Transcripts
1. Introduction & What You'll Create: Welcome to Blender Introduction
to Geometry notes. Have you ever looked at a project with
thousands of plants and rocks and nature elements and wonder how the treaty
artists do it? The answer most often is
procedural workflows. In Blender, the most
powerful procedural tool is geometry notes. And with that, you can do
motion design, illustration, architectural elements, and even build variations
for an entire city. My name is Caroline Conde. I'm a treaty artist with over
seven years of experience, creating stylized environments, architectural illustrations, and also game art. There has always been a
reliable tool into creating scalable environments
and animations that will take a lot of
time building manually. In this class, you will
learn geometry notes by building a complete flower procedural system from scratch. We will begin by understanding
what procedural systems are and how they complement
the traditional modeling. We will learn the fundamentals
of geometry nodes, understanding the
thought process behind a node based TD
creation that has become such an important
part of blender workflows. Next, we will create the base assets for
our procedural system, creating the petals
and also using plain shapes to create a
blooming stage of a flower. Once you've learned
the fundamentals, we will gather everything
that we did into a complete flower system with
different growth stages, natural variations, and density, and also with all of
the controls that you need to quickly
change the density, the randomness, and
the distribution of your flowers in the terrain. Finally, we will complete the artwork by creating
stylized materials, adding a simple light and a camera to create a
polished final render. By the end of the class, you won't just understand
how to use geometry notes, but also how to think
procedurally and build reusable systems
that you can apply to every ongoing project.
Let's get started.
2. Introduction to Geometry Nodes : Welcome to our first lesson. If you are interested
in geometry nodes, you are probably searching for a fast and procedural way to create and animate
your three D models. I like to think of
Geometry node as one step further from your regular
modifiers in blender. So by using geometry nodes, you can access to
a variety of nodes that you can modify
procedurally your mesh in. You can extrude scale rotate
as the simple examples, but you can also instance
another object in your object and even use
external attributes, for example, a vertex group to change the density of
the instance objects. So you have a variety of controls that you wouldn't have in your regular
blender modifier, so it's a step ahead. But it can be a little
bit overwhelming. So for this project, you will need to switch from a traditional modeling
way of thinking. To a more mathematical one.
That's a lot of talking. Let me show you a quick example of how we can use
geometry nodes. Here we have our default
blender cube. Let's select it. Let's say I want to scale
this object by two. I would just press
S and press two, and I have it scale or I can go under edit mode
and scale the same thing. But now I don't have
much control over it. I already changed my mesh, so let's use geometry nodes. To add a geometry node, you can go under here. In our geometry node
editor and click New. We already have a modifier
here in geometry. Right here under properties, you can see that we have the geometry node modifier
applied to this cube. So to navigate your geometry node viewport is the
same as the TD viewport. You can just click
the middle button and pen and you can zoom out and zoom in and select with your
left button. Really simple. So right here out of the bed, you have two nodes, which is the group input
and the group output. Let's hover over
the group input. Here we can see the
geometry components. We have eight vertex, 12 edges, and six faces, just as
we can see right here. This is the input
of this geometry. Let's add the scale
elements node. Clicking this little ball and I'm going to let
go of my left button and I can search for my
node, scale elements. If I let go right here, it will automatically
connect to the group output. So to remove a connection, I can press Control, click. Drag out of the selection
and you can see that my mesh disappeared
because now I'm scaling this, but I'm not connected
to the group output. You can see how the
geometry node works. You need to have an input, you do the operations and
connect to the output. Now I have my cube back again. This is basically
how the connection of geometry node works. Now I have one value right here. It's a float value. You can see if you hover this, we have value one type float, which means that
this is a slider. You can basically slide right here and it will control
the scale of the mesh. So this is how you can
scale geometry nodes. And the cool part is that
you can expose this value. So you can drag this and
connect to the input, and you can see right here
that the scale is exposed. So now you basically
have a slider that is acting like a modifier right here
for your object. So I could go right here. And add a cylinder. And I could go right here at a geometry notes and select
the one that we just created, and you can see that this
object is also being scaled. Okay, so there's one more cool
thing that you can do for geometry notes is that instead of creating a modifier,
you can create a two. And this is pretty great for your workflow depending
on what you need. So right here on our viewport, let's change from
modifier to two. Let's create a new
one, and I'm going to name this scale by two. Same thing, scale
elements and two. This time, let's not
connect to the output. You can see right here
on the viewport that I have unassigned two nodes. So if I click here, I will have my operation right
here, scaling by two. So I I select, any object
that I have selected at the moment will scale just like any other
operation that you do. And you can also choose which mode this is
going to be applied. So right here, I have
under object mode. So if I press tab, I don't have the two right here. Let's add to this edit mode, and now I have my unassigned
to here and I can scale. In edit mode. Okay,
so now you have a quick overview of how
geometry nodes works. In the next lesson,
I'm going to show you a few operations that we are
going to use in the flower, you have a nice base
to follow along.
3. Building Your First Geometry Node System: Welcome to our first lesson. Welcome. In this lesson, I'm going to show you how to do basic math operations with
the values of our cube. Here I have the modifier
that we did last lesson, and I add a new default
cube to the scene. So just so we can understand how a field operation works
in geometry node, lets you move the
scale right here. I'm going to press
Control and left button. Drag out of the
selection and let go. If you hover right here
on this diamond node, you can see that it's
asking for a type float, which is basically
a value slider, so we can drag and select value. Now we have the input
of a value of two. This is important because now we remove this slider from here. So this part of
the geometry node. Now we can drag from here
and add a math operation. So just type math and the first one that
pops up, it's Ed. I'm going to let go right here and it's going to
automatically connect. And now I'm adding 0.50
to our value of two. You can see what happens if I drag right here
and add a viewer, you can see the
value being changed. Et's delete this. Okay. Now if you click here under Ed, you have Ed subtract
a bunch of operations that you can do to
change this value. So all of this, I'm going to press F
just to create a frame. What I have here is a
field operation that is being applied into the
face of our mesh cube. Bear with me. Now, let's
drag the output right here. And I'm going to add a
transform geometry and connect. Right here, you can
see that we have translation,
rotation, and scale. If you move around these values, you can see how we
can alter our mesh. Let's reset by
pressing back space. So when you have a
blue node right here, this means that we have three values like we
mentioned before, the X, Y, and Z.
This is a vector. You can see right
here on the center that we already
have a blue node, but it's a diamond one. The difference is
that this is a field, a three D float vector field, and this one it's not a field. It's because of what
I've mentioned before, this diamond one represents
that it's changing on every pace or every vertex
or every edge of my mesh, and this one is changing just
the position of my object. Okay, so if we drag the value
from here to translation, the mesh is going to
move, but as you can see, it is moving in all
of the directions. It works, but let's add
a vector right here, we can drag from translation
and add a vector. Now we have all the X, Y, and Z values right
here and we can change. Isolate it on the X
on the Y or on Z. The same thing for scale. Let's reset these values.
And remove this one. Now I have zero scale, so my mesh disappeared,
so let's do one. I can control the
scale on Y on Z. Okay, so let's set
this to translation. I'm going to set this to zero. And let's say I just want to change the Y vector right here. I want to create a
operation for this. So what I can do is I'm
going to direct this, and I'm going to select
separate X, Y, and Z. So now I can add
one math operation, and I'm going to add a value
of two, just like this one. Okay, so now I have my X value coming from
this vector that is 000. I'm separating it.
