to put the furniture in the right places. So, let's get started and let's see how can we create this interior scene. First thing that we need to do is to go to blender and open new scene, good file and new and open new scene, and Sep the window to two window here. I will s the editor to image editor, whereas it and drag and drop the image right here. Now, I have the image right here on the side. We need to bring them up and put it right here as well. I will date everything. Es I delete. I will go to top view at seven, or you can go to a view and viewboard, and Q top. And let's bring the image, drag the drop it right here side the three D Vboard and select the image and hit old or set the location, and there going become in the center. After that, you can go to the scene setting this section, CN properties, and got the unit. This week the unit, I will use meters. I will work with meters. Yeah, now it's default meter. Let's get started. First, let's add, maybe we can start with the plane. We can do this. The plane now is two meter by two meter and all and all dimension. Here we have 4.5, I need to scale this let's take the information from here and apply it on the plane 4.5 by eight meter. You don't need to be supersize about eight meter by 0.3 or any number here you can guess at eight and that's it. Because we are not going to care too about the area here, we will cancel it. We will add a camera right here and we will cancel everything here. We just need to care about this side. L et's go in and open the setting. In the y, I will add eight meter, and in the x. I will add 4.5 and there we go. Now it's okay. Cool. Now I need to scale the image to match the plane. Select the image and scale L maximize the view, and we just need to scale just a little bit. Something like this, maybe. Hit take this down just a little bit. Yeah, there we go. That's it. We don't need to be so much precise. I will take the down, get the Z, and take this down and underneath the plane, and that's it. Now, the first thing that we need to create is the wall. To create the wall, I can use the plane itself, so I can tap to the Edit mode and go to edges and grab all of the edges. Or if you do this, you will select the phase as well. In this case, what I will do is, I will take a copy from the object and the object mode not in the ded mode. Hit d to the z and take a copy up. That tap to the the mode and go to face and select this face right here and hit x to open the delete menu and to only phase. We just need to delete the pace. Now we got the edge. Right now, you go to the edge and grab all of these edges, hit e to the z, and extrude it like this, and that's we can take those edges down to the z and take those to the zero. If you want to snap them, you can activate the snap to the vertex and hit to the z, hold control and snap it with the ground. Now we got this. What about the heights? For the heights, I can grab these edges and hit to the Z and snub them with the ground. But the selection is still active. After that, I can hit to the z and just type three meter, and I will get three meter in height. That's cool. The next step is to go to the modifier and give this a thickness. Let's go to the modifier and add a solidify modifier to give this a thickness. Let's give the thickness inside. By the way, because we made a scale, we got some problems. I will d control A and apply the scale to avoid the variation that I got here. Kick this area and the thickness from the side. Control A, apply the scale to avoid that, and the same scenario for the plan, control A and apply the scale. Now I will add in the minus -0.25. And activate even thickness to get correct thickness at the corners, and that's it that's done. After that, you can apply the solidify and you don't need it anymore. All right, we create the walls. We have some details here. If we go to the top view, let's go to the image. I will call this plan, and I will open the filter here. Active this icon is called select because I don't need this image to be selectable and make it more selectable. Now let's go to the X ray because I need to see the image itself, grab the wall, and tap the point, and let's add some edges right here to create this extrusion in the wall. You can extrude the wall or if you like, you can create a boxes. I think I prefer creating boxes that will make the process easier. Let's add a box here and just create a box like this. One here. Now we've got one here. Let's go back to the select box, heft space, Alt x to of the x ray moot, tap moot, grab the space, g to the G, and hold control and snap it to this corner. All right. That's cool. Let's go to the top again, tab out activate x ray to see the map, HD, to take a copy and put the new copy right here. Now we got two of these. That's cool. Don't worry if they are inside the wall, that's's not a big problem. Now we got this. Let's see how can we create the window. We just need to add hole. I will make it very easy. I will use this add cube and create a box here in this area. Something like this. And go that thickness, and go back to select box, hit key, and put this inside. And I pull it, put it in the correct place. You can go to the right big view. Yeah, I think it's in the middle. If you want to be so much precise, you can tab to the mode, for example, grab any phase, for example, let grab this pase, it fs and bring the three D corso right here. Corso selected, now the three decors is in the middle. Tab out to grab this it fs and selection to Corso. Now the big cube that we added, will move to take the position of the three D coorso, now's become in the middle. After that, take this down just a little bit, something like this and give it a bit of space from the roof because we need some space and the image reference image, we have some space here. Now I need to trim this area, select the wall, go to the modifier at pollen and use the rubber and pick the cube. Now head control, I apply the pool, grab the cube and delete it, and now we got a hole. If you don't like the height, you can very easy. You can tap the mode, and grab this face and the key to the z and take this down if you want to manipulate it. The same scenery for the side, you can grab them and scale into the center if you like. After that, let's tap out and let's grab the ground. Tap to the mood and grab one edge, it to extrude it. Let's extrude this just ale bits out. I just need to create a balcon here. Let's grab this edge, hit to the z to extrude this to the z. Give it a bit of height. If you want to be more precise, you can hit G to the z and take this to the zero, snub it to this edge, and you can hit now g to the z again and add 1 meter. F two per size, and now we got 1 meter. After that, you grab this face or less extrude those maybe here. Maybe one extruion here, and one there as well, it E and extrude this right there. Something like this. The grab all of these new phases, hit P s to separate them. Now we got separate pass. After that, grab this tap the mood hit control r and add edges here, something like this, and the same for this side control r, and add edges here, and here as well, how many we added here, 36 control r and a six here as well. That's cool. For the height, maybe we can add some edges here. That's cool. Now let's is selate everything and go to the face and here we have an option here, we need to use it. Triangulate phase. Now we got this design. After that, hit a, select all the phases, and then hit I from the keyboard to add an inset and hit I again to inset each phase, and be careful, move your mouse just a little bit until you got nice result, something like this. Now these phases, I will delete them all, hit X and then F to delete all of these phases. Now we got this result. A this result needs some thickness. Tab out, go to the modifier and add solidify again. Active even thickness, and give it a little bit of solidify outside or inside, but be careful if you want to give it inside, you will get some overlapping here. This will go like this and this one as well and we will have an overlap here. But you can give it correct number. But for me, I will keep it outside. That will be better. When you be satisfied with the result, you can apply it. Let's try to apply this scale. Maybe we have some problem. We don't have any problem. Everything is okay and cool. Apply the solidify, we don't need to use it anymore, and that's it. For any reason, if you would like to give it above, you can give it a. Maybe we can add 0.001, very small amount. That's still too much. I will t this to 01. Something like this and a two segments. But keep in your mind, that will take that will be heavy on the buter because we have two my details right click head as smooth and go to the object data properties and open the normal and add smooth as very important. Go back to the Modifier and the heading section activate hard and normal to correct the heading. Now we got nice heading. But maybe I can activate this in the final render, I will turn this off to make the performance of the computer fast. Okay, so that's it for this video and see you on the next one. 166. 167 Interior project Create the window frame: Hi again, and welcome back, Let's see how can we create the window here. Let's select the wall and tap to the edit mode. I will select these edges here. The three, and hit Hit D to take a copy and then right click to leave them in the same place and P to open the spread menu and hit S to separate the selection. Tap out now from the wall and select these new edges. Tap to the mode again and go to the vertices, grab this vertex, and this vertex and hit F to create an edge here, and then hit A, select all the vertices or the edges and hit F to create a big phase, and then hit control r to add two edges here, and one in the middle, control r. Now, go to the face, hit A, select all the phase, and then hit I to inset. If you didn't get this result, you can hit I again to inset individual phases. Let's inset this just a little bit, something like this maybe. About 0.06, something like this. For these phases, we can separate hit P S to separate them like this. That's cool. Now we can we can tap the e and corrupt these edges, and those here as well, and it S, scale them down. Something like this. The here as well grab those and scare them to the x axis, give them a thickness. The idea is I just need to unify the thickness. Make the thickness that I have here similar to this one. That's cool. Now, let's move these pieces just a little bit away and we will take them back later. Let's select the frame and tab A, select all the phases hit E to extrude and extrad back. Something like this, you can i pole it. About 0.08. Or let's add 0.09. Tap and put this in the middle of the wall to the y axis, something like this. There we go. Now, let's go to the phase or taken. I just need to see if I flipped the normal, everything is blue. That's mean everything is correct. Let's tap to the now and select these phase again, all of them. Those here. I have to click on these edges to select this face, or you can go to the top, go to the x ray and grab the site to select the site. Now what I will do is I will hit I to inser this again. It. But I don't need to insert individual phases, so I will hit I again and insert those just a little bit, something like this. I will make extrusion it and extrude those out. I just need to create this egg here. I will hit slack from the number just to isolate this piece alone. Let's these phases, and I will snap them up to the z. Before you snub it, you just need to activate auto meg because the idea here, I need to merge them. I don't need those. Go to open the option here and activate atomrg. Or you can hit this pattern right here with icon, it ke to the z, and marge this face with this side and that's it. The same scenario for this side here, grab these faces, hit ke to the Z, and snap them here. For this side, the same scenario hit key to the Z, and snub it here, and those as well. Select this and this hit to the z and snap it. There is another way if you like, you can add an egg. I'm just going to give you an example, Add egg in the middle and grab these faces and hit Ade and extrude along normal, and you can extrude them like this if you prefer. There is more than one scenario to do what I Let's do this edge. We don't need it. That's cool. Let's hit exit now, slash. Now I have two options. I can bring those back here in the same place or I can create a new edges. For example, what I can do is I can hit click on all of these edges. I think that will be faster because we just scaled the frame and we made some change. Grabbing these edges and recreate the windows, that will be faster. Grab those like this hit head, and right click to leave them in the same place and the Ps to separate them. I'm just going to move the screen cast key. Let's see. I just going to move them just a little bit here. Let me to close this panel. All right now tab out to grab a new tab hit A and then hit F, and we just need to give them just a little bit of extrusion. It E and accept it. I will got some problem. I will hit control Z again and let's slash back. When I hit E, the extriion will go in the wrong diroen. Hit control Z and cancel that. Let's see how can we fix this. First thing let's kick the phase orientation. Let's go here and go to the phase orientation and kick it. We have right in blue. We need to make them. We want to make one of these sits blue all. I will go to phase, select and select these three phases and hit t N to open the normal menu and hit flip. Now let's see again, it A, select all the phases, hit E, and now the extracon will work. After guess give it any tracin here, you can control it. 0.01 will work. 1 centimeter thickness. I don't need to get the results, so I will A select all the phases and then have to to recalculate the normal and there we go. Let's turn of the phase orientation, sla excite and book these windows in the right position to the Y. Something like this may be in the middle. That will work. That's cool. Now let's grab the window and I just need to give them vl modifier. I can take the same bible that I add to the ulcony. Select this, hold it, select the balcony, control, and link the modifier. Now we could have the same difier. I will activate to see the result. That's right. There we go. After that, I just need to activate the auto smooth to get correct result here. Maybe I just need to increase the amount of the vl 1-5 maybe. I just need to see some leveling here, now we got nice results. Or the next step that we need to make, I think this window, we can open this So Let's do that here. Select the frame type with emote and let's select some phases. Let's turn off the val for now. Let's select these phases here. Al shifts, click to grab those as well. What else let's select the outer frame here. As well, Hit, D, take a cob, and right click to leave it in the same place and then Ps to separate them. Now we separate it result here. It to isolate this piece alone. I will tap the mode and grab these inner edges here. I guess going to hit S to scale those inside just a little bit, and I will grab the outer edges and gues hit E to extele bit to the y axis, a b to, something like this. I will grab the inner edges here and hit. Hold the sn this edge to this edge right here. Now, grab this and those here hit F two fill this area, but we will got some problem with that. Let's try another CNIO two link those. Grab this side with the side it F, and this side with the side hit F, and those here as well. F, I'll click on the last sorry. We just made a mistake here. Grab this, hold here to grab this hit F. We got three edges, those hit F, and here as well. And there we go. After that hit A, I just need to kick the phase orientation. Yeah, that's right. Let's turn this to blue, shift, and recalculate the normal and done. That's very cool. I now we just can activate the bible for this and we have got correct and nice result here. Let's to excite. I now we go this. Is very cool. Right now, let's grab this glass and select it. H control to select all the pieces that connect to this class, and move it a little bit. Maybe right here. That will work. That's enough. Let's add a handle here. I will go to this icon and use a cylinder, and I will create a cylinder right here. Hold f sorry to make the proportion correct and give this a bit of height. Go to the setting and let's reduce the number two maybe six and go back to select box, right now, tap the mood, graph this phase and take this down just at bit not too much. Hit control to add an H, maybe right here. Let's select this phase and this one, hit e to extrude this, something like this, maybe, and it S to scale it. Something like this will work. Let's add an here and one here as well, because I need to add subdivican service, and I need this error to be supported. Because if I don't, the subdivian will make all of this error smooth. But if I add an support here, I can make the smooth the curve of the smoothness. Let's see what else we need to do here. We need to add an e right here as well, and for the side, control r and add here. Yeah, for the side, control r, and for the side. Now let's as subdivision surface, and let's see what we will go. Maybe this phase we can insert this area. But before we insert this area, let's see what we will go. Tab out, go to the modifier as subdivision surface. Ric smooth, and increase this number to two, and now we got nice results. Now I will tab to the model this phase. Maybe I can just hit I to in I don't know. Maybe I can extrude back as a bit, have some circle here. That will work. I don't need to add more details here. Cool. Maybe we just need to rotate it, go to the front active x ray, and just hit R and rotate a little bit like this. That will be enough. I don't need to add more details to the frame here because we will add a cart in front of it, so any details we will add here just a waste of time. I'm not going to worry about that. A will do it for this video and see you in the next one. 167. 168 Interior project Create the TV and Library books: Hi, again, and we'll come back. Let's start with the TV. Where the TV. This is the TV. Let's see how can we create the stuff? Let's start with this design here. All right. Let's add a k here. Something like this. Don't worry about the size. We can edit that later. The first thing, let's go back to the select box. Hit shift space. Let's make this smaller, so we can see the shortcut. All right. Take this up just a little bit. I don't know, maybe point in the z, ten centimeter, maybe, 0.1, something like this. Yeah. And let's tap the tm to take these vertices, and grab those and hit key and book those. Keep it close to the wall here. For this side, I just need some space for the carton because here we have carton. I'm not going to book this all way to the wall. I just going to leave some space here for the carton, what else we need to do here? This size is nice. We can tap out and hit n to open this minu so we can see the dimension. This is for the z is about 40 centimeter. If you like, you can add 50.5, or this will work as well, and two, almost three meter. For the x x is the depth 30 centimeter. Maybe 0.35. Something like this or that two small 0.4, maybe. Let's top to Etmod, and let's go to the top view it number seven for then I bad. In the x ray, I will grab these vertices and push them just a little bit near to the wall and s it. Let's see how many cut we need to add here, one, two, three, four, five. I control r, and let's add three, four, five here, and, five. What else we need to bevle those edges that we just created, crop them one by one. Control and just give them a small amount of beveling, too, something very small. Maybe boe zero, zero, two, or three, something like this. What else it control are to add one here. This I will val control B to v. Let's push this g. I just need to create a frame here and frame here as well. A now let's select these phases, starting with this one here. Hold control grab those hit ps to separate them. Ht tab out and select this new phase tab and grab the grab these faces and hit control, I to invert it to select these small faces, and then hit x f to delete them. We don't need them and tub out fact. Now we just need to give it a thickness, go to the solidify a s, go to the modify list, and add solify. Let's put this number to the opposite. Let's add 0.0 in the minus -0.0, maybe three hit enter. Just the three centimeter. Let's select this tab and grab these faces. The same scenario those here. Hold can troll grub this and extrude them a little bit, hit E. Something like this will work. Yeah. That's cool. Then tab out. Now we just need to add vl. Select the big piece here and let's go to the modifying add vl. Let's the amount to 0.001, it er. If that's small you can add more than that. Let's add two segment here, activate harder normal. We have a warning here tells you that you need to activate the auto smooth here, so activate it. There we go. Let's co with the same modifier to the doors here, Clo clubs control L, and link CVI modifiers. We got some problem because we didn't apply the solidify. When we co the modifier from this one to this one, it will replace the eval with the solidify and we will lose the thickness, so I will apply the solidify first. Hold have to grab this, control, CVI modifier and there we go. We just need to activate auto smooth. We have a wording here. C. Now we got nice results. After that, let's go to this icon again. Let's create a frame of wood, small like this. Let's go back to select box. Tap the mood, grab this face. Let's zoom it just a little bit here. We just need to see. Yeah, it's almost close to what I did here. What else I need to take this to the roof? I will go to the vertices, grab the side dz and take this up until you re the roof. In the same s, take those here, z and snub it to the ground. We can see it here. And tub out and let's smooth the chest, maybe right here. Had to take a copy and let's put those es a little bit, give them nice space, and then he half to our co time until you reach the air that you like. Too much. I think we add too much. Let's select those and delete them. Something like this, maybe will work. Okay. That's cool. After that, let's select those again one by one. We can grab them like this and cancel the, hold control and cancel it. After that control J to make them and make them one piece and we go now they are one piece. You can now give them a le, and you can CB from this table that we create here. Select those. Hold to grab this, control L, CB modifier. Now they should have a modifier, as cool. Let's activate auto smooth for them and there we go. We finished. Let's start with a TV. Let's create a new cube here, something like this. Let's go to select box, it to check the dimension here. So it's let's move it out a little bit here in the right place. Something like this. 1.63 in the x. That will work and in the y one point sen 0.7. Yeah, somewhere close to this number. For the thickness, I just can add 1 centimeter 0.1, sorry, 0.01. Or maybe I can give it more thickness. I think I could do that. 0.02. That's better. Cool. Its not exactly like to the image because I think we need to give this more room here, but I'm not going to worry about this too much. Lets see now what we can do. Let's add some details here. I will tap the in mode and select the face this phase. I will hit two in a b not too much, and hit to this inside, something like this. That's cool. Now I will hit P S to separate this cream. Now let's select the frame, and let's give this a biv. I can cove the bival the same biv that we add to the wood planks. Select this, hold it, grab the wood planks, hit control and cob modifier. Now select this frame and activate auto smooth here. But we got some problem maybe. I don't know, maybe because of the scale. I will let control a and apply the scale, and now it's correct. Cool. Let's go to the modifier, and let's reduce the number 20, one, two, maybe a 05, make it very small. Yeah, that's it. You know, we can push it back to the wall, key and move it to the x axis. Keep the close to the wall. It's not necessary to attach it, now we got something nice. We just need to give it a bit of thickness from the bottom area. I will tap to the edit mode and let's to isolate this alone. Let's see grab this face, it key to the z, sorry. And take this down just a little bit, something like this, and then tap out, and the other ax. Let's to excite. There we go. A one more thing here we need to do. I will select these planks and slick to isolate them, and I will start from the bag. I will tap it wood and yes, take one phase. What I need to do is I need to take one phase and boot it underneath the wood planks. Let's start with this one. I will have D to take a copy and right click to leave it in the same place and then P s to separate it. Tap out from the wood and grab now this new phase. Ta move the grabs edge, hit and move it to the site hold control the snub it to this edge right here. And there we go. Now let's check the phase orientation let's see what we got so far. We need to flip this phase. Tap is move it a selected n and hit enter to flip on the other side and the gon is correct. Turn off phase orientation. We don't need anymore to excite. We just need to move it just a little bit away from the wall, g to the x, and move them a little bit. Maybe we can give this a thicknes, tap it A, hit E, if you like and give it a thickness if you prefer, we still have the babel working here. That's cool. Something like this, would be nice. What else do we need to do here? Now, maybe we can create book library that we have here. Let's see if can we start doing that. I will select this box and hit tap to e moot. I just select this phase to start from this phase. H D take Copyli, leave it in the same place. T S and separate it. Tab grab this face, tap the moot for this phase, A, select everything it to extruded and give it a bit of thickness like this. Go to the top. Grab the in the x ray, these hit key and take them back just a b, something like this. Kick the phase orientation in case that we have any flipped phases. Everything is cool. We've got some problem here. Sorry. Let's go back here. Maybe we need to flip this phase again. Yeah. Tap it A and then shift, and that's it. Now, let's fix. Let's go back here. And I just need to give this es a little bit of thickness key to the Y and move the chess a little bit. No too much. That will be okay. All right, so the thickness now that I have is about 0.02, I mean two centimeter. I will take a COB hit PT on the other side. From the top, let's control it, hit and move it to the y H control and stab it here. Then we're going to we got this. The top again. Now the organ dot is right here. We need to move it back to this piece. What I will do is right click set Og organ to geometry, and now hit heavily to taco, maybe right here, and rotate it nine degree, something like this. Tap grabs and the x ray, grab these vertices. Move them right here. The same scenario for those g and move them here, and the other set. That's cool. Tubos. All right, let's see how many he we need to add here. One, two, three, four, five, six. Let's add six here. Tab, control r. Now we have a one, two, three, four, five, six, Confer them with the left click and hit right click to leave them in the same place. Now what we need to do is hit S to the Z, scale them like that, hit to the Z, and take those up, something like this. Maybe scale those away a little bit, not too much. Cool. Now let's grab all of these new edges that we added here. And then it control be to bevel them and just give them ness amount of bevling close to the Emic results. Now I will add one e here in the middle and bev as well. This, I just need to reach the side, but I just add small listings here for the side and for the side as well here. And now crab these faces. You have two scenario here. You can crab them like that, and extrude them like this. That will work. Or we can detach these faces and give them thickness. For me, I will exhibit this result. It's working, and now we just need to give it a level. What I will do is I will give it the same level that we add to the wood planks. Crab this hold this piece, for example, control and cobum modifier. And now we have the same level. Selected and activate auto smooth. For this piece and this piece, I will grab them and had control j to make them one piece. Alt have to grab this. Then control and CV modifier. After that, I will give this auto smooth to fix the heading. That's very cool. We did nee progress here. Maybe we can manipulate the results a little bits because we don't have that much depth here. Maybe I can select all of these pieces and go to the top and tap the mood and cut up all of these vertices on the side and the x ray and it and move the atle bit like this. That will fix my problem, and now everything is correct. Alright, so we did a nice job here. And yeah, that's it for this video and see you and the next one. 168. 