Blender Hard Surface Modeling: Build & Render the iPhone 17

1. 100 Trailer: You finish the model, it looks decent, then you hit subdivision surface and everything falls apart. That probably happened to you more than you can count, and that's the moment most people get stuck with hard surface modeling. And the frustrating part is, you look at the mesh, and it seems fine, but Blender just won't behave the way you wanted to. You have references, you follow along. You've heard all the good talk about topology, and the result still looks off. And even when the model is okay, the moment you add a material, we're shading problems show up out of nowhere. This course is about fixing all of that. You will learn how to set up Blender for hard surface modeling, how to build a clean base mesh that can actually handle details, and how to carve cuts, extrusions, and holes without destroying your geometry. Then materials, metal, glass, screened and finally, how to light and render a proper product chart. You will learn all of that by modeling your own iPhone 17. By the end, you will have a finished render in your portfolio, and because it's an Apple product, it reads as professional work to anyone who sees it, and it will be a great piece to add to your portfolio. This course is for beginners who want one clear, structured way to approach hard surface modeling, not five different methods from five different people. If that sounds useful, I'll see you inside. 2. 101 Setting up Blender: Hi. In this video, you are going to prepare Blender for all the work you will be doing. You will learn about a couple of useful add ons that shape with a Blender and make your life easier. You will also learn how to set up different photo references and projections to create precise and accurate models. By the end of this video, you will be ready to start tackling the modeling work. Hello, and welcome back inside of my computer. And as I told you, in this first video, we're going to import all the different photo references, along with enabling some add ons that we will need during this course. Things first, make sure to download all the resources files that comes with the scores, and the first thing that you will have is this iPhone 17 Pmax blueprint. This one will be our main reference when it comes to modeling the iPhone, since it does contain all the different dimensions, and it represents accurately all the intricate details of the iPhone. Next thing, there is this image, which is the exact same as the previous image, that this one is a real three D render of the iPhone. And this can also help us to actually focus on some details and see exactly how they look in real life. And the last two things is this Photoshop file. This is the same one as the iPhone 17 Pro projections. This is just the Photoshop file while I was creating this one. And for the last file, which is the iPhone 17 P references, this is a Pura file, which is a free software that you can download from the Internet, where you can put all of your different photo references to reference. Like an infinite canvas where you can drop all of your images and see them easily instead of switching between different images. In this one, you will have the two references, this one, and this one, and at the same time, there is this image of the different dimensions of the iPhone, along with the different colors and this close up on the camera element. This one will be really helpful later when trying to model the camera bump because that's probably the most complicated part of modeling the iPhone since it does have a lot of intricate details. So this is all the files that you will need during this course, and now we can move on to enabling some add ons that you will need during the course. So I'm going to open my Blender, and let's click here to create a new file, and right away, I will go to edit preferences and go to either add ons or get extensions. Now, I'm not going to lie. I'm still confused between add ons and get extensions. But as far as I understand, get extensions, this will pull those add ons, let's say, from the Internet, from the Blender extension repository. And for the add ons, these are the ones that you download and install regularly or the normal way thing, I'm going to go to Get extension, and you will notice here that I have this extension called Loop tools. So what I'm going to do is to search for loop tools for whatever reason, it's not visible here. So let's go to add ons and look for Loop tool. Yes, we can enable it from here. So either look for it in G extension or add ons. And actually, you will notice that a Blender already gives us a small description, Browse and install and manage extension from remote and local repository, and add ons manage add ons installed via extensions. So the add ons will manage the things that we install through the extensions. Okay. More you know, first thing, make sure to enable the loop tools will need it. The other one will be the famous node wrangler add on. Make sure also to enable it. In case you didn't find it here, make sure to go to extensions, look for node wrangler and install it. And the last add ons I'm going to enable, and this is just for me. You shouldn't follow me in this is the screencast skis, which is just a very simple add on that will allow you to see my shortcuts right here, okay? So yeah, go here, save preferences to save these settings that we changed and close this window. And now we're ready to start importing all the different photo references. I'm going to hit one from the number pad to jump to the front projection, and from here, I'm going to go Shift A, Image, reference. From here, I'm going to select the iPhone 17 Pmax blueprint at Image empty. And something you will notice is that the size of this cube, if I hit N to open the side bar, the size of this cube is two meter by 2 meters by 2 meters. This image is way bigger than that. This means that this image doesn't represent the real scale of the iPhone. The first thing that we need to do is to figure out a way of how to adjust the scale of this image to match the real scale of the iPhone. In other words, we need, for example, to make sure that if we measure this distance, it should exactly be 163.4 millimeters. The best way to go about this is actually very simple. I'm going to select the cube, and I'm going to adjust the size of this cube to match exactly the size of the iPhone, which means in the X x should be 78. You can type MM for millimeter. For the Y axis, which is the thickness of the phone, this should be 8.75 millimeters. And for the height of the phone, this should be 163.4 millimeters. So right now, the dimensions of this cube are perfectly the dimensions of the iPhone. And all I need to do is to select my photo reference, hit S for scale, to scale it way way down, and my goal is to fit this photo reference, the front side of the iPhone inside this cube. All what I'm going to do is to hit S to scale it and hit J to move it so it fits perfectly. Hit S to scale it way way down. In situations like this, I actually like to switch to the X ray mode so that I will be able to see also my photo reference, zoom in a little bit, JX to move it on the X axis. We need to scale it up a little bit more, hit S if you hold shift, something you will notice is that you will be able to move in smaller increments. So let's scale it a little bit up Jx, scale it even more while holding shift to move in slow increments, Jx. This seems good and JZ to move it slightly down. Same thing while holding shift. I think we can probably even scale it add more shift. This seems good and Jx to move it and slide it on the X axis. This is very nice, and as you can see right now, the reference image of the front side of the iPhone fits perfectly inside the cube that we change the scale of it to match the real scale of the iPhone. And for this image, I'm going to call it front, and I'm going to move it to a new collection by going to new collection. I will call this one ref. References and move the front inside the refs. Something else I always like to do is to adjust the settings of the photo reference. If I go here in the properties menu, first thing you will have display as it is just an image. And something quick I want to mention, these are called photo references or empty objects, which means that they are just images that are visible in the three D view port. And the moment you will start rendering, these will be gone. So you don't need to stress about whether they will be visible in the final render or not. Next thing is the size. And since we adjusted the size of this photo reference using the scale operation S, I like to go Control A and apply the scale, and as you can see, this will change the dimensions of the size so that it will be basically one, and these are by how much we change the size of the photo reference image. It is 0.32 meters. Next, for the offset in case you want to move the image, but the most important part is the depth and side. For the depth, it basically describes whether you want your photo references to always be in the default where you position them in the three d space, or you always want them to be in front of the objects, or you always want them to be in the back of the object. This can be very useful if I disable the X ray mode, as you can see right now, the photo reference is behind the cube. But if I change this to front, as you can see, whatever I will do, the photo reference will always be in front of the objects. I don't like this option that much because it can mess things up and sometimes the photo references will start to obscure your view from certain objects. So most of the time, either I will leave it at default, which I will do or keep it at. Think these are both valid options, but in my situation, I'm going to keep it at default. And the other thing is side. If I jump to the three D view by rotating, as you can see, we're able to see the front side and the backside. So this option will allow you to control whether you only see the front side. So now I can't see what's in the back side or the other way if I only want to see the backside. Is also very useful because quite often, especially when we will duplicate this image to represent the backside of the phone, it can get very, very confusing because right now you will be able to see the backside from one view and the backside of another image, so it can easily becomes a big mess. That's why I always like to always keep just the front side of the image visible. Next thing is show in orthographic and show in perspective. In short, when you are navigating like this in the three D view port, this is called the perspective view. And the orthographic is when you jump, for example, to one of the projections, for example, jumping to the front view by hitting one from the number. Option will just allow you to control whether