I'm adding two, and now if I connect this is going to translate
on all of directions. I need to combine
the vectors again. Okay, this feels like
a little redundant, but this is going
to be useful later. So now we are combining
this operation right here. So I'm grabbing just the X. I'm multiplying by two, and I'm joining in my
three value vector here, again, now we can connect
this to the translation. And now if I
multiply this value, it's only affecting the X axis. If I do this on the Y
and select this on Y, it's going to change
this right here. Okay, so this seems like a lot of nodes that are
not doing anything, I can just move my cube around without all of
the nodes right here. But let me show you a more
fun and practical example of how we can use this. So you can see that we
have a vector right here, but it's only 000. I could use another input
to change these values. I'm going to press F three. And search for scene time. Now we have seconds
and frame right here, but it's only a single value, a value that goes from zero to, in my case, 250. We don't need to
separate X Y and Z. I'm going to
delete both of these, and we are going to use this value to create
an animation. From here, I'm going to
grab frame and go to Ed, but I'm not going to
use Ed right now. I'm going to use divide later. So let's see what happens
when I press space. My cube starts to go in the Y
direction all the way until my timeline ends
because it's grabbing 0-250 and then it goes back. So we have a little
animation right here. But it's going to fest. So what you can do right
here is divide by two. So you can see now
it's going slower. If I divide by ten, it's even slower
because as we know, but let me just pause the timeline before
you add the viewer. Divided by ten, we have
this value right here, five instead of 53. By dividing this
value here here, I have control over how fast
my cube is going to go. Let's say I want to make
it move in this direction. And let's say I want to
change the direction. I can divide by manus tube and it will go down
in the Z direction. We can use this field right here to change the
rotation of this cube. Let's say, I'm
going to duplicate the combine instead of
changing the Z direction, I'm going to change the
X direction and the Y. Let's connect this
to the rotation. Now my cube is going crazy. So let's divide by
a different value. Maybe we need to divide
by a higher value, so our value can be lower. Now, it's kind of
falling and rotating. Basically, we have an bine cube. If we do by scale, You can also connect by scale. You can see how it can go crazy depending on the
value that you use. Okay, so this is how you
can randomly rotate and use different inputs in geometry nodes to create
different animations. In the next lesson,
I'm going to show you one node that
is pretty popular, which is the instance on
points that we can apply instances of another
object in our origin mesh.
4. Working with Instances: Welcome. This is where we
left off at Less lesson. We learned how to do
basic math operations to control the translation and
rotation of our object. So from here, let's create
a new geometry node. You can duplicate this one. Let's name this biting cube. And I'm going to
press right here on new geometry node group
by duplicating this one. Okay, so now you can see that we have another geometry
node right here. And for this one, I'm going to name this Suzanne. Instance. In our geometry node, let me just move this up because our notary is starting
to get pretty big. Right here under scale elements, I'm going to delete this node. You can select with your left
button and press Control S. It's going to basically dissolve like we have
dissolve vertex. When you're modeling, is
going to remove this node, but keeping the connection
to the next one. It's pretty cool to use. I'm also going to delete this w. And let's remove this one. I'm just going to leave this to the side because we're
going to use later, but forget this for now and let's also dissolve
the transform geometry. So we are left with our group
input and group output. And we have our default
cube right here. As we already know, our input, we have our regular cube coming. We have eight vertex, 12 edges, and six faces. So when we drag, we can search for a node that
is called match to points. And if we connect right here and let's go closer and let's activate the geometry
just so we can see the wireframe or you
can go on the frame mode, you have points located in the position of the vertex or you can change to
edges or to faces. So sit is better let's create a joint geometry
node and connect the geometry to this and
also the match the points. Now we can see the geometry
and also the points together. So vertex, edges and faces. So this means that you
can use your default mesh to create points to
add another object onto it. You can also use. So I use this just to
show you an example of how you can place
points in your object. It's not just on faces. You can place it on edges on
vertex, whatever you like. But let's remove this one. And geometry node has
another node that is called distributing
points on faces. Now this is specifically to place points randomly on a face. So let's add right here. And now we can see our object, and we have a random
placement of points. So this is pretty cool to create organic scenes like grass and what we are
going to do flowers. We can adjust the density
on this slider right here. Let's leave it more
or less at two. From here, we need
to add something to this phase and we
want to add instance. Instance on the points
that we created. Now I'm going to connect
this to the joint geometry. And if I want to
remove a connection, I can press control
and my right button, and we'll have the knife too. Now, everything that I pass
is going to disconnect. Okay, so now my
point disappeared. It's because we need to connect something in this instance node. So I can go ahead and
add a cube mesh or a default sphere that
we already have here, and we can adjust the size or, and this is what we
are going to use, we can add an outside object. So you can drag and
search for object. Or you can even
use a collection, but we will see this later. So now we have this field right here where we can add an object. So let's say, let's
add R SSN, our monkey. Oh, it's a Szen mesh. Photos. R SSN mesh. Okay, so now I need to
go over my cube again, and I can go to the dropper
and just select it from here. Okay, so now every point
that I have has SSN. It's a little bit big, so let's change here
on geometry notes. So right now the
scale is one by one. We can adjust the
scale right here. Something in between, just so we can visualize this better. I'm going to disable the SN. Right now, this S N
is being replicated. It's being duplicated
into all of these points. So that's why geometry nodes is extremely procedurally
and optimal to create these animations
because now we have everything randomly assigned to a point here and it's not
different meshes. It's the same mesh. So
if you don't go overly crazy with the density,
you can go crazy. This is going to be pretty optimal and it's going
to run smoothly. Okay, so let's disable
our instance of ZN, and let's focus on this one. Now we have our cube geometry is being distribute
points on its faces, and we have an instance
on these points. Under our instance on points, we already have a rotation. If you change this lighter, you can see that all
of the instances are rotating in the
same direction. Usually, you wouldn't want that. You want some
scattering randomness. Let's drag this node and
search for random rotation. Now we have a mint of zero
and a maximum of 180. So each of these
instances is grabbing a random number 0-180 to rotate, and you can control
the amount here. You can also choose
some seats that is basically some alterations
to each instance, and now you have a
random rotation. Okay, so what if you want to add the rotation that we had on our previous cube
into this rotation. So let's go back to our sent. So if I connect this
one to the rotation, I will remove the
random rotation. And all of the objects is going to rotate in
the same direction. So what we can do
is let's go back. I'm going to assign random
rotation right here, and then I can add another
node to rotate instances. Let's check this, remove this
one. Connect right here. Now, if I go ahead and
connect this to the rotation, we already have stored the
random rotation right here and now they are rotating
in different positions. If we remove, same position. As I mentioned before, the rotation here is
under a little diamond, which means that each
point has its own position and its own information of
the vector of X, Y, and Z. That's why it is rotating
each instance individually. F fund, let's also subdivide our mass
subdivision surface. You can control the amount
of levels right here. Let's remove origin. Okay, so the note is getting
a little bit bigger. Right here, I added a rotation
based on the timeline. Here we have the random
rotation of each instance. We have our object that we
are pulling to the instance. Right here, we have
the distribution of our points in our base mesh. Right here, we have
the subdivision of our cube that is turning into a sphere or instance on points that is basically the center
of all this operation, the rotate instances
and the joint geometry. Let's add our circle. So this is all of the basics that you need to know
the geometry nodes. In the next lesson, we
will start creating our own instances so we
can create the flower.