169 Interior project Creating the sofa: Again, and we'll come back here. Let's see create the sofa. Let's see from where we can start and how can we do this? I don't have information for the heights, and I don't know surely the length of the sofa. But in the plane, we add some box for the sofa. You can stick with this guide and create the sofa the same size of this sofa here. Or you can go beyond it and make a tall that's up to you. All right. Let's start with the cube. I will add the cube right here. Let's add the cube from here, select and create a cube like this and give it a little bit of depth. As you go to slid, go to select box. Now I just need to give it a bit of height, so I will hit ten to open this panel, and for the z, I will add 40 centimeter, s 0.4. Centimeter. I will hit key to take this up. I will assume that the height is 0.4 meter. What else we can do here. Now let's see how can we mode these parts. What I will do is I will create one part and duplicate and make some variation. Let's start with that. First, I will tap the eight mood and add some edges. Let's add a couple of edges right here on the side. On this side as well, control and add some edges here. Something like this. I added almost one, two, three, four, five, six, seven here, and seven or eight on the side. After that edges right here. Let's add, for example, four edges here. Now let's grab these edges on the side, and it to the z and take those down just a little bit, something like this. That's cool. Let's target the corners as well. Let's hit to isolate. Let's grab these corners. Al to click. And those as well here. And just give them a ble, I control B and ble those. I will g some weird problem here. L's see what that's happen, maybe we have double. In this case, I will hit A and and mic by distance. We don't have any vertic here to mic. That's that's not about miking vertices. See where that's happening. We don't have any vel here. Let's check the phase orientation. It's not about face or in taking everything is okay. Let's just one again and let's pal see is the problem. I don't know, maybe about scale. I will control analyze the scale in tab, it's scale problem. That's weird, really. Artistic all those as well. And those here and bevel them control B. Let's add three, for example here, something like this. Yeah, cool. Now, let's add sub modifier above this result. I will tap out and go to the modifier subdivision surface. Now we got something smooth here, but we need to edit this further. What I will do is I will take this to the sculpt. I'm not going to make this complicated. I just make some sculpting. It will be easy. For the subdivision, I will control end up lights. I don't need it anymore. Let's go and tweak this mood to scalp mood, and now I'm in the scalp mood. Here we have a bunch of pracs. I will extend this tool bar just a little bit. Just put the mod and drag it to see the other toolbar. Because if I don't do this, I need to scroll down so I can see the other brachs. I don't like to do this, but I can extend it just a little bit like this. I just need to use one of these braces. This mouse right here is called cloth filter. Let's activate it. If you do this, here we will have some option for this ph. I don't need to work with the gravity. I need to work with inflate to inflate it just a little bit. To make this work, you need to click on the object and move the mouse to the left and to the right, and now we inflate it. Now we got this result is almost similar to what we have here. If you do that further, you can ruin it, but you need to be careful when you work with this spike. A what I have done is just hit right click. Left to click, and I moved the mouse just a little bit. There we go. This result, I like it. I will accept it. When you complete, you just need to go back to Op and that's it. You can leave the tool bar like this or you can close it, and make a toll like that. That's optional. Now I got this results. Let's hit slack to excites, and let's see what else we can do. Let's go to the top. Now we add this in the right place. Now we can duplicate this one. Hit ft and take a Cobe here. Something like this. Heft R to add Cobi, can add, for example, five pieces, maybe. I don't know. Something like this will work. I will take a b from this one and move forward, maybe right here. That's cool. The next step, I need to add pack site for the Suva. In this case, what I can do is I can d a right here and rotate to the y axis R y 90 degree, from the top of view, I can put it in the right place. Let's see where I should we put it. Maybe we can scale it just a little bit. Hit to this and take this down. All right now is okay. If you want to make this taller is optional, let's see the result here. I think this result is nice. I can accept it. Maybe I can make this a bit taller. Take this up just a little bit. I think that will work and take some b, d and take some Kobe. H a couple time to repeat that, and there we go. That's cool. Let's see what else we can do here. Maybe we can Yeah, maybe we can take a and b here and rotate this like this and use it here. Does that make sense or not? Something like this or maybe I can rotate this with a Y. That's not going to work because we got the same result here. Maybe we can make it a bit, I know, and up like the scale. This will work. Even if I scaled it, it still works. Yeah, that's cool. If you want to make some variation now, let's select all of these pieces, and control J and make them one piece. Now let's take them to the scalp mood again, go to object and go to scalp mood. You can select to isolate them if you like, and let's extend this tool b a little bit. I will use a new ph grab ph. This ph help us to grab the vertices and push them to the drogin that you like. For example, I activate it and now I have This circle that you see, I need to put it in any place that I like and push the vertice that I want. This, the circle, you can make it big. Push this radius. Now it's become big. You can control the strength if you want it to be strong effect or not strong. You can hit F to control the size if you like, and H F to control the strength. Now let's make some variation. I will make this a bit pick and some faces and all the chin. For example, those I can put this forward just a little bit. Maybe put this just a little bit here. The idea is I just need to make some variation between these pieces. If you want to grab a big area, go back and move, or if you want to grab small area Zoom and move the area that you like. Let's put those a little bit like this and make some in here. Something like that. That's cool. Let's add some here as well. All right. That's cool asset. I don't need to spend too much time here. The varion that I got now is very nice. I will go back to object mood, open this list and go here. Very nice. After that, I can click and choose head smooth to make this smooth and excite, and now we got nice sofa here. A how can we create these pillows? To do that. What I will do is I will add a cube here. Something like this. You can kick the size. Let's add 0.5 and 0.5. For the height, I can add 0.01, 1 centimeter. That's it. Let's go back to select box. Tap the eight moot, control and add as here. Let's see how much we need. Just add to many aces on each side for the side and this side as well. Let's see how many acres we add here. Let's do that again. Or I can confirm it and add the acres from here, I can control it from here. For example, let's add 50 here. On this set as well, control, just add one in here type 50 acid. Now we got this. After that, I will like to isolate this piece and go back to sculpt moot and I will go back to this part, is called cloth filter and inflates, I just can click and move them out just a little bit. Until I got something close to pillow. Let's do that again. I'm not getting correct results, and that's because of the scaling. What I will do is I will get control that couple time. Let's go to the object mode, it control A and apply the scale, and now let's go back to a scale mode and let's do the same scenario here. I got my approach, I got the inflate choice filter, and now let's see. Now as you see, I got another result. But that's to control and do that again. Be careful. Something like this maybe. This looks nice, I think. A, cool. Let's go back to object mode because I need to move this and put it in the right place. Hit and let's take this up and let's rotate this to like this, maybe rotate at b to the x, and move this at b right here timber. Y All right. Maybe now I can grab those and isolate them and jump to the edit mode scalt mood sorry. And it this. P let's get the grab ph. Make the price bit pick and now start see what we we got some roll here. P effect sofa. Select this and go to scalt mood. Yeah. Cool. Now let's move the a little bit here. Let's move this a little bit right here. I just need to grab a big area and push it back guess a little bit. Now, it's the time to add some wrinkles. To do this, I will use another pros here is called cloth ph. This ph is very nice, and I'm not going to make it complicated. I just can use the ph alone without adjusting any setting. I think I don't need to adjust any setting. The only thing that I need to do is just to make the radio small like this. No that size a little bit pick, something like this, and click and drag down, for example, to add some wrinkles, but don't go like crazy because You will go some overlapping in the face and you will go very bad results. Keep that in mind. Let's make some wrinkles here. Just click and drag down. All right. Maybe up from here and on this side as well. All right. That's cool. This result is nice. I like it. What I will do is I will go back to object mode and a smooth. That's very cool, very nice. Let's take another Kobe. Let's add another Kobe right here. Maybe we can go to the Z, go to the top view and rotate it a bit, I know, put this right here and align it a bit like this and make some tweaking in the culp mode. A key, and let's take this a little bit right here, and key to the maybe a little bit. All right. Now let's take this and go to Scot Mood. I will use the gp again, and guess I'm going to book these faces. Maybe those here down. Zoom in just a little bit and grab those. Take those from the bag. It's nice. Right now, I can use the cloth brush and as I said, be careful, a small attack. Something like this. That will make it realistic and. We've got some overlapping. Let's try to avoid it, go to grab and move the a little bit. That's nice. Maybe I can go to cloth again and just make some wrinkles here. Yeah, it's very nice. Let's go back to object mood and now we can take another Kobe, but from this piece, I just can create another one here. Let's take he and move this right here, something like this. Let's take this to the sculpt mode. The same CNI will go to the grab and just move some vertices, avoid overlapping, something like that. From this point, maybe I can push some faces down. Something like that. When you be satisfied, go back to cloth and make some variation. Not too much. Something like this will work maybe from here as well. Yeah, that's it. You got the idea. Let's go back to objects, and there we go. I don't know. I feel that I should take a Kobe and put right here in this area. I think that will be better. Let's grab this one and it. Let's put this right here. All right. Let's put this here, for example. Maybe we can rot it just a little bit, something like that. Now let's go back to sculpt mood and let's use the crop to boh some vertices. H to make the probit pick. This is just a little bit like that. Maybe from here. What else? Let's go to the cloth ph and let's make some variation here. Somebody like this. That's cool. N. L et's go back to object mode. In cool. All right now, let's see how can we create these wires that we have on the edges. Let's start with this one. Let's stop with the edit mode. What I will do is, I will grab these edges that meet in one vertex here. Select them all, trace them and select them like that. From this side as well. After that, hit shift with D, take B, and hit right click to leave it in the same place and then P s to separate it. Now tab out and select this new line that we have here. What I need to do is now This line is Mish. If I kick the icon right here tells me it's Mish because we have this icon. But I need to convert this to curve to create this effect of the wire. In this case, what I will do is, I will hit right click and convert to curve. Kick the curve, the curve has another icon. And now it's change to curve, as you see here, the icon change to curve. Well, why I did that because I need to use the curve properties, just to create the wire. Under the geometry section here, we have the bb, we have depth. Move this just a little bit. But hold shift to make the movement slow to get the wire that you like. Let's try to make it small. Maybe something like this will work. 0.002. I will accept this result. After that, you just need to give a smooth selected, right click a smooth. And now it's become smooth. Here we have the resolution if you want to control the resolution. Let's go to the wire frame, and let's take the resolution down. As you can see, I can control the resolution here. Let's go back to solid mode. This add 33 is nice. All right, cool. Now what we need to do is we need to do the same scenario for all of these pieces. I know it will take too much time, but we don't have another choice. We should do that. Let's do that together. I just need to mention something here. It's very important. When you select the edges, convert them to seam because we need to ro these pieces, keep that in your mind. Let's select those together. Maybe I will speed the video. Okay, I think I just selected all the edges that I want. But for this piece, I don't because I have this wire above it, so I will like to isolate those again and keep selecting the edges. Now, I think I am done. I selected all the necessary edges, and I think you got the idea what I did here. I just selected these edges at the corners. Now what we need to do is, we need to go to UV and mark S, mark those as SM. That's fair thing. After that, hit Shift D and take a V from them, and then hit right click to bring them back. And with this new KV hit P and then S to separate them, and then tub out. Now let's select this new V and slack to isolate it, slag twice, This is what we have done so far. A grab them. Then right click, convert to curve, go to the cave properties, go underneath the bible. We have the depth. Put the depth, a little bit hold shift, and guess give it a bit of depth. Let's go back to the Sofa. Let's see what we got so far. Maybe we can add 0.0, zero, five. That's work or not. Yeah, that's work. Five. I like it to be big. Maybe that's that's too accurately. Let's take this 2.004. Think that's better. That's cool. I guess have two wires here. The old one that we created and the new one. I will delete this one and keep the new, that's very cool. Now we got the SVD. We just need to rob it with the UV map inside UV editor, and it will be ready to add the texture. Yeah. One more thing here we need to do is just add seams to the pillow as well to rob them, but I will do that in another. I will end this video and see you at the next one. 169. 170 Interior project creating the carpet(2): H i again, and we'll come back. In this video, we need to create the carbt. It will be very easy to create. Let's go to the top review and lets select this tool to create a box. Let's start. Let's create carbts similar to the size that we have in the plan. Let's create a box like that and just give it a bit of depth and confirm it. That's it. All right. Let's go back to select box What I need to do is now, I will tap the mode and grab this face and take this face down. Something like this, give it a little bit of height, not too much. Something like this. After that, go to the edges, go to the edges number two, and a select all the edges, it cant roll be to bubble them and give it a small amount of bubbling. A Something like this will work. Yeah, that's it. We don't have much to do here. If we have any overlapping with the sofa, maybe we can take the sulfa up just a little bit. If we don't, I will leave it like that. I will isolate the carbt, and I will delete this face in the back. We don't need it. Yeah, just this one, x F and delete it. What else's add some here at the corners and sm here as well. Correct click Mark sm, and for that side as well. Mark sam for this side, Mark. Right now hit A, select everything and hit U and u again to Arab it. If you need to see the result, you just need to see this, for example, to the UV editor or you can go to the UV editor, by the way here. Quickly, hit A to Arab and Qs confirm now there we go. We rob the carb and it. Now let's go back to the layouts. And radically head smooth is very important. Later we will complete the details about the texture. One more thing here we can do, we got some problem with the heading in the extreme angle. For example, I can see some dark shadow here. If I need to avoid it, I can add some edges here on the carb. Tab can troll and the wheel and add some edges like this on the pot side. And that's it. Now, I minimized the effects. Now it's become better. Here you can activate auto smooth as well and add if you like weight normal, as we'll fix it as well and apply it as you can work as well. This is how to create a carb. It was very easy. After that, we will see what we need to create here in the next video. 170. 171 Interior project creating the air condition: Hi, and welcome back. Let's see how can we create the condition. Let's start with the cube and any size you like, and here you can add the dimension or you can hit n and open this panel. Let's add maybe in the y, maybe I can add 0.9 centimeter meter. For the z, maybe I can add 20.2 for the x, maybe I can add 18 centimeter, 0.18. I think I can start with this one or maybe I can just make it a bit taller like this, z. Yeah. Let's go back to the select box, control A and apply the scale. Let's close this panel, we don't need it. Let's top to the mode and let's select this ge, and let's start with this one. I will bifle it and let's add some edges in this area. And give it a bival similar to the bival that you see here in the image. For this side, maybe the vl it should be a different. I will control B and bival this and make the biv a bit bigger and increase the number of segment to make this smooth or something like that. I don't know, I feel that I need to book this phase just a little bit like this. This result is nice. Now I will add one here in the middle and the ballet control B, and let's add on the side and the the same scenario. Cool. After that, let's hit like to isolate this piece alone, and let's go to phase. I just need to select maybe start with this phase, this phase, and this one and this one. Maybe I can hit E and open extrude menu and extrude along normals and put those inside, something like that. Cool. I will hit Ht to take a copy of these phases like that and right click to leave them in the same place and then hit Alt S to book these phases out again. But keep in your mind to turn off automag because they will be merged. Turn off and then alt and take those back to bit like this, and then hit Ps to separate them. As. Now, select this new piece and tap grab this phase F and delete it. I will give this a bit of thickness. Tap out, go to the solidify and give it a bit of thickness, something like this and apply the modifier. Grab this right head smooth and activate the auto smooth for this. For this piece as we activate auto smooth and give it head smooth. Now maybe we can add the bevel. Let's start with big piece and give it a bevel modifier. Let's add 0.01. 0.001 and two segment and activates the normal. That's very cool. C the same we defer to this piece, grab called the grab this control L, CBI fire, and now we got this. This result is close to what we have here. Very cool. Now we just need to move it and put it in the right position. Let's slash to excite and get to move, grab all the pieces, to the z, and take this up. Let's push it to the wall. Something like this, maybe. G to the z. We can move it just a little bit right here and take it out of the wall. Let's take this down just a little bit, something like that. Later, if I need to take it up, I will do this. I think we make it I don't know, tall, maybe. Maybe we just need to reduce the length a bit. We can go to the vertex and de grab these vertices and push them to the it ale bit. Maybe we can move it, something like this. This will work. Nice. Okay, so that's it and see you on the next video. 171. 