you want to only see your photo references, for example, if I uncheck perspective. Now the photo references will only be visible on the orthographic view. And this is actually cleaner because most of the time, when I am in the perspective mode, I don't want the references to obscure my view, none of that. So I always remove it from the perspective and keep it in the orthographic view because as usual, most of the time, whenever I'm trying to do something very accurate or something that matches perfectly certain reference I have, I will always find myself switching to the orthographic view, and that's why I think it makes more sense to show the photo references only inside the orthographic Okay. And the last slider, it is the opacity, which will allow you to control the opacity of the photo reference. This is a quick run of all the different settings that you need to adjust and you can adjust them to your taste and how you want to do your modeling. And since right now we adjusted everything for the front projection view, we're going to do the same thing for all the different other projections. So if you remember, hit one from the number pad, we will jump to the front view. Now if I hit Control one, I will jump to the back orthographic view, and as you can see from here, I'm going to select the photo reference, hit chief D to duplicate it. Hit RZ, 180 to rotate it 180 degrees on the Z axis. Hit Enter to confirm. Let's jump again to the X ray mode, Jx and let's move it just like so until it sits perfectly inside my cube. And if you hit F two for a name, you can call this back. Let's hit three from the number pad to jump to the right orthographic view. And for that, I will select the front projection, hit chif D to duplicate and R Z 90 degrees to rotate it on the ZX is 90 degrees. And what is the right side of the iPhone? It is this one where we will have the power button and the new camera controller button or whatever it is called. And for whatever reason, I'm not able to see my cube, so let me just switch this image to back and JX or actually JY at this time, JY to move it just like so, zooming a little bit. Just make sure that it sits perfectly. Okay. This is good. Hit F two for rename and let's call this right. Next, we need to do the same thing, but for the left projection, so three for the right, control three for the left. While you're selecting your right, shift D to duplicate RZ 180 and JY to move it just like so. And as usual, make sure to be as accurate as possible when placing or when sliding the photo reference. So at least we will reduce the margin of error. Something like so I think will be good. F two for rename and call this let now we need to do the same thing, but from the top. So at seven from the number pad again to jump to the top view, and let's select, for example, the 222. Let's select the left. Shift D for duplicate, R for rotation, Y 90 degrees. And this will be slightly tricky because we need to know exactly whether the camera will be from this side or this side. So for this, I'm going to hit one to jump to the front view. And the camera should be on this side, so it should be on the right. So hit seven, and I will need to rotate this image again. So hit R Z 180 and JY to move it on the Y axis and Jx to move it like. Zoom in a little bit, JY. Okay, I think this is good because seven, that's the location of the camera. This makes sense, and hit F two for rename, top, for the bottom, Control seven. Select the top image, shift due to duplicate, RX 180, and we need to move this down, so JY, move it down, Jx until it fits perfectly inside this cube. As you can see, most of what we did is just positioning the images in different places so that everything matches perfectly. And I'm going to rename this last one to bottom. This is how you can import all of your different photo references inside of Blender. This is the front, Control one for the backside, three for the right side, Control three for the left, seven for the top, and Control seven for the bottom and everything is set up perfectly. The last thing I'm going to do is to just go right here in my view, and right here you will have this option for selectable, which is just a fancy way to not be able to select this collection. Even later when I'm working, for example, right here, even if I try to select the photo reference, I will select it by mistake because, again, that can get very, very annoying very fast. So this is how I will set everything up and to close the side bar, it was very annoying. And yeah, the last thing I'm going to do is to just select this cube, and actually, I'm going to open the sidebar again. And something you will notice is that the scale is not uniform, and this will cause us a lot of problems later when it comes to beveling and setting edges and all of that. So it is always recommended that you should apply the scale. And that's why I'm going to select this cube, Control A, and apply the scale. And since we're already here, select this cube and call this iPhone body and hit M to move it to a new collection, new collection, let's call it iPhone and create. And this is how you can basically set up your Blender file for all the work that we will be doing. This might seem or feel like it is very intense and you need to set up all of these different projections and all of that. But, believe me, once you get used to this, you'll be doing it, very fast, and actually it will make your work very accurate. So this is it for this video, guys, and I will see you in the next video where we will start the actual modeling process. And also, as usual, make sure to save your five. 3. 102 Modeling the Base Shape: Hi. In this video, you're going to create the phones base geometry. This is a very important step, and getting it wrong can cause a lot of headache later on. If you start with the wrong base, you may end up having to start from scratch later because you will be fighting the mesh as you try to carve, extrude, or create intricate details. That's why it's so important to get the base right. Hello and welcome back, everyone inside of Blender. I said, in this video, we are going to create the base model or the base geometry for the iPhone. The first thing I'm going to do is to select my cube, hit tap to jump to the edit mode, and if I hit one to jump to the front projection, as you can see, the edges of the iPhone are very smooth, and this can be easily done by beveling these corners cube. To do that, first of all, we need to select what is called the edge ring. So I'm going to hit two to switch to the edge selection mode. And while you're holding Control, if I double click on this, you will be able to select the entire edge ring, and that's exactly what we want. Hit one to jump to the front side and hit Control B to bevel. Let's say something like so, and for the number of segments, I'm going to make it at five by scrolling the mouse wheel. And overall, I think this is very decent, and you can click to confirm everything. Is looking good. Next thing, I'm going to disable the X ray mode, head three to jump to the phase selection mode, and a concept that you will always hear people in the hard surface modeling community talks about is the idea of having a good topology. Of course, in case you don't know what is topology, let's just say it is the flow of your geometry. So ideally, you don't want to have a lot of triangles everywhere or you have a lot of, for example, faces that are formed by multiple points because those will make your modeling process way hard especially later when you will start trying to add more details. And that's why the commons is that try to keep your topology based on quads as much as possible. And that's a general practice that we will try to practice as much as possible during this course. And just as an example, this phase right now, if I open my statistics, which is right here, as you will see, this big phase, it is formed by 24 points. That's what is called an NGO, and the common advice is to steer away from using gns as much as possible. That's why we will try to keep our topology quad based. To do that, I'm going to select the front face and hit X and then delete this pace and same thing for the back face X and then delete it. I'm going to add a couple of edge loops right here, same thing right here, to have this ring have an even distribution of edges. So for example, I'm going to hit Control R right here and let's say, for example, to type 20, probably we'll need to add a little bit more. So let's something like so, I think this will be even. All what I'm focusing about is the distance between all the different edges. I want it to be as even as possible. So I think this is looking good, and we basically added 28 edges. So same thing from the side, Control R, type 28, and we're good to go. For the top side, let's hit Control R, add more loops. And I think this is looking good. So we ended up adding nine edges right here. So control R type nine here, and we're good to. Now I have even distribution of a bunch of squares that will help me in the modeling process. Now what I can do is to double click on this edge to select this entire edge loop, hit one to jump to the front side, and hit E for extrude and S to be able to extrude it inside just like so. The extrusion operation doesn't happen on the same rate between the right and left, and you will need to adjust that manually. Hit Sx to scale it only on the x axis. Until more or less it fits the shape we're looking for. So maybe aX, make it a little bit smaller, as Z to make it a little bit down, as X until we have something looking like so, and this is very good. And now, if you hit Control F, you will have here an option for grid fill. Choose grid fill, and this way, you will be able to fill this very big face with a bunch of squares, and this is what we mean by having a quad topology. I will do the same exact thing on the backside of the phone, but for the backside, I'm going to hit Control one, and I don't think I'm going to do the same amount of inner extrusion as much as I did for the front face, so hit E, has to extrude it inside a little bit, and SX to scale it a little bit on the X axis, something like so I think we'll do the job. Now hit Control F, grid fill, and this will give you the following thing, which is exactly what we want. If I had tap to exit the edit mode, this is our current iPhone model. And later we'll be adding a subdivision surface and all of that. But for now, I will keep it at this because in the next video, we will start creating the camera bump, and those probably will be the hardest part of this course. So yeah, this is it for this video, and I will see you in the next one. And as usual, make sure to save your file. 4. 