5. Terrain with Scatter on Surface Modifier: Welcome to the second part of
the geometry notes course. In these next few lessons, we will be modeling these
meshes that we will use as instances for the
flower procedural system. We will be creating a
terrain with simple grass. We will also be
creating petals with blend shapes to create a blooming effect and
also the flower center. In this first lesson, we will start with the grass. Here I have a new
window of blender 5.1. Right here at the bottom left, you can see my mouse
being mirrored and also everything that I type, just so you can follow along. So I'm going to
start by deleting the default cube I'm going
to add a simple plate. This is going to be my terrain. Now, don't be mad at me. We're not going to
add a geometry node. Actually, we are going to add, but it's a butane
geometry node of blender. Let's go here to add modifier. Instead of geometry node, let's search for
scatter on surface. You can see that this is
based in geometry nodes. If we go over here in the
workspace of geometry nodes, you can see this huge note tree. That we have for this
modifier right here. We have density amount and this we already have
in blender, masking. Imagine if we need
to do this by hand. We don't need to
touch any of this. This is already
programmed for us to use. Going back to the layout, here you can see that the
points being scattered here on the plane represents
the points that we saw before in
instance on points. It's the same process. We're going to apply
an instance right here at the modifier and it's going
to appear on those points. We can also control the
density and we have other transforms that we can
adjust just like the scale, and we can also randomize. But first, let's create
our grass base math. I'm going to name a
new collection graphs. I let's rotate by the treaty cursor in
the other direction. And from here, I'm going to
grab just this top corner, activate proportional editing,
and let's see I think sharp and move this to the
selected active element. And I'm going to create
just a simple grass. From here, I'm going to
shade it smooth, let's see. I'm going to add a subdivision. And add one containment
loop right here. Let's remove the
optimal display, and I'm also going to activate the Geometry wireframe just so I can see the amount
of vertex that I have. Okay, so from here, I'm going
to ject this to the side, copy shifty disable the
proportional editing, and create another iteration
of this in the same object. For this, I'm going
to scale it down, and I'm going to select right
here to connect it only. And I'm going to
add a third one, but I'm going to
make this a little bit thinner. Tree them. A So now, this is the grass
instance that I want to replicate into my terrain. So let's enable plain again. And let's see. Let's
adjust the scale. Right now I have
2 meters by two. I'm going to make just
a little terrain. So I'm going to make this one, and I want to make this circle. So I'm going to add another
subdivision surface to the terrain and make sure
that this modifier is on top. I so this grass is too big, I prefer to adjust the scale before instancing this
object into terrain. Let's do that. Now let's scale this
grass that is too big for this Intri decorser. Now let's apply the instance to the scatter on surface modifier. Can just go here, select the eye dropper and
select the grass. Now let's increase the density. Now, this doesn't
look very good. But the magic of scattered on surface is that you can
randomize the instances. So let's go here
under the modifier. And activate randomize. Open. So the values that
we want to change here are the rotation
and also the scale. Focus right here on scale. If we drag here to one, you can see that now we
have a random value, just like we added before
0-1 for the scale. I'm going to leave this at 0.8. Now let's adjust the rotation. I want the maximum of
my rotation to be on Z. So for Z, I want 360. And for the X and Y, since that this
makes my grass tilt, just a little bit of variation. Okay, so now I'm
going to show you one property that we
have here on scatter on surface that we can activate by just activating
one bullion right here, but we will use this later to create our own
procedural system. So right here under transform, we have align rotation. That is aligning the rotation of my object with the Z
of my instance object. Right now, you can't see it too much because we have
a flat surface. So let's change that. I'm
going to add a displacement. And make sure that this is after subdivision and before
scatter on surface. Let's create a new and
I'm going to change this to cloud texture. Link tense, more
or less like this, controlling the sides
and now we can go here under my terrain. Let's increase the subdivision. Five is enough. Let's shade this move, and also reduce the
strength just so we have a little
variation right here. Now we have ways. Now let's notice the difference that aligned rotation does. Let's reduce the density. Let's focus on just this
little grass right here. Those three. And let's
disable rotation. So basically, if you
disable a line rotation, your instance is going to
point in the Z direction, which is your main instance
that we have right here. And if you activate a
line rotation, print it, it's going to match the Z of my instance with the normal
of my math right here. We can see right now because
we are under displacement, let's I'm just going to
apply just so you can see. So if we activate the
normal of the face, you can see that
it's pointing in the same direction of the grass being
instance right here. So this is really important when we are scattering
our instances. So we want to leave this on and increase the density again. One last thing that I want to
do is to adjust the normal. Here under grass, I'm
going to isolate this and I'm going to that data
transfer from a plane. And I'm going to transfer the constant normals just because I want the normals
to face in the z direction. I can delete the plane
and we are done. Terrain grass. Instance. Okay, so this is a
quick way that you can scatter objects into
another object. And now we have terrain
with a little grass. In the next lesson, we will remodeled
the petals and using plain shapes to create
a blooming animation.
6. Flower Center: Welcome. If you
made it this far, you already know the basic fundamentals of geometry nodes, and we already have
a past terrain. Right now, it's time
for a search for some references of the flower
that we're going to build. Take a step back and analyze how you are going to
construct this system. I just opened a new
blender file and I added some images of the flower that
I'm going to build. So this is a daisy flower, and we can see its
components right here. We have the flower center, the petals coming from it. And we also have this
receptacle right here, like the support for the
petals and the stem. But let's focus right now
just on the flower part. I also grabbed some
references of its buttom closed and open because we are going to do
the bloom animation. So from here, I started sketching what I'm
going to build and the geometry components
that I will need because this will help a lot when
you are actually modeling. So on this first image, I separated in two parts. So we have the stem coming into that green part and
also the petals closed. Here is the animation
when it starts to open, and this is where
it's fully open. By analyzing this, the first
thing that I need to do is the flower center
because it's going to dictate the size of
the whole flower. So I'm going to focus
on this lesson on this center part and also
in the support right here. This is where we left off. Let's listen. Let's disable the rain and add a new
collection called flower. I'm also going to name it sub
collection flower center. For this, I'm going
to add a plane and set a smaller value p zero, two, and I'm going to add
a subdivision surface. I'm going to apply. Now I have this primitive
shape right here. From here, let's see. The top is a little bit
flat and it curves down. Let's recreate this shape. I'm going to apply a
subdivision later. I'm just going to roughly create the shape of
the flower center. I think only this diamond
shape will be enough. Now I'm going to add
another subdivision. Let's disable optimal
display just so I can see. Before subdivision, I'm going to add a cast because this way, my shape is going to
be round right here. You can see if I disable it and enable is rounding my shape. I'm going to activate
and then subdivision. The shape is a little more
circular from the top view. Let's create these edges
right here by pressing J, just so we can close off
this bottom loop too. And from here, I'm going to add another subdivision just to create a more narrow
part right here. Okay. I have a simple
flower center. Now, let's shade these two autos move and increase
subdivision one more. Now let's create
our geometry node. I'm going to leave this
at one because we are going to add another subdivision
in the geometry node. So let's go ahead and add our geometry node and
create a new one. Let's go to the geometry
node workspace. I can also add subdivision inside geometry
nodes. So let's do that. Jack and type
subdivision surface. And I'm going to
expose this value. So now I can control the
subdivision from here. You can also name
the subdivision. If you press N, this
side tab is going to open right here and you can see my exposed value called level. I can double click and
let's assign subdivision. Now I can control the
subdivision from here. Let's also activate
the wireframe. I'll leave this one