172 Interior project Creating the plant part 1: Hi, everyone, and welcome back here. This video, we need to create the plants. Let's see how can we do that. All right. Let's bring the three Dicosor right there. A first, let's activate screen cast. I just forget to activate it. Let's move the small right here. All right. Hold shift and then right click and move the mouse to put the three dicosor right here. And then shift a to add the cylinder and make the cylinder small, something like this. All right. If I open the item information is about 0.3 30 centimeter diameter, and for the heights almost 40.4. All right. Now let's let's hit right click and hit a smooth and activate Auto smooth and tap the edit mode to make some tweaking. I will select the pace hit I inserts a little bit, and then do. Something like that. Cool. Then hits. And then e two strew this up again. G to the z just a little bit. Make it a bit shorter than the outer edge. After that, I will hit I again to make another inside like that, and to this inside like this that's cool. Hit to the z and take this down. Great. Okay, let's go to the edge, I'd click on this edge and this one as well, and those here. Sorry. This one here, hit control B to vl them. Let's add three edges, and it slash to isolate it. And for the pace, I will add a vl on these edges, control B. And let's add three as well. There we go. After that, I will go to the face and grab this face, hit control plus co time to grow the selection and to select. The core, just these faces, and then hit P s to separate. Now I will tap the smut again and the grab it space hit heavy D to the Z, and take a CV right here. Or what I need to do is, I need to use this as a soil. So you can copy this and boots right here if you like. And I will hit X, or before that, I will hit ps to separate it, and then select this one alone. Then tap the mood, go to face, grab this phase, hit x to open the delete menu. As delete only phase. We just need to delete the phase and leave the edge. Go to ge, click, select the whole edge, go to face, and then chose a grid to fill it with the grid. Yeah, that's it. Now we have quarts. That's cool. After that, what we can do is we can grab this and go to the modifier and add weight normal to fix the normal and to give us patters result. You can apply after that. That's the first thing. After that, we need to create the plant leaves. Let's see we do this. I have this image, leaf image, and I will put it inside the scene here. Let's go for example to the top. Let's bring back this image. Just try and drop it here, and that's it. I can scale it. I don't need to make it that big, something like this. Let's add the plane and hit to scale it. Hit and move it right here. Go to the x ray so we can see the image, and then let's scale this even more. Now I just need to make some adjustment to the plane and match it with the leaves. Tap the edit mode and let's grab this. Start from here, maybe, it and take those maybe right here, it to extrude this for example here. Let's add one here, it control r and add one A here, for example, and scale it and match it with the image. Grab this, scale them down like that. Hit control R to add one here. And scale them. Control r here. And scale this just a little bit, something like this. From the side, let's move those just a little bit, hit twice to slide. The g and hit Et right here, maybe. Control R, let's add two edges and scale them. Cut up this one and scale it, as well as well. Maybe I can move this just a bit right here. All right. Yeah, something like this. What else do we need to do here? We need to add one in the middle, maybe, something like that. All right. That's cool. All right, now let's rub this one. Hit a select all the pieces and hit and again to rub it. Let's open the rub it, UV editor here. Let's see what we've got so far. All right We got this. Now we maybe we can add a material for this piece, the mage that we have here. So what I will do is I will speak the image editor to the Hader editor and hit and to close this panel. And let's create a new material for the CUB stab out. Grab the image and take the mag down, we don't need it. Grab this one. Exit of the x ray, hit U to create a new material. Let's bring the image from the folder and put it right here, drag and row here. Connected to the base color. And let's go to the material review so we can see the result. Now we need to make some alignment. Fair thing, let's go here and select this piece, tap it it mode. Let's see what we've got so far. This is the UV. All what we need to do is align this with the image. Grab the UV and move it and try to align it, it scale, and make it small, something like this. We can move some vertices manually, I can make this pick if I like. Let's those first. Let's move those here. Something like this will be nice. Align the U view with the image. When you do that, what's happened is kick will happen here in this area when I move these vertices. Look what's happened right here in this area. If you go beyond that, you will get some problem as you see here. Keep it inside the leave and move this one as well. Maybe I can take this back. This one. Maybe I can move those just a little bit here. Make all of the vertices inside the image of the leave or the leave itself. Don't make the edge go beyond the edge of the leave. This is the idea, grab those here and move this one, for example, here. Write something like this. Now we've got nice results. Very cool. All right now, let's select these Let's select these vertices and hit e to make a new extrusion. All right, something like this, maybe. I move those just a little bit. Just give it a length and hit control to add a couple of eggs right here in this area and confirm that. Or maybe we can add more something like this, maybe. And what else we need to do here? We can add eggs here, if you like to make this to give this a resolution, and here maybe. Something like that. All right, that's nice. All right now we've finished with the leave. I will delete the image. We don't need anymore. And now let's go back to solid mood let's complete the plant. Let's go back to image editor here and let's open our anterior image. And let's create the leg of the plant. Let's put the three dicrotor here in the middle and let's go to ad and let's add, for example, a cylinder. This is very big. Before you scale it, you just need to take the vertices down to maybe I don't know vertices, or something loboly, and the scale then, make it very small, similar to the image. Now we can tap to the edit mode and we can It e to the Z and give this length, e to the Z again, maybe something like this. A scaled from top and control to at edges like that. Let's go to vertices, go to x ray and just make some variation and the scale and move some vertices. Maybe moving those just a little bit. L et's grab those and make some scaling here. Something like this. And from the top, we can grab these vertices. It can troll be to pivle them. And let's pval those yes a little bit like this. Let's take out of the x ray and rili smooth. All right now, let's go back to the leave here and make some adjustments. Let's top to the mode and let's see what we have. I think now I can give this a bit of thickness. Let's go to the modifier list and let's add a solidify modifier. I just need to give this a little bit of thickness. Let's scr this b too what I have here and apply the modifier after that. Now make this a bit smaller. Let's sep to it mode now and I think I made it too much tall as compared to the g. I'm going to delete in the x ray. Some vertices, maybe delete all of these XF. Maybe delete this one as well, X F. Yeah, I think that will work. Ove is, grab this g in this and for this side, grab this and scale those. It S to the Z and scale those. I just activated this turn off proportional thing if you activate it, so let's hit S and Z, scale those up like that. Let's grab the side here. And those here as well, and a Z and scale those as well. Now, I cut this result. I think that's a bit pig, let's grab them and scale them to the x and z, it S and cancel the y hit f y, and scale the atle pig. Now, I cut this result. After that, maybe I need to add some support edges here in the middle or just support this area control maybe and add right here on this side, or you can vl it if you like. I can grab those. Grab these edges, and grab those as well. It control and select this edge. I think I need to isolate this alone because the cylinder that I added here is annoying me, so I will hit slash twice and work with this one alone. I think that will be better. Grab the edges that I just selected and double them. It control and double them. A bit and two edges, not too much. Zoom in here to see what I did. For this area, what I will do is I will push this edge, I'll click git wise and push it right here to avoid any stretching. I will add the new one here. I added just as a support edge lo because I need to add a subdivision surface, and if I add subdivision surface, this area will be smooth like this. I don't need that. All right. What else we need to do here? Let's try to add subdivican service now. Let's tab out and go to the modifier a subdivigan with level one. That's cool. Ric head smooth. Now let's go to material review to see the result. The result is not bad. It's working. After that, we need to make someat tweaking. Let's delete this. I just need to make some it tweaking to give it to make it a KV. Let's tab to the edit mod and let's go to vertices. First, maybe I can start with these vertices, or maybe I can start with the middle. Let's grab those vertices that I have here, and the x ray mood and less activate proportional editing and hit to move those to the Z axis. Rotate the wheel until you make the circle small, make the effects smaller, let's take those just a little bit do, same what we have here. Let's move in here and grab maybe one here, hit to the z, and take this down. And this one as well, key to the Z and take this down just a little bit. For this for the tip, I will pick a nice angle and then hit r to rotate. I can use the three d coorsor as my ivots. Let's use three d coors. Let's go to the right or to the left. L c which one is working the right right. I will put the three dcorsor here in the space and rotate the vertex along it, just like that. But I just need to put the three dcursor in the right position. Let's start from here. Let's see what you will go. Or something like this, maybe. I don't know. Maybe I can move here and start again and make the circle a bit big. All right. Now, I got nice results. All right. Let's go back to the right and let's see what else we can do here. Maybe I can put the three D cursor right here as well maybe here and hit terrotate and make the circle very big to affect more geometry and rotate. Something like this. I don't know. Maybe it's work. What else maybe I can now grab this side in the x ray mood and rotates as well. Make this the effect a bit smaller, and rotates. Now I got this curve. Turn off provocal thing after that. That's Now let's slide to excite and let's go to solid and turn off x ray. Take this new piece up almost right here and we need to put it. We need to distribute it along this leg. Let's see how can we achieve this. I will move this maybe here temporarily. What I can do in this case, I can move the origin dot here in this area. Let's do that. I will tap and de grab these vertices, and then it ft and bring the three D courser to the selected. After that, tap out, right click, sit Odion to three D courser to make the organ dot follow the three D courser position, and go to go to the snap and use Fa Snap and use center. Let's see this to bounding box. Now, what I need to do is, I need to snap this on the leg. I mean, I can hit g now and hold control and snub it on the leg. I can take another C be hit H D and snap a new C right here and can roll it and pick an angle and rotate it. All right. But I will have some problem here because I add the origin dot here in the end, I will have some gap here. I need this to penetrate the leg. I can move this manually or what I can do is, let's go back here. Let's move this a little bit away. What I can do is, sorry. Let's zoom in just a little bit. I can go to the options here and activate the organ and manually hit key and move the organ inside like this, and then turn off the organ. Right now, I will hit key and snap it. Now it will be inside automatically, but make sure to put it in the center like this. Right, something like that. Now we need to take some copies and distribute them. Let's rotate this according to the view. HD and a cop, for example, right here. And rotate the Z R Z and rotate like this, maybe we can I know, make some manipulation here. Yeah. Let's all of these details and the leg and hit slack to isolate them. I think that will be better. Hit HD, take a Cobi rotate it. By the way, you can activate an option here is called project, where is it Align rotation to align this with the rotation. I mean, now if I hit HD to take a Cobi and snub it to rotate automatically. I don't know if that works or not. That will give you unexpected results. Yeah, I'm not going to use it. Seems like it doesn't work correctly here. I will delete one D, taka cob, R rotted, the direction, H D, again, add one here, r to the z and rotate this and keep doing that until you get the result that you like. All right now, I just complete it. But if you want to make some variation here, if you want to rotate some leaves, you can do this. For example, you can pick one that you like to rotate. Let's pick for example, this one, and you can tap to the edit mode for this piece. After that, you can pick the X ray, pick a vertex and activates proportional editing and hit for example. You can make some tweaking like that. T rotate just a little bit here. Let's pick another one. For example, this, and let's target the tip and hit R to rotate this. Maybe we can move it as well and make it small if you like. Tap out and let's pick this, maybe grab the tip and maybe we can rotate it just a little bit like that. Maybe I can grab this one. And grab the tip as well and make some rotation. The leaves at the pace, we need to make them a bit smaller, so you can hit S and scale them, make them smaller and move them just a little bit. Now it's become smaller. The same scenario for this one, for example, grab it hit, and then pick nice angle hit key and take this path like this. You can make leaves. You can give them a scale and make them a bit pick. For example, I can grab this and hit S and scale, make it very big. That variation is something very important to make it realistic. Okay, something like this. Let's rotate the as a little bit. L et's make this pits bigger. All right now let's see what we got so far. Let's go to material review. Yeah, it is nice and cool. We can't use it. Let's go to the leg. I just need to make something here. I will go to the pick one edge, for example, let's see this one. Select those here as we, the edges. And maybe those here and rub. It right click, Mark Sen first. Then maybe this phase, I don't need it. Cloud hit F. Now let's go to the UV editor. We still have it right here, the window, and it a select all the phases and here it A again to select the UV here, hit u and u again to rob it. Let's see the method, confirm let's check angle base. There's no big difference here. Now, let's open this arrow. Let's use this image. Let's move this U V, G. Let's put this right here. Turn off proposal, I think. H and move this right here. We didn't give it a material, so we need to give it a material. Let's go to the material here. Let's give it the same material that we gave it to the leaves. Go to the material section and I think this one. We didn't give it any yeah that's right. Let's stop out and let's see what we got so far. That's cool. I will accept this result. It's working. All right, cool. After that, let's go to the material heater editor, and let's go back to the folder again. Let's open it. Let's see grub the roughness and put it here in the normalize. And Let's block this. For the roughness, I just need to swig the color space to non color because we don't need any color information and connect the color to the roughness here. For the same scenario sw this to non color, and we just need another node here, normal map, because we can't connect this to the normal directly. We need this node and connect the color to the color. Let's see what we will just so far. You can control that ness if you like. You can add curve here, RGB. And you can make some variation. Something like this. Now, I can see that I have some variation here, you can take this even more down to see some variation, but not too much because it will become a glossy, and does not make sense. I need to push the chat a little bit. Something like this, maybe it will work. After that, I can give this subsurface scattering, maybe 0.2. I don't know. Let's go to the subsurface radius. Here we have the red and blue and green, I think. What I need to do is, I need to make all of this one first, and put the green value. I think this one is the green value R, this one, the green. I just need to put this 22 maybe. I did that because I need the color that comes from inside, I I need to be green. For the subsurface color, I guess going to make this green as well. Something like this? Maybe I can take this value down just a little bit. That's cool. I will add a light here point light. I just need to see the result, what will happen. Let's scale. Let's take the radius down. Let's take the radius down. What else let's go to render. Let's add 200 as a power. As you can see, now we have subsurface scattering. I will switch this to cycle. I just need to see the result in cycle. I think that's too, I will add 0.2. 0.05 maybe. Let's take this 20, I just need to see before and after. Yeah, that's too much. Let's reduce the number to 0.001. Give it a very small amount of subsurface scattering. I think the light become very powerful and close to the planet, so I will put this ale. Let's add zero, four, maybe. Don't forget this leaves are very thin because of that, any number of subsurface scattering will affect them. I know, but I think now it's become better. I can see the leaves. I will accept this result. Let's go back to Solid. And I will delete the source of light and las to excite, go to solid again, and we have a lot of work here to the soil. I will do that in the next video. 172. 173 Interior project Creating plant soil: Hi, everyone and welcome back. Let's see how can we create the soil here? I add this geometry, and I will start with it. First, let's tab to the edit mode and hit select all the faces here. I need to increase the resolution here. Hit click and then subdivide, and repeat that, H heift to repeat that more and more, something like this. Now it's become smooth. Don't go beyond that because that will affect the performance of your computer. And then tab out when you combate. After that, go to the modifiers and displace modifier. And zero out the mid level. We don't need to put the displacement to we don't need to make the displacement affected by the mid level. Let's add 0.5 for strength, we don't need one. That's too much. Maybe we can change this later. Let's hit in the tikture tab to add a new texture because we need the displacement according to titure that we need to pick. A titure, when you do this, you can select this icon to see the texture or you can go to the texture tab here. After that go to the type and quote type, for me, let's start with the cloud clouds. As you can see here, now we have some variation according to the age that I have here. And the effect is epistron because we have 0.5, and the strength reduce the number 2.2, maybe. Now the effect become less. If you don't like to use one of the texture that we have here, you can swing this to image to add a certain image, can go to bn, and then you can an image, and I have this folder. I have the displacement. The folders call Brown Mud. Q the displacement from here, and you can add it. Now as you can see, we have some displacement. Herat click for the object and at the smooth to make it smooth. A Image like this is not so quite good because we have a lot of details. And because of these details, we can see a lot of geometry are affected by the displacement, tin details. So it's better to pick one of these choices that you have here or you can take this image to photoshop and blur it just a little bit. For me, I'm not going to do this. I will choose Cloud and work with this. Let's see what we can do here. Maybe we can increase the depth to get more detail and decrease the size. Make this pig. Something like this. What else we can do here. If you want to make the effect strong, you can go back here and increase the number to get strong effect. After that, we can move this up. I think that's too much 0.4. Let's take this down just a little bit. The idea, I just need a little bit of variation. Let's say that we are done here. After that we can apply the displacement modifier, we don't need it anymore and now we got this result. But if I go to the wireframe, I activate, we have two micume and I don't like that. In this case, what we can do is, let's activate the wireframe, let's go to the modifier to add one of these modifiers. I will use the decimate. This modifier will help me to reduce the number of the polygon on them, and it will help me at the same time to maintain the details. Now, if I take this number down, after I add the modifier, look what will happen here in this area. As I go back, the number of the polygon become less here. If I turn this off the wireframe, I can see that I reduce the number and I still have the the details. You can add 0.0 0.15 maybe to be nice. Now we don't have much geometry, very little. After that, it control A on the difier and apply it and that's it. Now we got a variation. After that, we just need to add a texture above it. It's very easy add a material, go to the folder, and les Go to this texture, the brown mud and use this in the base. I download this texture from Polly Haven. You can go to this website and go to the texture section and download a lot of texture for free, if you like. Let's go to material review so I can see what I got so far. We don't have a UV for this, so we can create a quick UV. Tap to the Emo hit A and here and the UV. Editor hit U and U again to a rob it, and it's very easy. Let's go back here. Tab out, and now we can see that texture. If you want to control the texture, you can control it from here, make it small or you can make the UV small. Add control t to add the mapping and texture coordinate and add a value node from the search and link this to the scale, so we can control the three slots. Now let's add a little bit of value here, and then we're going to we have something. After that, let's go back to the same folder here and let's bring the the normal bab. And let's shift and search for the normal map, grove. Link this to the normal, link the ticket so to the color, and swak the RGB to non color. We don't need any color here. Now we can see that we have some details, but the roughness, we just need to make this rough. Let's go back to the same folder. I just added the roughness map. Let's take it here. Swa this to non color, grab it, blog it to the roughness. Yeah, there we go. That's cool. All right. So after that in the material section, I will come be the other details. Let's go to slid. That's it for this video and see you in the next one. 173. 174 Intrior project Creating the Books, vase, and the ceiling: Hi again and we'll come back. Let's see. Now what we need to create. Let's go back to Image Editor, where's the A Let's create one box here. I will be something easy to create. I will use this tool to create a box and let's create with the wall. Something small and give it a bit of depth. I just use the wall to create the box on. Let's go back to select box and move the s a little bit. Sorry. I will scale this to the X, apply the scale after that, and We don't need to make the design something complicated. Let's top with the edit mode and let's add edges here, maybe three or four. Move those che a little bit. Grab this. Or you can grab all of these edges by the way, and hit key and move the cha a little bit. And grab this one in the middle key and move the chas bit. I just need a c here. Ctrol to add one edge maybe right here and control B to the ballet. Something like this. The grab this edge and hit twice and push it. All right. Something like this. Control R to add maybe two or three, two or two edges. Grab the side. Let's isolate this one slash and grab these edges on the side and just scale them to the X axis ale bit. Just need to create a small bolt here and t out, something like this. R smooth and activate auto smooth as. L et's tap or let's add a modifier. I think that's will be better. Let's go to modifier and add bevel, and let's add two segment here and go to the heading the normal activated and make it simple. Before I duplicate this, what I need to do is, I need to out this quickly, so let's go to the UV editor here. Delete this image. We don't need it, let's tap the edit mode. Let's select the necessary edges. Cut those and the right click mark sm and those as well. Mark Sam and these two edges mark Sam. Cool. Now hit A and here hits A again to s the vi itself and hit u and u again to rob it, just manipulate the markin. I just need space between the object. Let's rotate this. I need the book to be like that. Hit and put this right here. All right, cool. After that, maybe now we can add the material quickly. Let's switch this to Hader editor and let's create a new material, and let's go to the folder of the texture. Let's grab one of these images. In the texture folder. For this project, we have images for for the book. Let's start with this one. Just can add this right here. Let's plug this to the base and go to material review, H Z and go to Material review. I need to see the image right here in the UV, open it type the let's see what we've got so far. Let's move these this U V and those here as well away. Let's work with this. Hit g, we can put right here at this corner, and then use the two d courser as a bivot, and then hit S two scales according to the two d cos and then hit S to the y scale to the y. Make the UV align it with image, and now we cut all rest here. Now we have a bock here. Very cool. You can now tab again and if you like, we can select those in the scale then just a little bit and hit key and put them right here if you like. Maybe this one as well you can hit key and put it, let's see where it could be put it. Maybe here or rotate it. Let's read this back to bounding box, and rotate here, scale it and put it right here. I did that because I need these pieces to receive a ticket from the box cover itself from this area. All right. Now what we need to do is, we need to take a CBA of this book and for the material, let's kink that in to Bok one. Let's say, grab this one, make the material unique and king the bok one to pk two, enter, and grab this texture control x two deleted or you can go to open and add another texture. For example, let's add this one. Now we add another texture. All right he again, take another B here, and make this material unique as well and add Bok three. And grab this texture, open the folder, and let's add another one. Again, let's do that, make the material unique, and let's change this to four and open and pick. Now we have four different bocks. Let's like to exact go to solid. Now let's select them one by one, let's select this and put this one and keep it closed to the to the first pock, and the same scenario for the other box here. Keep this close to the group, and now let's elect them like that and hit key to move them. Hit out to the z, hold can rotate them 90 degree. Hit key to the x, and those inside here, key to the z and cool. Let's move those just a little bit. I will slide to isolate them and maybe I can go to the right view because I just need to do something. Yeah. Control three, go to the left, for example. What I need to do is, I need to select the first one, and let's grab them all and let's open organ to open the organ for all of these books, Hey to the G, and take the organ to the base like that. And then hit key and move the dot to the corner like this. Now what we need to do is turn off the origin, and then I just move the origin dot here. That's all for all of these boxes and then hit artertate them like that. But we need to pick the individual origin, not bounding box. Something like this. If you got any overlapping, no, we don't have any overlapping. That's cool. I will accept this result. Let's like to excite and move those just a little bit. That's cool. Let's go back to them again, let's see what we need to do. All right. Now we've got close results. Let's duplicate maybe this. Let's take a B or