103 Create the Camera & Battery Cutout: Hi. In this video, you will learn how to divide your base mesh into distinct regions to model the camera plate and the battery while maintaining clean topology. This is an important concept, and you will often face similar situations where you need to model intricate details within a larger mesh. Hello, and welcome back again inside of Blender. And as I said, in this video, we're going to create the camera bump and the battery cutout, let's say. Will be very simple, and you will learn some cool techniques when it comes to carving holes inside of your meshes. I'm going to hit Control one to jump to the backside of the phone and hit old Z to switch to the X ray mode. And in some ways, I need to create a cutout around here. And this is the first problem that you will face. Since we're seeing the entire mesh, something really frustrating is that if you try to select, for example, this face, you think or this edge, you think that you selected this edge, but if you go, you will see that you selected the front side of the phone. This can become a mess very, very fast. So ideally we would love to only be able to see the backside of the phone. That's why I'm going to switch to the phase selection mode and select one of the back faces, for example, this one right here. And now if I hit Shift J to select similar, which will allow you to select faces that does have similar features, I'm going to choose coplanar which mean faces that are on the same level and they are facing the same direction, which in our situation will select the entire backside of the phone. I'm going to hit Control I for invert the selection and hit H to hide it. And by doing this right now, I will only be able to see my backside of the phone. So right now, even when I do my selection, I don't need to stress about selecting the front side of the phone and all of the MS that comes with. And now we're ready to start modeling. Control one to jump to the backside view, and I'm going to select this phase, and while you're holding Control, select this one to select from here, up until here, control to select until here, control to here, control to here. And while you're holding shift, you can select the entire inside of this selection, and then hit X and then delete the faces. And now we need to create this rounded rectangle, let's say that contains all the different cameras. To do that, I'm going to hit one to jump to the point selection mode. Let's select this point, Control Sele this point, so I will select this entire arc, shift D to duplicate it, and hit S to scale it a little bit down and just make it fit nicely on top of this rounded rectangle, something like so I think will be good. And then we need to mirror it on the other side. To mirror it, I'm going to hit Shift D to duplicate, S for scale, X for the scaling on the X axis and minus one. And this will mirror So, now I can hit Jx and move it somewhere like. And then I can select this point, shift select this point, hit F to bridge both of those two points. So now I have one edge right here. Double click on this one to select this entire structure. Shift D to tuplicate. I'm going to mirror it right now on the Z axis. So a Z minus one and hit Enter and JZ and let's move down to somewhere around here. I think this will be good. And same thing, select this point and this point and hit F, this point and this point, and hit F. And technically, in a perfect world, right now, we will be able to connect this edge loop with this one, but there is a slight problem. If I double click on this one, as you can see, this one is formed by 46 points. Meanwhile, this inner loop that I just created, it is formed by 32 points. So in some ways, I need to add 14 extra points. This should be really simple. First of all, I'm going to add one point right here. So this one will be connected to this one, Control R, and also add another one right here. So this one will be connected to this top, I have five points or actually seven points. So Control R and type seven to add seven points here, and Control R for this one, we're going to add these are five vertices, so Control R and Type five. Double click on this one. It is right now formed by 46 points. Double click on this one, and it is also 46 points, which means they are equal. So now each point in my bigger does have an equivalent point in the smaller loop. To bridge them both together, you can select this loop, shift select this loop. And if you go to the right mouse button loop tools, you will have bridge, and for whatever reason, it's not working, and I'm getting this error message. And I think because I need to be in the edge selection mode. So let's try again, Loop tools, bridge, and I'm getting the same exact problem. I don't know why this seems to be some sort of a bug, but let's try the built in feature inside of Blender, which you can access by hitting Control E, and you will have another option bridge edge loops, and it is not working. For some context, there are two ways to bridge edge loops inside of Blender. The first one is by going to look towards bridge using the add ons we enabled in the first video or by hitting Control E and using the bridge edge loops. And actually, each one uses a different algorithm. So most of the time, sometimes the Blender built in feature for the bridge edge loops might work. Meanwhile, the other one won't, or it's the other way. And sometimes none of them will actually work just like in my situation. So in those situations, it's actually very simple. All you need to do is to select, for example, one big face and hit F to fill it. And when you switch to the edge selection mode, just select one edge. If you keep hitting F, you will be able to fill it manually, which is most of the time very fast, and you can do it this way manually. And right now, we can start worrying about creating the care out for the the next thing when it comes to creating the battery carryout, we need to select this entire structure on the bottom, and then we need to delete it the same concept as the camera bump. Let's switch to the phase selection mode, select this phase, control to this phase, control until this phase, to this one, to this one, for this time, I think I'll need to select a little bit more just like so. Then you can hit Shift and select the inner part, X, and delete the faces. Let's go back to the vertice selection mode, select from this point, control up until this point, we will select this arc, shift digit duplicate, as to scale it a little bit down, JZ a little bit. I need to mirror it on the other side, so shift D, SZ minus one, and JZ to move it up. And all I need to do is to link both of these two points, so this one and this one by hitting F. Same thing on the other side, hit F. The last part of this will be to make sure that the number of vertices on this inner loop, which is 46 must match this one, which is 76. Difference is 30. This will be very easy to fix. We're going to add 15 points on this sign by typing 15, Control R and type 15 also on the side and hit Enter. Now this is 76 and also this one is 76. Shift select also this inner one. I'm going to go loop tools and bridge and this will give you the following result. I think this is looking very decent. Except that I think maybe we can do a better job if we do it manually. The reason being is that I don't like how a little bit of the geometry right here is a little bit stretched. So let's try to do that. Let's set Control Z. And to fix this issue, I'm actually going to select these points, hit X, and then delete or only delete dissolved vertices. So I will only remove the vertices and I will keep one edge. And same thing on the side, let's say these ones. By the way, the concept of what I'm doing is that I want to keep the arc the way it is, but I'm going to delete all the points in between, so I will add the exact number I want. X and then dissolve vertices. Same thing on the side. I think these are the points that are in between X, dissolve vertices, same thing on the other side. Select all of these X dissolve vertices. So this is one, two, three, four, five, one, two, three, four, five. Let's so it is the same thing on the bottom, one, two, three, four, five, six, Okay, one, two, three, four, five, six. On the bottom, we have six points, but in the top, we have five points. I don't think this will cause any problems for now, but just to be sure, I'm going to select this one, this one, this one, and hit F to fill them. Same thing on the side. The reason why I'm doing this is that I want to anchor myself. So at least I will always have those good faces right there, and based on that, I can adjust the rest of the geometry. Same thing right here. Let's hit F and same thing for this one. Let's hit F. So now I have two good faces right there. This part right here, let's do F to fill them F F and F F. Same thing on the side, select this entire face, switch to the edge FF and FF again. These are good faces that are evenly distributed, and that's very good. Let's do the same exact thing, but from this direction. So select this point, control up until this point, and these are 18 points. So control R type 18, and these are 18 points. And technically now if I switch back to the edge selection mode, I will have something looking like so, which is very clean. Let's try the other direction. Up until this point, these are also 18 points. So control R, type 18 and switch back to the edge selection mode and hit F. And this is very, very nice. So for this one, we will have nine vertices. So control R type nine to add nine vertices. Fill these. Okay. And for the rest right now, this one will be matched with this one, so hit F, and this will be with this one, so hit F. For this one, these F, same thing for these ones, F. For the number of points here, let's see, we have nine points. And right here, we already have one. This will be like so, F. So now we should have, I think, eight points, yes, so control or type eight. And now if I do this, I will have something looking like so. So technically, we had to do with the manual way there was a lot of manual labor you can see, the result is really worth it because right now we have a really nice even quant topology right here. And even if you want to add a loop here, you can do that without that ugly stretching. And the last thing I'm going to do is to select this loop and hit Control F, and you should have an option for Grid fill. It's not perfectly aligned for whatever reason, so maybe you can play a little bit with the span to get something looking better like 28. And I think this is good enough for what we want. And I'm going to hit Tab again to exit the edit mode, and this is how you can create the camera cutout of the iPhone. Just to see everything clearly, I'm going to switch to a MTCAp and let's say, this one. So yeah, this is looking very clean, and I can hit the right most button. Shade auto smooth. So yeah, this is it for this video for how to create the camera cao and the battery cartou for later, and I'll see you in the next video. And as usual, make sure to save your five. 5. 