at zero at first, then we can adjust. Let's add instance on
points right here. Coming from the
subdivision surface, let's transform mesh to points. This is different from the
one that we use distribute on pass because this I'm going to trasform
the vertex on points. So if I so mount, you can see that
the radius is 0.05, so it's too big,
let's reduce this. Also let's join the geometry. And let's grab the geometry. After we subdivide it. Now we have the correct math. Okay, so by using math to point, you can control positioning the points on vertex,
edges or faces. I'm going to use vertex. And now if I go and
increase the subdivision, it will automatically follow the amount of points
in my verdict. After match to points, Jack, and let's add
instance on points. Everything disappeared. So we need to connect
the instance, node, and let's add one sphere. We don't need to create
a separate object for this right here
on the radius, reduce it to 0.0 005, and I'll reduce the
resolution two. So from 32, we can
set to 16 and ten. And we also need
to make this move. After UV sphere, drag and
search for set Shade Smooth. Let's increase
this to 18 and 12. Now we have a
UVsphere being mapped on all of the
vertex of our mesh. Right now, I want to control
the density of these points. I don't want to have points right here at the bottom because it's going to be reaching
the stem part of the flower. I want to concentrate
the instance just on top and we can do that
by using attributes. We can use the vertex group
to assign some certain vertex and use that in the selection of this node
right here is the ansonPoint. Let me show you. Under points, we have this node here called selection,
which is a boolean. Let's go ahead and
expose this value, and I'm going to
name this density. Now, right here on our
modifier, if I disable it, I will remove all of my instances on points
right here beside, we have the attribute Tuggle. If I activate this, I can select my vertex group attribute
to control the density. So let's go here the data
and create a vertex group. And I met density. Go to the modifier and assign, right here, point density. Nothing happens because we need to assign our vertex group. I like to do that by
using weight paint, especially in this case. I'm going to go to Tm fill. Go just here on the
00 of the world and press one time
a few more times. And all of the points that
are red is going to be dense. It has a weight paint of one, and black is going to be zero. Let me disable geometry
notes so I can see better. I want to increase this and you can go to weight and levels, and now I can adjust the
gain and the offset. Now, I can achieve a black
part right here at the bottom, and I can increase this and achieve a red value
here at the top. Now I have a nice
gradient that I can use to position
my instances. I'll go ahead to object mode, activate geometry
notes, and you can already see how I have
spheres just on the top part. Let me read this. Okay, so now every
point that we have a value weight above zero is
going to have an instance. But we can use that nice
gradient of the weight bank that we did to adjust another
value, which is the scale. So right here on
instance on point, drag scale and connect right
here in the group input, and let's also toggle the attribute and
select point density. Now, when the point
starts to reach zero, the scale also reduces. So now the only thing that
we need to do is to adjust the subdivision I'm also going to do a little
match rotation. Let me go back. I'm going to add one subdivision right here
outside the geometry nodes, and I'm going to disable
geometry nodes for now. Go to top view. And I'm going to apply
the subdivision. Now if I go to edit mode, I have more vertex to control. Now selecting the top vertex, I'm going to activate
geometry nodes again, and I'm going to activate
proportional editing right here or pressing
O on your keyboard, and I'm going to
disable overlay. I'll press R, and I'm going
to do a little rotation here. Just to create a nice
effect of the instances. I'm also going to increase
a little bit of the size of the UVsphereT is the result
for the flower center. Let's rename this. Let's wrap it up
for this lesson. In the next one, we'll just
create some instances of the petals and also
the support right here and do some blend shapes.
7. Petals: Welcome to the third lesson of creating base models
for our geometry notes. In this one, we're going to
create a little support of the flower center and
also the petal variation, and we're going to
use blend shape. For the petals, you can see here under our
references that we have oval shape with a little
detail at the outer edges. Let's try to replicate that. I'm going to go to top view, and let's add a plane. I'm going to more
or less adjust at the same size. Let's see. 0.0 25. And from here, I'm going
to model the petal shape. So I'm going to
disable flower center. But first, let's move this
to another collection. So with my plane selected, I can press M on my viewpoard
and go under collection, flower, and add a
new collection. So flower petal, and this one is going to be an instance that we are going to use in
the geometry nodes. So petal instance. Let's also name
this. Daisy petal. Now go ahead and Disable Flower
Center, and let's model. I have proportional editing
and going to disable. And to do this little
detail at the top, I'm also going to add
two subdivisions. I think I need three, actually. I can grab both of
these vertets right here and drag it down. For this, I'm also going to add a subdivision surface as usual. Okay. So right here
on this reference, even here, we have
this quiz on all of the petals coming from this
little detail right here. I slide both of these
and bring this down. I'm also going to increase
the us for the subdivision. Leave pretty strong. To leave it like this and shades move. Okay, so this is the base petal. I'm going to adjust
the origin point because this is going to be important for the
geometry nodes. Okay, so this is our petal. Now let's create the convex and the concave shape of the
petal by using blend shapes. Under data, I'm going
to add the shape keys. This is going to
be the basis one. Let's do the concave one first. Under edit mode,
I'm going to select this vertex just at the middle and with
proportional editing, I'm going to add sphere. I'm just going to
grab this vertex. I'll try not to
get the orange one because I don't want to
move this dot right here. First, let's do the
closed version. Really simple. This is
going to be the base shape. Now let's add one marque
into the inverse. We have just a small
variation right here to basically complement what we are going to do with
the flower system. Let's activate the
flower center. I'm just going to
see how this looks. Let's imagine we have
the closed right here. This is the closed version. And we'll have a bunch
of them all around, and we'll have this
rotation right here. At the same time, this
is going to invert. This looks good. Let's. Actually, let's use this to create the support right here. I'm going to create
another collection. So for the flower support, let's use this match
as a reference. I'm going to set the
bottom faces right here and wrap up
until this point, Shift D to duplicate
and B to separate. I can move to the right
collection and rename it. I'm going to disable the geometry notes because
we're not going to need it, and I'm just going to add a subdivision surface
on Edit mode. I'm going to go and fatten a little bit
just so we don't have any intersections and already try to see how this is
going to cover the petal. Okay. From here, I'm
also going to grab this vertex right here and I'm going to delete
actually this phase, and I'm going to
delete, select this and press Shift on S to
make it to sphere. But let's disable
proportional editing first. And from here, I'm
going to extrude and create a base for the stem. Going to close this
off because we are going to do the stem with
another geometry node. Add a contenta look here, another one here.
Make this bigger. Now, I want to mimic
this part right here. We have only this reference. Let's select the vertex extrude and see how I want
them to look when it's closed. So when it's closed, let's
more or less follow the pedal, the way that we have right here. We have this nice curve. In Vertex mode, go to select
and check her D select. And I can create this
detail right here. And since we have some
division surface, I need to really
exaggerate this. Maybe I will use even two. Okay, so this is
going to be the base. So let's add one shaped
just like we did before. Let's select all
of the stop ones. Wireframe. Let's
call this outwards. And down Okay. Let's see. Let's duplicate this and rotate
and use the value of one. Maybe we will need to position the petal a little bit more
here right here at this base. We are already
planning how we can do the geometry node
animation right here. I want the rotation of my petal
to reach even this point. I need to make this lower. We are going to do random
rotation in this petal. I don't want this to intersect
the petal at any moment. This is just a detail. I give some support
to the flower petal without making it
look like it's flying. If we can do something like
this, it's even better. Maybe I don't need to make
this so big at the Okay. So this is it for this
part of the course. We constructed all of the base measures that we need
to make our flower system. In the next part, we will do the blooming animation
with the petals, and we're also going to do a grow animation using
curves with geometry nodes.