two pieces of this one. Let's put those right here. What else? Let's grab those L et's grab all of these pieces. Hit if d to the z and deca coop. Maybe right here. Hit to the z. Again, to the z and put it on the shelf. We just need to make some variation. Let's go to the material review, so we can see what we need to do. For example, I can grab this spoke and then it if S and bring three d cos to select it. And then deleted and the grab this one or this one had Heft S selected to Cursor to swap the position of these boxs. A let's do that again. Let's grab this one, Heft S courser to the selected object, deleted, and the grab this one, Heft S seled to Cross. That's it. We just made a variation here. Yeah, that's very cool. We did it great. What we have over here and some stuff. I'm not going to create all of these details. Let's go back to solid. Let's see what else we can create here. We have some details here, but I'm not going to create something like that because that will take too much time. Let's try to create anything simple right here. Let's start with the cylinder. Hold you have to make the proposal proportion correct and take this up almost right here. Manipal the vertices, let's add maybe ten vertices or s here. Close this. Let's go back to select box, tap with the Edit mode and let's make some variation. Let's add some es here, maybe four, three, four. What else? Let's grab the base S and scales. Grab this one, scale, make some variation here. Grab this one, sm, this one as small. This one as well make it small maybe and we can maybe, let's leave it like that, first, grab this one. Let's grub this and make it a bit big. I will delete this face x f to deleted, and I will grab one edge just one here, and let's go to proportional editing. Sorry. Whereas the header activate proportional editing and hit key to the z, make the circle to make some variation here. Maybe I can grab these two edges or this one hit key. Cool. Maybe I can grab this egg, maybe and this one as well hits. Sorry, this one. This one, hit to the x. That's not going to work because I need to make the prop sorry, I forget to split this to bounding box. Sp this, make the effect just a little bit. All right cool. I grab the edges in the base control be to level them. Let's add three vertices here. Maybe we can add a support edge loop to make the smoothness here tight because if I don't, the stretch will go up, if I add subdivision surface. Now what we can do is We can add subdivision surface. Let's see what we will got. One, we work. Add smooth. And tab again, grab these edges, hit E and then S, scale those inside. And what else? Maybe we can pick an ice angle and hit E again to this, and scale it just a little bit. S Let's swig this to turn this off and scale it. Something like this. Maybe we can add an right here to support this area. Cool. Let's turn of subdivision surface temper. Let's take up those. E. Let's hit to islet this. Let's go to one of these views right view. Go to X ray, it E and this inside, maybe and scale it down, rotate it a little bit inside. I got this control at an right here. What else maybe I can grab this egg and this egg and fle them to make this area tight and three and then after that turn on subdivision surface. Now I got something nice here. Et's like to excite. Let's take a V of this one, it HD, and then H Z to cancel the Z axis and add one here. I think go to the private area, isolated tab, and the grub select this phase, hit H S, and move the mouse down, Q courser to select it to bring the three D cours right here and the center of this phase, and then tab out. That right click and s Set organ to three d courser, and now we have the dot here. Why I did that? Be when I need to make scale, I need the scale working according to the organ dots. If I don't, the scale will work to the center, and I will lose the contact with the table. Grab the scale down just a little bit. Get out to the Z and make some variation, H D, take a C Z, cancel the zx and move one here, out to the z, now we have some nice decoration here. Very cool. All right. After that, I think the air condition is small according to the emit that I have here. We need to make it bigger. I will scale it like that and make it big because it's big. After that, I will tap with the edit mode and grab one side vertices and hit and move it just a little bit like this and center it again. Ta out and move it and put it right here. I think now it makes sense, I don't know. Just take it out of the wall. Now it's become big and makes sense. What else we need to do here? Let's see what we can do. Maybe now we can create the ceiling. To create the ceiling, I will take the ground and take a cob here and tap the mode. I don't need this face, X F and deleted. Let's go to the top of view. Go to X ray, I just need to see the wall. I will grab this face and hit two inst this face and make it sm smaller than the wall of the room. As you see now I have some gap here. I need that gap because here in the image, I can see that I have some gap here. That's something important. Let's go to the image and delete this one. Sorry, just make mistake. Let's go back to the image. Right. After that, select these outer faces, hit X to delete them. We don't need them anymore. Grab this hit key to the Z and take this down. Let's combat and let's see what we've got so far. That's cool. That's nice gap. If that doesn't, you can scale this and make it big gas a little bit. You can go to the top of you so you can see the result better. If you have some variation between this side and this side, you can hit S to the Y and scales. You may ask Y Y because the y x is right here. Maybe stra away again. No cool. After that, lets top the mode to add an edge, one right here and one right here. Control to add and here as well. Control to add one here and the volt control B. The idea is, I need to create the same gap for these two pieces. Go to the face, crab these new faces, H X F and delete them, we don't need them anymore. That's great. A right now, maybe we can crab the outer edges. All right. You can now extrude this up if you like, Z and extrude this up, or something like that. Maybe we can grab these faces, edges hit F to close this area. And they grab all of these edges, the outer edges. And then hit E and S extrude them and scale them out, something like this. You just need to cover that. Let's go inside and let's see what we've got so far. I will hit til dag and and go inside and kick the re that we got. Maybe I can take the walls up Go to the vertices in the x ray grab the upper area and hit key to the Z. Even if you have some penetration here, it's okay. There is no problem. No one will note that. Hit the tail lege and go to the walk mode. Or you can go to the view if you don't know that, you can go to the view and n navigation and walk navigation. Okay Now try to create this effect that we have here. Okay. Let's start with a cube. Let's create a cube in the roof, something like this. Now let's adjust this cube. If you have any problem with the view, you can open this arrow and go to the view and manipulate the lens of the viewboard. If you want to see more, you can add a 36, for example. Now let's tab and let's grab these vertices and let's put those. Sorry. We've got some problem here. Let's make this small. It and move those. For example, right here to the end of the room. Let's see where we put this. Yeah. This distance is okay. Cool. Now, take another co or before we do that, just need to see the distance here, same what I have here mo I will hit and take another cope before the sit. But we need to put this and make it a close away from this wall. Similar to what we have here. Maybe key and move this right here. This one, this will work. Grab this with this hit control key and hit key to the z and penetrate the wall. After that, Go to the wall, selected and go to the modifier at a pool in and pick these two pieces that we just added, and then apply the modifier, grab these two pieces, delete them. Now we should see that we have a hole here. All right let's select the roof and its like to isolate it. Let's work with what we have here. Grab all of these edges. And let's hit E to extrude or you can hit F to fill this and e to extrude this up, something like this. Not that much. I think we can take this down just a little bit. That's cool. After that, we just need to add a light and everything will be cool. I think this distance is too much what we have here, we need to take this down. Yeah, maybe we can tap again and go to the same angle. By the way, we have some distortion in the angle, I think, or we just ext in the wrong direction. Let's go to the top. We have to distortion in the view. Let's go back here and increase this to 40. All right. That's cool. Now let's hit key and take those down. Something like this will work. Yeah, call I like this. L hit two excites, there we go. We just need to add the lighting and create the cartoons, and after that, we can jump to the ticket sharing section. We'll do it for this video and see you in the next one. 174. 175 Interior project Learning how to create a cartain: Hi again, and welcome back here. I think now is the time to create the cartoons. To create the cartoons, if we need to get nice results, I'm going to do something new. I didn't plane in the course, but it will be easy, not something complicated. First thing that we need to do is I will add plane right here. I will add the three de course here first and add the plane and rotate this to the x axis. R x 93 and rotate it. 90 degree. I will hit key to move this and make this a pital. Don't put it under the ceiling tab in the cb this edge and take this edge to the ground or close to the ground. And this side, push it to the wall. And for this one, I just need to make it pick Be at the end of the day I will push the carton to this direction, and it should be something like this. After that hits to isolate this piece. We got the dimension that we need. Now I will control to add one, maybe right here. I just need to divide it in one here as well. It A and then right subdivide and cable time and make it smoot like this. This will be nice. Don't go beyond that. B need to perform need to performance from your computer. That's cool. After that le select a group of vertices, you can go to the vertex. For example, let's grab those two, something like this, and go to the obj data varieties and here we have something called vertex a group. I just need to group these vertices, put them in the vertex a group. I'm just telling blender, keep these vertices for me here. Select them and hit plus, and now we have a group. This group is just for the selected vertices. Now, the group will tell me the group is like a container. It will tell me assign your vertices, where are they? I will tell it these vertices, assign them, and now we have them. This is a group, I will call it, for example, group ten. I don't know if I spill this right. After that, It should be C A R t. Yeah, I think that's right. After that, tub out and go to this section is called shape key. We need to use this shape key to create a carton, and it will be something easy. I will hit this plus to create something here called pass and another plus to create the key. After that, select the key one, and here we have a value related to the key one, put the value to the one. That's it. Now when you do that, go back to the Edit mood it tap to jump to the Edit moot. Now I need to put the three D coursor here at the corner. Hold shift in the right click and move the mouse, hold control to snub it here. If you didn't activate vertex snub, you will not get a result. Activate vertex snub, hold shift right click and hold control to snap this three d coorsor right here at this corner. This value, we pushed to the one after that hit S to the x, and scale this to the three d coorsor, but that's not going to happen if you didn't sw this 23d coorsor, the that transform points. Scale this 23d courser up out here, something like this. When you comble, tap out and that's it. Now if you take the value two, zero, that's what will happen. I think it's easy. F lets take this two, zero, we've done with that. All right. Let's take this to zero. Now we need to make some animation, and it will be something easy or complicated. All right. Animation, I just going to give you a quick example that I need to do. For example, if I have a box here, let's kill this. Animation, I have a box here and I need this box to move from this point to this point, maybe. To do that, in the plander, we need to add something called key frame. Adding key frame, we just need to add to add keyframe. For example, I need to use the location. I need to add keyframe for the location. Choose location. As you see here, we have a keyframe, this dot. I e. After that, I will move this indicator to maybe frame 100. And I will move the cube, for example, hit g and move it right there. So I'm telling Plander 0-100, move the cube from this area to this area. I need to add another key frame to help lender to understand me. So when I moved the cube, I will hit I again and choose a key frame for the location because we changed the location. Now we have one from here and here as well. Now if I take this back to zero, be go back here, if I put this to 100 cube will go there. The same scenario I need to do for the carton. Grab the cube, delete the cube, and let's go back to zero. I made a quick animation for the. For the carton example, we need to add animation to the value that we have here. Let's do that. Add zero, hit this small dot that we have here to add key frame. Let's select the carton first. And as I said, hit this small dot. Now we got a key frame added here and the color that changed here indicate that we add a key frame. I will move this to 100, for example, and at 100, I need to take this value to one. And k qu haven. I just pot this to one. In 100, I need to add another key frame. Now we got animation 0-100. Let's go. After that, we need to go to the section of the physics. We need to add one of these call cloth because we need this to be cloth, and I'm not going to make it complicated. It will be very easy. Add cloth, and quality will help you to get better results, make the results smooth and nice, so you can book this up, but not too much because that's need a calculation from the computer. What else we have here. Let's go. Let's go to let's see where should we go where L et's go to I think to the shape, to the shape. Here we have pen group. Pen group means the vertices that u that never affected by the simulation. You remember when we hit top to the mode and selected these vertices, the group that we created, we need to put it in the pin group because these vertices will stuck at this place and they will never move. So go here and choose the group that we created right here. You remember this one here. What else the bending, keep this number I mean one or than one, that will be okay. That will increase the bending when the simulation is happen. That's it. I'm not going to make it complicated. Something like that will work. After that, just hit the space button from the keyboard and the animation will start hit space. As you can see, now, we have some animation. And now we have some effects. Let's give this just a little bit of time. All right, that's stop the animation. And now we got this results. It is Jagged, and we can trial and go to Had Smooth to make this smooth, and now it is better. So I think is better. This is how to create a carton in this way. If you want to apply this result, if you want to end everything, and yeah, this is what I want. I can go here and delete these two that we added, hit this minus to delete them, and select the carton hit control A and apply visual geometry to me. Now when you move this indicator, you will see that we don't have any emision anymore. That's cool. Now we just created this. We just need to make some tweaking. I don't know. For example, maybe we can add subdivision surface, above this result. Let's go to the modifier as subdivision surface. Now we got better result, I think. If you think this way is a bit difficult, you can try another way. For example, what we can do is add another plane and let's rotate this to the x x nine degree, and let's move it just a little bit right here. Maybe I can scale this to the Z, something like that, and tap to the. Hit control to add punch of edges like this. And maybe one in the middle. I just need to get square result after that A and the right subdivide, Halt r to repeat that again, something like this, maybe even more, Halt r. Yeah. Then tap out, go now to sculpt mood. And we can use the cloth brush. So setting here we just need to make and the brush. Here we just need to change the force follow from dial to plan and we need to change the deformation from truck, for example, to grub or we can try any of these options. Let's chose grub. Now Sorry because we scaled this we go some problem. Let's go back to object moot from here or you can go here. Control I apply the scale, and now let's go back to sculpt moot and now as correct. Make the effect small and start making some deformation, something like this. You can go to the front view and start pushing the cloth like that. All right. Something like this. Now we got this. Let's go back to cut mood right head smooth, we got something like that. If you want to go farther, you can go back and keep sculpting if you like. Something like this maybe. Now let's go back. After that, we can tap to the mode and grab some vertices like this and hit x and delete these vertices. The grab I just need to grab all these this sit and delete, control, just select one vertex or anything, and then hit control, and then hit F to delete all of these phases. Now, let's grab one, I'll click to grab this entire ge loop, and then hit E to the z and extrude those down, and move those down, it S to the z to scale those and to align them. But because we still in the three d courser, I need to change this to the bounding box to I don't need what I selected affected by the three D courser. Now I will hit S scale to the z to align these vertices and get this perfect line. Now I can tab out, and this is another result, if you prefer. There is a simple way to create a carton. Let's see how can we do this. Let's bring the three D cresor here and let's add plane, rotate this to the x, R X nine degree. Let's move this right here. Tap the mode, control R at 18 right here and book this egg. Like this. Scale everything make this very small, something like that, go to the top and hit Shift D to take a CV or don't use H D. Let's try to use something different, go and let's use a ray. Ray will help us to CVI this multiple time. Something like this. Keep adding count here. And activate merric to miric those automatically and apply the arrowing acid. Right now tab to the Et mood, C up the side of edges, Had key to the Z and take those down. When you com belet, just give this subdivision surface, and let's add two here, erratically hit smooth. Now we got this, and we just need to fix the edges. I will tap and c the edges that I want this on this side and this side as well, and maybe those here as well. Herat s let's open this arrow here and let's go to the atom and guess ph the mean crease. Let's put this to one, and acid. A. This before and after. And close this sanel. This is another way to create a carton, but this is not realistic as compare with this one or this one here. Let's delete those here. Let's stick with this one. Let's see what we've got so far. We just need to king the position a key to the y and move the as a little bit here. Let's see here what we got. Hit key and take this bag, something like this. Make sure that there is no penetration here, and here as well. Let's put the as a little bit to the x axis. And that's great. We have some penetration here. What we can do is we can tap to the edit mode and grab the last A that we have here and activate proportional editing and hit key to the Z and make the circle big and just take this up just a little bit. That's turn of this exit of the x ray and tap out. Right now is close to the ground. After you add the teture you can copy it and have acid. Now we got very nice result. This is how to create a carton. See you next. 175. 176 Interior project finish the modeling section: Hi, everyone, and welcome back. In this video, we need to complete everything. Let's start with the carton. I just going to like to isolate it and let's swag this to or this view, maybe to UV editor and hit to go to the edit mode it A and hit home here just to bring the UV, what we have here let's see. We have an M right here or what. You don't need to rob anything because it's already ro. We started with the plane, you remember, so we can keep it like this. That's okay. We can hit slash and COVID hit D, take another COV on the x axis like this. And you can take another COV in the middle and scale it to the x axis and make it pick like that. And move it. You will get some overlapping here. You need to avoid that. Let's see how can we avoid that. Let's go to the top of you, and maybe we can scale this to the y. Let's het click and set organ to the matry to bring this in the middle, almost in the middle. Let's scale this cast a little bit. Not too much. All right now let's put those in the front of this one or maybe we can take this back a little bit. We still have some overlapping. Let's see how can we fix it. Maybe we can take this even more. Let's go to the top. I key take this almost maybe right here, something like this. We can move it just a little bit. I don't know, something like this. All right now we don't have any overlaing. Maybe in the sorry. From the top of view, maybe I can Let's take this one as well. I can grab this and this and kill those to the y as a bit, not too much. Put this forward again. There's no need to make this cartoon in the middle that eg. Maybe we can scale it back and move it as a little bit like this. I think that's better. Let's check if there are any overlapping, we have some overlapping in this case. I will select this and go to proportional t the edit mode and c1e here and let's activate proportional editing, it here and move the che attle bit. Let's make the circle bigger, g to the y and make the effect pig, and move the as a little bit to avoid the overlapping that we have here. Something like this will work. For the other side, if we don't have any overlapping that's cool. Now, now, and now we have another problem. We need to push all of these cartons forward, e to the y, and push those forward as a little bit. If we have any overlapping with the Let's see what we got here. I think we got some overlapping here. Yeah, Let's go to the top of you here and let's grab these vertices and just push them away from the carton. Turn off proportional editing. We don't need it. Hit key and move the e a little bit right here. Okay, let's go from inside. Let's see what we got so far. I think we avoided it. Okay, that's cool. This result is nice and working. Now let's start with the ground. I will select and its to go to the to isolate the story, and let's top the quod and let's add some edges. I will delete this one. I don't need this control X, and let's hit control to add some edges like this. Let's see what else we can do here. Let's add edges on this as well, something like this, and keep equ rectangle. Now let's select all of these new es that we added. And then it control be for bevel. But give it very small amount of beveling control B. You can't control the amounts in the menu here. Now we are working in themre. I'm going to add 0.005 half centimeter. So like this. I don't know maybe I can make it smaller to four. Or maybe smaller 22, something like this. Now let's go to phase and deselect these phases, hold control and deselect them like that. That's cool. Now you just need to hit x and f to delete this and hit a select everything and then hit E to extrude this down just a little bit like that. A that's cool. After that tub out and let's go to the modifier and let's add a bevel. Let's add 0.002, maybe very small amount of bevel in here. Let's add maybe two segments and activates auto smote for this and hard and normal to get this result. That's cool. And underneath this ground, I will add maybe box just in case that this area catching some light, I need to block everything. So add this box and tap and make the dimension of this box the same dimension of the ground. Something like this, it key and move this right here. Maybe in the tour, we can manipulate that better. Hit key and move this and those here as well. Cool, something like that. It's like to excite, there we go. They are a bit big, but yeah. We can use them. All right. What else we can do here? Don't worry about this area, and I know I didn't add a door here because I'm not going to take a for this side. So you may ask where's the door. There's no door here. I think I need to add a cor right here. Let's draw approximate let's see how big we need to how big the vicor it would be. I like the big pictures, something like this. Yeah, why not? We can create a bitter here. I like the size. I didn't give it any dimension, but if you want to see the dimension, this is the x about two meter or 3 meters, and this is the y 1.3, and don't worry about the z. Let's go back to select box and to isolate this. What else? Let's top with the edit mode and grab this phase. It control blast to grow the selection. It F to delete these phases and just keep one, the back. After that I go to hit I to set. Let's just give it a small frame like this, and then Ps and separate this. Cool. With this frame selected, Tab hit A, grab this phase and this phase maybe it Ps to separate them. Let's give this a solidifies go to the modifier list the solidify and maybe hoch we need to give it. Maybe 0.0 0.022 centimeter. And the same scenario for this one crops hold the crops, control L and Cb modifier. Cool. Apply the solidify for both of them. After that, give one of them a bevel, and let's add 0.002, just small amount of beveling. Something like this, and let's add two here. Activate harden, go and activate auto smooth. CV the same modifier for this, but before that, activate the auto smooth here. Select this one hold if, grab the one with the bevel, control L CB modifier. Great. Now we got this. What about this plan that we have here? I will move it forward just a little bit key to the x axis and move this forward. Maybe we need to flip it because let's check the phase orientation. Yeah, we need to flip it. Select the tab hit A and then alt and to open the normal menu and hit flip. Cool. Great. All right now, let's turn off phase orientation and's like to excite and now we got it. Okay. What next, now we need to create the light maybe. We have lights here. There are very easy yes cylinders. Let's go to this icon and let's use cylinder. Let's create a cylinder in the roof hold ift, and create a cylinder like this. Give it a segment, let's add 20, for example, and go back to select box. Close this panel. A right now, right click the Smooth and activate auto smooth. What next, let's tap the mood and let's add one here and level this control B. And with these phases selected, I just need to create I don't know, I have rim here or I don't know, something like this. It t two over the extrude menu and extrude along the normal and take those inside a little bit. C. Now, grab this phase hits I two ins and inside this and then inside this inside and scale those just a little bit. All right, cool. Maybe we can inser this even more just a little bit. Maybe I can hit E to extrude this inside and then hit P a for this face and take this one out, it key to the z, and move this forward almost right here. Now let's give this above. Maybe we can co above. We gave it to the frame here. S this hold to grab the frame, and then and cobi fire. Now the light have the same modi fire. Very cool. Now we can grab them. It key and move them. You can go to the top in the x ray mode or in the wireframe mode, I think. Let's put this in the middle like this, and then hit key to the z and put this up. This module is a bit tall, so in this case, I'll hit key to the z and put this inside. Something like that. I will tap and move and the grab these vertices, and the x ray, head ke to the and take those down, and now grab those as well, Ha key to the z, and the grab and bush them just a little bit. Now tap out, grab everything and hit key and move them just a little bit from the edge almost right here, and then copy them. But I'm not going to copy them right now. I need to add a material and complete everything and then I will copy them. Let's go to the ceiling now and let's give the ceiling a vel. Modifier. Let's add 0.001, maybe, very small amount of beveling. Not that small, maybe we can king the one to three and give it two segments, radically head smooth and activate auto smooth for this. Maybe we got some problem with phase orientation. I don't know. Let's check this. Yeah, we got some problem. The whole roof is red. We need to flip it. Tap it A, and then have to AB that can help us. That's not working ten, use a flip. Then tap out. Turn off turn off phase orientation. We still got some problem because we didn't activate the harder normal, and now everything is perfect. All right, cool. Very nice. Is there anything else we need to do here? The air condition, we got a problem with the air condition. I'm going to move it just a little bit away from the carton, give it some space. As it. I know my result is not matching the result that I have here, but that's okay. It's not an issue. All right. So now we just need to jump to the material section and give all of these pieces material. Before that, I just have an overlapping here I think this is the handle of the window, select this carton and tap the edit mode, this one, this one. Select any vertex, activate proportional editing, and hit key to the y, and guess move the es alphabet and turn off this tap out acts. All that for this video. The next video, we will start adding material to the s to finish it. 176. 