104 Modeling the Camera Bump: Hi. In this video, you will learn how to create the camera bump. This can be slightly tricky because you will first need to extrude the region for the lenses, then carve separate holes for the three lenses, the flashlight and the lighter scanner. You'll learn how to do exactly that while maintaining clean topology. Hello, and welcome back again inside of the first thing I'm going to do is to select the iPhone body. I'm going to jump again to the edit mode by hitting three. I'm going to select this loop, first of all, by switching to the edge selection mode and then hitting three from the number pad. And as you can see, the cameras needs to be a little bit extruded right here. There is this plate that is on the backside of the iPhone that we need first to create and on that plate, we will put all the different cameras. I will do E for extrude and hit Y to only extrude on the Y axis, and let's say something like so, and then I'm going to hit Control one to jump to the backside view or actually one to jump to the backside view. Oh, wait. Are we working in reverse? So Control one. Okay, yes, everything is working fine. I'm going to extrude this edge a little bit into the inside to create this edge right here. Hit E for extrude and as to extrude based on the scale, and let's say something like so. And as you remember, whenever you do extrude and then scale, Blender will extrude one side more than the others, and we need to adjust for that. That's why you can hit S Z to scale it a little bit on the Z axis until you get something looking like so. And the next thing we're going to do is to fill this entire shape with a grid fill. For the grid fill, make sure you select your entire loop and make sure that the first or the active selected vertices is this one right. If it is another one, all you need to do is just hold Shift and select this one again, and it will be the active vertices. This does matter when using the grid fill because that's the point that Blender will consider number one when doing the grid fill. And by doing that, you will get the exact same shape I'm looking for, and the same one that I will be using in terms of how all the different squares are distributed. Go Control F d fill. By default, you will get something like this, and probably you can play a little bit with the offset until you get a better result. Let's try to keep it at zero and choose simple blending, and I feel like it's a little bit tilted to the side. That's why I will rotate it this way, offset by one. And I think this one is slightly better because we're getting a more even distribution of the different squares. All of these lines sadly are not straight as we want them to be, but it's not a big deal because this is at the end of the day is just a flat surface. So the way all of these squares are distributed is not detrimental. Broadly speaking, flat surfaces are very forgiving when it comes either to end goons, as in faces with more than four points or even surfaces where you don't have a very clean or very well distributed number of quads, let's say. That's why I'm going to leave it at this and right now jump directly into how we will create all of the different camera lens. Switch to the X ray mode by hitting Alt Z, and we will start by creating this first camera right here. Make sure you are in the vertex selection mode, and let's select all of these points right here along with both of these. Hit X and then delete the faces. Or actually, we need to delete the vertices. Sorry, delete the vertices, and you will get the following shape. You can probably even select all of these different points, J X and move them slightly like so. I said, it's not a big deal that you change a little bit the distribution, all the different quads, because flat surfaces are forgiving when it comes to the stuff. Next, I'm going to do the same exact thing, but on the other side, let's select all of these different vertices, X and then delete the vertices. And we created this camera cutout for this lens, Jx, Jx. JX. Lastly, we need to do the same exact thing for these ones. So select these points, X, and then delete the vertices, and this is looking good. Next, let's select we need to select this inner loop. So from this point and while you're holding control, control to this point, control to this point, control to this point. It E for extrude has to extrude on scale so we can extrude it inside. And the really nice thing we do have a tool inside the loop tools, which is called circle. So once you click on this, it will turn selection into a circle. And that way, we will get the following shape, and all we need to do is to just adjust it slightly as the camera lands. We will do the same exact thing on the other side, control to select from each vertices to another, and then hit E for extrude a loop tools, circle, J to move it slightly down, and this is looking very nice. Let's finally do the same exact thing. But for the other one, E for extrude, S and loop tools circle, this is big, so S for scale. And let's just make sure it is the same exact scale. And you can always rotate it in case you notice that the edges are not well distributed. And yeah, this is looking very nice. Next, let's work I think this is the flashlight, and this should be very simple also to create. So just select both of these two points, X, and then delete the vertices. And I might actually move both of these slightly JX on the X axis, select this loop, E for extrude S, loop tools, circle, scale it a little bit down. We will do the same exact thing for is this the microphone? I think it's the microphone. I will delete this vertice, X, delete the vertice. Move both of these by doing JZ to move them slightly up just like so. Select this loop, E for extrude S, loop tools circle and scale it down until you get something like so. And lastly, this is the layer scanner, I think, select these two vertices, X, delete the vertices, select the loop, E for extrude, and loop tools circle. And just scale it way, way down until you get something looking like so. Let's zoom out a little bit, and we manage to create all the different caos that we need, and you will have something looking like might notice that these faces for whatever reasons are a different color than these, and this is actually a problem of normals. A normal is basically to tell Blender where the face is pointing. Is the face pointing to the outside or to the inside? And to fix this issue, just hit A to select the entire mesh and hit Shift N to recalculate normals, and the problem will be fixed. Let's exit the X ray mode for a second, and you will have something looking like so, which is very neat as in the next couple of videos, we will start extruding and creating all the different cool stuff that sits in these camera holes. This was a quick one, but it is important that you take a little bit of time to actually nail the shape of these different lenses, especially that I know that it can be very delicate to find the exact mesh flow and how everything should flow, to get something that looks halfway decent, let's say. This is by far the most complicated part of this tutorial to actually create these camera holes. So if you're done with this, I will see you in the next one, and I promise you everything will start to get easier from here on. And as usual, make sure to save your file. But 6. 105 Modeling the Lenses & Flashlight: Hi. In this video, you will model all the different components of the cameras, the flashlight, and the lidar scanner. So hello and welcome back inside of Blender, and as I said, in this video, we're going to finalize this camera bump by adding the lenses, the covers, the flashlight, and all the different components. And before I start the modeling process, I need to pull my references just so that we can have a better idea on what exactly we will be doing in this video. So if I zoom out a little bit on here, you will notice that the cameras are formed by plenty of different objects. Honestly, not plenty, but more like three. First of all, we'll have these rings, these metal rings, and these are the camera or the lens containers, let's say. Inside of those, we will have these plastic bits which are the plastic covering the lens, and we will have a glass element in the center, and that is the actual lens. And along with all of those, there is also a glass cover that sits on top of all of that. So in total, we need to model four different things the rings, the outside cover of the lens, the black plastic inside the lens, and the actual glass of the lens, this spherical element right here and right here. And for the rest of the stuff, the flashlight, and I think this is the adar scanner or something like that. These are simple because they are plain color, and they don't have a lot of details, so those will be easy. By far, the most interesting bit during this video will be how we should approach modeling the different lenses. And now I want to talk a little bit about an important concept, which is how you should model or how you should separate your objects when you are modeling. Something you will notice so far is that we only have one object did all of our modeling work just using in a single mesh, let's say. This is just one object. The whole mesh is connected to each other and all of that. So we just used one object for everything. But so far this makes sense because in some ways, all of these different elements will share more or less the same material, and even in real life, they are almost the same object because they are too connected to each other. Meanwhile, for the rest of these elements, they some ways separated, they are different objects. Of course, you can continue modeling in the same mesh by adding objects inside the edit mode and all of that. But that later will also get tedious because you need to start selecting different parts of the mesh to assign a different material to them and all of that. And also, that's not how real life works because whenever you will have two different materials, in some ways, you need to treat them as different objects. This brings me to a very nice logic or rule you can apply whenever you're doing hard surface modeling. Whenever you find yourself trying to model something that is formed by different components, it makes a lot of sense that you separate all of those different objects or components to different objects. Sometimes this might not be the best practice, and I think the more you do hard surface modeling, the more you will start to have a good intuition for when you should model things in the same object and when you should split them into different objects. By far, the rule I found the most useful. If they are different materials, probably you can split