8. Creating the Blooming Effect : Welcome to the third
part of building our procedural flower
system in Blender. So far, we already have all of the base models and the base fundamentals of geometry nodes. I'm going to leave
in the description all of the nodes that
we are going to use in this and next lesson so you
can follow along and also the links to the
documentations so you can see in depth what
each node does. So if we take a look
at our references, we have the pedal already. So what we need to
do is to create a circular curve right here to attach all of those petals
with and to an animation. We can also notice a
few scale variations on the petals and also a few
position variations right here. Some of them are in front and some of them
are at the back. So we can achieve all of these variations
using geometry nodes. Let's start by
applying the petals in the circular first and
adjusting the rotation. So from here, let's
go to the top view. And I'm going to add a curve
a circle curve right here. Let's adjust the size. I'll go to Edit mode,
the front view. And let's move this
to the flower, and I'm going to name it GM
for geometry nodes, petals. Now I'm going to disable
the flower support just so I can see better
and adjust the size. I want the base of my
petals to be really close, maybe not intersecting, but really close to the flower
center that we have. This is going to be
the base geometry for the geometry node. Okay, so now let's
adjust the petals. We have these two petals here that we tested in
the last lesson. Let's exclude the second one. And for this one, I'm
going to set the location to zero again because this
is going to be important. And let's adjust the rotation. For this one, we are going
to align the Y rotation, this one right here to the Z of the tangent
of this curve. So let's go by steps. First, let's adjust here. I'm going to make this 90 and rezp the rotation
on the Y and Z. So it's pretty aligned
with the X and Y here. I'm going to apply
this rotation by pressing control, A, and scale. Oh, and rotation. Now, you can see that
my pedal didn't move, but the rotation on
the X was reset. Okay. So this is everything
that we need to prepare. Let's go to the petals and
add the geometry node. Let's go to the geometry
node workspace. Let's add this modifier. And I'll call it just
the same as my curve. Let's also add daisy because this is going
to be daisy petals. Actually, let's adjust petals. Okay, so now if we hover
above group input, let me just make this closer. I'm going to adjust a little
bit of the window over here. We are not going to
need this spreadsheet. You can leave it if you want, but it can be a
little confusing. So we can see our
viewpoard from here. Let me activate the
screencast cads and our geometry
nodo right here. I'm just going to
move this down. We're not going to
use it right now, but we are going to use later. Okay, so now we have a curve. Let me activate overlays, and for now, let's disable
the flower center too. This is all that we are going to need to construct
the petal system. So we over the geometry input, now we have a curve
with four points. So instead of using
the match to points, we're going to use
curve to points. So dragging and click. If you zoom out, you'll
see the point right here. Let's add one set point radius, just so we can reduce the size of the
points and see them. Okay, so now we have points position in the
curves that we have, and we can use count to increase or decrease the amount
of points in this curve. You can also use length. Let's say every each 1
centimeter, you have a point, but I'm going to use count, and I want to expose this value because I want
to be able to control it. So over here count. I'm going to write number of petals because that is what is going to control
this amount of points, the number of petals
on my flower. Okay, let's move
this to the side. You can remove this if you
want, but let's leave it on, and I'm going to jack in the same node that we
already used before, instance on points, and now
the points disappeared. This is going to be the base for everything that we are going to construct in this Vower system. We are going to
use the instance, peak instance, the index, the rotation, and scale. So basically, your
group output will be connected with the instance
on points right here. Everything else that
we're going to do is going to be filled on this side. So let's start with the
most important one, which is our instance. So from here, you
can drag and you can search for Object info, and we can select the eyedropper and select the Daisy petal. Now we have all of the petals
positioned in the points. But you can also delete
this and use a collection. A collection info.
And now I can go over here and choose my
flower petal instance. Now, everything that
I have inside of the collection is going to
be distributed right here. So let's go ahead and
duplicate this petal. And I'm going to just names two. Now, I'll go to edit mode and scale a little bit on the Y, a little bit on the X, to create another variation. Let's make sure that we are changing also the basis
so let me go back. Let's make this one thinner
and also just rotate. So we have a different petal. So now going back
into the points. Okay, so now you can
see that each point is grabbing the two objects that I have inside
this collection. So I want each point to
choose one object only. So here under collection, info, you can choose
separate children. And here on instance on points, you need to activate pick
instance because this way, the point is going to choose between one object and another. Now you can see the
variation right here. So now we have the
curve two points. We have our instance. We don't need selection
for this one, and we can use the
instance index. If you go here and assign
a random value to this, 0-1 because we only have two
objects, we don't need more. You can adjust the seat right
here and you can see how it changes the position
of the petals right here. It's intersecting
between one and another, and you can choose
what you prefer. Let's adjust the rotation. Going to select these ones
and move to the side. We can also connect our
collection to the input. So if we do this, you can see that we can choose
a different collection. So this is going to be
my petal selection. For this one, I'm going
to name it Daisy. Then I can create another
type of petals and duplicates and use the instance to create different flowers. We already have
two controls here, the number of petals and and the actual
geometry of the petal. Okay, now let's
adjust the rotation. From this, remember
when we did the terrain and we aligned with
scatter on surface, the grass to the
normal of the object. That means that we
can grab properties from the geometry that we
are using, in this case, the curve and grab
properties that will dictate how the instance
is going to move. Right here on curved points, you can see that we
have the points, but we also have a tangent, normal and the rotation. We are going to use tangent
to rotate our instances. So let's see here.