177 Interior project Adding material to the carpet and the ground: Hi, again, and welcome back. Okay, now it's the time to add the material. Before we add any material, I just need to organize my scene. I need to add the plants inside a collection, the sofa, and other stuff here. Let's start with the plant, and I think I just need to make some tweaking to the plants. So first, I will grab all of these details, the leaves, grab them all, like that. And the le as well. This one. Hit g. I just need to make sure that I isolate everything. I don't. I need to select this and this one as well. Hold here to grab this and this piece and this one. After that, hit M and hit a new collection, and let's call this plan, it. There we go. I will isolate it and let's select the leaves and the leg. I just need to scale this down. I need to make this smaller. I will select the ferus and tab, go to this Vertices, hit aft S and corso selected. Put the three D coorsor in the bottom here and then go to that transform Bifft point and let's make this de band on the three D cursor. Tab out. Crab the leaves and the leg and hit S to the z, and scale this down. To the Z axis and now it's become smaller. Maybe we can scale this as well just a little bit not too much. That's cool. Now let's select everything and let's hit lag to excite and let's align this. Let's put it on the ground. Something like this. Cool. Now let's go to the sofa and let's select all the details here. The pillows, let's hit M to create a new collection. Let's call this sofa, it or twice, and there we go finished. Grab the cartons, hit M, create a new collection. Call this cts. What else? Maybe the books that we have here, grab them all. Those here as well. It, new collection, and let's call this box. And the air condition selected and hit M, let's call this air condition, hit enter a twice. C. The TV, maybe I can add the new collection, new collection, T V, enter. What else All right. Now we just add the necessary stuff here in the collection. After that, we can start with the material. I think I can start with the ground, so I will select it and hits to isolate it. Let's work with this one. I will sub this to two and dist this to Hader Editor, it to panel, and dec this and hits new material. We can call it ground. To recognize it. You can go to the texture folder and grab the textures that I will use. The base color I have this image for the base color, let's open it and see it first. This more right here. Let's supply this to the base color. Let's go to material review, so we can see the result. This is the result is epic. We can fix this. I will add mapping and text texture coordinate, control. Let's open the screen casts. L et's move this, maybe right here and close this. Let's manipulate one of these darks, maybe the y to fix the strike that I got and now it's better. Now it's cooler. Maybe I can add or no, I'm not going to do this. I thought I can add a value here. Scale this in general. Something like this, I pull it. Now let's go back to the same folder and let's bring the roughness. Let's sw this to nine color. We don't need any color here. Plug this to the roughness slot. There we go. Now let's go back to grab the marble normal. Swedes to color, Heft cyc normal map, the second. Plug this to the normal and the color to the color. All right, cool. Now we can see that we have some reflexion here and here, if you notice that. All right. This is not necessary to be the final result. I can tweak this letter like. Let's go to sold and let's hit to excite. And I'm just going to add a camera here just for testing. So I will put the three D courser right here first and go to the camera and add a camera, and I will pick an angle maybe from here and hit control zero to snap the camera to the view like this. And hit the Tilda key to activate walk navigation and let's position the camera. Let's put the camera right here because I need to work on the carbet. So I will select the carvet and then let's give it a material and give the material a name. Carpets. Let's go to the folder again and let's grab the displacement this image for the displacement. Let's grab it right here. Temporarily, I thought I can plug it to the asc but it's not quite necessary because I can hit control heft on it and activate it. Now I will hit control to add mapping and tee coordinate. Maybe from the ground, that I add any value here, I. Let's go here and let's add a value node. And block the value to the scale here, it side to isolate the carbet, it Z and go to material preview. And let's hit control shift. Click on the displacement, so we can see the displacement here. We are not seeing anything. Because we don't have any number here, let's increase the number. I need to make these details very, very small. If you go here, we can make it very very tiny stuff. But we got some weird citra here coming from the UV. In this case, maybe we can come to the ethic mood and add aches here. I don't know, maybe that can fix the problem or not. That doesn't fix the problem now, but what we can do is quickly maybe we can cut this edge and convert this to sam very quickly. I'm going to do that quickly grab this corner and go here, hit K, activate the n tool, make a cut from here to here, enter, grab this new edge, right click mark Sam the same scenario for the other corners. By the way, you can grab this and this and hit K. I think that will be faster. Right click mark Sam. Don't hit F because F is not going to work, grab this with this, it to make a line here, mark Sam. After that, I can this window and go to the editor sw to the UV editor. Hit a select everything and I will rob this again. It and again to rub it. The method this to conformal. Okay, now I got clear results at the corner from here. Let's kick the other corners, this one, clear, and this one as well. Cool, everything is clean now. We fix it. Now, let's go back to material review and zoom and let's see what else we can do. Maybe 50. I don't know. 50 something. Yeah, that's nice value here, we can add. After that, let's block the principle control if and left Tlick. Let's go to search and let's add displacement because we need to displace these details. Block this to the displacement, block the color to the height, we need heighten information. Mid value, we don't need any mid value, zero out this. And now we can see an effect here. All right. That's cool. Now we need to go to the render, and we need to work with the cycle, and we need to sack the feature set to experimental. I'm going to tell you why I need to do this. I will go to the modifier and add subdivision surface modifier. As you see here, I just have the car and the symbol. Here, I should have an option, but it is hidden. I can unhide this option if I go here and treat this to experimental. Do that and go back here, and now we have adaptive subdivision. It's very important to use the adaptive subdivision because this opt right here is just working when you hit render, and that's what I want to activate adaptive subdivision and leave everything as is for now. For the scale for the displacement that's two Much one, I'm going to at 0.01, start from this number. Let's see what else we need to do here. The most important thing, if you didn't do that, you will not see any displacement. You need to go to the properties of the material and go underneath the setting, you need to sweep the displacement, not to bump to displacement only. Now the displacement now, it will displace these vertices. That's what I need. All right, cool. That's for the displacement. We finished with the displacement. We just need to kick it. If you need to kick it, let's add the source of light here, let's add the point lights, hit the key and move this up. Maybe we can go to the size and make it small, the rights. For the color, maybe we can make it a bit yellowish and add maybe 100 or less too much, let's add. And we still have the camera. Yeah, I need to add the sort of light right sorry. Right here, move this here. Go to the camera and select the camera. Hit slide to excite, select the camera a little bit right here at this corner because I just need to see what will happen. Something like that. Cool. Now I will hit control to cut very small view because I just need to render this rectangle. I don't need to render everything. I just need a small sample here to see. Al right now I'm ready to render, so I will hit render. Maybe before that, I just need to change the color and make it bit dark, something like this, and maybe the roughness, I can't push it. A for tests. Go to render before you render it, you need to save it. Keep that you might go to the file and save us and save it because sometime blender cry when you use displacement. I made a under and I got this result. It is crazy. I don't need that. The displacement is too high, so I will go back here and change the scale 2.01. I will hit F 12 to under the second, and let's see what we will go. I made another render here, and I got this result. I will start from here. It's not so quite nice because we didn't use the normal and roughness and we didn't add any color, so it looks realistic now. But we have some nice displacement here. Let's start adding stuff here. In the base color or in the normal, let's go to the texture folder, and I have this one, this one for concrete. We have an image for fabric, maybe this one. I think this one is nice to use it here for the carvet. Let's try this. Let's put this right here and let's take this to non color. Let's go back to three D Vebard first, and what we need else. We need to add a normal map. And block the normal to the normal and block the color to the color here, let's give this a texture coordinate and mapping. Grab this at control T, grab the value. D, take it, and put it right here. And some. Now I can see the effect of the normal map. You can cut the displacements to make sure that we are just seeing the normal map. I can add more details here. Now it's become very tiny and that's what I need. Maybe we can make the strength a bit pick to 1.2. If I did like this, I can king it with another texture if I like. This is for the normal. It's not quite visible this effect, just keep in your mind, we are not going to put the camera at this close. Don't spend too much time on this. Now we need to add a color. And the color add a mix, it ift A and circular mix, and I'm going to control shift on the mix so I can see the result. Let's add create color with blue, and I did that for a reason, and let's add prenyl effects. Uses. Before we block it, I just need to explain something. I will activate Frenel first. By the way, some people call this Fresnel and other call this prenyl. It's a person name, by the way. Away, let's pick an angle like this. In the extreme angle, we can see the white color and in the close a to the camera, we can see the black color. This is the effect that Frenel will give us. If I come on the carbt like this, As you see, the black value become bigger. So I need to use this and add it inside the factor, and I will activate the mix to see the result. So the clo the area, the close to the camera will be will have a color and the far it will have another color. But I don't need to use the red and the blue. The area that very close to the camera, I will give it a dark color, something like this. The far area, a bit brighter, by the way, I just need to take the saturation to zero, something like this. And the far area, I will give it a bit brighter color, something like this. Now we have a variation here. After that, let's add mass grave, texture, let's go to the texture to add mass grave. I need to make some plutons. Hit control have to click on this, so we can see the result. We need to give it mapping and texture coordinate. Let's scrap those, maybe it s. Hit H D, and taco here, delete this one. Plug this to vector. And delete the value because it's too much or we can change this to two maybe or let's see how much we need or something like this, we can start with. Let's manubate the details and add Let's make some k here. Now we add this result. After that, I will add a color romp, type mp and black here. I need to target the white value and make it a bit dark something like this maybe in the dark area, I need to make the bet gray. I don't need the effect to be strong that much. Now let's grab the mix with the colum and mix them. I'm going to hit control shift and right click from this to this to add another mix heater and now we add another mix. I can now put the factor to one. Now so far, we got this result. All right. We lost the effect of Franl and we can retrieve it by connecting the same prenyl to the factor here. If you want to add another effect, you need to use frenl again to the factor. I think if I cut it from here, I think that's not going to effects that much. Let's see. I leave it connected here and here as well. After that connect this to the base color and activate the material itself. And now we got this. Let'sc up all of these and let's move them just a little bit here. We just need a room here. All right now is the time to work with the roughness. The roughness, we can use the same scenario of the frenal, and the mix have dacob from these two nodes, and you can block those to the roughness here. Let's activate those alone, and let's see what we need to do. The close area, I need the close area to be less reflective. I need the roughness to be epitth like this maybe the far area I need too much reflective. Too much rough. Something like this. All right. Now let's go back to the camera here, and let's check what else do we need here? Not that much. Now let's see what we got so far, activate the material itself and plug the displacements and save the work. Don't forget that and file and save it, and after that, lender, go to the render and render the image. I got this result. I just need to render the carbtt, the whole carvet, just need to see the carvet from a distance. I will cancel this render. Now it's canceling there go. Now go to the camera and align it again. Let's pick another angle. Something maybe like this. And I will control, control Out B to delete this. Something like that, and I will make another render, just hit F 12. I made another render, but I don't like this result so much because I think the cells of the displacements are very small. In this case, I will zoom in here and go back to to Hader editor here, and let's activate where is it? Yeah. Let's see the activated, Let's k the value from 50 to maybe 30. Let's make this bit pick and again block the material. Let's go back and let's make another render. I just need to see the difference here. I got this result. But there's not a big difference. Let's go back to the three D ewboard, and let's kick the value again, maybe we can add let's make it even more small. Let's go back here, sorry. Let's add maybe 15. I think now is better. And for the strength of the displacement, let's add 0.00. I don't know. Let's try four and block the material. Don't forget that, and let's make another render. I just need to see what will happen here. I got this result. I think it is better, but I'm so quite happy with the normal. I don't see any effect of the normal because at the tip of these cells, I can see some reflection. The normal should make the reflection here a bit less because the surface should be rough a little bit. I think I need to change this normal image to another image. So let's go to open and let's pick All right. Which one? Let's pick fabric normal, pump a man. Let's go to the three d view board. Let's see the difference now. Now we got very tiny stuff here, but that's too much. I think. Let's take the number two, maybe 50, something like this, I think that will work. Let's this two non color maybe because of that I'm getting some problem, and this one as well non coolor All right, cool. In the displacement, we can add a vary in as well. If I activate the mass grave, I have a black and white. I can use the same scenario for the displacements. Let's, this group HTD and let's take a cop right here. What else Let's push those just a little bit back and those as well. Let's mix between the mass grave and and this texture. But before I mix anything, I need to add a color rump. I t A and cycle rum. Like the height with the factor here, Control heft on the color rump. Let's control the white area. Let's make this a bit dark and the dark area, something like this, not too much. Now Mx the color rump with displacement cells, control heft, right click from this to this. Now we got a mix RGB, control shift on it. I just need to see the result. Now we got some variation, if you not here, we have some white area and some black area. This way, we can make some variation and displacement, Lt push the factor to one. Let's try to pick different filter here, let's blend mode. Let's see which one we can pick. L et's e screen. I don't need to work with screen. Maybe Let's see which one is working. This one is nice, looks nice. I have some variation here. Let's manipulate that on maybe I can effect it. Let's make the black value blacker. That's too much. Let's try another bland mood. A overlay that's too strong. We don't need the overlay. Soft light, I think, so, something nice, and we can increase this to increase the white effect here. Now we have some variation. Something like this. Now we got some variation here. Okay, let's try something like this, and let's see what will happen, black the material and save your work and hit render. All right, this is the result. I got some variation here as you can see, and any variation you add here, that will make the result more realistic. But I didn't like this result so much because I need to give the roughness as well a variation, but I'm not going to do this now. I will maybe later I can do this. But for now, because of the video become too long, I will end this video, and I will say it for the carb and see you next. 177. 178 Interior project Creating a material to the Sofa part 1: Hi again, and welcome back. In this video, we need to create a material to the sofa. First thing we need to do is to rub the sofa, and I actually added that. It's very easy. You just need to select it. Maybe you can it to isolate it and go to UV editor. Then Tap everything and here, select the U V and hit U and U again to rub it and that's it. It's rub. Now let's go back to image editor maybe and tap out and now let's create a material to the Sofa. Hit new to add a new material, and let's change the name to sofa and then hit enter. Let's see how can we do this. First, let's go to the texture folder because I have an image right here, dirt, this one. I need to use it. Grab it and let's put this right here. And maybe we need to add texture mapping and texture coordinate and mapping. But I will delay that later. First, let's add the mix RGB right here. And maybe we can add RGB color as well. Here. Let's put the color here in the factor because I need to control the factor, and here I will add two colors. You can use RGB color or you can use those here. For example, I can delete this one to make it easier. Let's hit control. You have to click on the mix so we can see the result, and let's go to the material review. I just need to see what will happen. Here we have coll one and llor two. Let's bring the image. Let's see where it's. You just need to see the sofa. Here we have two color one, I will add here the bright value and the second one, I will give it the dark value, something like this, maybe, or even pre or not that much. I can the color and put right here and control it from here if I like. Something like this. All right I will use this in the base color and let see the result. Now we got this far. I don't make sense. We will fix this later, but now let's put uness to one in the in. The in will give me p make the far face prior. This before and this after. Put this to one. All right after that let's add in the header, let's add a Vilvet PS dF. He control have to click on this just to see the result of this one. In the color, I will give it the same color that we added here. And mix between these two material. Control try to click from this to this to add a mix header. Now we got mixed header. Now we can give priority to the Vilvet or to the principal SDF. Now, the variation between the two colors is very string and the scale of the texture is big as well so I will add mapping and texture coordinate, and I will add a value right here. And block the value to the scale, so I can control the scale. Let's move the caches a little bit forward, let's see what you will go so far. That's cool. After that, what I will do is let's add a color here, R Kp color. Let's work with this one. Let's pick a color close to the image to the sup and the image. Maybe I can start with this one and add this right here. And plug this here, and block this one here as well. But I will add a curve RCB curve and put the B curve between the RGB color and color two. I'm just going to make some variation by taking this down. If that color doesn't match what I have inma control the color here and make this one a bit der, not too much. Something like this maybe. Be careful. Now we got a vari in here. Let's see what else we can do here. A in the mix here we have a factor. I can't control the factor with a layer weight. I will go to S and for a layer weight. And I will hit control heft to click on this. I just need to see the effect, the facing not the frenal. Just hit control click to switk between those. If I want to make this effect stronger, I will add a ramp color ramp here. Now, if I push the black value, I can make the effect stronger. I will sw this two piece blind to make the result even smoother, and let's see what you will got with that. Something like this. Now I can control the priority of these two material with this color rump. Is block this here and connect this. All right. Let's move the ale bit. Now I can see these two materials according to the layer weights. Now if I want to go further, I can copy the algeby curve and put it right here. Let's move those a bit. I can take this down and take the white value as well. Something like this. Now we got a result almost close to what we have here. The school. Now let's see the result in the render. Before I render anything, by the way you can add a texture in the displacement or in the normal map. L et's see can we do this? Let's go with the folder here again and let's see which one we can pick. I will use this image and put inside the displacement as a bump. Grab it and let's put it right here. Let have to collect just to see the result. This is very big. Maybe I can co those nodes here, C H D, and let's put those right here. What else, maybe I can move those here and block the vector to the vector here. And now it's become smaller. Let's make this even more smaller, something like this, very tiny, similar to almost to what we have here. All right, cool. Now let's add a displacement and plug the displacement to the displacement here, and this color plug it to the height, and let's activate this. Now we could see some height information here. But that's too much. In this case, I will take the scale 2.10 0.01 maybe. 