them to different objects and think of real life. If these two are separated in real life, then yeah, you can probably also separate them into different objects. And right now, the first thing that I will start modeling is the camera rings. I'm talking about these ones around the camera lenses, let's say. To do that, I'm going to select this edge, shift, select this edge, shift, select this edge. Let's hit three to jump to the side view, and I'm going to hit E to extrude and hit Y to only extrude on the Y ax. These are the different camera rings. Now, as you can notice right here in the photo reference, we need to extrude this a little bit inside. Let's hit E and then S to extrude them inside and you will notice that it looks a little bit weird because right now, Blender is trying to extrude all of these to a center point which is around here. That's not what we want. We want to way to tell Blender that, hey, Blender, extrude each circle separately. Is very simple. I'm going to hit Control Z until I'm back to here and make sure to change the transform pivot point from medium point to individual origins. Now if I hit Control one to jump to the backside view and hit E to extrude and then as you can see, I will be able to extrude each circle separately. Let's say something like so will do the job, and then I'm going to extrude them inside, so hit E to extrude, Y to extrude them inside, something like so. This is not something very precise because all of this will be later covered with the rest of the camera elements like the lens and the spherical stuff and all of that. Don't worry about this. But the most important thing, make sure to not extrude it too much that it start clipping the camera. And actually, I might do it a little bit more, so JY, to move it slightly more, something like so, so I will have enough room inside this selection later to create all the different components I need. Once that is done, all you need to do is to just hit F to fill that face. Hit to exit the edit mode, and you will have something looking like so, which is exactly what we want. The next thing we're going to model is different elements that form the actual lens. To model that, I'm going to start by modeling the black plastic parts that will converge to a spherical object which is the actual lens. And this is where also we will start to create different objects. So in Blender, let's go back to the edit mode. I'm going to hit three to switch to the phase selection mode. Let's select this loop and also select this loop and also select this loop. So we will select all of them altogether and then hit P and choose selection. Exit the edit mode. Let's select the next object and hit Tab to jump to the edit mode. And now we are ready to start creating all of those different elements. To do that, I'm going to open my photo reference and put it here and you can click this spin so it will always stay on top just like so. Then we can start our modeling process for the first lens. From what I see, first of all, we need to go slightly in and then it will go a little bit flat and then there's a little bit more of extrusion around here, and we will have a sphere that will act as the actual glass of the lens. I'm going to select this loop, but first switch to the edge selection mode, select this loop, and then hit E, as to extrude inside, something like so. And then I'm going to J Y to move it slightly inward. Just like the following. And then hit E as to extrude it yet again to something like so. Maybe even more, so you can hit S to scale it even more, and then you can hit E S to extrude it inside to something like so. And for this, I'm going to hit JY and move it inside, just like the following. This more or less resemble this shape. So I think this is good enough, and then we need to add the actual camera lens or glass. That's why we're going to add a sphere. But right now, if you go Shift A and add a sphere, it will be added in the center of the scene somewhere. I already know where. We want it to be added in this exact spot. You can hit Shift S and choose the option cursor to select it, which will move the three D cursor right here. So now when we will add some objects, they will be added right here so that we wouldn't need to go hunt for those objects in the three D environment. Let's go Shift A, and let's add UVsphere. You might notice that nothing will happen, and that's mainly because the sphere so insanely huge. So let's zoom back a little bit to somewhere around here. Let's start bringing the radius way way down, and by the way, I'm holding Shift and scaling things so that I can move in small increments. And actually, in my situation, this is not even enough because we're working on a very tiny scale. For the segments, I'm going to lower this to something like 16. I don't need that much geometry. 16 16 will be more than enough, and then I'm going to hit Rx to rotate it on the x axis 90 degrees, so it will be pointing in this direction. And this is not big enough, so I'm going to hit S and scale it way, way up. Even if it is clipping a little bit the actual mesh, that's not a big problem. And then I'm going to hit S and Y, to scale it on the Y axis, to squash it a little bit just like so. And this is looking good. If I hit tap to exit the edit mode, this is how everything is looking right now. Right now we will need to do the same exact thing, but for the rest of the different elements. I will go slightly quicker since I think you already get the gist of it of how we should go about this. Hit Tab to jump to the edit mode. Let's select this loop and same thing, I'm going to hit E as to extrude inside, something like so and JY to move it slightly inward. This is very similar to this one and then hit E as to extrude it just like so. This is a wider lens. That's why I think this sphere will be slightly bigger. Then you will notice that I think there is a small extrusion somewhere around here. That's why while I'm selecting this loop, I'm going to hit E and Y to extrude it slightly inside the Y axis. Then hit ES to extrude it inside, just like and JY to move it like this and maybe E Y to extrude slightly inward, just like, and maybe S to scale. This is looking good and now we need to create the actual camera lens, the glass. Instead of going and adding a new sphere, you can select any part of the sphere and hit L to select all the linked geometry to what you selected. In our situation, it is just the sphere, hit Shift D to duplicate it, and hit Z to move it only on the Z axis until somewhere around here, and then you can hit S to scale a way up, you can also hit Control one to jump to the backside view so that you can have a better, more precise view on what's going on. Something like this will be good. Let's orbit a little bit. Yeah, I think this is good enough. Let's do the same exact thing, but for the last lens, and this is by far the widest one, select the sloop, E for extrude S, JY, to move it inward. Let's do ES to extrude inside, something like so. There is also a small edge here that is an extrusion inside. So while you're selecting this one, E Y to extrude it inside, and maybe you can also hit ES to scale it slightly inward and JY to move it inside. And this will give you the following shape. And yes, this is the widest lens, in some ways, it looks similar, and I might actually hit S to scale it a little bit down. Select this part of the geometry that belongs to the sphere, hit L to select it. Let's hit also control one to jump to the backside view, shift it to duplicate and let's move it here. So let's zoom in a little bit and hit S to scale it up until it looks something like so. We need to scale it even more until it looks something like so. Maybe you can even GY to move it inside or actually SY to scale it on the Y axis and Y to move it outward a little bit. And this is looking neat. Okay, so this is how I will go about creating all the different camera lenses, and now we will need to move on to creating the actual cover that will sit on top of the lens to protect it. And for that one, we will also need to create it as its own separate object. So to do that, I'm going to jump back to my mesh. I'm going to select this loop Shift, double click on this loop to also select it, and lastly, this one. I'm going to hit Shift D to duplicate all of these, and then hit P to separate the selection, separate the selection. So now it is its own mesh, and if I just minimize this, you will have this new iPhone body. Let's hit tab to exit the edit mode and make sure you are in the edit mode of the new object. Hit tab to jump to the edit mode, hit A to select everything, and hit F to create a new face. And all you need to do is make sure also you're still in the individual origins. Just hit E to extrude on the Z axis, something like so. Oh, wait, something weird is happening. So let's select all of these faces and hit E to extrude. Ah, okay. Mm hmm. There is a problem happening, as you can see. If I extrude these inside, this is not extruded, and it is the same way on the other direction. This is because of normals. If I hit Tab to exit the edit mode, as you can see, even the color of this one it is not the same as this one. Normals are just where the faces are pointing. So all you need to do is while you're selecting the entire mesh, just say shift end to recalculate the normals and choose whether they're inside or outside. Both of these, I'm going to hit Shift N, and let's say they are inside, and yeah, we're good to go. Next, hit Tab, hit A to select everything again and hit E to extrude on the Z axis, something like so. This is the actual thickness of the glass, so it shouldn't be very thick. Something like so will do the job. Yeah, this is how we'll go about modeling those different camera lenses. And now we'll move on to the easier part, which is the flashlight and all of those. As you can see, this is a very similar shape to the lens. We need to create a similar extrusion inward and then we'll also add a sphere to act as the actual flashlight. So let's go about that. Let's jump around here. Let's hit Tab to jump to the edit mode yet again, hit two to switch back to the edge selection mode, select this one. Or actually, you know what? The way of how I'm thinking about this is the following. So for this one, this is just plain color. We can always later in the shader editor tell Blender to just use a different color for this part. So does it need to be a separate object? I don't think so. That's why I'm just going to select it. And just because I see some light around here, I think it is extruded inside a little bit. That's why while I'm selecting the loop, I'm going to hit E to extrude it and make sure to hit Y to extrude it slightly in the Y axis just like so, and then hit F to fill that face. So that will be the adar scanner. For this bad boy right here, the antenna, first