We have the circle. I think I can do
better than that, and we have the different points distributed along circle. And each of the circle
has its own values, the X Y Z position, and also the tangent. The tangent is kind of
the slope of the curve. Is that little axis that detts the movement of this
position of the circle. If I go ahead and in
this circle, let's say, I grab a point and I pull this, the tangent of the points
are going to change. This one is going
to be a little bit the tangent is going
to be more like this. This is a little bit of
mathematical concepts, I'm not going to display
in depth, but basically, we can grab this tangent
to align our instance. Let me hide this. To do this, the node
that we're going to use is the align
rotation to vector. Let's drag from rotation. Align rotation to vector. Which vector the tangent
that I just mentioned. Dig this and connect to the tangent of this
curve to points node. Now we need to tell
this node right here, which axis are realigning. Since the tangent is this direction right
here, this direction, we need to align the X
alignment of this petal, we have it right here to
this line right here. See? So let's go ahead
and select the X, and we are aligned. So if my petal was rotated
into this direction, I will need to use the Y or does it depending on
what you want to rotate. Let me just disable these
nodes right here. Confusing. So now we have all of the
petals facing inward, which is all that we need. Now we have the rotation of the petals aligned with
the tangent of the curve. And now I want to change the
X value to make them open. I'm going to do a
mathematical operation, dragging and setting
vector math, Ed. If I go here, I can
control, and let's connect. I can control the
X of my instance. To connect this to
make the external, I'm going to drag vector, and I'm going to choose
angle to rotation. X angle to rotation. This one. This c is going to transform
my angle into a vector. But let's leave Z at zero and the xs that we are
going to control is one. This is X, Y, and Z, I'm going to control just the X, so I'm going to leave at one. Now we can control this angle
right here from my menu. Let's see how this translates. If I increase the angle, it's going to go inward. So maybe I can start with 15 and we can make this slider
go down until here. And remember, with that, we are also going to align the blend shape right
here of each of them. Let's go back. So let's combine this in the timeline. I'm
just going to pull. And I'm going to use 0-250. This is going to be
my initial position for my petal and also
the blend shape. So I'm going to press
one right here on top in my timeline, a press shift and
the right arrow. I'm going to drag this down
and key frame it again. Now, I'll go to each petal, raise the value
to one, keyframe, and do the inverse
and do the thing with the second instance, one, now let's press Shift
left arrow and drag this down to zero with this and
also this petal right here. So now let's play the timeline, our petals are moving in the xs and also making the blend shape. From here, I can
already tell that I need to adjust the
number of petals. There are a little
bit separated so I can just increase this. They start to intersect, so maybe something like this. We can disable the
collection instance. Let's see how this looks with the flower center and
also the support. We also need to
adjust the support. Let's select this, go to the
beginning of the timeline. Key frame this value, and at the end, key
frame this value. We don't have any
intersections right here. This look good. Good. We have a little gap right here. But I'm going to leave this
because we are going to do now more scale variation
and rotation variation. This is going to make the petals not seem so straight in
this direction here, they all look like they
are in the same direction. Let's add some
variation to this. Let's pull this to the side. Under scale, we are all at once. Let's pull this and
add a random value. This is too intense. What I'm going to do right here? In some petals, I want to have
this scale and maybe not. It depends on the flower
that you are constructing. One cool node that
I like to use is the switch node that it gives me the option to activate
an operation or not. Right here, I have a boolean. If I activate this,
whatever is connected to the true node is
going to activate. And if I deactivate,
it's going to be false. So in false, I don't want zero, I want one, the default scale. And for the true value, I want whatever
value that I want. But for this, I'm going
to do a slight variation. I think even from 0.19
to one scale or maybe 1.05, I want
something like this. I'm going to control the switch
from my menu right here. So, let's rename it. This one to scale variation. This is the angle of our
petal angle of blooming. You can name it whatever
is going to help you. Remember what the
property is cavalry. If I activate this, it's going to make a small scale variation. I can also expose this value. These two values right
here and if I have it on, it's going to show,
but if I have it off, it's going to be grade out. So it's up to you if
you want to expose this value or not. Okay. So now we are going to
apply the same idea that we did on the scale by using
ndell value to the rotation. For the rotation,
increase this and reduce the timeline we
are not going to use right now. Let's align. I'm going to select all of
these nodes and press F. Set to rotation just so we can also this one, pressing F scale. Just so we can organize
things a little bit better. Okay, so from the rotation, let's add a random
value to this. I'm going to do that
by multiplying. So let's vector math multiply. And we are going to
multiply the value that we got with a random value,
but I don't want a vector. So let's press F
three and search for random value because I want just one value 0-1 because I'm going
to control just the X. So for that, you can drag
and search for combine. Now let's go ahead and connect and connect
to the rotation. Okay, so there's a couple of things that we need to
adjust to make this work. In here, we were adding a value. So when you add, it doesn't matter
if you add zero. It's going to be the same value. But here I'm
multiplying the value. If I multiply a value by zero, we all know that it's
going to be zero. So you need to make this one. Okay, so now our other xs
are in the right position. Now here, I have 0-1, which is pretty intense. I can control the amount of randomness right
here. I can increase. I would do something like 1.1 because I don't want
this to cross the other. Maybe this is even too
much and 0.90 0.80 maybe. You can test around, and we can also expose
this value to control. Okay, so as the scale, I want to be able to control the activation of
this variation. So let's add another
switch node, and this is going to be true. And the false version
is going to be this one because for
every one of them, we want the blooming animation. Now we can control the
variation from here and let's connect to our menu. Go down here,
rotation variation. I can also expose
these two values. This time is only two
values right here. We have scale variation on
X Y and Z and the rotation. Let's drag this down. Let's see. I can also adjust
the size right here. This fit a little bit better. Track this down, see if in 250, we don't have any intersections. I can also go here in
the Bezier curve and maybe just tilt a
little bit more, make it feel more variations. I can even And of course, you can also add another one, depending on the
flower that you have. I could add another one on top, rotate and make
them work together. It depends on the flower. Maybe you need to have
a smaller center. This so play around. I'm going. I'm also going to create
a couple more flowers. Okay, so this is it
for this lesson. You can do any type of
flower that you like, play around with more
blend shape variations, scale variations,
and randomations. And depending on a flower, create a blooming
effect that you prefer. In the next lesson, we are
going to organize this. I'm going to create
a second type of flower that we are going to
use to compose the scene, and we are going to organize
to start creating our field.
9. Finalizing the Flower and Creating the Stem : Welcome. In this lesson, we are going to finalize
the flowers and also create the stem by
using geometry notes. We are also going to create
a few more instances of the flowers just to gain more variation on
our composition. This is where we left
off. Let's lesson. Besides the daisy,
I also created this other flower
right here with bigger petals and just
a small flower center. So what do we need
to do right now is to adjust the git point so we can use these flowers as instances for another
geometry note. So under here in flower
daisy, let's go back. I'm going to select all of
these point components, move to the front view, and I'm just going
to move them up. So the world origin is
right here at the bottom. I don't even need to apply
the rotation and location. I need to I just
more or less like this and we also need to do
some folder organization. Let's go here. Inside Flower Daisy, I'm going to create
a new collection. I'm going to name
it instance one. For this, I'm going to move
what I have inside here. I'm also going to
delete the collections. Okay, so now here
inside flower daisy, I have daisy petal instance and the flower
daisy instance one. So we have the petal
and the flower. So this is going to
be my first instance, and I already have the
correct blend shape inside this instance and
also the petals, the movement of the petals. I'm going to do the same
thing with this one. In this case, I'm
just going to rename this flower and I'm
going to move this here. Okay, so now what
I want to do is to add a couple more instances. So one more for the flour daisy and another for this
other one that I added. So I'm going to duplicate
this collection and limit two, and also this one. Let's focus on the daisy first. And for this one, I want to make a different timing of blooming. So I'm going to open this. Here's the center
and the support. I'm not going to
change anything. But here on the petals, I'll hold them close
a little bit longer, and then I'll make the movement. So I'll just push this
further for the support also. And we need to adjust
the blend shape. Let's go here under
our instance. I'm going to create
a second one. By doing this, I also
have the option to add another material
to these petals. Now, under the petals, I'll choose the second one, hide this and this. I'm also going to push
the blend shape here. So in instance two, let's activate both of them. So one opens slower and
the other one follows. Now I can also add
some more variations. So here I can add more scale
variation for this one, maybe a little less rotation. And even make the number of
counts of petals smaller. Yeah. And also the angle of
blooming you can also change. You can make this more intense. And whatever property that you want to make a variation with, you can expose the value. And once you start to
create your own instances, everything that you change here won't change in
the other objects. So that is why we use
these exposed value. So you have more control
over what you change. Now I'll do the same thing
for the other flower that I have really quickly. I'm ready going to date. This one, going to do 36 and then 120 Instance two, 36 20. Oh I chose the wrong collection. Why is the name Rose? So Rose Pettle instance, too. So now, we got let's change a little bit of
the settings right here. Live the same amount
of petals, actually. Okay, so I'm not going to
change any of the blend shapes, but you can also create
different blend shapes and even modify the
shapes of the petals. Okay, so now I have one, two, three, four, four flowers that I can use and make
a composition with. So now let's create the stem. I'm going to add
a new collection, and we're going to
add a bezier curve. Stem. This is going
to be the stem for Das one. I'm going to delete. Going to the front view, I'm just going to draw
a curve like this. And let's add the geometry node. Okay, so let's name this them. Okay, so the first thing
I'm going to do is to transform this
curve into a mesh. Nothing happened because we need to connect the profile curve. Cursor. The radius is on one,
so let's reduce. This is basically the same thing as you would do if you come here over the geometry inside
your curve and add a depth. So you can see that is
basically the same thing, but we are doing it
in geometry nodes. So now we already
have a basic stem, and we are going to add a few properties
here on this lesson. And in the next
one, we're going to add wind and the
growth animation, actually, and we're
going to make it grow and also move
just the top part. So this is going to be interest. But for now, let's just focus on assigning the flower on the top of this
curve that we have. Now, let's move this up. I'm going to create directly
instance on points. Let's add our
collection info right here and choose our
first instance. Now, let's join the geometry. Okay, so now we have
our little flowers on every point of this
curve up until the top. But we only want this top point. Also, let's check on the
scale of this curve. Right now, almost 70
centimeters right here. Let's make this molar. Way better. Now the proportion is way better with this one. I also want to reduce.