0.01. I think that's would work. Maybe 0.005. That's big, you can change it even more for me, 0.0, zero, five full work. If I didn't like it for any reason, I can change this later. Now, I just need to make a quick render. I just need to see the result. Let's go to solid, to excite. I already add the source of light in the camera, so I will go to the camera and let's hit render. Let's see what we will go. I made a quick render and I got this result. Ac, I like it. It's nice. But we got some wave ins here. This area is become a bit jagged here in the render. That's because of the low vol of the sulfa. When we will complete everything, we will subdivision surface modifier above the sofa to make this area smooth. Don't worry about the stuff here. Okay, I will end this video, and the next video, we will add wrinkles to the sofa. Some wrinkles here at the edges. See you next. 178. 179 Interior project Creating the wrinkles for the Sofa: Hi, everyone, and we'll come back here. In this video, we need to start adding wrinkles to the sofa. So the first thing that we need to do is to pick the sofa and it's like to go to the local mode. And from here we will start. Okay. Let's top with the ode. Let's see what we have here. We add the seams to the edges, and everything now is ready. All what we need now is to subli this window to two and let's swag this to image. So let's swag this to UV editor because I just need to check the UV. All right, I will move all the UVs a little bit away from the square that we have here because we need to add an mag here later. Let's go back to image editor here. Let's see what we have. Let's open the folder, and here we have this image. It's a normal map. Let's put this inside the header editor, and let's add a normal map because it's normal. L et's put this right here. Hold alts in the right click and move from this note to this note to make a quick connect in the same scenario here. This week, the color space from S RGB to non because we don't need any color information, and there we go. We connected and now. Temporarily, I will increase the strength two. I just need to make the effect strong so I can see the wrinkles. Now maybe I can subli this to two window, and from the header, I can swag this to UV editor, and let's start with this with this phase first. I will go to face mood and select one phase, and I will activate sync because I just need to see the The phase that I selected here, I need to see it right here as well. See where is it. Yeah, this one right here. I found it. I will grab this and hit key and move it and mo right here in the middle and maximize this or minimize it, so we can see what we have here, and I will scale this. Right now we could see some wrinkles of I tub out. I can see some effect here if you noticed. That will make the sofa more realistic. Let's try to center it. Maybe we can scale it to the Y S Y, if you like, that's okay and move it ale bit to the y. Something like this. There is no reason to put the edges to the edge of the image. You can't keep a space like that. That will give you a better result. Because if you do that, for example, if I can move this away, you will see that I have a cut here. Watch this space. I will have a cut here, I, I need to avoid this. B t out, I have a cut here. That's because I put this to the edge, so put a space here between the UV UV and the image. That will be better. What else do we need to do here? We need to pick this pace and we need to see where is it right here. I need to select this one, it control L and bring it at, and let's move this right here, and scale at a at S. And scale it a little bit. Move it and put it into the right position, scale it down, maybe. And you can also you can scale it to the x axis, but that's going to give you a small stretch. All right, But I think it will work. I'm not quite sure. Yeah, it will work a bit. All right. Let's top again. You can keep it like this or you can scale it back to the normal size. Or let's select this face, and let's see where is it here. We got it. I control L to grow the selection, and then bring this one as well right here, one above one and hit S and scale it. I will go to the solid mode because I just need to make the performance to be pit fast, and something else I can do here. Here in the heading menu, I have a bunch of options. And now as you see the color now according to the material, but I can use the color comes from the texture, so I will use texture to see the normal map itself. You can do this. That will help you to see the result here in real time. L et's go to vertices. I just need to see what I got so far, and let's move this a little bit. All right. I will switch back to face because if I go to vertices, I can pick the vertices of the next island of UV. So I will stick with the face to avoid any problem. Something like this. That's cool. The same scenario for all of these pieces. As you can see, we can see some normals here covering the whole so as you can see here. We can fix this by ring the C from repeat to clip. That will make that will help you to keep the visible to the island or the UV inside this ME. For example, tab and grab, for example, this piece, I will hit control L. Now it's not visible as you can see, but if I move it and both right here it will be visible. This an option here we can use. I will take this back to repeat because what I can do is, I can go to this ar maybe and here we can We can change some setting here to see all of the images. Maybe to see where is it. Maybe in the view repeat Image repeat image. Now, in this case, there is no reason to take the island and put it right here. We, for example, I can erupt this one and hit G, and I can scale it right here. Without any problem, and it will take the correct information as well without any problem. So this is another option you can use. Now if I go out, as you can see, I have something here. So now we can stick here to the UV and take all of these islands and scale them like that. Something like this. Can interrupt this one as well and hit the key and maybe we can move this one right here and scale it to take some normal A that cool. By the way, you can grab one side and move it here to give it a normal from this side as well, but you will have a seam here, by the way. It's working, but you will have some problem in the final result. Try to avoid that. But if you like to scat like this, it will work as well, it will give you a straight result at this here. I will let control Z and Let's focus on the squares. Let's we can put this right here and scale it. Sorry. Let's skill just a little bit, it is and scale it. That's cool. Let's grab this one maybe and those together. Let's see, maybe we can put them right there and scale them like that. All right, cool. Maybe we can erupt this one. Key, and let's put this maybe right here and scale it. Scale it to the x g as wall, and move it just a little bit from the edge to avoid any seam. All right, cool. All right. Now we almost done. Now we can see that we have some normal, but not for everything. But this is the idea how to manipulate the UV and keep something in your mind. When we manipulated the UV, we scaled the texture itself, so keep that in your mind that can affect the texture itself. We gave it very strong effect. I will take this back to may 0.5 and make the effect settle. Now we have some wrinkles and the effect is very subtle. Let's hit this slack to go back and let's pick the wires. All right, let hits like to isolate the wires and let's apply the sa material on it. Let's see raise. This one right here. Let's see what we got so far. Let's Zooming just a little bit here. All right. It is strate a little bit. In this case, I will make a quick rubbing for the wires. But as you can see, it's still mesh, sorry still curve. So I will change this to mei. I I ht, I can convert it to me. And now it's ssh. After that, I can go to UV, tap the select everything and just go to UV and you can Q projection, and just rub it quickly. Yeah, something like this. It'll be nice and working. And now it is like to excite, and that's it. All right. What about the pillows? Let's check the image first. Let's see. So it's repeat. Let's turn off this. All right, let's create a material to the POs firs, let's check the UV. Do we have any UV tab to the pillo sory? We don't have any UV, and we didn't add any SM yet, so we need to create a SM, and we need to give it a UV. So let's go to slit f, stop to the edit mode and control to add one A here. Right click and convert this to SM, it A and here. Let's cc this panel, it and again twice. This week, the method from conformal to angle base. Angle base work for organic stuff very perfectly. For example, this the pillow itself. All right, let's go back to pick another one. For example, this. You can tap the mood control R at one ach right here. With this one ach selected right click, marks him, A hits and again and R it and cool. The method angle base cool. And this one and the next Billow as well. Tab control are here, right click, Marx sm, A, twice, and that's it. Grab this one slash isolated tab control our right click, mark A and U and U again. Cool. Now we done. We just need to give it a material now. It slash, and we can give it the sofa material and we can edit it COVID and edit it. So, we gave it a sofa material, and that's nice, cool. After that, let's cut the normal. We don't need to give it any normal here. Sorry, before you do this, you need to duplicate this one. So I will click this CO right here to make a single user or unique, and I will give it a name and let's type pillow its enter, and now speak a pillow. We don't need a normal for the pillows. I will cut the normal right click and dri control right click, trick to cut the connection. All right let's grab those as well, hold to grab this control L and link the material for all of these. The final thing that we need to do is to change the color to something almost close to what we have here, is not necessary to be perfect. I will grab just one or all of them and go to material review, so we can see what we've got so far, and let's change the color to something bluish and dark, maybe, something like this, a bit desaturated. All right. Yeah, it's close and acceptable and nice. I can accept this. It's like to excite, and yeah, that's it. I'm not going to spend much time for this. Well, that's enough for me. So yeah, we finished this video, and I will see you in the next one. 179. 180 Interior project create material for the table, library, TV, air condition,: Hi again. Welcome back. Let's create a material to the table that we have here. Let's select it, select all the pieces, select to isolate it. And first, let's rob it. I will rob this quickly. I can leave the vol for now. Tap it A. Tap it would mean, A F everything go to UV, it rub. All right, I don't need to rob it like this, but I need to use Q projection. And there were going now we got UV here. Okay. Now let's add a new material to this. Now we got a material he is it. This one right here. Let's go to a material review, so we can see the result. Let's take the color to something dark. Select this hold here to grab this, control L and link the material. There we go now, the both of them have the same material. What else we need to do here? We need to go to the texture folder. I have a wood texture, but I just need to use the roughness and maybe the normal map. Let's grab the roughness first. Let's put this right here. First less to non color. We don't need any color and blog it directly to the roughness. And now I can see that we have some roughness here. That's great. We can make the texture a bit smaller by tapping to the edit mode for both of them and hit A for the UV and scale it. Scaling the UV will make the texture small. A something, maybe I can scale this even more. But not too much, something like this. Very nice. I can control the ares as well by adding a curve RGB curve, just circular curve. Here you can, for example, take this curve down to make it a bit reflective. I can make the image of the roughness a bit dark and when you do that, you will get more reflection. This result is very nice, I think, and I will accept this. Let's go to solid and let's exact and give all the pieces the same material. For example, the library that we have here, selected, hold grab this, control L and link material. Now select the library and tap the wood hit A, and then go to U V and hit Q projection. All right. Maybe we need just to scale the maps a little bit. I need to make the wood temperature small. And the other school. This exit. This grab the sites. Tap hit A, go to U V and Q production, and don't forget to scale it, but let's give it the same material first. Hold the grabs and roll, and link material. Grab it, I think the scale is rocky. S a little bit of scaling. That's it. Great. What else? Where should we put this? Maybe on this frame, grab it, and they grab this one less gave them the same material. Sorry. I just hit number one, accidentally, let's activate all of these pieces. A grab this, and let's hold to grab this one as well, control L and link material. Now let's go back here. Now we've got a material tab, it A, select everything, and U V and Q pro, it S to scale it, something like this. Maybe I can rotate this phase. I just need to select this phase. And rotate it, maybe this one as well, and this one. They are right here, so I will hit R, hold control and rottm like that. I need the texture to go to this da like this, not like this the idea. For these phases here as well, the same scenario, grab this, hits r, and hold control and rotum like this. Great acid. What else? I think that's it. Now let's create a new material for the wood that we have here.'s new to create a new material, and let's go back to the same folder. Let's grab this image, Let's put this right here, the normal and the rough. Let's maximize this. Let's block this to the base collar and that's it, block the roughness to the roughness, sweep this to angular, block the normal to the normal. Blog it like this. Let's add the normal map. I think that's get work. Yeah. Normal. Normal map. And let's put this right here. Let's tree this to non color. And then we're going to we are finished here. Let's go back and hit slack to isolate these pieces. H Z and go materially previewed so we can see the results. We don't have any UV, just tap the would hit A to select everything, go to UV and hit Q projection and now bomb rapt. Very nice and very easy. We just need to scale the a atle bit. Pick it pick. Make the UV big means we will make the texture smaller to the UV. Maybe even more just a little bit. I think that's nice. Cool. Let's go back to solid, and there we go. Our this gave these pieces a name. I mean, the materials. For this one, I will call this dark wood, and maybe I can call this wood. Wood Mt just to recognize them. Now maybe we can create a material to the air condition. Selected and let's call this air just to recognize it. And what we need to do here, I will select a piece and isolate them first. Let's go to the material review. This color, maybe we can take the parts a little bit not too much and take the roughness down so we can see some reflection here. Something like this will work. Let's apply the same material for this piece, control L and link material and the other acids. We don't need to go far from this. Let's like to excite, and that's great. Great. Now let's create a material to the TV. Let's elate the frame and let's add a new to create a new material. Let's call this TV frame, and it should be dark or let's say black material. Haz and go to material review. Take this color to something black. Let's take the roughness down to make this reflective and now that's cool. Something like this. Let's add the material to the screen. Create a new. Let's call this screen, and it's like to isolate it, go to material review. Let's make this not dark, something gray, the roughness, I will take that roughness, something like this make it, something like that. But I will add another shader with this one. Let's go to S and let s for gloss Glo CBS dF. Let's put this right here and then hold control shifts, right click, move from this to this to add mix shader. In the factor, we need this factor to be controlled by fn effects. Go to for fn and let's block the fn to the factor. And for this chador, I need arms to go down. So what I did is, I have the rough image here and the glass image above it. Is the idea. So now we got something interesting. All right. If you want to take the roughness down and not make it strong, you can take this color down if you like. Now it's close to be screen. I can go to the image, my reference image and see what I have here. Yeah, something close, it's quite reflective in the same scenario here. All right. Now let's go to solid. It's like to excite. Alright, so that's it for this video, and we will com belt in the next video is. See you next. 180. 181 Interior project creating materials part 2: Hiking and we'll come back here. Let's continue adding material to the uma that we have here. And let's start with this. Let's hit a new material here, and let's see, we need to make this white, so I will keep the color like this or maybe I can take this gas a little bit down. And For darkness, I will take this surface down as a little bit. And maybe I can add subsurface scattering because I need to make this made create by ceramic. But we didn't give it a thickness, so we could give it a thickness. If you need to give this a thickness is very easy to do. You just need to go to the edge and hit I'd click on the edge that you have here and hit F to fill this area and you can beval it to avoid any stretching with because of the subdivision surface. Just add ge loops here just to support this area, and you will be good to go. The same scenario for these pieces here, I'd click, and it F and then control B to vl those. That it activates subdivision surface for this one and this one as well, and for the last one tab, I'll click F control B for vl, and that's it. Now let's start with this. Let's add subdivision surface, 0.05, very little amount here. And for the radius here, we have the RGB, the right and the green, and blue, we need to make the values here equal. I will add one for all of these. To avoid any color comes from the inside. I need all the color to be one value to king those two white color. For the subsurface color, I will leave it white. Above this material, maybe we can add another layer of reflection, so I will add shift a to for gloss BS dF, and mix those with mixed head control, right click from this to this, and then we're going to have a mixed header. The factor, we can control it with the fn Ctesias for F R E fn and link this with the factor, and right click from this node to this node, as connect. There we go. That's it. Now we can hit to isolate it and we can go to material review, just to kick the result. Something like this will be. Let's go to solid, and let's cruft this one and this one hold He cruft the big one a control L and L link material. Maybe we can call this ami. Ceramic. We finish with this one. We can apply the same material to the base here, select the base, H to grab this. Hit control L and L link material. This one as well maybe grab, he to grab this, control L, and Link material. The others. Let's say we finish with those. Maybe we can start with the wd. Let's grab the big one, and let's to isolate it, and I'm just going to rub it quickly. T, it a select everything, go to UV I think we are inside the UV. Yeah, that's right. Go to U V and hits rub or sorry, let's use be projection. From here or from here, we use to use Qb projection from this view. And there we're going we just rupt it. Okay, what's next? Let's go to material review, and let's keep the same material. Maybe we can call it a wall. Hit enter, and We don't have much to do with the wall. We just need to control the roughness by adding a texture maybe. This is the texture folder. Let's see which one we can pick from here to use it in the wall. If we don't have, maybe you can bring a new image here. Can we use this? Let's try to use this. I will grab it and with right here and blog directly to the roughness to control the roughness. I will have to click to see the result. The scale is nice. I like it. There is no problem with it. But it's black and white image. I want that, but I don't need to leave the black value. Strong like this. So I will add a note here just to control it. Before we do anything, I will let's tweak the color space to nine color. It Ht A, let's for curve RGB curve, and let's block this, and let's connect it. All right, for the white value means the result will be too rough, and the black one will be too much reflective, so I will take the black value from here up to make a rough as well. Something like this. We killed the black value. We can get to white. Something like this, maybe will work. I just need a little bit of vari, something very little. Now, let's black the material and let's see what we will got. Let's see in the extreme angle, maybe we can get some something here and the roughness, is not so quite visible. Maybe unless you take the color down, you can see some variation here because the color is white is a bit difficult to recognize this variation here. So this is what we have done. I will take the color to something about here 0.4 maybe. Something like this. It will be nice. And what else we need to do here set, like to go out, and maybe we need to add the same color for these boxes as well. Grab them. Tab A, go to U V, Q proj, and grab them, to grab the wall, control L to link and link the material, and grate acid. That's very cool. That is nice. Maybe later we can tweak it if we don't like it. All right let's start with with the roof. We have a black stuff here. This line is black, so we need to maybe we can add an edge right here or I don't know, maybe we can sublet those directly. Grab these faces and just hit control. Plus to grow the selection, just one step, and then just hit P and S to separate them from the roof. Let's grub this and let's gave it the wall material. Let's go to cc W A and hit enter, we find it, and there we go. We just need to rub it quickly, tab it A, go to U V, and Q proj, and that's it. We just rub it. The same scenario for these pieces, tab hit A, go to U V, Q proj. That's it. All right. Let's add black material. I will take the same wall material and give it to apight on these lines. Grab this hold here to grab this, control L link material, and let's select the lines here, and let's make this material unique by pressing this button here, and I will change the name from I will keep the wall and just type black just to recognize it. I will take the base color to something dark, I think, like that. Now it's become dark if you go to the Mal review. We have some variation here. Let's check the phase orientation. Do we have any problem with the phase orientation? Everything is cool. Let's go back to solid, it's like to excite, and what else we need to do? Maybe we can now add a material to the window. It's like to isolate it, and let's add a new material to it. This created by metal. Or even wood. But I'm not going to give it a metallic here. I will assume it's painted and it will be like plastic or wood. I will just manipulate the white color and maybe give it a little bit of reflection, take the roughness down, and that's it. Don't forget this window is blocked by the carton, we are not going to see that mic details from it. Okay, Let's light to excite and let's go inside here. Let's give this name of Window. Hit enter. Let's grab the carton. Let's see where are they? Those here, like to let's close the eye here, turned off. Let's apply the same material for this small window here. Grab this and grab the handle as well, hold here. We grab this, control L, link material. For the window, I will add a new material to them, and let's take push the transmission to one and what else? Roughness back to zero, we don't need any roughness. And maybe we need to manipulate the Alphare just a little bit from the setting to give the glass the ability to make the light go through it. I will go to the setting here and see where is the setting that I need to find where are the setting, displacements, or the viewboard display. And the bland wood, I will speak this to Alpha H and the ado, Alpha as well. Now, we can test what we have done here by adding a sun light. Let's put the three dcorsor right here A to go to lie scion and add the sun here. Moves a little bit, pointed toward the room hit R and rotate, but rotation now working according to three decors. Se this back to bounding, R and rotated. What else? Maybe I can rotate a little bit ing the angle. That's it. Now let's go inside. And let's see what we all got. All right, Z and go to render. Here, we have the strength. Let's change the strength to maybe 20. We don't see any transmitting here. Let's see how can we achieve that. Now, the sunlight emitting light to the scene, but we can't see anything. I don't know, maybe we need to delete Maybe those blocking the light. Let's go inside again. And let's go to render. Let's go to the setting again here. Maybe we need to king the Alpha as a little bit and the right. We just need to king the Alpha and make it a transparent like that. Or if you like, you can add transparent material, mix