of all, I feel like it is slightly too big, so I'm going to hit S to scale it a little bit down until it looks something like so. And all you need to do is to just hit E and Y to extrude it inside. And for that phase, JY maybe move it even more inside and hit F to fill that phase. Now, lastly, we come to the flashlight, and I think since it is very similar in terms of geometry to the camera lenses, I think it needs to be part of that mesh, just to keep everything organized and do not drown in plenty of different objects later. So here's how I'll go about this. I'm going to select this loop by the way, I'm still working in the iPhone body. This is the main object, and then I'm going to hit E for extrude and Y to extrude it on the Y axis, something like so, and hit F to fill that face. The next thing, I need to figure out a way to merge this part by selecting these faces. I need to make them also part of the actual camera lenses. This will be very simple, all you need to do, make sure to select the inner faces of the flashlight. Hit hit D to duplicate it, hit P to separate it to a new object by choosing selection. You will have a new object created. It is this iPhone body 003. Let's set tap to exit the edit mode. So this one is the flashlight. Okay, where is it? Sorry. So the iPhone Boto 003 are the camera lenses, and the iPhone boto 001 is the actual flashlight. So just select both of these by hitting Control and hit Control G to merge them together, G for join. Now if I hit Tab, as you will be able to see, these are part of the same mesh right now. So all we need to do is to just model the flashlight. This should be very simple. I'm going to jump to the edge selection mode, hit E for extrude and S, something like and JY to move it inward. This will do the job. Then I'm going to select one of these spheres. Let's select the smallest one, hit L to select the entire link geometry, hit chifD to duplicate it, and let's hit the right most button to cancel any sort of movement and hit Control one to jump to the backside view and JX to move it only on the X axis, something like so. Let's do J and move it here, maybe even as to scale it a little bit down until we get something looking like so. By the way, you will notice some clipping starting to happen. You can always fix that by hitting to open the side bar. And you should have, okay, inside of view, clip Start. Make sure this is set to 0.001. Hit to close the side bar again and JY to move it just like so. JY. This is looking good. Now, we need to create the cover, and as you know, the cover should be part of the iPhone body 002, because this is the object containing all the glass covers of the cameras. So to do that, let's select this loop, Shift D to duplicate it, hit B to separate it to a new object, just like so, hit tap to exit the edit mode. And I think for whatever reason, it seems like I've hit the cover. So it is the iPhone body 002, and for this this is the cover for the flashlight. This is the edge we just separated. So just select both of them and Control G to join them, hit tab again. Now they are part of the same mesh. Select this loop, hit F to fill it, and then also you can hit E for extrude. Just extrude it just slightly, like so. This will do the job. And yeah, this is how we'll go about this. Let's rename our different objects. These are glass covers, and for these ones, these are the lenses. Now, once this is done, make sure to save your file, and I will see you in the next one. 7. 106 Modeling the Buttons: Hi. In this video, you will learn how to model the buttons. Just like the camera and battery carrot, this video will also focus on dividing the base mesh into distinct regions to model the different buttons. Okay, so welcome again inside of Blender. I pulled my references here just so that we can have a better idea on what we'll be creating. All in all, we'll need to create five different buttons. We have, I think this is the action button, the volume buttons, the power button, and the camera controller. I think this one right here is the Sim card slot. But I think for the ones that are being sold in the US, they don't have this slot. That's why we'll skip this part, and we'll only limit the scope of this video to the different buttons that actually exist. And now we can start modeling. But before I do that, something very important I want to mention. If I select this iPhone body and hit Tab, let me also hit ALTH to unhide the rest of the geometry because we hit it earlier, if you remember. What you will notice is whole iPhone body is still very low ply. We have a very limited number of vertices and quads. But if I pull my references here, as you will see, the iPhone is very, very smooth and these buttons are very smooth. So how can we go about this about creating a very smooth shapes? Meanwhile, our geometry is very low poly. That will be by using a subdivision surface modifier. And that's why I will jump to the modifiers tab at modifier. You can look for subdivision surface, and let's add this modifier. Let's increase the level View port two, a tap to exit the edit mode, and it will look like. This will definitely look horrible right now because when you're using the subdivision surface modifier, you will naturally need to add supporting edge loops so that everything will look smooth, but also the things that needs to be sharp, it should look sharp. Later in the course, we will have a dedicated video for adjusting and sharpening all the different angles of this model. But for now, I just want to apply the subdivision surface modifier so that we at least can start to see a very smooth shape, and we can adjust the shape of the buttons based on the subdivision surface modifier. Let me just flip my phone and I'm going to hit one to jump to the front from here, we will have the power button, and from here, we will have the action button and the volume button. I will start with the left side. Let's set tap to jump again to the edit mode. I'm going to hit Control R to add some loops and scroll the mouse wheel to only add two loops, and let's put them in here. And if I hit S Y to scale them on the Y axis, nothing will happen. Because I need to change this from individual origin to medium point, and now if I hit SY, I'll be able to push both of those two loop cuts away from each other. And that's exactly what I want. Let's say something like so we'll do the job. Let's switch to the phase selection mode. And now I need to select the faces where the different buttons will sit to do that. Let's hit one to jump again to the front projection. So the first button will be around here. Intentionally making the selection slightly bigger because later I'm going to do some inset operation and that will make the whole button smaller. So it is better to go slightly bigger because we will go smaller later. Hit I for inset. And let's say something like so, and for the value, I'm going to make it 0.0 005. Let's also copy this value because we will apply it for the rest of the faces. For the next button, it should be these three. Let's do the same exact thing. Do inset. Let's space the value here, Control V, and we are good to go. And the last button will be this one. I for inset, and let's space the value here. And we are good to go. Next, let's select these faces just like the following. I'm going to extrude them inside by doing E for extrude and extrude it inside. Since we have the subdivision modifier on, this will cause everything to look very smooth. I'm just going to disable it for a second in the viewport so that we can see the low poly version of this model. Next, I'm going to inset again. Let's do I for inset. This time, the value should be way way smaller, and we need to extrude them to the outside. So at E for extrude and extrude them to the outside. Let's enable the subdivision modifier again, and you will have something looking oh. Don't worry about them looking very smooth and blobby because we'll fix that later. Next thing for the other side of the phone, we will have the power button and the camera controller button. So let's create those right now. Let's go on this side, and actually, I will do the same exact thing by hitting one to jump to the front projection view, and the buttons will sit around here from this phase to this phase. So I'm going to spin, let's say these four phases. I hope I did this selection the right way. No, I need to shift it. So deselect this one and select this one. I will need to also make the selection for the camera controller. Sadly, if I hit one, the camera controller is not visible from here, but I will need to adjust it accordingly based on this view. I will sit around here. Let's select this phase, one, two, three, four, hit I for inset, paste the same value, but we will have a different value of extrusion for this one, since this one is an actual button. Meanwhile, for the camera controller, it is just a small extrusion the inside of the phone. Let's start first with the Power button, select all of these faces. E for extrude to the inside, aside the references and disable the subdivision modifier. JX to push it slightly inward, even more. I for inset, hit one again, E for extrude, until it sits around here, this will be good. For the camera controller, all you need to do is to extrude it to the inside. So E for extrude, let's push it slightly inward. We'll do the job, let's enable the subdivision modifier again. And yeah, this is looking very neat. This is it, everyone for how to model the different buttons of the iPhone, and I'll see you in the next one. And as usual, make sure to save your file. 8. 