Too much, maybe. Maybe that was okay. Too much. Maybe this part is let's leave it at one and then we can adjust the
mesh right here. Okay, so now we need the flower just on the top part here, and we can use that by
using the selection. So with selection, drag search
for endpoint selection. Now we have one instance at the start of the curve
and one at the end. So now if we reduce the value, if this start size is zero, we don't have an
instance on the start. And in the end,
we've got the one. So simple as that, we already assign our flower
on the stop part. Okay, so now let's also
expose this collection. So now we can choose the
flower that we want. Right here. And let's align the rotation just like we did
with the petals. And for that, we're
going to press F three and search
for a tangent. What is one. Type curve tangent. Read curve tangent of my
geometry here, our curve. So from here, let's
direct to a line, rotation to vector, connect this to the vector and rotation. Now you can see right here, it automatically rotated to
the tangent of this curve. If I go here and I rotate, please let me just select this
one. I rotate to the side. My flower will follow
in all directions. Because it's aligning the Z of my flower to the
tangent of the curve. So we have already the
correct alignment here. We can also expose the scale. So maybe we can do some flowers bigger
and others smaller. I don't think I'm
going to use that, but let's leave it just in case. Now the cool part about this let this down,
scale a little bit. Scale a little bit more. This flower is not getting
the props that it deserves. Okay, so the cool thing
about this is that I can go here, open, and I can basically draw,
draw, not annotate. And it will automatically
create a bunch of flowers. I'm crazy right here, so this is really cool. So since this curve is only being used by
this flower daisy, I will need to
create more curves like this and assign different
collections for that. But once you start
mixing all of them, you will get a nice variation. Let's do that. I'm going to go back with
everything that I did. I'm going to leave
only this tree. And we're going to duplicate. I'm going to duplicate and I'm going to choose
the second daisy. Let's see the
terrain. The terrain is a little bit bigger. Aable to grass. Okay. Kind of like this
scale right here. Maybe we can go scatter on
surface and increase this. I'm just going to even start to create a composition
right here. This one. It's kind of random. And assign the second Okay. This is Daisy two.
Okay it again. I don't know the
other name Petuns I want to scale them more. Okay, so this is it
for this lesson. We already have our
blooming flower in the terrain, and
in the next one, we're going to do
a wind animation and also a grow animation
using this stem.
10. Creating Growth Stages and Mild Wind : Welcome to the final lesson on creating this flower system
with geometry nodes. In this lesson, we're
going to add with nodes, a little wind animation and also a grow animation
for this stem. So let's start with
the wind animation. From here, we need to set the position of this
end point right here. So let's go ahead and direct
geometry and set position. I'll drag this out. I will need to add this
before the curve to mesh, and also we need to connect
this to the points. Now, if I go here and
change the X or the Y, you see that my whole
mesh starts to move. Now, I want to move just the
top point of this curve. Same thing as the
instance on points. I can just go here
and select the top. Now if I move, only the top
part moves from side to side and like this and the bottom part of
my curve stays the same. From here, we already have control over only the
points that we want. Okay, so now we need to control
this position right here. And for that, I'm going to
use once again the SMT. They already used in
the previous lessons. So for this one,
I'm going to use the second of my sent to
control the animation. So if I go ahead and
connect and press play, you can see that it
starts to go beyond. So let's go ahead and multiply
this to a lower factor. It starts to go a
little bit slower. Just a small admission, but it will keep going
on and on until it ends. We want to use multiply by a
factor that will do a wave. For that, let's use
the sine cosiement. I won't explain the
mathematical of this, but it's basically it's a wave, so it will go into
the direction and go back so you can see
that it creates a wave. Now, I want to apply this
only by the X and Y of this. Let's do combine. I'm going to leave Z at zero. Now we are setting the position
of the stop vector and doing a wave animation
by using the same time, using a sine, a multiply to
control the amplitude of this sway and choosing which axis are going
to be affected by it. You can do just in
one direction or two. Now let's add our final node, which is going to create
the grow animation, and I think it's pretty cool. Let's rack and
before everything, let's add a trim curve. Now, if we go on end
and drag this down, you can see that since we got everything correct
with the flour, our curve starts to shrink. You are basically trimming from the end point end to the start. If you go here to the start, you will do the opposite. We want to control
this value right here to create equal animation. From here, I'm going to
multiply with a random value, multiply with a random value, just to create some
variations in the growth. But let's connect like this and you see how
it grows pretty fast. Now let's multiply
and you can see some variation happening
once I multiply. I think this is still
too fast. Let's see. Instead of multiplying
with zero to one, I multiply from minus
one to one. One of them. I still think they
are pretty fast, so I'll reduce the
maximum to 0.5. Maybe I'll even do
the minimum -0.5. One more thing that we
need to do before we move on is to set the
material of the stem. So right here after
curve to mesh, we can drag and set material. For this, I'm going to drag
and expose this value. Let's change this to material, and we are going to create
this in the next lesson. Mix material. Okay, so this is it for our
lesson in the next lesson, we'll create simple
materials and also do a final render
of our composition.