it with this. For example, I can put the Alpha back to one and at A and transparent BS dF, and mix those together, and there were going we have something here. You can control it via the factor here if you like. Something like this will be nice. All right. So now we have a glass emitting lights without any problem. Let's go to solid now and yeah, that's it. Now maybe we can add the material to the balcony. Let's go to new. Let's make this a bit dark, something like this, may, gray, and make it a bit reflective like that, and don't give it any metalns. Let's assume it is painted. Something like this. What else? I think that's it. Let's go inside again. Let's give this a name. Maybe you can call it Palcony. Enter just to recognize it, and that's it. All right the bi we need to give it a material as well. Let's hit to add new material and Let's see what mag we can add here. I got this right here from a website called pixels. It's a free website to download images and use them. So I will use this one. You can add whatever mg you like. Let's see grab it and let's put it right here and let's plug it to the base color, and we just need to rob this quickly. Guess U V and rob that's it, and let's see what we got here. Right, Let's go to the image is called pig cells. Let's tack for, is right here, that's cool. And we just need to rotate it at R and hold control and rotate like this. And let's make this big hit ge to move this, or I just need to see in real time, what's going to happen here. Let's make this small. All right. That's cool. Let's hit key and put this at the corner maybe right here, and we can put the two decorsor. Here, this area, maybe. But make the snab according to the vertices, hold it right click, and hold control to snap it right here. Then now when I hit this, I will scale according to the two decosor. Something like that. It can move this a little bit like this. All right, does that make sense? It's not quite beautiful, but we need to maybe manipulate the frame just a little bit, or maybe we can change it to another image. I can't take the U V anymore. I can't scale it because I will have a seam, as you can see that I got sam. And if I move these vertices, if I move them like that, I will have a stretch as you can see here. That's not correct and not beautiful. So in this case, this change this image to another one. All right. I got another image right here from pixels as well. So I will grab it and I just need to see it. By the way, I used this image because we have an orange color. We gave it to the sofa, so because of that, I like this image to use it. Let's block this. Yeah, I will accept this one. We got a orange colors here. You can add an image of mountain, of horse, or nature, colors, anything you like. Let's see what you will got with this image. L et's unhide the carton, and we don't have much to do here. We don't have a door here. If we want to go out, you should jump from the window. Okay. What else? Yeah, we just need to give a material to the light here. I just forget that, so I will add a new material and call this light. And we need the frame to be black, something black, like this and reflective just a little bit. For this disc, I will add a new material and call this what call it light, maybe sour, something like this. I need to change the principle, SDF to emission. I will add Sift S to open the switch menu, Sift S, and go to Hader and Q emission and change this to something a bit yellowish, and maybe we can add three temporarily. Maybe we can change this later, and now is the time to duplicate them. But let's go back to the image. I just need to see All right. We have the pair here and here as well, the same scener for the rest of the room. I'm not going to hit heft d to duplicate it. I need to duplicate an instance duplicate duplication. Alt D, because whatever thing now I change for one of them, all the pieces will be affected, and that's what I wants. Let's add a two here. And old D for those and add two right here. Now let's grab all of them, and old D and take a cob right here as well. Y cool, please. Very nice. Nice. All right, so that's it for this video, and the next video, we will start adding material to the cartons. See you next. 181. 182 Interior project creating materials part 3: Hi again. Welcome back here. Let's add material to the cartons. Let's start with this one in the middle. Let's hit to add new material here, let's call this carton. All right. Maybe we can type white carton just to recognize them. That's cool. With this one, it's transparent. That's a thing. We need to keep so I will add another or from the Had second transparent SDF and link those control lick from this to this to mix them with mixed Hor. Let's see what else we can do. Let's go to render. We just need to see what will happen. Do we have en lighting? Let's go to the setting. I think we got some lighting. Maybe we can add an HDRI material and use it in the lighting that will be better or maybe we can add in the world, maybe I can add. Let's see what we can add. A sky in the color s. Timer. Let's go to sky texture. Let's use Nita and I think the strength is good, maybe we can change this to two, make it a bit stronger, something like this. Let's go back to the object material and let's see what we've got so far. I need to control the factor with maybe layer weights layer weights and connect the facing with the factor here. That can help me just to control control the carton more so I can see the carton better. After that, I can add a color m just type m. Here right here. I will change the smoothnest from linear to B spline that will make it a bit smoother. Now I will have more control. Let's go to meter review. I just need to see what I got so far. Let's activate the color ramp. What I will do is I need the The faces in front of the camera to be transparent and the faces that far from the camera and have an angle with the camera. I need them to be visible to the camera, like what I see here. As you see, we have some overlapping here and in the carton and because of that, we can see the cart itself, but here in this area, we can't see anything. We need to try to simulate this effect. Let's see how can we keep something close to it. All right fair thing. Let's change this to something great. I just need to recognize it. It's like to isolate this. Let's see now what we got. Or maybe I can add just temporarily can duplicate this one or I can add from the header BS dF diffuse and link it. After that, I will delete it. Let's give this red color, and that's it temporarily. Let's go here and now we have the black and the white area. So let's put this just a little bit. Now, I gave this area I make this area black, the face in front of us, and that we'll make this area not visible, but the white area will be visible. Let's kick what we got here so far. All right. So the faces in front of us, they should be red. Let's tweak between those at least that we've got. Maybe I need to flip these colors. Something like this. Now, let's hit slide to excite and let's block the transparent, but let's take the color, the saturation be like this and les blacks. As and go to render and let's see what we got so far. We have the ability to control the effect. I don't know, but I think we got something here. Maybe we need to render it so we can see what we got so far. We have the control here, we can control it. From here. We can make it transparent by manipulating the sliders here. For the roughness here, we don't need any reflection. We need to take the roughness to one. And here we have this option he. This gives another layer above the surface to make it like a vivet, so I will give this, that it, I think. Maybe we can make this a bit darker, I don't know. Let's try that. We can control the color of the transparency as well, maybe. F we make this dark, we make that carton dark. Let's make this white. Maybe this one as well. Look at the cas a little bit. All right. Now let's jump to the next curtain. For this one in the middle, we can tweak this later if we don't like it. But let's start with this one. Let's tine and let's call this maybe dark curtain. Just to recognize it and what else? Let's go to the tie folder, and here we got some images. We have this fabric. Normal, we can use it. This is nice. Let's put this right here and plug it to the normal directly and add node. Hit A and normal map. Let's put this right here. All right that's cool. Now we have a normal map, but we just need to kick the scale now. I don't know. Maybe the scale is good or let's add Tite coordinate and mapping, and let's add a value here. I just hit a control t ands put the number. We need to hit control have to click on the image so we can see it. I can't see any k. There's something weird ha in here. Let's go to material review so we can see the K sorry. Let's put this yes a little bit because it's here, we can't see any thing here. Maybe two, number two is okay. 2.3, three. Something like this. This like to exit. Hold the gravis control the same material. Now they are the same. A what else we need to do here? Let's block this. Let's pick the roughness to one and the heat to one, all of the stuff, and what else. For the color, we need to king the color. Let's like to isolate them and go to material review, and let's manipulate the color. For the color, I will add mix RGB here and black it, let's try to give it a color similar to what we have. For the color one, let's pick the bright area, and Color two, let's pick the dark area, something maybe like this. We need that variation. We need to control these two color by adding, by the way, there is no need to pick the dark color, we can take the same color and make it a bit dark maybe. That's better. Let's go to search and let's search for layer weights, and let's block the facing to the factor. I just need to see what I will go there, and let's add color mp mp. S H A, Cosi color am cool. He control H to click on the color rum. I just need to see what I will go here. Now we have a color one and color two. Now by using the sliders right there, we can give priority either two color one and two or two. Let's appli it and let's see what we can here. Let's take the y towards a black. Let's go to the material and see what we all got. Let's change this to something great. I just need to recognize it. I think now we are correct, so it control z, something like this. If you want to make this a bit transparent, we need to add another header here. Transparent PS dF, and mix those with mixed header and the factor we can can it with another layer weight and mp like this. L et's change this to B spline. I think that can give us a nice transition. What else we need to do here? Let's like to go back to the IC and let's Z and go to render and let's see what we got so far. This carton become too transparent and we don't need that actually. Now's the time to control it from here. Let's see what we got so far. If I want to make this even dark, I can go to the white value and make it dark like this. This way, I can control that. The same scenario for the translucent, may be transparent. We can take the color down just a little bit. That will make the effect less and not sit wrong. Yeah, that's right. I need this to be a subtle effect. Maybe even the color I can make it a bit bluish, similar to the result that I have here. I can see that I have some blue color here. Right. Let's take this black value bag to the original state because we don't need this to be too much contrast here. We can see that still transparent. Let's put this back and let's see what you will go. If I want to control that even more. I can add another node here. Maybe we can add color Ramp, s curve arch curve here. Let's take the white value down. Maybe even more. I just need the effect here to be very subtle. For the color. I just see that I have some dark lines here. I need to reduce that effect just a little bit. Maybe I can change this to line that will give us more control here in the color and make the transitions wit. Accept this. And let's move on completing the room. I will add lighting here as well, and I can take a t and after that, I can decide what I need to do. Let's go to solid, and let's put the three decoso right here, grab this and tap the mode, grab this face it Heft S and cross to select it and tab out hit Heft A and let's add a light. Let's add an era light. Let's take the era light down just a little bit, something like this. Go to the Light properties, and the size, we can king the size, something like that, and king even the shape to disc, and we can give it a little bit yellow color and turn the power from ten to maybe 150. We can start from here and let's Z and go to render and let's see what we've got. That's cool. We can see some lighting. After that, we need to duplicate this one with Alt D not ft D, because we need to control all of these lights by king one light. Alt D again and take another copy right here, it G and move them. Grab those four and hit Alt D and take another cop right here. Great. Now let's see will get if we go to Render go toner. I think that's too much illuminated. All right, let's grab just one light source and let's change this 280. Now, I can take a shot to the scene. I can go to the camera easier go to the camera and let's move the camera. Go to st, I think that's better. What we need to do now, maybe we just need to I don't know, put the camera somewhere, maybe right here. All right. Let's see the hot here. Maybe we can take a shot like this. All right. Maybe I can make the change the dimension. Here. Let's see what we have here. We have four K, summary depress we can use, but maybe I can manually change this to get something. I just need some height here. I think this number will work. Let's take a hot like this and let's see what we've got. Before that, let's go to the camera setting. I just need to kick the focal length. The focal length is this very almost a narrow angle, 50 millimeter. We just need to make it tight so we can see more. I will add here maybe, we can see more. But that will distort the dimension a bit. But that's okay. All right, cool. Now, the result is cool. I will accept this and I will go to the setting here. And what we need to do here. I just need to activate the D noise and the render section is activated. And what else the max samples is 4,000 and the noise threshold is activated. I don't need to work with the noise threshold. Noise threshold that's mean the render will working until it wreak this value. The noise threshold, and after that, the render will be stopped. I need to do is, I need to control the render by the samples that I will add here. I can leave this 4,000 and later I can stop the render if I like, this optional, and I think that's what I will do. Yeah, let's accept what we have here, let's make a quick render. Do we have anything else here? We need to change. Yeah, I will accept, leave everything as is and make a render here. Go to render and render image. Before that, yes hit control is to save the scene. Forget that. In case anything happen, go to render and hits render image. I just to top the render, and really, I like it. Nice results we got here. The carton is very nice. And I just forget something here to mention, we added double light. We added the sun with the sky environment tempture, and we have double sun here. So we need to delete the sunlight that we added and use the environment itself alone. And don't forget the interior lighting we added here. I think it's A little bit sit wrong. Maybe we can take them down just a little bit the strength. So let's go back to three D view board here and let's start with the lighting. Maybe I can ing those to maybe 60 and make them just a little bit yellowy like this. Yeah. For the environment, I will delete the sun and I will and go to render. I just need to see the environment and where is the sun. In order to see the sun, I need to go to the setting here and just manipulate the air. Maybe we can push just ale bit because I need this I need to see the sun disc y the iris, I can see it right now. Now I can manipulate the position k, the position of the sun. Let's rotate it a little bit. Maybe like this, or let's put it right here. I think you can see it is right here. Maybe I need to elevate the sun. Let's go to elevation and let's take this up, something like this. Let's push the air even more. Broadly and L et's make the sun a bit higher like this, something like that. Now let's take the air to the original value, just have over here and hit back space. Now let's go to the camera and now let's see what you've got. That's cool. That's for the sun. For the cart, maybe I just need to make the color a bit darker. I don't know. I feel I need to do this. Here in the color s, I will add a curve and the base color between the mix and the base. Let's go to a meter view and it's like to isolate just one of them. Maybe. Let's take the curve down to make this dark. Something like this that will be enough. It's back and let's go to render. Something like this. C. The planet the same scenario. Maybe we can make the plants a bit darker. Let's add the curve, and let's take the curve down, go there actually. Zoom in here, I just need to see here. Let's take this a little bit down to make this and maybe we can control the saturation by adding and saturation. No, this will help me to control the color saturation. Maybe add 0.9. If you take this 20, you'll make it black and white, and that's not what we want. Something like this. I think that will be better. For the ceramic material that we created, I think we can take the color a little bit down. Something like this. What else? Let's go back to the camera and maybe we can take another hot. I just make a quick render just to see what we will have here, and the result is nice. I like it. We just need to add some lighting. You remember here we have a hidden light here on the side and on the other side as well here. Let's add the stuff, but not in this video, and the next one. 182. 183 Interior project Adding hidden lights: Hi again. Welcome back. Okay. Let's add the hidden light. We need to Maybe we can start with the plane and change the plane to a michel light. Okay, that's will work with cycle. So let's create a box right here. You can create a box or plane. And I think the light could end here. Create something like this. And let's go to select box and Let's move it just a little bit close to the wall, key and move it, scale it like that. Something like this, maybe. And z and take this up. Something like this will work. All right. Yeah, something like that. For this side, the same scenario, but let's give this a material first and then we will copy it. H it to addin material and for the principle SDF, I will hit shift to open the switch menu, not add menu, and sick this from this node to node. Can the c to something yellow and increase the strength to maybe three for now timberly. Now let's take another be for the other side. Heavy and to the X, and let's take copy right here. C. We just need to scale it, make it bigger, as compare with the first one. Maybe we can move a little bit and scale it again like that. Ct roll the scale. Very cool. Now let's make a quick under, and let's go to under, and let's see what we will get there. We can't see much lighting here. Okay. Let's activate de noise in viewboard. I think that will help us just a little bit. I don't know. Let's try that. Let's change the strength to maybe 15. Now I can see that I have some lighting there. I will have control just to cut small area to make the render faster. Maybe we can increase this from 15 to. Yeah, something like that. Make it more allowy. Let's go to the other side and let's render this Z and go to render. Very nice. We just need to change the color of the wood because in the, the reference image, I think the wood is a bit darker as compared to what we got. I will go to solid and select one of these plants wood and the curve here, it if A and les curve RGB curve, and let's put this right here. We can isolate and go to material review, and let's see what we got here. Let's take this down. Okay. Now, I think the result is a close to the image. He, let's go back and let's render a small area of that. Z and go to render. That's nice. For the cartons, as well, we just need to manipulate the color just a little bit. I made a quick render to the scene. Let's see it together. I think slot one. Yeah. The color that we have here is not similar to the image. So now it is brown and in the image is It's a gray and just have a bit of blu, something like this. We just need to fix that. Let's switch back to slow to and exit from here. I will hez and go to render to see the result in real time and Let's like the carton and let's see how can we do this. Let's move those a bit like this. We have this what we need to add here. We can king the color from the mix, or maybe we can add another curve and tweak that or maybe he saturation. Let's try to add he saturation. Right here. I just need to desaturate this a little bit, maybe 2.7. Something like this, or maybe 0.5. Let's see what we've got. After that, let's add another note, I will add another RGB node here. Curve RGB. This time, let's reset it, I will hit this x to delete this point here, and let's go to the blue el and let's take the putel up a bit. Let's see what we will get there. For the nel, maybe I can take this down just a bit. Something like that, but not too much, be careful. I got this result. I don't know. Maybe I can move the U and saturation and boots right here. Let's see what will happen. I will grab it in a H D, sorry. Kobe and let's ad Cobe right here. Let's mute this. I just need to see before and after. Let's take the saturation to 0.2. I did this because I just need to kick the color. It seems like the carton is affected by the light because we added a yellowish color. For example, if I grab one of the lighting and let's go to the setting, let's change the color to make it something white, take the ster back. As you can see, that's affects the scene and now the color. Because of the color. We don't need to use a str here and The alg curve that we added here is too much, so we may take the red value bag or delete it in blue as well, maybe that's too much. Something like this will work. Or even if you delete it. I think that will be better. Yeah, this result is a close to the reference image. That was because of the lighting because as you can see, we have a blue color filling the environment of the scene, and I think come outside, from the sky. This is the idea. All right, let's go to solid now, that's it. And yeah, I will end this video and see you in the next one. 183. 