107 Modeling the Charging Port & Speakers: Hi, this video will model the charging port and the speakers. This video continues the logic of creating regions within regions in your mesh. You will learn how to carve out spaces for the charging port, which has a pill shape and for the speakers, which are just cylindrical holes. And we are back in Blender. The different components will be modeling. We will start with the charging. Then we will move to the different speakers. But here's something that I have noticed. If I hit Control seven to jump to the bottom view, you will notice that in the original blueprint, we have one, two, three, four, five, six, six different holes for the speakers. Meanwhile, in my references, we have one, two, three, four, five. But since I downloaded these different images from the Apple official website, I will use the number right here, which is five holes. Something else I have noticed. Which is that this reference is in some ways flipped. So we should either rotate the model or rotate the reference. And the choice that makes the most sense is to rotate the reference, which is the bottom reference. Let's rotate it on the Z axis, I think 270. So this should give us the following result, and we need to bring this here. Let's move it along the Y axis, just like so, zooming a little bit. And by the way, I'm holding shift while moving the reference. For the location on the ax, let's put it and we are ready to start modeling. Let me collapse the references collection. I'm going to hide the glass cover, and I'm also going to hide the lenses. And same as usual because I will be working in the bottom half of this phone. When I hit, for example, Control seven, I might by accident, select. As you can see, this is a big mess. That's why I need to hide all the geometry that I don't want to see. O to jump to the front view. Let's switch to the vertex selection mode by hitting one. Let's select the parts we want to hide. Let's say all of this and hit H for hide. So we're only left with the bottom half of this phone. And now we can start creating the charging. Hit again Control seven to jump back to the bottom view. All you need to do is to select these two faces. Hit I for insert, and I'm going to make it the size of the inner part of the charging port, something like so. Let's exit the edit mode. And by the way, when you hit the period key, you will be able to focus on what's selected. This is a very useful shortcut. Let's do E for extrude and extrude it inside, just like so. If I hit tab, Alt Z to cancel the X ray mode, you will have something looking like so. This will do the job. And then I'm going to hit Control seven again. Let's hit Control R to add edge loop here. And in the references, you will notice that there is a small edge around here that we also need to recreate. So while you are in the phase selection mode, let's select this loop by hitting Alt and clicking on the loop, we can hit E for extrude and extrude it outward. And also, let's sit Control seven again and Alt Z to select the interfaces, which are these ones right here. I'm going to do I for inset again, S Y to scale them on the Y axis. I'm going to create the actual charging piece that is in the inside of the phone, and then you can hit E for extrude and extrude it outward. Just like so, make sure it is not going to the outside, maybe JZ to move it just like so. This will do the job for now and later we can adjust things accordingly. And now we can move to creating the different holes. Control seven again, a tap to enter the edit mode, l Z for the X ray mode. Let's select this face, and let's select this face. I for inset, right most button, loop tools, circle, scale them a little bit down, but you will notice that the scale operation is happening based on the center. Let's change this to individual origin as for scale. And now if you do X and then delete the faces, you will be able to have the following thing, which is exactly want. You might be wondering, Hey, we only have four points here or four edges, so we're supposed to get a square. Why are we getting a circle? That's because of the subdivision surface modifier. Next, we need to also create the rest of the holes which are one, two, three, four, five. As we said, we will use only five points. So let's say tab again. This might be a little bit tricky since we need to add a little bit more edge loops here so that we will have an individual pace for each one of those holes. To do that, select edges just like the following. And if you do subdivide, you will have the following result. We will do the same exact thing on the other side, subdivide. And now if you select five faces, let's select also five faces on the other side and you do I for inset, make sure to check individual so that each face will be inserted individually. Click right most button, circle. They are very big, so let's scale them down by hitting S and then X and then delete the faces. And you will have something looking like so, which is exactly what we want. Of course, later we will fill those holes with some different materials. We might actually restore the faces that we deleted, but we'll keep that for the shading part. This is how you go about creating the different holes for the speakers and the charge report in the iPhone. As usual, make sure to save your file, and I will see you in the next one. 9. 108 Modeling the Dynamic Island: Hi. This might be the shortest video in the course because we're only going to create the Dynamic Island on top of the screen. This will be very simple and straightforward. Welcome again inside of Blender, and modeling the Dynamic Island is not that complicated, actually. To do that, let's jump to the edit mode. And since we hit all the other geometry, except the bottom of the phone previously, you will need to hit Alt H to unhide everything, and let's zoom in a little bit this area right here. The usual, we only want to see the front side of the phone, so we don't select anything by mistake. In this situation, I'm going to shift J for the select similar, which will allow you to select faces that does share similar properties. In my situation, I will choose coplanar, which will select the faces that are on the same level, Control I to invert the selection and hit H to hide it. And this way, you will only have the front side of the phone visible along with some geometry that belongs to the buttons, but that's okay. We need only to focus around here. One to jump to the front side and old Z to switch to the X ray mode. And let's think about how we will go about modeling this camera. I delete all of these vertices right here, X, and then delete the vertices. So I will have this whole. I will add half a circle here and another half a circle here, and I will merge everything accordingly. For the half circle that will sit around here, it will be linked to one, two, three, four, five, six points. But before I add the circle, let's alt and click on this loop shifts and cursor to select it so that when I add the circle, it will be added right here. Shift A, and let's add a circle. And if you remember, I said we have six points right here, and that's why I'm going to type 12. So double six is. For the radius, I will just do it manually so hit S to scale it until we get something like so, R X and rotate it on the X axis by 90 degrees. Let's make it a little bit smaller, and let's make sure that it fits perfectly just like so. We need to delete half of the points. So let's select these are just five. So at another point, X and then delete the vertices. Let's select this entire geometry by lt and clicking on it to select the loop and R to rotate it a little bit until you get something that looks like so. We need to mirror this on the other side, so shift D and we most button to candle cell Eddy move. X to scale on the X axis by a scale of minus one and JX to move it on the X axis, let's make it sit right here. Select this point, this point, and let's hit F to join them. Select this point and this point and hit F to join them. We have one, two, three, one, two, three, so control R three points here, Control R, points here. And now, if I select all of these different points, for example, hit F to fill that face, switch to the edge selection mode, select this edge, and hit FFFF until you fill the full geometry, and you will have something looking like so. Next, let's hit Alt and click on this Loop to select it. Control F for fill and choose grid fill, and this will fill it with a bunch of squares. Right now to turn this into a circle for the camera. That should also be really simple. I'm going to select from this point control up until this point, ax minus or actually X for scale on the X axis by zero, and this will straighten that edge and hit Enter and JX to move it or slide it slightly on the X axis until it looks something like. Let's switch to the phase selection mode by selecting all of these different faces. Once we have all of them selected, let's hit I for Inset and rightmost button Loop tools circle, which will give you the following result. Let's just hit to scale it a little bit down, maybe JX to move it just like, make it slightly y. And yeah, that's tab again to exit the edit mode, and this is looking really neat. Make sure also to hit Alt h hide everything and disable the Xray mode. This is looking very clean. If I hit Tab again, this is our camera or Dynamic Island. This is it for this video. Make sure to save your file, and I will see you in the next one. 10. 109 Beveling the IPhone: Hi, this video will take your model from looking like this to looking like this by beveling different edges of the phone. This is the part where the iPhone takes its final shape and everything starts to look sharp and clean. Beveling the edges is the easy part. The tricky part is deciding which edges to bevel and which ones to keep smooth. In this video, you will learn the best way to approach it. We'll come back inside of Blender, and as I said, in this video, we're going to bevel all the different edges of our iPhone model. Everything right now is looking very smooth. Beveling will fix all of these issues and will make this iPhone looks like an actual iPhone. Beveling the edges, there are in some ways some automated ways of how to go about it. Maybe you can consider adding a modifier, generate bevel and let's switch this to width, maybe increase the segments to two. But in my experience, this doesn't tend to do a very good job with these sort of models, not because it is bad, but because we need some custom beveling on different places and all of that. This is already giving us something decent and a good base. But, for example, when it comes to these buttons, they are all messed up. Same thing with the cameras and all of that. That's why we will go the manual way when it comes to beveling all the different edges. You can use this bevel modifier as a rough way to in some ways, assess what are the values you should be using or in general, how the final model can look like. Let's delete this bevel modifier. I'm going to hit Tab, as usual, to jump to the edit mode, and I can't see the rest of my model, so lth to unhide everything. Select the loop by hitting Alt, and actually, we're still in the phase selection mode. So let's switch to the edge selection mode, Alt and select the loop shift and lt and select also this loop. These are the loops that are on the outside. Hit Control B for bevel, scroll the mouse wheel to get two different segments. And for the width or the offset, you can read it from this one right here. Let's make it 0.02 or three zeros will give us a result looking like this. And I still think it's looking a little bit too smooth. So Control Z to cancel this operation. Control B to bevel again. And for the value, let's put it 0.001. This is definitely sharper and looking better. Deb began to jump to the edit mode. There is a hidden edge around here, if you remember, but because of the subdivision modifier, I can't see it. So hit Al Z to switch to the X ray mode, Alt and click on this loop and Al Z to cancel the X ray mode, or you can enable it or disable it from here. Once