11. Add Simple Materials : Welcome to the final part of our Geometry node
flower system course. In these last two lessons, we are going to create
simple materials for our flowers in the terrain and also do a little
composition of the sin. So for this one,
let's get out of the geometry node workspace
and go to the shading tab. The first material that I'm going to create is the petals. So going back to my references, I have a lot of
white references, but I also have this
nice gradient here on the outer edges of my petals. So I'm going to create these
two variations right here. So let's start with
the first instance, and I'm going to isolate. And this petal and let's
create a new material. Let's name it easy one. I'm going to drag
from base color and assign a gradient
gradient texture, I pressing Control T to open a mapping node and generated
in a texture coordinate. From here, I can rotate
the gradient 90 degrees. Now I have black at the
bottom and white at the top. From here, I'm just
going to drag all of these nodes right here and I'm going to add the color rim. Now I get to change
both of these colors. I'm going to leave this one a white color and the top one. Let's do the first
variation first, where we have just the white
and maybe a little bit of shadow right here at the center. Okay, so this is going
to be the first material for the regular daisy petal. I'm going to leave
roughness at 0.8. And for this, I'm going
to use the EV render, so it's going to be a more
stylized kind of render. Okay, now I will apply
to the second petal, the same material, and let's move on to
the second instance. And for this, I'm just going to select my daisy, duplicate. And I'm going to create
the second variation. And to copy this one
with the second petal, I can just select both of them, press Control L,
and link materials. I'm also going to add a
third color right here that little yellow from the
center and drag this one. Perfect. Now the other
type of petals right here, It's a tight rose. What? This one, I
want entirely think. Okay. Let's make this a bit lighter. Similar to this. I'm going
to create second color. We can test later. Now, let's create the material
for the flower center. I'm going to remove the
subsurface for novelist. Oh, I forgot to duplicate the
other one. That was my bed. Materials duplicate this one. Now the material for
the flower center. Okay, so now for this, I want the yellow on top
and green at the bottom. Now we can see the yellow
because of the instances, but let's apply the material
to this instance right here. So we will need to go back to geometry notes really quickly. After instance on points, we're going to set material, and the material name
is going to be stem. It's going to be centered. And here I can
assign the material. And now the material is
applied to the instances. Me orange. Now for the sport. Now this is going to be the
stem I'm going to replace the yellow for a Ducker
to tone of the green. Jos contro v. Flower center center. And for this one, I
only have center. And Okay, so now let's see. I think it looks pretty cute. I really like the effect here. So now we need to apply
the material in the stem. So we already exposed the
value from the geometry node. We can even create
other colors of stem. The final material that we
need to adjust is the terrain. And for that, I'm going
to use also the stem. So I'm going to go over
the grass instance. I'm also going to apply
in the actual terrain. I'm going to duplicate to create another
version for the terrain. And now I'm going to change the texture coagenate
from generated to object because I want the material to consider
not only the grass, but also the terrain
that I have. So now I have this dark
color in the terrain. And if I drag this down, the top part is
going to be lighter, so I can go here and adjust Let's also go to the grass
and change to the terrain. Now, I need to drag
this down even more. But I'm trying to create
the terrain darker and the grass
lighter at the top. Okay, so I played around
with the composition, adjusted some meshes
and also the material, but nothing too crazy. I want to do one more
thing with the terrain. I already increased the
density right here, but I'm going to
change the material. I want to add a noise
variation, a noiser. But if I go here and
attach to color, you can see that this
is the same material that apply to the grass
and also the terrain. But I want this nil texture to consider all of them
the same object. So we can go under scatter on surface and realize instances. Now you can see the
shading right here. I'm going to use vector, and let's attach another color. Actually, let's
duplicate this one just so I can grab
the same colors. I'm going to delete
this color right here and I can do another
type of variation. Now I can mix both of these. Let's see, overlay. So zero is just the gradient and now a little bit of noise. It helps give some more
depth to the project. Okay, so this is it for
our material lesson. In the next one, we're
going to set up the camera, some compositions, and
also add some lighting.
12. Add Lightning and Camera : Welcome to our
final lesson where we are going to render
a video of our scene, adjust the camera, and
also set up the lighting. So for this project, I'm
just going to use IV, and I'm going to
activate gracing. So let's go over
here and you can see the difference when I activate. One thing that I want to do regarding the shadows
is go over to my grass. I'm going to select
my instance of my grass and go over
here and disable shadow. Because I don't
want the grass to create shadows on the terrain. So let's go here and
disable shadow two. Okay. Now, let's see
the light that we have. We have a basic point light of the default blender project. I'm going to delete this one, and I'm going to go
to the world right here and I'm going
to add an HDRI. Now, I already
downloaded an HDRI from HDRI Heaven and you can
choose your preferred one. Now I'll add an environment
texture and select my HDRI. Okay. But for this, I don't want to see
the background, so I'm going to
add a mix shader. And connect to the factor. A is camera way
of my light path. And I don't want black. So I'm going to set
on a dirt background. Going to leave
this gray colored. Okay, so I already like the
lighting that this gives me. 0.8. And now under
my environment, I'm going to press Control T.
And I'm just going to move Ponzi to set another position. So now I'm going
to add a sunlight. I will try to
follow basically to compliment to complement my HDRI and give some more reflexes. Going to set the
temperature lower, so the light is warmer
because for this one, the light is a little more blue. Now, let's see. I like to isolate
each light that I have and test a little bit. So now under my properties, I already have bid tracing. I'm going to go over here
under color management, and right here, I have to look. I can increase the contrast, medium high, high contrast, and even very high. So right now, we
have base contrast. I'm just going to quiz one
more to medium high contrast. Okay, now for the camera, if I go ahead and select my camera and click on
this icon right here, I can press zero on my numpad, and I'll have the camera view, which is pretty far away. I like to press N and go over here view
and set camera to view. Now, if I navigate my view port, my camera is going
to be position. So I can go here and choose
a position that I like. Let's go here of properties, and now we change 50-30. You can eat more flowers. Let's see. I'll suggest to 30. I'm going to adjust the
size of the terrain. I'm going to reduce
a little bit more so my attention
is on my flowers. Already way better. I can even go ahead and rotate. I'm going to send this
back a little bit more. I don't want to miss
that petal. Okay. Now the attention is
more on the flowers. We kind of lost this one. We can select and move really simple. Move this up. I
can even go here, let's say, and change this flower to this side
just really quickly. Okay, so I played around
with the composition. I found one that I like. I'm going to render
from this position, and I'm also going to
create another camera, duplicate and pressing Shift. I will go and focus
on one flower, more close up render. This one, and let's reduce the clip start
so it can get closer. Let's do this one. And for this flower, I'm going to apply
the depth of field. So I'm right here in my camera, I'm going to activate and
then adjust my distance, which I think is going
to be more or less like here and let's increase. So now just my background,
it's out of focus. Let's do a more of top down. Okay, so now I'm going to render my animation for both
of these cameras, and we'll check out the result. Okay, so once you are satisfied with the composition and result, you can go ahead under the output and set
media time to video, or you can export images
and then compose video in a different software
and render and choose your folder and then
render with Control F 12. This is the final result of
our procedural flower system. Hopefully you've learned
a little bit about geometry nodes and know how
to apply in your project.
13. Class Project: Building Your Own Procedural Environment: Now, it's your turn to create your own procedural environment. For this class project, you create your own variation
of the procedural system. You can follow along the
project as demonstrated, or you can experiment with different growth
stages, density, randomness, or even create an entirely different
plant system. Once your procedural
system is complete, add a light camera and
render your final scene. After you finish your project, upload them to the
project gallery. Free to add a screenshot of
your geometry note three with a short explanation of any
customization that you did. I would love to see the
creative ideas that you added.
14. Congratulations! What’s Next?: Congratulations on
completing the course. You have now taken
your first steps into Blenders most exciting
modeling tool, geometry notes. One of the biggest advantage
of geometry notes is that the knowledge you
gain here can be applied to almost any
project you create. I recommend you to
keep experimenting. Try modifying the
nodes setup that you already have and don't be
afraid to break things. That's often how you learn. If you enjoy the course, please consider
leaving a review. It helps us improve future classes and
reach more students. But for now, thank you
so much for joining me in this geometry notes
journey. Happy creating.
Skillademia Academy, Creative Skills for the Future