184 Interior project Filnal Render: Hi, everyone, and welcome back here. Now, let's work with the environment. I need to add an image like this in the background, so we can see some building here. I got an image. I don't know if you're going to like it or not, something like this. I will use this. All right, Let's see how can we do that? First, we need to add plane here, so let's go to ad minion and add plane. Now we cut the plane and say the room, I will take this out key and move it. And let's rotate this to the x axes, r x 90 degree, and scal Something like this, make it big. All right. What else do we need to do here? Maybe I need to scale this just like that and control A apply the scale and tap the esmo to add some edges, control r and let's add a couple of edges like this. All right. Maybe if you want to level them, you can do this. Something like this will work. Now, let's add one of these modifiers that we have here, symbol deform, and let's use bend because we need to bend it, and let's manipulate the angle. But let's choose the right axis. Write the z axis, but it's rotating in the wrong doch. Let's go to the object properties here. Let's go to the visibility to the viewboard display and activate the axis, so we can see the axis. So this is the Z axis. Because of that, we see band happen like this because the Z axis goes to this dachen. So we need to fix this or we can use an Mt. You can rotate the axis and fix it, but I think we can use the MP that's will be easier. So let's add an MT not here. Let's move it in but it's right here, and let's go to the modifier and make the modifier working with the empty and now call. So I think we need to choose the opposite. Just make it carefully like that. If we add the camera in any angle, we can see the image. This is the idea because of that this right hit smooth, make it smooth, and let's add the image on it. You can hit to add a new material. You can change the name to bag ground. And the Okay. Now let's go to the folder and let's bring our image, right here, and let's black it the base color. Maybe we need to rob it very quickly. We'll tap hit A or let's apply the deform modifier, just hit control A in the object mode. Tap it A and just hit twice to rob it. That will be rotated. You just need to rotate this back, but let's open the image of the building, so let's go here and let's see where I see where it should be right here, this one. Grab the UV, its R to rotate this net degree. And let's maximate this cas a little bit. Or let's take this down. Hit and let's put this right here and put the two decors right here as well and scaled from here. Maybe we can move this up. Okay, it's flipped, so we need to control M to the Y. Control M. I mean, activate the mirror to the Y, and now hit and take this up. Sorry. It's still a flipped. I don't know y, control to the Y axis and then enter and now get with a Y. Oh, my God, what's going on? I will rotate it. R. Let's turn off two decorsor. R and rotate it like that. Move it up like this. A there something weird like that here? I don't know. Maybe we need to rotate this back. I think we made a mistake. M. Yeah, this is correct. When I take this down, this area right here catching information from the sky. Because of that, I thought it is flipped upside down. If I go to the here and open it and go to peat image, this is what's happening. Because of that, I just confused. Anyway, let's move the UV up, something like this. Let's go to the camera. I just need to see what I can see here, grab those grab the carton, where the carton grab it hide and hide the windows, that we gave it I think we didn't add it in a collection, so maybe I can grab all the details, the handle as well and hit to open a new collection, and we will call this window, it enter and now we can hide it temporarily, so we can see the image, go to camera zero, and now we can see the image, but it is very, very close. In this case, I think we can take it away, or I will keep the view like this, and I will speak this to three D viewboard. F here, I can t what I need to do. Grab this head key and move it away, something like this. Maybe I need to scale this just a little bit, but don't start it. The image that I picked is not so quite nice. Maybe we can find another image. I got another image. I put it here inside the folder. I got this from pixels. Pixels is a free website for images. You can use it in your project. But this image is sunset. It's not going to be fit to our project. But maybe if we use it, maybe we can increase the lighting of this image. Maybe that can give us another result. Let's try that. I just need to make a comparison between these two images. Let's see which one is working. I think this image is work better. F is here. It's more beautiful as compare with the first one. I think. Let's scrub the image and let's see what we can do. Maybe we can move this bag. We can't take this down because if I do this, I will see the end of the image. So we don't have an option like this. In this case, Maybe I can take this to the photoshop and make some wigging or I leave it like this. After that, I can give it an emission material and make it price. For example, we added the image in the pascalar, and here in the emission, we can go to the setting of the material and increase the emissions. We need to block the same image and the emission as well. Like this. Now we can increase the migion strength and make the sprite. Now you can't recognize if this mage sunset mage or not. It's almost going to work. In the end of the day, we are not going to see mice details from the image. Especially if you push the mag and make it very. Let's open the window and the cartons and what else we have to do here. All right. We don't have much to do here, actually, we just need to render it and see what we will got. And by the way, we can use HDRI image to illuminate the scene. But I'm not going to add HDRI image. We explain that. We just need to make a render and see the final result. So let's go to the camera zero, and let's put the camera and I don't know. Maybe we can change it, take go back. All right. Or something like this, maybe. I don't know. And they take a shot like this? Let's go to the render setting. I just switched this to support it to make the render faster, but I will swede this to experimental to see the displacement that we added to the carved. In the setting, we don't have much here. We don't need to make it complicated. It's very easy just give it a n amount of sampling. If you give it more sample, as we take more time to render and it will give you nicer image. For me, I will try to add 300 and I will activate the D noise. Denise will help me to eliminate the noise in the M when the render is finished. That's very important. I always keep this active. I will render with this setting. I don't have anything here to match with. I will leave everything as is. For any reason, if you like to increase the exposure, you can do that. Tweaking the curve if you like, that will affect your render, but I'm not going to k these numbers. Render cycle, experimental, and we just need to render it. Let's go to the render and open render view, and we render it in the slot one. We got this result. Let's see what we will go in the slot two. Maybe before we go to render. Maybe I just need to chang the elevation of the sun, can go here and take the sun up. I think that will be better. Let's go out and Z and go to render. I will push the air to one. I just need to see the sun discs right here. As you can see. I will chang the sun elevation to maybe I don't know 40. A now the sun become the sky. Where is it? We lost it. Anyway, now if we go to the inside, we can determine that by the lighting here. If we see lighting here, reaching this area, for example, that's mean the sun is in front of us. But if we don't see light here, that's mean it's above us. That's what I need to do actually. As you can see, I can see a little bit of lighting coming from the sun. In this case scenario, let's the number to 50 and t's see what I will go. Right now the sun is become above us. That's something nice. For the air, I will take this to the original value, just hover over here and delete so back space, and there we go. If the intensity too much, high you can take the strength back if you like, that's something optional. All right, now I'm just going to render the image. I just need to see the final result. So I will go first to the solid mode and then go to render and render the image. When the render is finished, I will be back. I just stopped the render here. I noted that the sun light is too sharp. I don't like it to leave it like this. I just need to make the sun soft. In this case, by the way, I just have an issue here with the heading. As you can see, the result is very jagged for the sulfa and the pillows that we have here. Fixing those, we just need to give them subdivigan surface modifier, adding subdivian surface above the sofa and the pillows and that will be solved. For the sun, I need to go to where is it to the environment and change the sun disc, where is it? Sun size. It's 0.5. I need to change this and make it bigger, but let's take a small view. I control. Let's render this area just and go to render preview. As you can see now, I can see the sun sharp. I will change the sun size to maybe two. It's still sharp. Maybe I can change it to three, maybe. I just need to make it soft. By the way, I don't need to see any lighting coming from the sun. I need to get a result similar to the reference image. In this case, I will rotate the sun. Now it is 17, I will add maybe 40, just rotate it from the s. Now we still have the lighting, but sun now taking another direction. All right, that's cool. Now let's see how can we fix the heading of the pillows? I will hit control B to render test this area. As you can see, it looks low poly, it's not smooth, but we gave it head smooth, but it's not quite visible in the render. In this case, we can add subdivision surface above it and we have another solution. Let's try the easy solution. The solution is not always working, but it is sometime it could help us.'s try to use it here. I will select the pill of fairs, the one that I want to fix, and I will go to the object properties and here inside the shading section, we have shadow terminator. This should terminate the shadow. And we have the shading offset. I can offset this just a little bit. That's means I can move the shadow. For example, as you can see the ado, for example, for this area, it's treated here. Here. When I push this hedo offset, I can move the hedo gas a little bit like this. Let's see that in action. Let's add 0.1, don't add a very high number, 0.1 hit enter. Let's give that gas a little bit of time. As you can see, I just fixed 80% of the problem. For this geometry alone. I can do this for the sofa as well, can select it and add 0.1 and that could help us and kill the shadow problem. Or you can add subdivision surface above it, and that will eliminate the problem. Choose the object that you want and just go here and add subdivision surface. Now it's become more smooth and very okay to go with it. Let's grab this one. Let's hide this. I just going to hit. Did we gave it give them a collection? I don't remember. All right, I will hit to hide this, and let's stick with the next one. Let's see do we have any problem? Let's wait for Dender. Tinder this. Yeah, we got some problem, as you can see here. Yeah. I will try to use the hedo terminator, grab it, go to the object properties and go to the head terminator. Increase the head sit 2.1. Let's see the result. Let's give this just a little bit of time. The result is also quite nice. In this case scenario, we will add subdivision surface above it and get rid of it. The same scenario for this one as well. Let's make a rectangle under like this. Let's kick this one as well. I will give a subdivision surface. Let's go to the next one. The same scenario for this one, select it and give it subdivision surface, and we will be good to go. Very cool. Let's go to solid and let's see what else we can do here. We don't have that much. Let's go back to the camera. I control A B to get rid of this rectangle that we created in the view. Right now, we're back to the camera and now we are ready to take a shot. If you want to make any, you are free to make For example, if you want to duplicate the plants and put in any other place, you can scale it, and you can do a lot of stuff. For me, I can accept this result and make quick render. By the way, I just made a chin here, I change the sample to 200 and that's it and activate the Denis, and I will go to the view, s to the s to the render and view render, Let's swig this two slot four and let's excites and just hit render render and render image. All right, cool. Now there in the Aspin, and this is the result that we got, is very nice and smooth. And Dinos did very great job here. Very cool. We still have some jagged shading here. We can add subdivision surface to eliminate that. For the pillows, the result is very, very beautiful. We got here. Maybe we can increase we can increase normal map tiature that we add to the pillows and make give us some feeling of timeture. Can change the scale. And yeah, it's very nice. The cartons are nice. I like them. I like the transition that we have here from black to something gray. It's very beautiful. And this white, it looks very realistic, by the way. The window and the image outside, we just see silhouette, and the balcony is very, very beautiful. And the sun here hitting this area, it's very nice and realistic. I like so much. Very cool. Now what we can do is we can tit of the render image. Let's see what we can do here. Let's close this like that. Let's go to another place at Neto as, is called compositor compositor. Inside the compositor, we can see the final result that we just rendered. In this view, I will speak this to image editor, and let's change this to render results. This is the render result. I will leave it like this, and the render result is right here, and this is the output. Whatever thing I add here between those two nodes, It will affect the output, and I can see the result of the output right here in this place. For example, this place is like Hader editor, the same scenario, but here we have some effect. I I hit sift A, I can go to these sections and add stuff. For example, go to the filter, and let's see what we can add here. We have Denise, we have plu, we have the. For example, let's choose glare and let's pug it, and let's put it right here. And let's see what we will go. As you can see, immediately, we got the glare effect. Inside the glare effect, we have multiple choices here. I will choose a fog. I don't like the glare to be like this. Maybe we can choose a fog. Now you can see that I have some glare here, and this will give the results more realism and make it more beautiful. Especially here for the light, I can see glare here. Now if I grub the node and hit M to mute it and muted, as you can see, we have a nice effect. If you like to see the effects alone, you can speak the mix to one, If you do that, now I can see the g alone, the effect of the glare. If I take this two min one, I can see the original image. If you leave this to zero, this is the mix between one and minus one. Let's go to one. I just need to see the effect and the glare. Maybe I can manipulate the threshold, hold heft and move this down just a little bit. All right. Let's take this two point. I don't know. Just need to try and see what's going to happen. Or let's take this I don't know 22. I just needs to see the result. All right. So now we make the effect a bit less. Let's take this to three, and let's see the difference here. Let's take this back to zero. All right now we reduce the effect of the glare, but I think that's too much. Let's go back to one. Let's take this to maybe one It 0.6. Something like this, maybe 1.5. Or maybe 1.2. Let's go to the organal. Let's see the organal was zero. Yeah, I think like this. Let's add 0.6. Something like this. Let's take this back to zero. Just make the effects settle. What else here we have the size, add one and let's see the effect of this. In this slider, you can control the size of the clear if you take this up to nine, or I think it just six, you can add one. Yeah I seems like that you can't add one. 6-9, the size. Can we go beyond that? Yeah. Make the effect very subtle. Something like this, I think that's too much. Let's take it back. Something like this will work. We still have some clear here. That's for the glare. Let's add another filter. Let's try to I don't know if from here, we can chose or maybe we can add the denoise if we have any noise in the mag, but the dois from the render did very great gap here, so we don't need to add the dinas. Maybe in the color we can add some color balance in contrast. Let's add prt in contrast, and let's see what we can get here. You can hold heift and push the contrast just a little bit to make the MA bit contrast. All right, I don't know. Let's add three, and now we have a lot of contrast here. Maybe we can add two, let's see the difference. Let's see before and after, it's muted muted. Yeah, something like this. I like it. The prt if you want to give this brightness, that's okay. I don't like to do that. What else, there's a lot of option here you can choose. Boger you correction. Did we have a white palance here? I don't know, maybe maybe we have or not. Color palans we have here. Let's try to use this, let's see what we can get with this. We have the gamma gain and the stuff. Change the color for this option, and you can see the effect now. I think this one affected the head, making the head looks like blue. If you have a over here and stop the mouse, you will see a notification here tells you right here. It's for the mid tones, and this one, I think for the high light yeah that's right. I mean, if I take this to right, I will affect the high light and make the highlight look right. Let's take this back. Think we can, for any reason, if you want to take this to the middle, just have it over here and hit space, that's will reset it. Yeah, that's very nice. That's very cool. Maybe the highlight, we can take the highlight down, by the way, we can control it like this. There's very nice option here. That's too much, by the way. Let's have it over here and hit pack space. Yes, a little bit, maybe not too much. I think we have too much glare, I don't know. All right. We got something weird here. I don't know what is it? Let's mute this. Yeah, because of this. I don't know, we go some problem here. Let's reset all of these, so I will reset this and reset this, all of this stuff. Yeah, Accidentally, maybe we just move this up the gamma, because of that, we get washed out and make it like this. I noted that I push this up. Set this back. Maybe we can make the head a bit bluish, and even the mid tone, I can push this just to blue color because the idea, I want to do this. I need the I need a blue color inside. The room comes from the sky. This is the idea. Because of that, I need to boh this chest a little bit. That's too much, maybe. Let's check the effect of this one. Yeah, it is nice. No, I can feel that I have a blue color here. But I think that's to s b a hint. Cool. Let's add another note. Maybe let's see what we have here in the color section. We have what else we have arch curve. It's very nice to add RCP curve and use it. If you want to make this contrast like that, if you like. If you want to make some variation like this, we have a lot of control here. Something very nice. I will delete. I don't need to use QP, so I'll add control X to delete it. I think right here, we have a sharp. Let's hit shift a to add from the filter section, what we have here, s is it. Inside the filter, we have multiple filters here within this node. We have the soft sharpen and a lot of stuff here. I will use the sharpen. This can make the result a bit sharp. Let's plug it right here. Let's see what you will go. This is the result is too strong, the factor is too high. Maybe I can add I don't know, maybe 0.02, something like this very little. Let's see before and after it muted and animut it. We have some little bit of sharpness. I don't know if you like it or not. You can control it. Yeah, just a little bit, not too much. Yeah, it's very cool. We got these nodes that we add affecting our scene. Let's see before and after. You can ero them and hit to mute them, and mute them. Very nice. When you be satisfied with the result and everything, you can save your image, go to the image and save us. Here in this section, we have the file format. We have a lot of formatter we can pick. B&G K and Targa NX for me, I will stick with G. It is a very nice format to keep the color inside the a very nice. And you can choose Big if you want to make the file small. For me, I will keep it in B&G. We have the color, we have multiple choices, color depth. We have two number, you can make it big or small, compression, if you want to compress your image, and this stuff. After that, just give it a name and it's safe to save your image after that ender. Yeah, something like this. Let's save this image like final render one. Maybe I can add another I make another renders. I will save to save the image, and that's it. Very cool. Now just keep that in your mind. If you go back to the three D viewboard and make another render, when the render is finished, the render will be affected by these nodes that we added here. I mean, there is no need to go back and add these notes again because they will be already added. Keep that in your mind. If you don't need the effects, just grab them, hit and mute them all like this and you will go back to the original results. A then, that's it for this video. We finished here and see you in the next one. Good bye. 184. 185 Intorior project Extra camera shots: Hi, welcome back. Let's take another hot. Let's go to the camera his zero and hit the tail ducky and move the camera in a new place. I just need to take a hot to the planet's Let's put the camera in a nice place. By the way, you have the ability to change the dimension if you like. So I think I can make the shots similar to the phone, something like this, the frame, and move the camera just atle bit. Maybe right here. I can take this down just a bit. All right. Something like this, and take a shot. All right. I need to use depth of field. I need to focus on the leaves. Fair thing less, we add to put the focus on one of these leaves. I will put the three d courser right here, just hit heft lick and over over here, and then heft A let's add an empty. I will use this empty. You can scale and make it small. I will use this empty as a focus point. Right now we can go to the camera and go to the setting here. Activate depth of field. Pick the empty as a focus point. Now it's rotten right here empty. Now we can go to Camera and Z and go to the render. I just need to see the depth of field first. We can take small shortage control B and cut the smaller just to see what we've got so far. Liz just a little bit. So we can see the result. If we take the number down, make the epistope small, we will make the depth of field focused. For example, I can add one here and make very strong, make the depth of field very strong. Let's give this time. Now the depth of field is focusing on the leave, just the leaves. Something like that. This type of focusing is very nice. I will had control with B to get rid of this small area. Now we can make rander. But before we make rander, I just need to kick the material of the this material of the pace. Let's see if everything is okay. We added the aglosy B S d, but we just forget to take this back to zero because we need this to be reflective. By the way, one thing here, zero outness. We don't need rogs in the second layer. We need the second layer to be reflective. Now I can render this result. I will go to slot first and let's open let's open view render. Let's go to slot five to render with the new slot. The same scenario, just go to the setting here and add whatever sample you like, activate Denise e acts. We don't have much here to work with. You can leave everything as, go to render and render the mage. Very cool. The render is done, and this result is very nice cool. By the way, you remember when we created sory and where is it and the composter, the same scenario here. Now, the final result affected by these nodes that we added recently. All right. Let's go back to the image. After that, I can save it, go to the image, save us and save your mage here. Final two, just hit this plus, two ching one to two, and then save image and done. Maybe we can take another image. Let's go to the camera, zero, and let's hit Tilda key to move the camera and let's go to another place. Maybe we can take a shot from here. I think this place will be very nice. Something like this. Let's go to the image, and let's choose one of these pray set, maybe HDTV. DV. That will give me. I think let's choose another preset. Yeah, 1920 with 1080, let's take I don't know. Let's go back gues a little bit, but not too much because we will get inside the table. Maybe we can go above the tables a little bit, something like this. All right. Does that make sense? I don't like that to be to take a hot like this. Okay? We can't take a hurt like this or maybe we can put the camera on the side of you. Something like that will work as well. By the way, guess I need to in something here. I just made a bit tweaking to the sofa and the pillows. Let's go back to the header. You remember when I added the t i sure and the displacement, and I added here almost 20 the value, the scale. We make it very, very small. But later, I just changed that. For example, go to the material review. Now we can see the scale of the stuff. I just changed the scale. Of this image. It was very tiny. I almost 20 maybe or I don't quite remember, maybe 20. I was very, very tiny. I can ing this 24, for example, and make this bag or even two to make it visible to the camera. That's something important. The same scenario I did to the pillows. When I need if I put the camera at close distance, I need to see something here. And the first with the first setting, it was just a smooth without any details in the displacement or in the normal. So now it's better. Let's go back to solid and it's like to excite and let's go to the camera. Maybe we can take a hot like this, to be honest with you, I like to take it like this. I don't know. I feel this taken ma from this angle to be nicer. So let's put the camera somewhere here. I don't know, I feel that I need to change the dimension because I need to capture the image as well, the vector. So I will manipulate this and change it a little bit, make it like a square. All right. All right, I don't know, but I feel it is not going to be nice. Take the camera up just a little bit and take this back. Okay? Something like this. All right, I can make a under like that, yeah, let's see what we will get. If we make a under like this. I will render the mag and I will come back later. But before we do that, I just need to go to the view render, and I will switch this to slot six and then excite and make the Rder render and render a or you can hit F 12. I just made a huge mistake. I didn't notice that. I made another render without turn off the depth of field, so I will stop the render. I just going to escape to stop the render here. Then I need to go to the properties of the camera. S the frame of the camera and go to the camera and just turn off the depth of field. That's it, and after that, let's make the render. The render is done, and this is the result that we got. It is nice, but I think we need to make guess a little bit of tweaking in the compositor. So I will close this and go to the editor and tweak this two editor, and what we need to bring here, the render results. Let's s for the render result. Yeah, this one right here. Okay, cool. Let's go to the compositor. We could see the final result and that's right. I think I need to turn off the color palans, it muted. Because it just affected the final result, and what else we need to the pri and contrast? Maybe we can turn this off because they may become too much contrast. Let's see before and after. Yeah, I can turn this off as well. And the carbon, I will leave it. I have no problem with it. And glob, let's turn this off and let's see before and after. All right, I will leave it on because it gives me a nice result. Grab those that control X. You can delete them and put those to make them close, or you can grab them at S and scale them if you like. This result now has become too much better. I think. This is the image without de noising. This noisy image. Yeah, this is the noisy image. This one, the combined. Yeah. Very cool. So yeah, now I can save it. All right. By the way, we don this area is too much pride as compared with this. And the reason is because because of the lighting that we add, we have a lighting coming from the ceiling like this, illuminating this area. All right. So now I can save this image, go to image and save us, and let's save this to final render maybe three, just hit this plus, to change the number to three. Y just save it. All right, cool. So now we reach the end of this course. Maybe I don't know, maybe in the future, I can add some stuff skull pons. I'm not decided yet. But for any reason, if you want me to add something, I can do it and I can add to this course. I hope you learned something here, and I hope the course was easy to you as we go from the zero up, and I hope you find this course interesting and nice. And sure, I'm not going to stop, and I will make new courses for Plander. So see you in future courses. Goodbye.