I have this edge selected, Control B for Bevel. Let's make it like this and for the value, zero point ooh oh one, this will give you the following result, and this is looking very clean. Same thing for this loop right here, Alt click on it, Control B, zero point oh oh oh one. For the cameras, I'm going to hide the cover glass. Also, let's hide the lenses. For these ones, we need to bevel these three different edges, the one that is here, here and here. And it seems like, okay, there's also okay, this one and this edge right here, they are not bridged. So just to fix this issue, I want to bridge this edge loop and this edge loop. So this empty space will be filled because it doesn't make a lot of sense to bevel things that are not a continuous mesh, let's say. Let's disable the subdivision surface for a second. Is how everything is looking. I assume the size of this one of this circle right here, Alt and click on it. The size of this one is the exact same as this one. Alt and select also this one by hitting Shift F three, and let's look for bridge edge loops. And you will have something looking like so. This is technically better, but just to be sure, let's enable, again, the subdivision surface modifier and enable also the cover glass and see how everything will look and the lenses. I think it will look good, especially once we bevel everything. That's why for now, I'm going to hide the glass covers and the lenses just so I can focus on this. Hit tab again to jump to the edit mode and Alt Z to switch to the X ray mode. We need to select this loop, I think. No, it's this one right here. The one that is on the outside of the lens. Z. All shift and click on this one. All shift, and click on this one, ls to enable the X ray mode, Shift Alt and also select this one. We want to select all the edges that needs to be sharp. Lz to disable the X ray mode. Control B for bevel, move the mouse wheel a little bit. And for the value, it should be 0.0 001. This is good, and it will look just like so. This is looking very neat. If we enable the glass cover and the lenses, Yeah, this is looking very nice. So we need to do this for the rest of the lenses. I will do that very quick so this doesn't get very boring. Select this loop by hitting Alt, Shift Alt and also select the loop, go to edge, bridge edge loops. And now we need to select all the different loops. Alt Z, Alt, select this loop, Shift Alt, select this loop, shift l this loop, shift Alt this loop. This is looking neat, Al Z, Control B for Bevo and make this 0.0 001. Let's do this time, tab, Al select the loop, select the loop, edge bridge edge loops, AZ for the X ray mode, l to select the loop, shift, l to select this one, this one, and this one and this one. Als to disable the X ray mode, Control B for bevel, and as usual, make it 0.0 001. And hit tab to mode. And yeah, this is how you can go about beveling all the different lenses. And for the flashlight and the ladar scanner and all of those things, this also can be very simple Z to switch to the X ray mode, Al to select the loop, shift, l to select the loop. And since we're already here, let's do the same thing for the microphone. Shift Alt select this one, Shift Alt. Inner one and the same thing for the lidar scanner. Shift se like this one, Shift Alt, or actually, I'm going to deselect the tR scanner because I want to do it by itself. Since it is very small, I don't know whether the value of 0.0 001 will work for it or not. For these ones, Control B for bevel, move the mouse wheel, 0.0 oh oh one, and make sure the segments are two, and we are good to go. Something like so is very nice. For this one, select this loop. Control B. Let's make it zero point oh oh oh one. And old Z for the X ray mode. And yeah, it's working. For this one, I'm only going to bevel the outside ring and leave the rest looking slightly smooth. Now we can move on to beveling the buttons. Let's start with the right side of the phone or the left side, depending on how you look at it, a tap to jump again to the edit mode. And how should we go about beveling all of these different edges? We need to keep the rounded shape of the button, but we need the edge button to look sharp. Let's hit Alt Z to switch to the X ray mode. First of all, we need to select this loop by hitting Alt and clicking on it, shift and also select this loop. And same thing for the outer part, Shift and Alt to select, not this one, but this one, this one right here, and shift Alt to select this one. Okay, the outer loop, I think you'll need to do it manually. This is not that hard, but it will take a bit. So this one, this this one. Once you have all of these selected, just like the following, let's hit Aldi to disable the X ray mode. Control B for Bevel and the usual value 0.0 oh oh one, and you will have something looking like so. Let's move to the other side where we have actually multiple buttons, three, and let's do the same exact thing. Aldi to switch to the X ray mode. And this can be a little bit tricky to select everything correctly. So let's focus a little bit here. So Alt, select this loop, not this one, Alt, select this one, Shift Alt to select this one, Shift Alt to select this one, and Shift Alt to select this one. Control B, 0.0 001, tap to exit the edit mode. Yes, and this is looking clean. Do the same exact thing for the other two, shift to select this one, shift to select this one, shift all to select this one, and shift all to select this one. And since we're here, we can do the same exact thing for the lower one, shift all to select this one, shift lt for this one, shift Alt for this one and this one. Now, control B to bevel. 0.0 oh oh one, tap to exit the edit mode. And this is looking very nice. I won't forget about the camera controller, this one right here. And for this one, I'm only going to select this loop and only bevel this one. So Control B two bevel, the usual 0.0 oh oh one, and this is looking better. The reason I'm not going to also bevel the inside of this one because it is supposed to be touch sensitive, so I think looking smooth is better, and that's why I will keep it like that. The last part will be to finalize the camera lenses. So first of all, I will start with the lenses. They will look like this. You might notice some clipping starting to happen because when we bridge all the different edge loops, this can cause things to get a little bit wonky. But as a first step to fix this problem, I'm going to add another generate subdivision surface. Increase maybe the levels to two or let's now, this is definitely looking slightly better, but the usual problem, we need to select everything. First of all, make sure it is shaded smooth. Let's shade flat and see how it will look or shade auto smooth. Yeah, this is looking better, and we need to bevel a couple of edges, so we keep the lens look in some way. So select this by Alt and clicking on it, Alt and also select this one. Shift Alt and select this one, Control B to pvl them. This one doesn't need to be very sharp, so let's try three edges or just two or three and make them 0.00 oh five. So this will give you the following look. Later we'll add the glass material to the inner elements. So I think we're good to go. And the last part will be the glass covers. These also need to be beveled, and we need to add the subdivision surface modifier so they fit perfectly. So add modifier, generate subdivision surface. I'm going to hit the slash key to isolate them and hit Tab to jump to the edit mode. And we need to select this loop, shift all the loop, shift all the loop, shift all the loop, shift all this one, this one, and I will bevel this by itself because things can get wonky. Control B to bevel and make sure there are only two edges. And for the value 0.0 001, this is too much. Let's try zero, another zero and make it three. This is looking better. And for this one, tab, shift all to select this loop and this loop, Control B for bevel, and make it very tiny. And hit the slash key again to exit the focused mode. They will look like this. What if we increase the edges, the value of the subdivision. There is a small gap right here, so I will do J Y to move them on the Y axis, just a tad so they will cover the lenses. Just like the following. Now comes the last part of beveling this iPhone model, which is the charging port and the speakers that are in the bottom. Let's hit Control seven to jump to the bottom view, and this is how everything is looking. This will not be that hard, actually, because we don't have a lot of edges right here to worry about. But yeah, let's do it anyway. So Alta select the loop, Al Z, and also we might need to select this one right here. So Shift Alt and select the loop. Shift A to select this loop and shift all to select this loop. So we have all of these different edges selected. Let's do Control B for Bvl. Same value as the usual 0.00 01. This is too much. Let's add another zero and change this to three. Hit tab, and it will look like. We might also need to bevel this one. By the way, when it comes to beveling, you can also add supporting edge loops. So you can hit Control R, for example, and do this. But in my situation, I think I'm going to bevel it the classic way by hitting Alt and selecting all of these loops or all of these edges, Control B for bevel, 0.0 oh oh three. So it will look like so. To make this sharper, let's select this loop, Control B to bevel and make it zero point oh oh oh oh three. Yes, this is better. And for the bottom one, Control B, zero point oh oh oh oh three. So it's the same value, and this is looking clean. Now, for all of these different holes that are the speakers, as usual, I don't want them to be empty spaces like this because that might ruin the beveling and all of that. So I'm going to extrude them slightly inward. First of all, I need to select them by hitting Alt, shift all this one, shift all this one, this one, this one this one, same thing on the other side. Shift all this one. Next, let's hit E for extrude, extrude them by hitting Z on the Z axis slightly inward, and you can go to face and fill. Technically, we should have them selected. And now we need to also select again the outer loop. Shift, select this one. This one, this one, this one, and this one. Do the same thing on the other side, shift all this one. This one, this one. Now you can hit Control B for bevel. Should be a very small value, 0.00 oh one or maybe three. And HIT TAB again to exit the edit mode, and you will have something looking like the following. And we can later if we need some extra details right here, like a mesh or something. So it looks like the actual speaker. We can do that later. I think this is it for beveling. I think we managed to bevel everything. And as you can see, our iPhone model is looking sharp. So the usual, make sure to save your file, and I'll see you in the next one.